Peter Marino, one of the top interior designers in the world, is the principal of Peter Marino Architect PLLC, an internationally acclaimed architecture, planning and design firm founded in 1978 and based in New York City, with several offices around US, like Philadelphia, Miami and so on. Marino’s designs can be usually.
Marino’s designs can be usually characterised by emphasised materiality, texture, scale light and the constant dialogue between interior and exterior. He is widely known for his residential and retail interior designs for the most iconic names in the fashion and art worlds. Notable and recently completed retail projects include Ermemegildo Zegna flagship stores in Paris, Milan, New York, Tokyo and Shangai or Chanel boutiques in Paris, New York and Singapore. Greatest of the recent hospitality projects include the Yacht Club Costa Smeralda in Sardina, and Four Seasons Resort in Santa Barbara. Currently, Peter Marino is designing numerous private residences around the world, including London, Paris and Palm Beach.
Peter Marino has been an architect for a long time—ever since he graduated from Cornell’s College of Architecture, Art, and Planning in 1971. But it’s never been quite like this: Marino has become the No. 1 designer of the luxury landscape, the man who best understands how to move a customer on any continent through salons full of leather and lipstick and straight to the register. He knows how to work for any number of competitors—walk down 57th Street near Fifth Avenue: That’s Marino’s Vuitton, Marino’s Chanel, Marino’s Christian Dior—while keeping the brand identities intact and the sales figures brisk. Luxury, after all, has had a banner year despite absolutely everything else, and Marino is delighted. “Using ‘the Pedro’ produces very large profits,” says Marino, referring to himself, wagging a finger that is covered, like all the rest of his fingers, in an enormous silver ring. He agrees that luxury is on fire these days, and, he says, “I feel very much a part of that growth“.
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Peter Marino is an unusual high-fashion creature in ways beyond the codpiece. He has three distinct ways of speaking: There is the default speech, which bears traces of his native Queens accent (he had a childhood coach to lose it, but sometimes it’s there) and in which most sentences begin and/or end with an enthusiastic dude. Fucking is a top adjective. And then there’s the whole third-person thing, or “the Pedro,” which he adopted after an article in a Spanish magazine referred to him as Pedro el Grande, Peter the Great. That he’ll use in a variety of contexts, like when giving a tour of the Chanel boutique in Soho, where he curls up on a leather banquette in the dressing room and purrs, “The Pedro loves leather,” or when he is asked if he wears Chanel’s newest men’s fragrance and he answers, “Fragrance is not allowed in the clubs where the Pedro goes.”
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Dior store in Paris
Situated on the ground floor of a late 19th-century building, the new Dior store features an interior design by Peter Marino. The retail setting may take glamorous cues from the brand’s iconic mothership on avenue Montaigne in Paris, but retains much of the building’s original elements, albeit luxed up and adapted to Marino’s highly modern design scheme.
Inspiration Quotes by Peter Marino
“Don’t you hate TV when people are supposed to be talking to one another? Television puts up a wall between people.”
“If beer loses its relevance, it’s because the industry got outmarketed by the wine and spirits industries, not because beer suddenly lost its appeal to the human palate, … Beer has been around for 6,000-plus years, and it will be around for a long, long time“
“This is about beer grown up. This is about tapping into mainstream sophistication, and that will resonate equally with men and women.”
If Marino’s personal style is specific and indelible, his architecture and interiors are much harder to pin down. Marino’s boutiques do not instantly assault with their “Marino-ness”. Like NY Mag wrote, inside a Marino space, it’s all smooth-moving luxury, where drawers and doors close in perfect silence, and the elevator button is weirdly satisfying to push. They are well and flatteringly lit and, like Marino’s office, full of eclectic collections of art. They feel rich and full and calm.
Peter Marino’s most important aesthetic motivation may be his claustrophobia. “Dude,” he says, “I can’t even take a shower.” Marino lives in a colossal apartment on the far eastern side of 57th Street. Because of his claustrophobia, Marino’s first mission with any space is to open it up and access all available natural light. “Ask any woman,” he says. “I asked my wife. She has a very humanistic take on things, and she’s like, ‘You need light.’ Look, I believe that women would crawl across broken glass to get a cool pair of shoes. But if you want to have a nice time, you need natural light.
“Nine out of nine architects start with a sketch and then they say, ‘What should we make it out of?’ ” Marino says. “I start from the bottom up, what should it be made out of, and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.”