Ferrari's London flagship and the return of the gallery-grade retail interior.

Thirteen months after Kith opened behind a Grade II façade on Regent Street, Ferrari Style opened behind a Grade II façade on Old Bond Street. The buildings are different — Kith's is 1820s Nash; Ferrari's is 1905 Queen Anne. What's the same is the spatial logic.

The project

In both projects, Historic England’s consent requirements preserve the street-facing envelope essentially untouched, and the entire architectural ambition moves inside. Read as a pair, they are Issue 01’s UK argument.

Ferrari Style opened on Friday 13 March 2026 at 45 Old Bond Street, London W1S 4QT — on the corner of Piccadilly, in a Queen Anne-style building constructed in 1905 (the footprint is also referenced as 48–50 Old Bond Street in Ferrari’s own magazine; 45 is the trading address). The previous occupant was De Beers London. 850 square metres / 9,150 square feet across three floors. Ferrari’s neighbours on the block are Cartier, Tod’s, Prada, and Tiffany & Co. The opening event drew Lewis Hamilton (in a custom Iannone look), Georgia May Jagger, Ed Westwick, Amy Jackson, Swizz Beatz, Eve, Leigh-Anne Pinnock, Kojey Radical and Eva Apio.

The creative lead is Rocco Iannone, Creative Director of Ferrari Style since the division’s 2019 launch. The architecture is by Gonzalez Haase AAS of Berlin — founding partners Pierre Jorge Gonzalez and Judith Haase, the practice established in 1999 with a retail portfolio running through Maison Margiela, Akris, Aesop, and Rimowa. The display and vitrine design is by Formafantasma of Milan — co-founders Simone Farresin and Andrea Trimarchi. Photography by Ed Reeve (Dezeen, Wallpaper) and Jamie Stoker (WWD) — two separately commissioned photographers supplied to different publications.

No external UK architect of record, main contractor, lighting designer or heritage consent executive has been publicly named. This pattern of brand-controlled disclosure — creative direction and primary design team credited; UK execution trades withheld — is now the dominant pattern across Issue 01, matching Kith Regent Street and Casa LOEWE Shanghai. Tiffany Sanlitun is the transparent outlier. Ferrari’s variation from Kith is naming the photographers, plural.

Context

Old Bond Street was London’s retail concentration before Regent Street was built. The block Ferrari occupies has been expensive retail since the early 1700s; the current building dates to 1905. Grade II listing protects the façade, the roofline, the fenestration rhythm and significant interior features. Any alteration requires Historic England consent. The envelope is a starting condition, not a design variable.

That constraint is the same one operating at Kith Regent Street — though the listed features differ (Kith negotiated a Nash-era stone front with distinctive sash proportions; Ferrari operates behind Portland stone with Queen Anne rhythmic window bays). The consequence is the same. The façade does almost nothing on either project. Kith’s brass signage sits against preserved stone. Ferrari’s storefront glazing is edged in dark steel with brassy gunmetal tones, contrasting the light Portland stone — a restrained modification at street level that leaves the building’s heritage legible.

Ferrari Style itself was launched in 2019 as the carmaker’s pivot from merchandise-style branded retail (baseball caps, scale models) toward a full fashion/lifestyle proposition. Iannone’s first collection dropped in June 2021. The division has shown at Milan Fashion Week. Prior stores include Maranello, limited US locations, and a Las Vegas extended pop-up (originally two weeks; extended to twelve months). London is the first major European fashion-capital flagship and the clearest public declaration that Ferrari Style is a fashion house, not a merchandise line.

Ferrari has UK racing heritage. Lewis Hamilton joined Scuderia Ferrari for the 2025 F1 season. The brand’s own language for the flagship — “from Silverstone to the streets of London” — makes the UK motorsport connection the hook. The product layer reinforces it: travel trunks lined in Scottish wool Prince of Wales check; pre-fall 2026 collection inspired by British royalty (Princess Diana, young Queen Elizabeth) and British music (David Bowie, Jamiroquai, John Lennon, Twiggy in 1967); a custom satin and silver-beaded gown worn by Raye at the 2025 British Fashion Awards on display on the first floor, on loan from Raye herself. Ferrari’s London is as much a cultural address as a commercial one, and the brand is explicit about that framing.

The commercial backdrop is also worth naming briefly, not because it’s the subject but because it explains the project’s prominence. Ferrari S.p.A. has been trading at a 52-week stock low in April 2026; the F1 team has not won a Constructor’s Championship in 19 years. The lifestyle division is being asked to carry more of the brand’s growth narrative. A major London fashion flagship is the kind of public statement that commercial pressure produces.

The design

Everything happens behind the preserved envelope. Judith Haase framed it to Ferrari’s own magazine as creating “a technical belt… a transition space between the traditional façade outside and the very contemporary language we are creating inside.” That is the central move — a belt-and-translation operation, heritage outside, contemporary register within.

The material vocabulary. Concrete flooring runs throughout, deliberately utilitarian. It frames everything above it as artefact rather than merchandise. A hand-brushed stainless steel perimeter system wraps the entire space continuously — it functions as display and structural support, and it’s engineered to remain adaptable across seasonal collections. Aluminium and glass vitrines, designed by Formafantasma, provide the merchandise infrastructure. Alcantara — specifically a Ferrari car-interior material — lines sections of walls. The cars are referenced through haptic materials rather than through any of the cars themselves. Rosso Ferrari red is deployed as punctuation rather than as field colour — on the signature staircase handrail, on soft furnishings, on selected finish details.

The architectural event is the staircase. Gonzalez Haase’s central staircase connects all three floors, and Domus was the only publication to dwell on it. The casing is reflective. The casing glass is mirrored brown. A single full-height red handrail runs from basement to first floor in one continuous line — Domus described it as “resembling a flash of light cutting across the interior.” It is the clearest architectural gesture in the project. The Portland stone façade is preserved and immaterial; the vitrines are elegant but repeat the architect’s standard grammar; the merchandise rotates. The staircase is what will remain legible as the Ferrari London signature in ten years. One red line, three floors, sculpted in mirror-finish glass.

The three floors as three registers:

The ground floor is retail-register — floor-to-ceiling glazing opens to Old Bond Street, men’s and women’s ready-to-wear, accessories, Ferrari Collectibles. The public read of the project lives here.

The first floor is couture-register — women’s ready-to-wear with the Tailor Made Atelier as its functional centre. A large circular table anchors the room, floor-to-ceiling leather curtains create zoning. This is where Ferrari Style reveals itself as more fashion house than brand-merchandise operation. The Raye gown on display makes the argument explicit — Ferrari is claiming runway-adjacent territory, not racetrack-adjacent territory.

The basement is museum-register — Caveau, a private chamber with rare Ferrari mechanical components and collectibles sourced from Maranello, including restored F1 engine components. Archival presentation, gallery lighting, not a place to buy but a place to look. Ferrari uses the word “chamber” rather than “shop” to describe it.

Three floors, three registers, one spatial system. Pierre Jorge Gonzalez gave Domus the layering argument: “You have the heritage of the brand, you have Ferrari’s fashion, you have an idea of engineering and high tailoring quality, and you should have a clear architecture.” Four registers to reconcile, one architecture to do it. The staircase is the device that does the work.

Against Kith’s interior. Where Kith built a warm timber-and-stone interior register behind its Nash façade — traditional craft, softened materiality, a UK-heritage reading on the interior — Ferrari builds a cool stainless-steel-and-concrete register behind its Queen Anne façade. Industrial craft, hardened materiality, a Maranello-workshop reading on the interior. Same spatial logic, opposite material arguments. Kith’s interior reads as warmer than its exterior; Ferrari’s reads as sharper. Both are heritage negotiations at retail scale; they resolve the negotiation in opposite directions. That is the Issue 01 UK observation — the constraint is shared, the response diverges by brand argument.

Formafantasma’s contribution. Simone Farresin to Ferrari’s own magazine: “It was important that our intervention was not only about the display of products, but also about borrowing from the museum space to create a place that becomes more of an exhibition environment.” Andrea Trimarchi, completing the thought: “But of course, it’s not an exhibition environment, it’s a store, so it was also important to respect all the elements that belong to that environment — the shelving, the counter, while adding a layer that is much more about showing than selling.” The vitrine system reads as continuous with the studio’s museum and exhibition work — the Cambio show at the Serpentine Galleries (2020–21), the material-research displays across the studio’s broader portfolio. Ferrari London is Formafantasma’s largest recent retail project and their clearest translation of museum-display logic into a commercial context.

The build and the cost read

No primary-source budget figures published. Estimation with reasoning shown.

Shell and envelope. Grade II-listed Portland stone façade preservation under Historic England consent is specialist scope, small-area but expensive relative to footprint. Likely range for external envelope: £250k–£500k — heritage consent fees, planning fees, minor repair and cleaning, storefront glazing with the dark steel surrounds and brassy gunmetal detailing. The 1905 brickwork and stone rhythm are left essentially untouched.

Interior fit-out. 850 m² across three floors at Mayfair-prime flagship register, with specialist finishes throughout: mirror-finish reflective staircase casing; hand-brushed stainless steel perimeter as a continuous element across all three floors; concrete flooring at luxury specification; Alcantara wall linings; Rosso Ferrari upholstery and bespoke soft furnishings; floor-to-ceiling leather curtain zoning on the first floor; full aluminium-and-glass Formafantasma vitrine system; gallery-register lighting on the Caveau F1 components. Back-of-house: tailor atelier workstations and basement archival display. Likely range for interior fit-out: £5m–£10m, scaling with how much of the vitrine system is bespoke versus adapted from Formafantasma’s standard repertoire.

Programme. A March 2026 opening implies design running from approximately late 2023 through 2025, with construction mobilising early-to-mid 2025. Grade II-listed consent typically adds four to six months to pre-construction compared to unlisted equivalents. Total design-to-open programme: likely 24–30 months. No indicators of value-engineering in the coverage. The project reads as executed to intent.