Guilherme Perry

Within Chloé’s Architecture & Store Design team in Paris, I contributed to the design and development of retail spaces and experiential activations for the brand’s international network. I worked across boutiques, corners and pop-ups, from early creative concept to technical follow-up, always with the goal of translating Chloé’s feminine, light and tactile identity into three-dimensional environments. On the creative side, I supported the conception of new architectural concepts and seasonal animations: researching references, building moodboards, defining client journeys and exploring spatial narratives. I developed 3D models and high-end renderings (Rhinoceros, KeyShot, V-Ray, Photoshop) to test volumes, materials and light, and to help internal teams quickly visualise different design options. In parallel, I was involved in the more operational side of projects: preparing layout proposals, helping with technical drawings and implementation decks, and supporting the production of guideline documents for international markets. I collaborated with visual merchandising, retail, marketing and image teams to ensure coherence between product stories, collections and the architectural language in store. A significant part of my role was focused on materiality and detailing: researching finishes, textures and colours, building and updating the material library, and proposing combinations that balanced brand codes, durability and budget constraints. For several projects – including a high-summer pop-up concept in China and an experiential activation for the Paddington bag relaunch: I worked on immersive scenographies where light, reflection and sound became key components of the storytelling. Throughout my time at Chloé, I learned to navigate between creative vision and constraints of construction, budget and timing, staying close to the reality of site work and suppliers while keeping a strong point of view on design and brand image.

At LXDesign in Lisbon, I worked in a hybrid role between interior architecture and commercial consulting, designing spaces while also managing the sale and specification of high-end furniture, lighting and materials. It was a position very close to both creation and business: I was involved from the first sketch to the final delivery, making sure every project felt cohesive, functional and emotionally engaging for the client. Day to day, I collaborated with private clients, architects and developers on residential and hospitality projects. I translated briefs into spatial concepts, moodboards and 3D studies, exploring layouts, proportions and atmospheres. I developed detailed furniture and lighting proposals, always balancing aesthetics, comfort, technical constraints and budget. Because LXDesign represented multiple premium European brands, I was also in charge of product sourcing and curation: selecting the right pieces, finishes and fabrics, preparing quotations, negotiating options when needed and following orders through to delivery. On top of design sensitivity, the role required a strong commercial mindset – I had to understand margins, lead times and logistics while never losing sight of the overall design vision. I regularly produced 2D plans, simple construction details and 3D visualisations to help clients understand how furniture and lighting would live in their space. I coordinated closely with suppliers and installers to solve on-site issues, adapt choices when constraints appeared, and ensure that what had been designed was actually achievable and well executed. This experience gave me a solid foundation in client relationship management: listening carefully, advising with confidence, presenting concepts clearly and defending design choices while remaining flexible. It also strengthened my ability to “speak” both design and business: connecting emotion, space and objects with concrete decisions on products, budgets and timelines.

At Branca Lisboa, I worked inside a small, design-driven furniture studio where every piece is treated almost like a sculpture: precise, tactile and emotional. I was involved in the development of furniture collections from early concept sketches to technical refinement, which gave me a very concrete understanding of how ideas become objects. My role combined product design assistance, 3D development and support to the creative director. I translated initial concepts into 3D models, exploring proportions, joints and details, and then refined them into technical drawings suitable for prototyping and fabrication. I participated in material and finish research, comparing woods, metals, upholstery and surface treatments to find solutions that were not only beautiful, but durable and coherent with the brand’s identity. I also helped prepare presentations and visual content for clients and fairs, making sure that the storytelling around each product – inspiration, function, construction – was clear and visually strong. Because the team was small, I quickly had to be autonomous and involved across multiple steps: following prototypes, gathering feedback, adjusting designs, and sometimes adapting pieces to specific client needs. This experience sharpened my eye for detail, taught me to balance elegance with practicality, and reinforced something essential for me today: good design is not just a sketch or a render, it’s the way an object is built, touched and lived with over time.