November 5, 2025 | DESIGN & INTERIORS
a LONDON ICON REBORN with SHAYNE BRADY
words Onur Basturk
photos Mark Scott (Portraits + Gallery at The Savoy + The Park)
Few London landmarks embody tradition and theatre quite like Simpson’s in the Strand. Once celebrated for its silver carving trolleys and wood-panelled dining rooms, the Grade II–listed restaurant closed its doors in 2020 — a quiet close to more than two centuries of hospitality. Now, under the vision of Jeremy King — the legendary restaurateur behind The Ivy, Le Caprice, and The Wolseley — this London icon is preparing for a grand return.
At the centre of the revival stands Shayne Brady, founder of Studio Shayne Brady and one of London’s leading hospitality designers. Renowned for crafting interiors that balance heritage with warmth, Brady has shaped some of the city’s most beloved destinations, from The Savoy’s Gallery and The Aubrey at Mandarin Oriental to Bob Bob Ricard City. The restoration of Simpson’s represents not only one of his most ambitious undertakings yet, but also a deeply personal project — an opportunity to reimagine a British institution while preserving its soul.
Set to reopen in January 2026, the renewed Simpson’s will include two restaurants, two distinctive bars, and a small ballroom, each space conceived to evoke continuity rather than nostalgia. (Images of the project are not yet available for publication.)
A SHARED VISION WITH JEREMY KING
Simpson’s in the Strand is one of London’s most storied dining institutions. What was your first reaction when you were approached to lead its restoration — and what excited you most about reimagining such a historic icon?
When Jeremy King asked if I’d like to work on bringing Simpson’s in the Strand back to life, my answer was an immediate, resounding yes. Collaborating with Jeremy is always a joy — we’ve worked together for over a decade, and each opportunity feels like an exciting new chapter in his incredible legacy. It’s a rare privilege to help shape a London icon for a new generation while honouring the memories of those who already love it.
The project sits at a fascinating intersection between preservation and reinvention. How did you balance respecting Simpson’s heritage with introducing a new sense of energy and relevance for today’s audience?
It’s definitely a balance — Simpson’s is a Grade II–listed building, so you must respect its heritage while gently bringing it into the present. However, I don’t think we’re reinventing it at all. In today’s world, I hope there’s a shift back toward legacy brands with strong foundations, heritage, and history. Designs that follow trends tend to disappear quickly. With Simpson’s in the Strand, we’re staying true to its heritage and originality. I believe that by restoring its original grandeur, it will attract a discerning new audience who want to be part of its next chapter.
Working with Jeremy King — who has shaped some of London’s most beloved restaurants — must bring its own dynamic. How would you describe your creative dialogue with him throughout the process?
Jeremy and I met in 2010 and have worked together in many capacities ever since. We share a mutual respect; the relationship is part client, part mentor, part friend. After so many years, we have a shorthand — I almost know before saying an idea whether I’m pushing it too far or if it aligns with how he envisions the space. Likewise, he has such a thoughtful approach to design that he pushes me further, and together we create truly special spaces. Everything is discussed; no detail is too small.
DESIGN WITHIN CONSTRAINTS
The building’s Grade II–listed status naturally comes with design challenges and constraints. Can you share a moment or design detail that captures how you navigated those limitations creatively?
We couldn’t — and didn’t want to — move any walls, so we relied on colour, texture, and materiality to define and update the spaces while enhancing what was already there. It’s a challenge, but one we’re used to. Studio Shayne Brady recently revamped Gallery at The Savoy, so we’re very familiar with working creatively within listed buildings.
Your work often carries what you describe as “a hug from your favourite loved one” — an emotional resonance that goes beyond aesthetics. How does that sentiment translate into a project as grand and layered as Simpson’s?
To call Simpson’s an iconic London space is an understatement. People have a real love for it — the kind of love you can’t fake — and the tradition embedded in that building is hard to put into words. There are people who’ve been coming here for decades, even generations, and they’re so excited to see it reopen. A close friend told me how their grandparents used to bring them here for special occasions — that’s the kind of history we’re talking about. We feel a huge responsibility not just to bring it back to life, but to do it justice. It’s about honouring those who’ve always cherished it while ensuring the next generations can fall in love with it too and keep those traditions alive.
HOSPITALITY, AT ITS BEST, IS PURE ESCAPISM
Many of your projects — from The Savoy to The Aubrey at Mandarin Oriental — reveal a sense of timeless atmosphere. What draws you to hospitality as a medium for storytelling through design?
Hospitality, at its best, is pure escapism — just like storytelling. Books, theatre, film — they all transport you somewhere else, and I’ve always been drawn to that idea. I love weaving classic references with contemporary touches, layering lighting, art, and craft to create spaces that feel both transportive and deeply comfortable.
How do influences like classical architecture and Eileen Gray shape your work today, and how does craftsmanship keep that dialogue alive?
Those influences share a common thread: everything was designed with purpose and intention. We try to work the same way. A room can be beautiful, but if it doesn’t function — if it doesn’t make people feel good — then it’s missing its reason for being. Craftsmanship is vital to that. Skilled makers can translate ideas into pieces that last and feel special. Without that level of craft, design risks becoming disposable.
Finally, as you look ahead to Simpson’s reopening in 2026, what do you hope guests will feel when they step inside?
I hope they feel embraced — as though they’ve stepped into a space that offers a break from the outside world. More than anything, I hope it brings them joy and becomes a place where they’ll create lasting memories.
