The future of hospitality in Dubai will look a lot like how Paul Bishop envisions it. For the past two decades, the founder of Bishop Design has been an integral part in shaping the cosmopolitan city with his eclectic hospitality interiors. Inspired by his deep passion for film, art, and culture, the designer grew up in a small England town that “pushed me to take every opportunity that was presented,” he says, “and when the chance came to leave and start to build a name for myself elsewhere, I took it.” Here, Bishop discusses his appetite for culture, the evolution of Dubai, and his firm’s expansion on the global stage.
Did you always know you wanted to be a designer?
From an early age, art was always a significant passion of mine, but during my school years, I spent a great deal of time on the track. Being an accomplished runner in my academic years almost led me down a different career path, but after suffering an injury, I delved into art even more. When I reached my university years, I immersed myself into as many aspects of design as I could including theater, product, graphics, fashion, and textile design. I found myself in awe of both theater and fashion and aspired to become intrinsically involved within these industries. While studying product design at Kingston [University London], it was clear that interiors was where I wanted to be—a perfect combination of all of these disciplines. I still remember the day my teacher at Kingston referred to my work as a piece of jazz. At the time I didn’t know what he meant, until I watched La La Land. Sebastian explains it so eloquently in the movie, how jazz is a combination of differing elements and sounds that come together in one perfect harmony. It was a huge compliment, and it was extremely nostalgic for me having watched the film.
What are some of your first memories of design?
The house that my parents decorated while I was a child. In particular, flock wallpapering, artex ceilings, and an awful palette of pastel blue and green that later gave way to the revolution of magnolia. So all in all, it was a horrific first experience to what design could potentially be. I suppose subliminally that is the reason I pursued a career in design—so I could right the wrongs of my parents’ home decoration.
When did your design career take off?
Upon graduation I was tour managing a rock band and producing music videos. Prior to that, I took on evening and weekend jobs while studying in the UK. These jobs varied from mixologist to high-end retail sales—all of which shaped me in some way as these are the particular sectors of design that we specialize in. Progressing through art school and university eventually led me to Dubai, despite my ignorance of where the city was, geographically speaking. My first project was to design the National TV Station for Abu Dhabi, the first for the region. It’s amazing to see how much the city and country has progressed since arriving 22 years ago. If there was one lesson I’ve taken throughout this entire journey, it would be to never walk through the world with your eyes closed. When I first landed here, the infrastructure was nonexistent, but to take this as a blank canvas rather than a zero opportunity is what has led me, and the country, to seek inspiration and opportunity from everywhere and is the [most] compelling lesson I would pass on.
Why did you start your own firm?
After working in Dubai for eight years for a select few interior design firms, I was posed with the opportunity to move to Singapore to continue my position as the interior design director for Wilson Associates. On the verge of packing up my belongings and getting on the plane, I was hesitant. Like I said, Dubai was a blank canvas when I arrived, and it still was eight years on. It was evolving from a humble city into a modern superstructure with opportunities for change and innovation around every corner, and I wanted to be here for that transformation, or rather, be a part of it. I decided to turn down the offer and stay, which saw the birth of Bishop Design in 2004.
It wasn’t an easy process, believe me. We started from a shared warehouse in Al Quoz with no air conditioning and just three employees including myself. I was lucky to have built relationships and strong friendships with potential clients from my previous work who began to approach me. There have been numerous challenging times, but I am grateful for turning down the opportunity to leave for Singapore because what I have been able to build and achieve with the support of my clients, colleagues, and employees far surpasses anything that would have been waiting for me at the other end of that flight.
Can you discuss some of your recent projects?
We have had the immense delight to work alongside Bulldozer Group in welcoming the Scalini brand to Dubai. It is the only venue in the region that offers a genuine Italian experience, and witnessing it reach capacity every night is a true testament to our work. It is such an inviting and warm atmosphere that you cannot help but feel welcomed by the naturally attentive staff and sumptuous interiors.
We were also commissioned by Meraas to develop the renowned Spanish tapas restaurant Toro + KO, the brainchild of chefs Ken Oringer and Jamie Bissonnette with venues in Boston, New York, Bangkok, and now Dubai. With statement art pieces at the heart of the space and a raw, urban interior, the venue has set the precedent for future venues within the [City Walk] area. Two highly anticipated projects [in Dubai] include our first boutique hotel in Studio City, which has a cinematic twist to it (expect some serious Instagram-worthy shots on your feeds soon) and Dolce Sky, a dining destination occupying the 7oth and 71st floors of the Address Boulevard hotel.
Is there a challenging project that you are especially proud of?
One particular project is Torno Subito, the upcoming Italian F&B offering in the [W Dubai – the Palm], headed by world-renowned chef Massimo Bottura. Designing for such an inspirational, creative mind was so insightful and inspiring. It is a challenge working with someone so passionate, although we were very compatible.
What are you looking forward to at your office?
Over the last year, and especially the last few months, we have been putting our efforts into expanding both Bishop Design and our newly introduced sub-division Rogue. Bishop is expanding further across the globe with projects set to commence in Bahamas, London, Paris, and Mauritius. We also expect the firm to expand further establishing offices in Los Angeles and Miami this coming year. Rogue is the alter-ego to Bishop Design, providing us a platform to explore our cheeky and somewhat provocative approach to a wide range of design sectors from interiors and architecture, branding and concept creation, and through to photography and videography. The official launch this summer has been a long-awaited one, but with the ultimate vision to become a one-stop shop for all things design. Every second has been worth it, and I can’t wait to see what the next year has in store.
What is the most important thing to remember when designing a hospitality project?
It’s all about establishing a narrative—interiors are experiential. When guests leave a venue, it is not a particular color or a certain piece of furniture, but rather the ambiance, visual dynamic, the experience, and the memories established. It is essential they are able to move and travel freely within the space. Functionality cannot be overlooked. Interior design is not just about the aesthetics, but moreover, how the space enables people to use it. Space planning is at the core of every interior; if one cannot make efficient use of the space, it is a waste.
Is there an architect or designer you most admire?
A brief selection of mine would include Vivienne Westwood, Ettore Sottsass, Carlo Scarpa, the deconstructivist movement in design and architecture, Peter Greenaway, David Lynch, Ridley Scott, Ron Arad, and Jamie Reed to mention a few.
If you could have dinner with anyone, living or dead, who would it be?
I would invite would be Hugo Ball and Emmy Hemmings, the pioneers of Dadaism. To add to that, Carlo Scarpa for a piece of architectural genius, then a toss-up between Jack Kerouac, Oscar Wilde, or Henry Miller for some literary consult. Jean-Paul Gaultier, the original enfant terrible, and Oliver Reed for a good drinking session—with a splash of Alexander the Great. And, of course, not forgetting Jim Morrison.
Where would you eat and what would you be having?
We would be having dinner in a futuristic setting created by Ridley Scott. I would be happy with a mouth-melting steak tartare perfectly seasoned and a classic whiskey on the rocks. I can’t speak for my other guests, but I’m sure there would be some great conversation.
If you weren’t a designer, what would you be?
A rock star.