Any self-confessed beauty lover will likely remember the first time they walked into a beauty hall. The scents, the sound of chatter and leaving with a new beauty treasure (or a few too many samples) nestled into a tissue paper-laden bag.
Long before digital retail and trending brands made beauty a decidedly online experience, the beauty counter served as a sanctuary. For generations, department store beauty halls were unacknowledged third spaces, somewhere accessible between home and work where you could seek advice, test products, and find human connection without an explicit requirement to buy or clear out. Now, some fragrance houses are bringing that feeling back by transforming their physical stores into living cultural galleries.
From interactive shopping experiences to partnerships with up-and-coming artists, by merging scent with fine art, interactive design, and architectural curation, brands like Byredo, Fueguia 1833, and Penhaligon’s are giving visitors a reason to settle in.
Take Byredo’s flagship store in Covent Garden, which the brand describes as a "moment of stillness within the city’s rhythm". The two-floor space functions as a curated environment where fragrance, design, and art intersect. Rather than purely focusing on the sensorial experience of spritzing a new scent, Byredo has turned the location into an evolving art space, even marking the launch of its Bal d’Afrique Absolu earlier this year with a partnership with Nigerian-British artist Soldier. Their year-long collaboration explores identity and memory through painting and sculpture, complete with IRL "In Conversation With" events.
Similarly, Fueguia 1833 treats its boutiques like botanical research galleries, inviting customers to engage visually and tactilely with hand-blown glass bell jars and raw ingredients before ever committing to a smell.
Over in Soho, Ffern’s flagship store takes a similarly slow, cultural approach to fragrance retail. The brand has long worked with artists and makers, treating the world around each fragrance as an opportunity for creative collaboration rather than simply a vehicle for selling scent, and its physical space feels like an extension of that philosophy. Rather than functioning as a conventional shop designed to move customers from browsing to purchase, it encourages visitors to spend time with fragrance, art, ingredients and craft.
A brand-encouraged moment of 'stillness' or fragrance halls that allow for visual experiences might seem like yet another way to land a 'sell', but with loneliness in the UK reaching record numbers, it seems that these sanctuaries are needed now more than ever. According to the Office for National Statistics (ONS), 49.6% of adults in England—roughly 25.9 million people—report feeling lonely at least occasionally, with 7.1% (around 3.8 million people) experiencing chronic, daily isolation. Young people make up a large chunk of that group, with people aged 16 to 24 reporting persistent loneliness at nearly double the rate of over-65s.
It’s also no coincidence that fragrance flagships are taking their cues from public galleries. According to Art Fund data, 48% of UK adults visit art spaces annually—not just to view works, but to seek community. And according to the YMCA as England has lost over 50% of its youth and community hubs since 2010, many galleries and arts centres have been forced to step up as civic anchors. So, with many of our cities missing the third spaces that foster genuine human connection, beauty is stepping in by adopting gallery-style curation.
Fragrance sits somewhere between art, memory and personal expression—so it makes sense that the spaces where we discover scent reflect that.
Even legacy department stores use fragrance to foster connection. At Liberty, the fragrance hall has been deliberately redesigned to make scent an interactive, visual medium, explains Natalie Guselli, Head of Beauty at Liberty.
“Fragrance is inherently creative—it sits somewhere between art, memory and personal expression - so it makes sense that the spaces we discover scent in are beginning to reflect that." Now, says Guselli, "Customers increasingly want more than a traditional retail experience; they want to explore fragrance in a way that feels immersive, inspiring and culturally relevant. At Liberty, we’ve deliberately looked at how we can take fragrance discovery beyond simply smelling a succession of bottles."
In the spirit of design and creation the brand has become famous for, and just like a gallery, the department store has curated the space with fragrance-themed commissions. "Our nose installation is a playful visual interpretation of scent and an invitation to consider fragrance approachable and interactive," says Guselli. "Artist Tasha Marks designed the wall under the idea that 'anyone can be a nose'. We wanted our fragrance hall to feel democratic, encouraging customers to stop, explore and discover before they necessarily know what they’re looking for."
Guselli adds that she sees physical spaces as vital counterweights to digital shopping: "There’s something particularly interesting about making an invisible medium like fragrance visual. Installations, art and design can give physical form to the emotion, storytelling and imagination behind a scent, and ultimately create another route into discovering it."
Noting also that "As beauty becomes increasingly digital, I think physical retail has an even more important role to play in offering experiences that can’t be replicated through a screen. For fragrance especially, stores can become places for cultural discovery as much as product discovery—somewhere customers spend time, encounter new ideas and hopefully leave having found something unexpected.”
Over on the King's Road, Penhaligon's has embraced a similar ethos, designing its flagship as a gallery-like space centred on British craftsmanship. According to Penhaligon’s Global General Manager Julia Koeppen, their "vision for King’s Road was to create a living, evolving space where scent, craft and artistry come together." When considering how to build out the space, Koeppen says the brand "began with narrative rather than product display."
"It's an approach that has found a natural expression through our long-standing partnership with the Queen Elizabeth Scholarship Trust, or QEST, an organisation dedicated to preserving and evolving Britain’s craft heritage by supporting makers and bringing their work to a wider stage", explains Koeppen.
It should feel like a modern salon, intimate, engaging and constantly revealing another layer of the story.
It's impossible to ignore the ever-changing world around us, and despite placing art at the centre of the space, Koeppen explains that the heritage brand has not shied away from our "phygital" reality.
"Our approach at King’s Road is deliberately discreet. Technology should extend the experience, not dominate it. Our digital content reveals the makers, materials and processes behind each exhibition, allowing their stories to live beyond the boutique," explains Koeppen.
Not diluting the core of a heritage fragrance house is vital, Koeppen notes. The physical experience remains at the heart of the concept: encountering the scale and texture of the work, discovering fragrance and engaging in conversation. For us, technology is most effective when it brings people closer to the craft and the people behind it."
As fragrance houses begin to fill some of the void left by shrinking third spaces, Koeppen highlights how even the store layout addresses the demand for community: "King’s Road was conceived as more than a static retail environment. It is an evolving cultural programme, with changing exhibitions, demonstrations, workshops and artist conversations creating new reasons to visit."
The goal for them? , "is to make the boutique a place of discovery and exchange, where someone might arrive through an interest in contemporary craft and encounter fragrance, or come for Penhaligon’s and discover an artist. It should feel like a modern salon, intimate, engaging and constantly revealing another layer of the story," says Koeppen.
The pressure-free environment that so many beauty lovers use to shop in beauty halls is also at the heart of the store, Koeppen explains.
"The ambition was never to recreate the formality of a traditional gallery," Koeppen says. "We wanted the curatorial confidence of an exhibition within an environment that still feels warm, personal and distinctly Penhaligon’s. The art is given space and presence, but it sits within an intimate, lived-in interior where visitors can browse, ask questions and engage at their own pace. It is refined without being remote, theatrical without becoming intimidating."
Measuring the success of these spaces goes beyond instant transactions. "We are looking at engagement with the exhibitions, time spent in the space, event participation, new client recruitment and whether visitors return as the programme changes," says Koeppen. "We don't see success simply as an immediate sale or a widely shared piece of content. It is whether King’s Road creates a lasting connection and a genuine reason to return."
By returning back to the essence of OG beauty halls and embracing cultural curation, these fragrance houses are offering a modern return to what beauty counters always did best: providing people with an inviting space to slow down and connect.
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