Hotel review: checking in to The July London Victoria

Being a child of the northern hemisphere, The July takes its name and inspiration from the seventh month of the year – a time when summer is still fresh and exciting, and the long days are the perfect combination of work and play. It is this exact combination which the brand strives to combine in both its design and its offerings, seamlessly blending residential comforts with the luxury of the hotel.

Image credit: The July

Navigating my way through London en-route to The July London Victoria in the middle of a British winter didn’t feel quite as carefree as the brand image, however walking into the lobby I was immediately struck by two things: There was a quiet mid-morning buzz about the space with a combination of social chit-chat over cappuccinos, while in some more concentrated corners, eyes were intent on a laptop and other more focussed conversations. Already there was a sense of the mixed use, and of it being a place for both guests as well as the broader community.

The other point was the fresh design notes – this was clearly a space that had been reimagined and revitalised in a combination of design and comfort that can be hard to achieve in a hotel lobby. The pink moving into burgundy and olive shifting into forest green colour palettes, the curved counters and cornices that greet you on arrival, all give some indication of the design narrative that will unfold as you head upstairs – it is a subtle combination of a bold contemporary design mixed with local inspiration, in a neighbourhood characterised by the Apollo Victoria theatre, with its iconic Art Deco lines.

Image credit: The July

Starting back in 2012 with Amsterdam’s first aparthotel, The July has been one of the pioneers in developing the flexible stay approach of the aparthotel concept, where boundaries between residential and hospitality design are softened and the hotel -both public areas and guestrooms – transforms into a multi-functional space. In the case of The July London Victoria, this was a collaborative project developed by the in-house design team and Fettle, with Studio Moren working on the architectural aspects of the project.

“The design concept needed to reflect The July’s brand values, such as flexibility and comfort, and be built around a narrative that highlighted the local area and its history.” Andy Goodwin, Co-Founder and Creative Director, Fettle

Shades of the colours in varying depths and intensities defines the downstairs space into its various zones, creating separate yet interconnected areas, all drawn together by the sweeping curves echoed on the ceiling, around the bar and into in The Idler restaurant which sits alongside the lobby.

Image credit: The July

As enticing as it is, the restaurant does not only rely on its menu to draw visitors in – it has a visual drawcard on the ceiling that holds your attention. Both whimsical and bold, the abstract shapes and colours by artist Eliza Downes splashed across the ceiling, are in fact visual representations and checkpoints of the neighbourhood – again taking the design beyond the plate glass windows onto the street to both reference, and take inspiration from its location. The mural feels both playful and bespoke, clearly underlining the concept of the brand.

“The mural is inspired by Alice Dunbar Nelson’s poem The Idler – an imagined set for the character’s evening ambling through Victoria, from the curtain call at the Apollo Theatre to a cocktail at The July.” Caitriona McGachy, Head of Design, The July

Aside from The Idler – where I can heartily recommend a satisfying bowl of handmade pasta and a quiet Rioja after a day working on my step count at a certain well known London design show – the July’s brand philosophy consistently talks about ‘flexibility, comfort and fostering real connections’. This approach extends into the meeting and work areas offered by the property as it unquestionably embraces the aparthotel work ethic, resulting in meeting spaces that are a far cry from corporate greys, along with a combination of thoughtfully styled communal spaces that lean with intent, into the residential.

Scale, pattern and colour are all used creatively to create a warm and visually layered common area, and these details are carried on up into the guestrooms and apartments. The colour palette of greens and pinks again reference rather than replicate an era – a flamingo-pink bathroom for a hotel could be considered a risky decision, but the design team has pulled it off, giving us a welcome respite from the never-ending neutral hues and swathes of marble covering so many hotel bathrooms.

The guestrooms have been designed to function as living, working, and dining spaces — true to the aparthotel concept of being able to deliver for both short and extended stays. The balance between home and curated, tips just the right amount into luxury to make you feel like staying here is a treat, even if you do have to flip open your laptop and check the time for your next Team Call!

And despite fitting all of this into a limited square meterage, the use of line, curve and colour combine to make an integrated and design-forward multifunctional space. Details like the headboard curving around a corner, wall colour taken across the ceiling and lighting for both ambience and task, all play their part.

Image credit: The July

The design team has created an experience within The July that means guests immediately feel at home, through intuitive layouts and comfortable furniture that reinforce a residential atmosphere. By blending thoughtful design with genuine flexibility, it quietly challenges the conventions and assumptions of hotel design, offering an environment that adapts to its guests rather than asking them to adapt to it.

As winter light fades outside and the city carries on at its familiar pace, The July offers a space where productivity and pleasure comfortably coexist, where design tells a local story – and with hints of a sequel further afield to follow, the Amsterdam-born brand is on a journey, where the art of hospitality lies not in excess, but in considered balance.

Main image credit: The July