The London EDITION

The London EDITION is a magnetic luxury hotel where Fitzrovia's creative independence, Edwardian grandeur, club culture and contemporary design confidence converge inside the former Berners Hotel on Berners Street.

Set along Berners Street near Eastcastle Street and just steps from Oxford Street, the hotel occupies a Grade II-listed building whose architectural layers include Georgian houses dating to 1835 and the grand hotel created on the site in the early twentieth century. Ian Schrager approached those inherited spaces through deliberate contrast, preserving the soaring stucco ceiling, marble columns and sweeping staircase of the original lobby while introducing contemporary furniture and a grand polished-metal installation by German lighting designer Ingo Maurer. Yabu Pushelberg extended that discussion through blackened steel, fumed oak, tufted English seating and modernist references, allowing the public rooms to move between Edwardian formality and the intimacy of a private London club. The result is a hotel where Ian Schrager, Yabu Pushelberg and Ingo Maurer turn the architectural inheritance of Berners Street into a remarkably assured expression of Fitzrovia's creative character.

The London EDITION is best known for opening in 2013 as the second hotel created through Ian Schrager's partnership with Marriott International, establishing 173 rooms and suites within a project coordinated architecturally by Denton Corker Marshall and conceived as Schrager's return to London hospitality 15 years after his earlier work in the city. The accommodation collection ranges through rooms finished with oak floors and dark-walnut or light-oak paneling to a 195-square-meter Penthouse occupying the upper level with three landscaped terraces, 360-degree skyline views, a dining room for 10, office and library, plus the ability to connect with two guestrooms as a three-bedroom configuration. Dutch photographer Hendrik Kerstens contributes portraiture to the guestroom art program, while George Smith seating and the wood-lined interiors translate the larger social ambitions of the hotel into quieter residential spaces. The combination of Schrager's Marriott partnership, Denton Corker Marshall's architectural coordination, 173 accommodations, Kerstens photography and the unusually expansive Penthouse established The London EDITION as a major international expression of the EDITION concept.

Jason Atherton gives the property a distinct culinary authorship through Berners Tavern, which opened with the hotel as his contemporary interpretation of British cooking after a career that included training at Marco Pierre White's restaurants and working at Ferran AdriΓ 's elBulli. Berners Tavern surrounds Atherton's seasonal cooking with an immense salon dominated by two bronze chandeliers and walls densely hung with photographic portraits, landscapes and still lifes, making the restaurant one of the property's principal expressions of scale and visual drama. Punch Room develops the hospitality program through an entirely different ritual, drawing upon nineteenth-century private-club culture in a fumed-oak room dedicated to individual and communal punches, including the house Milk Punch. Together, Jason Atherton, Berners Tavern, Punch Room and the EDITION partnership allow gastronomy, cocktail history and social theater to operate as integral parts of The London EDITION's identity.

The London EDITION works as the anchor for an afternoon tracing British graphic satire, scientific collecting and the independent cultural institutions that give Fitzrovia its cerebral eccentricity.

Begin at The Cartoon Museum, whose origins lie in the Cartoon Art Trust formed by cartoonists and collectors in 1988 before the museum opened in 2006 and relocated to Wells Street in 2019, where Sam Jacob Studio created a purpose-built interior for a collection spanning Georgian caricature, editorial cartoons and British comics. Continue to Grant Museum of Zoology, established by Robert Edmond Grant in 1828 as a teaching collection at the newly founded University of London, where 100,000 zoological specimens preserve the work of a pioneering comparative anatomist whose research on marine invertebrates influenced the young Charles Darwin. Conclude at Fitzrovia Chapel, allowing the afternoon to resolve within one of the district's most intimate architectural environments after moving through the visual wit of British cartooning and the scientific world assembled by Grant. The progression from graphic satire through nineteenth-century zoology into the chapel's richly conceived interior captures the mixture of creative irreverence, scholarship and architectural surprise that gives The London EDITION its particular Fitzrovia context.

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