It’s difficult to describe the exact feel of Melanie Auld Jewelry’s Vancouver flagship. Tucked away on a quiet street in Fairview, the airy 805-square-foot space exudes a little L.A. glam, a little Oceanside cool and a little European charm. The reminders of international locales make sense considering that the Kelly Deck Design team found inspiration in local jewellery designer Melanie Auld’s favourite places.
“We looked to her travels,” explains lead designer Chelsea Brynildsen, “and then to her label, which has this sexy, beachy, empowered-woman vibe.”
Taking advantage of the full-height windows at the entrance—and the abundance of natural light that a south-facing building affords—the crew sought to evoke the spirit of a cabana that welcomes visitors with sun-kissed arms. White linen drapes, which reach almost as high as the 14-foot ceiling, help achieve a breezy inside-outside feel, while strategically placed oversized arch mirrors maximize light and reflect the outdoors in.
The arch motif is repeated in a light-up display area that showcases a line of in-house, handcrafted-in-Italy ceramics and Murano-glass vessels, as well as in a doorway in the slightly angled back wall that leads to a chic all-coral bathroom. There are other nods to Italy, where Auld’s family is from, too: the white plastered walls, which offer a hint of subtle texture; the custom terrazzo flooring, which was laid over stones like rose quartz and citrine. “They’re in there for good energy,” explains Brynildsen, “so we thought that was really special.”
The flagship feels more like a home than a store—the result of conscious design choices, like installing bespoke display cases and natural-oak shelving along the walls to make room for a comfy lounge where guests can kick back on blush pink Kelly Wearstler-designed Lee Jofa chairs. Adjacent to this area is Brynildsen’s favourite part of the boutique: a jewellery bar topped with a polished slab of Esmeralda Quartzite, its dreamy soft green hue complemented by the jade-green bar-front and the paint that covers the ceiling.
The final aesthetic is hard to pin down, sure, but it’s one that resonates with Auld. “She was really happy at the end when it all came together,” notes Brynildsen. “She said, ‘This is me.’”