Tristan du Plessis doesn’t design spaces to be admired —he designs them to be felt, and deeply at that. His studio has become a global hit factory of opulence that leaves a lasting emotional imprint: Miami’s Giselle (you know, the Restaurant & Bar Design Award Winner for 2023), the perpetually-fully-booked FYN in Cape Town, and the Penthouse Party Suite in collaboration with Black Coffee that defies every luxury cliché. While some chase likes, Tristan chases moments – that sweet spot where space, sound, and someone’s second negroni collide into perfect clarity. ‘Pretty’ isn’t in his vocabulary. Neither is compromise. And judging by his growing portfolio, that’s exactly how it should be.
Designing a space is much more than an exercise in aesthetics; it is about storytelling, about crafting an experience that resonates with its intended audience and orchestrating an optimal feeling. I have always believed that the best designs begin with a deep understanding of who the space is for and why it exists. Rather than designing for design’s sake, it is crucial to design for the people who will ultimately experience the space, both staff and guests. This perspective informs my process, where I often picture a muse — an actual person who embodies the lifestyle, tastes, and aspirations of the intended guests.
“Whether it is a restaurant, a hotel, or a private residence, design should be a creation for experience— one that moves beyond the visual and into the emotional.”
The power of feeling good
In hospitality design, it’s easy to fall into the trap of prioritising aesthetics above all else. Beauty is important, but a space that feels good is just as powerful. A restaurant, a bar, or a hotel must first and foremost function for its guests — emotionally and practically. Each space should tell a story that speaks directly to its audience, evoking a sense of place and belonging. The key is to ensure that every material, texture, and design decision serves that larger narrative.
Taste of Positano
Loren, a restaurant in Dubai, is a prime example of this approach. The vision for this space was clearly defined — we wanted to capture the essence of the Italian coast in the 1970s. Loren is not simply an Italian restaurant; it is an invitation to a different place and time. Every design choice was guided by this narrative. The audience was the well-heeled residents of Palm Jumeira hand greater Dubai — young, well-travelled couples seeking a chic dining experience, wearing Loro Piana head-to-toe, as well as more mature guests looking for a romantic escape with views of the water. Our aim was to transport them, if only for a night, toa summer in Positano.
Designing in juxtaposition
By contrast, SAN Beach Club (which is directly underneath Loren) presented an entirely different challenge. This was nota space designed for quiet, intimate dinners but for a nomadic free-spirited traveller (probably with a black American Express card). SAN’s guests are those who crave both uninhibited revelry and moments of meditative calm. The challenge was to reconcile these seemingly opposing needs — a juxtaposition of celebration and relaxation. This duality shaped the space into a sanctuary where soulful gatherings take place in a calm, restrained design. The style is subtle and refined, made to feel like a zen retreat, but with the flexibility to transition into a vibrant, high-energy setting. It is a space rooted in cultural influence and authenticity, allowing the guests to shape their own experience.
East meets South
This intent — of designing for the audience, not just for aesthetics — began locally. FYN, a fine dining restaurant in Cape Town, epitomises a high-brow culinary experience tailored for a discerning audience set in a very ‘downtown’ Cape Town building. The interiors reflect the essence of the cuisine — deeply rooted in Japanese techniques yet seamlessly blended with South African influences. The design was created for adventurous guests both in palette and in exploration. We wanted them to feel surprised by an elevated interior that also had more primal, industrial undertones.
Maximalist desire
At the other end of the spectrum is the Penthouse Party Suiteat Hallmark House in Johannesburg, a bold, experiential space designed with and for those who thrive in an environment of high energy and exclusivity. We had the fortunate experience of designingthis space with a longtime muse: internationally acclaimed South African DJ Black Coffee. This was not a space meant for serenereflection; it was designed to entertain, to engage, and to immerse its guests in an elevated sensory experience. The space embracesmaximalism, layering textures, colours, and artistic elements that both contrast and celebrate the landscape of the city.
The feeling is mutual
In every project, the common thread is a commitment to experience-driven design. It is about more than simply making a space beautiful — it is about making it meaningful. Design has the power to shape the way people feel, behave, and interact within a space. It can transport, energise, soothe, or inspire.
I have always believed that the most successful spaces are those that put the audience first. When you design with a clear understanding of the people who use the space, you create environments that feel intuitive, immersive, and truly transportive. Whether it is a restaurant, a hotel, or a private residence, design should be a creation for experience — one that moves beyond the visual and into the emotional.
