Oscar Bravo by March Studio: Tailoring, Rewired for the Jet Age.

There’s a short, bright window in Sydney’s building stock—roughly a decade either side of 1960—when the city stopped looking backwards and started behaving like it had somewhere to be. The former Liverpool & London & Globe Building at 62 Pitt Street belongs squarely to it. Spain, Cosh & Stewart were commissioned at the tail end of the 1950s, and the building opened on 15 March 1962. It’s since been heritage listed under the Sydney Local Environmental Plan, recognised in part for a wedge-shaped plan so tightly engineered that a single structural column interrupts each floor. Lighter, cleaner, shorn of ornament, built on the conviction that technology and precision might deliver a better future.

The choice of building came from the client. Oscar Bravo chose the site—drawn to a Modernist landmark tied to the period that shapes the brand, and to the community it wants to sit within. March Studio inherited a host that already shares the brand’s beliefs—progress, efficiency, clarity. Client and architect landing on the same conviction before a drawing exists is rare, and this project runs on it. Reading the argument for a project within the building that houses it is a very March Studio move, and it pays off here immediately.

Oscar Bravo’s proposition is disarmingly simple: a tailored shirt should be worn on a Saturday morning as readily as in an office. Which means dismantling almost everything the category has trained us to expect. “Too often, the experience is wrapped in stuffy interiors, heavy drapery, dark timber, ornate detailing and the lingering scent of old-world snobbery,” March Studio director Rodney Eggleston says. “We wanted to replace nostalgia with optimism, exchanging the weight of tradition for the confidence of the future.”

William McRoberts and Joseph Gardner Bring Serious Design Cred to Swop South Melbourne.

Forget what you think you know about second-hand shopping. Swop South Melbourne draws on New York warehouse energy and a furniture edit that reads like a design history lesson.

The 70-square-metre fit-out takes its cues from the Jet Age—speed, technological swagger, unshakeable optimism. Curved and perforated aluminium cladding, custom lighting, spotted gum joinery and moleskin combine into something warm and tactile that never once tips into retro pastiche. There’s a rhyme in the choice of aluminium, too: the host building is wrapped in an aluminium curtain wall, each bay framed as its own unit to defeat thermal expansion. March Studio has essentially brought the facade indoors.

Two rooms carry the plan. The main space arranges the men’s and women’s collections around a central counter conceived as an oversized ironing board, where shirts are steamed and pressed in full view throughout the day. It’s the sharpest decision in the project. The labour that tailoring habitually hides behind a curtain is pulled into the middle of the room and left there, running on repeat.

From there, customers move into a dedicated fitting room, measured via Oscar Bravo’s bespoke system for a precise individual fit in under ten minutes, with the finished shirt arriving a fortnight later. Somewhere in the middle sits a perfectly chilled 135 ml Asahi or a nip of whisky—a detail so Jet Age it practically comes with a seatbelt sign.

This Tiny Gift Shop in Georgia Absorbs Its Entire Lakeside Setting Into Glass and Stone.

The Tbilisi-based practice used green mirrored glass, stone gravel, exposed local stone and waterproof materials to translate the adjacent lake into a cohesive concept.

Brand identity, wayfinding and graphics come from Cavigneaux, the independent identity practice Anne-Laure Cavigneaux. launched in 2025 after co-founding March Studio with Eggleston in 2007. The two studios continue to work in tandem, and this project makes that partnership legible.

It’s been a long stretch since we gave March Studio a full run of its own—the Damir Doma store in Paris, back in 2012—and this is a fine reminder of what the practice does better than most. “We design the logic that makes the architecture,” reads the opening line of their website. It doesn’t just dress a brand up—it works out how the brand thinks, then builds the room to match. Here, the logic turned up in 1962 and was still running.

Mid-Century Meets Modern Sandwich Culture at S'WICH Surry Hills.

The bold duotone palette of red and steel grey creates what Studio Shand call "pop simplicity"—interiors that pull you in and make you stay.

[Images courtesy of March Studio. Photography by Peter Bennetts.]