The house provided a perfect architectural setting to introduce our new collections: Lucy, Nya, Lumae and Brooke, while continuing to expand the visual language of the wider ‘Boss World’ through Amelia, Beau, Ola and Sol.
More than a backdrop, Oakside House became an active part of the story. Its proportions, natural light, material palette and architectural character allowed us to explore the relationship between furniture and space, and the way each can strengthen the other. A study of how furniture, architecture and creative disciplines can work together to shape the experience of an interior.
Architecture as part of the story
Oakside House was never intended to be a passive backdrop. Its architecture, proportions, natural light and material character became active elements within each composition. Furniture was positioned in response to the building, allowing the lines of the products to connect with the geometry of the rooms and the textures of the upholstery to sit in dialogue with the surrounding surfaces.
Its inclusion in the May Design Edition of Wallpaper reflects the architectural interest and contemporary relevance of the space. For Boss, this made it an especially appropriate setting: a carefully considered piece of architecture in which every detail contributes to the whole.
Design begins with experience
Our design philosophy starts with people. We believe furniture should do more than occupy a room. It should enrich the way a space feels and support the experiences taking place within it. Whether enabling focused work, informal conversation, collaborative exchange or a moment of retreat, every product begins with an understanding of human behaviour.
The new collections express this philosophy in distinct but complementary ways. Lucy and Nya explore a softer and more expressive approach to lounge seating. Their generous, inviting forms balance visual character with comfort and ease, creating places in which people instinctively want to pause
Lumae brings a refined, fully upholstered quality to meeting and dining environments. It introduces comfort and tactility into spaces traditionally shaped by harder surfaces, helping meetings, conversations and shared experiences feel more welcoming and distinctly human.
Brooke provides an architectural foundation around which people can gather. Its confident form, carefully resolved proportions and ability to integrate power create a table collection designed for the realities of contemporary meeting, working and collaboration.
Together, the collections demonstrate the breadth of the Boss portfolio, but also the consistency of the thinking behind it: purposeful design, careful detailing, material sensitivity and an enduring commitment to human experience.
Styling the Boss World
Creating these environments involved more than placing furniture within a beautiful house. Every composition needed to feel balanced, believable and connected to the way people might genuinely use the space.
Working closely with stylist Sania Pel, we explored the relationships between furniture, objects, texture, colour and architecture. Styling became a means of revealing the personality of each product. Materials were layered to create depth. Soft upholstery was balanced against harder architectural surfaces. Colour was introduced with restraint, supporting the furniture without distracting from its form.
Objects were selected not simply as decoration, but as subtle indications of human activity. They suggest the conversations, rituals, work and moments of pause that transform an architectural interior into an inhabited space.
The aim was to create a visual world that feels elevated but approachable: refined, but never remote. This balance is important to Boss. We create furniture for highly considered architectural settings, but those settings must ultimately work for people. Good design can be aspirational while remaining intuitive, comfortable and accessible.
It is a world defined by thoughtful forms, material integrity, human comfort and attention to detail. A world shaped through collaboration. Above all, it is a world designed around the way people experience space. Because good design is not only something we see. It is something we feel.
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