In Practice:

BAINA Copenhagen

We speak with Bailey Meredith to explore the thinking behind BAINA's installation at 3 Days of Design in Copenhagen.

The Practice of Bathing | 3 Days of Design

PHOTOGRAPHY: Elizabeth Heltoft

There is a particular kind of quiet that settles over a room when it has been designed to be felt rather than simply seen. For 3 days in Copenhagen, Antipodean bathing brand BAINA, built exactly that.

The Practice of Bathing exhibition marked the unveiling of BAINA Home Fragrance and the latest chapter in the brand's ongoing study of the ritual of bathing. Newly commissioned works by contemporary designers sat in dialogue with historical bathing objects - a hand-forged tripod for holding salts, a leather-fronted vanity, a mirror suspended as though caught mid-thought, each piece framed by BAINA's own towelling, apothecary, and fragrance. Anchoring the space, a single bathtub. And beneath it, BAYA's Norfolk Rug in Ivory.

BAINA's installation did something rare. It slowed people down. Visitors didn't move through the space, instead settling into it, like it was someone's home, drawn into a shared, unhurried moment of touch, scent, and stillness. It was a masterclass in restraint: proof that a room doesn't need volume to hold a crowd.

To build a world this considered, from the other side of the world, takes conviction. We caught up with BAINA co-founder Bailey Meredith to talk about process, sourcing, and what it took to bring The Practice of Bathing to life in Copenhagen.

The Practice of Bathing feels less like a design trade show presentation and more like a fully realised world. Where did the concept begin, and how did it evolve into what showed in Copenhagen?

The concept began with the act of bathing. An everyday practice that holds both necessity and ceremony. It is a basic human need - universal in nature, yet deeply personal. Bathing is one of the few rituals that belongs entirely to ourselves; a quiet, instinctive act that asks very little of us, beyond presence. 

We wanted The Practice of Bathing to reflect on these intimate daily moments - how touch, scent, material and space can shape the way we slow down, reconnect and return to self. 

"The exhibition became a study in tactility, reflection and somatic connection, inviting viewers to consider how design can act as a quiet facilitator of care."

You brought together newly commissioned works alongside historical bathing objects. How did you source and select the pieces and designers featured, and what were you looking for in that dialogue between old and new?

The historical objects and contemporary works shared a similar sensibility - a quietness, integrity and sense of care. We were drawn to pieces that felt considered rather than declarative; objects that carry a certain intimacy and invite closer observation.

In selecting the designers and works featured, I was interested in practices that approach making with curiosity, discipline and earnestness. Those who are perhaps not always the loudest voices, but whose work possesses a depth and emotional resonance. Interestingly, we ended up collaborating exclusively with female artists and designers. It wasn't an intentional decision, but one that felt meaningful in hindsight.

"I'm deeply drawn to beauty that feels lived-in and layered - unusual proportions, rich patinas, unexpected materials and a certain warmth."

Bringing historical bathing artefacts into dialogue with newly commissioned works allowed us to create a conversation between past and present, highlighting the enduring rituals, gestures and objects that continue to shape our experience of bathing today.

Executing an installation of this precision from the other side of the world is no small feat. Walk us through what it took logistically - the sourcing, timelines, the trusting of a space and a city you weren't standing in until 3 days prior to the event.

Much of the exhibition was conceived remotely over many months, with only a few days on the ground before opening. In some ways, the distance encouraged a certain openness; allowing the work to evolve through dialogue, intuition, and collective care. 

What inspired the space itself. The mood, the materials, the decision to build the exhibition around a single bathtub rather than a full bathroom set, and how did you bring it all together on a piece of paper and know it would translate in person?

The decision to centre the exhibition around a single bathtub was intentional. The bath became an anchor; an object that universally signifies pause and ritual. By reducing the space to the bathroom’s most essential elements, we were able to create something more open and contemplative. 

"We were drawn to warmth and tactility - rich timber tones, aged surfaces, and natural materials that evoked a sense of familiarity."

While much was conceived on paper, there was an element of trust. We knew less about exactly how it would look, and more about how we wanted it to feel. In the end, that feeling became our guide.

This was also the debut of BAINA Home Fragrance. How did scent factor into the design of the space, and what did you want people to notice as they stepped in the door?

Scent was integral to the experience. It has an immediate ability to shape emotion and memory, often before we consciously register a space. For us, it became another material within the exhibition.

As guests entered, we wanted them to feel an immediate sense of calm and grounding. The fragrance introduced warmth and softness to the environment, gently signalling a slowing down. It invited people to become more present - to move through the space with a different pace and attentiveness.

"In many ways, scent helped complete the world we were trying to create; one that felt intimate, familiar and quietly restorative."

What was the response from visitors, and how are you feeling off the back of the week?

The response felt deeply affirming. People spoke about feeling calm, grounded and wanting to linger in the space, which was perhaps the greatest compliment we could receive.

Off the back of the week, I feel a sense of gratitude and quiet confidence. It reinforced that there is value in creating experiences that are slower, more considered and emotionally led.

In between interviews and meetings, where were your favourite spots to dine?

Atelier September was right around the corner from the BAINA exhibition and became our first stop of the day. Their yoghurt, granola and zucchini jam was absolutely delicious. I was also pleased to get one last special lunch in at Apollo before they close in September. 

Featured Product

Norfolk Rug in Ivory