this hotel is a canvas of Marrakesh creativity
This bold, playful hotel – where geometric prints and vibrant fabrics collide – is as striking as the arty crowd it attracts.
Marrakesh has long been a magnet for creatives, drawing artists, designers, and visionaries from around the world to the maze-like alleys of its Medina, the intricate zellige tilework, the hues of saffron, cobalt, and ochre, and the light that paints the pink city walls at sunset. This city blends tradition and modernity in a way that sparks innovation; from contemporary art galleries in the Gueliz district to artisan workshops in the souks, creatives find endless avenues for expression.
One standout figure among Marrakesh’s new-wave creative community is Laurence Leenaert, the Belgian artist and designer behind the brand LRNCE and five-bedroom riad Rosemary. Drawn to the city’s raw beauty and artisanal heritage, Leenaert relocated from Europe to Marrakesh in 2015, where she established a studio creating handwoven textiles, ceramics, and furniture. Leenaert’s signature abstract forms – playful faces, organic shapes, and sun-soaked palettes – quickly caught the eye of the international design world.
“When I started with ceramics, it was something very simple and personal. Every Friday afternoon I would drive 45 minutes to a family pottery, where I spent the afternoon painting. It was playful and almost naïve, just me exploring, having fun, and spending time with artisans. My approach was very different from traditional Moroccan ceramics, and without realising it, I created something new”, she explains.
What began as hand-painted ceramics and textiles grew into an entire lifestyle – one that fans wanted not just to own, but to experience. As her global following expanded, so did the desire for a physical space that embodied the full spirit of LRNCE.
The opportunity to restore a traditional riad in Marrakesh’s historic Jewish quarter gave her just that—a blank canvas to translate her abstract forms into her own universe. It wasn’t about building a hotel in the conventional sense; it was about creating a space where guests could live in her vision. Every detail, from the crockery to the hand-painted murals, has been sketched, chiselled, and painted by Leenaert. Staying in Rosemary feels less like checking into a guesthouse and more like stepping inside a living artwork.
“We didn’t just want to place objects in the space; we wanted the ceramics to become part of the overall experience of the riad. That’s why you’ll find them in many different forms, from a large ceramic mural and the door of the bar to functional pieces like cups, a water jug, or an oil burner. We created all the designs specifically for Rosemary, ensuring they blend seamlessly with the riad's identity. In the restaurant, for example, we designed a full collection of custom plates, cups, and bowls, which makes the dining experience feel even more unique and personal.”
The result is that Rosemary doesn’t just contain art – it is the artwork. Every surface, object, and shadow forms part of a larger, living composition. Leenaert’s signature forms – playful murals, sculptural mirrors, and hand-shaped ceramics – are imprinted across the space, turning walls and floors into an extension of her sketchbook. Over the course of three years, she worked closely with more than 40 local artisans to bring every wiggle, squiggle, and brushstroke to life in bricks and mortar. From the wavy terrazzo floors and the whimsical octopus mural in the hammam to the tiny, hand-painted tiles in the kitchen, Rosemary feels less like a hotel and more like an immersive gallery. Staying there feels like stepping into Leenaert’s creative mind.
As part of the experience, guests are invited not just to live in Laurence's world, but to take part in it. On the sun-drenched, tangerine-toned rooftop, they perch on hand-twisted wrought-iron chairs and learn the tricks of the trade under the guidance of Leenaert herself, who occasionally hosts intimate ceramics workshops.
“The sessions offer guests a chance to slow down, reconnect with themselves, and literally work with the earth in their hands. It’s a very grounding, creative experience that frees the mind. People love it, not only do they enjoy the process, but they also take home a meaningful memory in the form of something they created themselves”.
Like artists before her who have left their stamp on The Red City – think Jacques Majorelle with his gardens and Yves Saint Laurent with Villa Oasis – Rosemary allows guests to inhabit a personal monument to Marrakesh, one they can sleep in, dream in, and take a piece home with them.
Chloe Sachdev
