Voluptuous brushstrokes, carved details, collage-esque cutouts are key features of Rosemary, a new (and super stylish) riad in Morocco's bustling Marrakech – and its background story is just as charming. It is the brainchild of Laurence Leenaert and Ayoub Boualam – the co-founders of LRNCE, a lifestyle brand whose textural rugs, hand painted ceramics and chromatic artworks have enchanted the design world since the duo began collaborating with Moroccan artisans eight years ago. They can now be spotted enlivening stylish homes and hotels around the world, so the duo’s latest venture – this five-bedroom riad hotel – makes perfect sense. “It felt like the right time for us to create a new universe – an experience that combines my aesthetic with the know-how of Morocco’s talented artisans,” says Leenaert, the creative force behind LRNCE. “There are so many new projects coming to life in Marrakech at the moment, and it’s nice to be part of that positive momentum.”
Set in one of the oldest neighbourhoods of the medina (a short stroll from the magnificent Bahia Palace), this riad in Morocco was originally designed by Belgian architect Quentin Wilbaux, who lovingly documented and restored close to 150 properties in the area. Leenaert and Boualam acquired it in the summer of 2021, its new name being a homage to the previous owner, Rose-Marie. The herb rosemary now appears as a motif throughout the riad, from planting to custom-made scents.
With this history in mind, Leenaert’s interior design honours the traditional architecture of the riad while forming a contemporary world inside it: room configurations, myriad pillars and a decades-old jacaranda tree (“like a living sculpture”) were all preserved. While one would shy away from labelling Rosemary as “traditional”, the duo opted for time-honoured finishes such as zellige mosaics to pay tribute to the city and its makers. “It is this association of past and present that gives Rosemary its authentic stamp,” says Leenaert.
Craftsmen and women from around the country were involved in realising the duo’s vision for this pastel pink riad in Morocco. They travelled to Meknes, to work with women specialising in stained glass; to Safi, for potters; to Fez, for hand-chiselled zellige tiles; and to Rabat, in search of marble vendors. Carpenters, plasterers, metalworkers and the tilemakers who poured the courtyard’s terrazzo tiles live in Marrakech, as do the artisans who inserted 800 red marble lozenges into the main staircase.
“We have worked with some of the best craftspeople in Morocco,” Leenaert asserts. “There is a constant collaboration between their know-how and my aesthetics in almost every room at Rosemary.” In the bathrooms, traditional tadelakt (natural lime-plaster indigenous to Marrakech) was decorated with two-metre murals painted by Leenaert, while in the courtyard, the same technique was applied to two pillars, on which artisans carved out Leenaert’s drawings. On the ceilings, paper sketches were precisely rendered in plaster. “This was the best part: meeting artisans and challenging ourselves to do something new with old techniques,” says Leenaert. “We wanted to honour Moroccan handcrafts and celebrate their value.”
The riad’s configuration is simple: upon entering, a corridor leads to a central courtyard around which the guest suites are set, and on to amenities such as a plunge pool (featuring painted tiles inspired by the sea), a salon, a hammam, and a store featuring bathrobes, towels and bed linen designed by Leenaert. The daybed-scattered rooftop makes the perfect relaxation spot.
Throughout the space, Leenaert’s own works are complemented by treasured pieces by artist and designer friends (some of which were made specifically for the riad), as well as vintage pieces that have been collected over the years: think Tobia Scarpa armchairs, 1920s desks and American Fanimation ceiling fans, teamed with Moroccan beldi glass tumblers and polished silverware. Leenaert has also created custom furniture and other elements for the project, such as the terrazzo-and-burlwood-veneer table in the living room, and even the riad’s front door. “I was so excited about this,” she recalls. “We met an amazing ebeniste (cabinet maker) who makes very traditional Moroccan furniture, such as the detailed inlay coffee tables. I had this idea for a carved cedarwood door inspired by the logo I designed for the riad. We worked for months on the door, as it was the craftsman’s first time making something of this kind, and it was very interesting for us both. When it was finished, I wanted to create more pieces out of cedar, so we moved on to making commodes with carved symmetrical designs for each of the rooms.”
While the LRNCE brand is associated with chromatic colours and exaggerated graphics and shapes, the riad’s design scheme is heavily pared back in comparison. “I think I have grown up a bit and have become a little more adult in my designs,” Leenaert explains. “I was serious about creating a space that everyone can enjoy. I think a lot of people expected it to be colourful and filled with products, but I am choosing to keep the tone very calm, where my own pieces are not so obvious. The space needed to have a sense of peace, so I approached it in a different way.”
The Rosemary riad in Marrakech opened its doors to visitors this September, and the new venture looks set to make the duo busier than ever. But for now, they are focusing on enjoying the artful serenity of their creation and savouring the quiet moments that life in a sequestered Moroccan home brings. “Sunlight pours into the courtyard, and the canopy of the jacaranda offers beautiful, dappled shade,” says Leenaert. “It’s my favourite spot to sit during the day, looking at the swimming pool.”
