The Future Of Train Travel Looks Luxe
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There’s something incredibly romantic about the idea of travel by train. It’s a slower, more reflective way to move through the world. As designers, we were drawn to the challenge of creating an interior that not only feels beautiful and luxurious, but also becomes part of the journey itself. The train becomes a moving hotel, a sanctuary that carries people through extraordinary landscapes, creating a sense of theatre and ritual. That offered us a very special kind of design opportunity – a once-in-a-lifetime brief.
We were inspired by the golden age of British travel – not in a literal or pastiche way, but in the spirit of how people once approached leisure with elegance and intention. We drew from the rich visual language of British heritage – stately homes, country manors and boutique hotels - and reinterpreted these references with a contemporary lens. The natural landscape of Britain, from wild coastlines to lush woodland, became the palette and texture we kept returning to. The result feels timeless but rooted in modern luxury.
Designing for a moving space meant thinking very differently about scale, materials and flow. Everything needed to be both beautiful and secure. Furniture had to be fixed or weighted, finishes had to withstand motion and use, and lighting had to create atmosphere without relying on vast space. Also every centimetre matters on a train, so we had to be meticulous in how we planned, detailed and furnished the interiors. It became an exercise in distilled luxury and contrast: precision and warmth, structure and softness.
One of the challenges was finding the sweet spot between comfort and compactness. We had to reimagine what relaxation looks like in a confined space. The swivel chairs in the Grand Suites, for example, are deeply comfortable but also sculptural, designed to enhance the sense of place and occasion. Creating that kind of experience, within strict spatial and technical limitations, required a lot of invention. The sofa beds in the cabins had to transform seamlessly from day to night without looking like traditional sofa beds. We also designed tiny, 15cm-wide bedside tables with built-in brass-lined alcoves to hold a water glass securely while the train moves. Fire regulations were also incredibly stringent, requiring extensive research to ensure that every material met the necessary safety standards. Perhaps the biggest challenge was balancing the functional constraints with our desire to create something richly detailed, luxurious and evocative of a truly grand (yet intimate) journey.
We took direct inspiration from the British landscape. Each Grand Suite is named after native flora: Valerian, Juniper and Elder. These botanical themes led to soft, earthy palettes that shift gently from room to room. We wanted the interiors to feel in harmony with the scenery passing by the windows, so that the landscape and the space felt like two parts of the same story.
The natural materials we used bring a warmth and tactility. Woven rattan, marble, solid timbers, and beautiful upholstery fabrics – they bring a sensory depth and softness that’s incredibly important in confined spaces. But everything also had to be practical and durable. We chose fossil-like limestone for the spa floors, for instance, and marble with watery veins that nod to coastal influences but stand up to use.
We approached luxury through craftsmanship rather than embellishment. The tented ceilings, intricate marquetry and curated antique details all add richness, but the space still feels calming and cocooning. It’s less about grandeur, and more about depth and intimacy, like stepping into a beautifully appointed private home. We thought a lot about how guests would move through and inhabit the space, and how it should feel as much as how it should look.
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Almost everything was designed specifically for the train – from dining chairs inspired by antique pieces to custom Rubelli fabric developed with Luke Edward Hall. That collaboration, in particular, added whimsy and personality, evoking the romanticism of the countryside in a contemporary, illustrative way. These bespoke elements were key to making the train feel entirely unique.
We imagined someone curious and discerning, who is drawn to experiences that feel both intimate and extraordinary. Our guest might have stayed in the best hotels in the world, but what they seek now is something quieter, more emotionally resonant. The design had to support that – it had to feel considered, not contrived.
We hope guests feel transported not just through landscapes, but through a sensory journey – the touch of a woven fabric, the scent of polished wood, the shift of light on mirrored ceilings. It’s a story of British elegance, reimagined. Nostalgic but never old-fashioned.
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Sustainability was built into the design process from the start, through materials that are natural, long-lasting and responsibly sourced. We worked with British craftspeople and independent makers wherever possible, which not only reduces the environmental impact of shipping but keeps traditional skills alive. For us, sustainability is also about designing something that won’t date – a space that will still feel relevant and beautiful in years to come. We also integrated modern comforts discreetly. Climate control systems, lighting automation and discreet charging ports don’t disrupt the visual experience. It’s about quiet innovation – letting the technology serve the guest without drawing attention to itself.
One of my favourite details is the shell artwork by Mel Campion in the powder rooms. It’s so delicate and unexpected, reflecting both the marine influences in our spa car and the natural beauty of Britain. I also love the botanical Pierre Frey fabric in the dining car – it’s bold, joyful and utterly transportive. For design lovers, I think it’s the layering of these thoughtful details that makes the train feel so special.
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