Studio Coco Greenblum Designs Bumble’s Aspen Love Chalet

Branded environments often prioritize visibility over ambiance. Every surface becomes an opportunity for a logo, while the spaces are designed with social media in mind. For Bumble’s seasonal Love Chalet in Aspen, however, Coco Greenblum Studio took a different approach. The staging area was designed less as an enabler and more as a welcoming mountain home where conversation could naturally unfold.

Commissioned by the dating app for a series of gatherings, collaborations, and après-ski events, Bumble’s Aspen installation came together in just three weeks—including design, procurement, and installation. Rather than allow this compressed schedule to dictate the outcome, studio founder Coco Greenbloom she says it sharpened her studio’s priorities.

“There was no time to overthink every decision,” he explains. “We focused our energy on creating a strong overall narrative through color, texture and some memorable moments.” The result, he says, is proof that determination can sometimes enhance a work’s point of view rather than detract from it.

The challenge wasn’t just translating Bumble’s recognizable visuals digital real-time identity. Aspen carries equally strong visual associations, from rustic chalets to après-ski culture. Instead of leaning into literally any aesthetic, Studio Coco Greenblum sought common ground.

“We wanted the space to feel decidedly Bumble without feeling overly branded, while honoring the warmth of Aspen,” says Greenblum. “The goal was to create a hospitality experience that felt sophisticated and inviting with subtle nods to both worlds rather than a literal interpretation of each.”

One of the clearest expressions of this strategy is Bumble’s signature yellow. Instead of applying it as a graphic brand, the studio incorporated it into the architecture itself, wrapping clapboards, trim, door frames, ceiling details and window surrounds.

“The space had a series of long, narrow rooms,” Greenblum explains. “Applying color architecturally helped unify the areas and create a sense of rhythm. It became a wayfinding device, but also added an unexpected playfulness that felt true to Bumble.”

This architectural framework is softened through layers of vintage furniture, Murano lamps, French and European antiques, Nordic Knots rugs and textured materials that introduce permanence to a temporary installation. The bar, in particular, feels deliberately residential, combining 1970s cases, slatted seating, patterned wallpaper and homely lighting.

“It was less about creating a typical event space and more about capturing the warmth and comfort of being invited into someone’s beautifully curated mountain home,” says Greenblum.

Love Chalet included hospitality, wellness, retail, beauty and content creation spaces, but the studio resisted treating each program as a separate activation. Instead, repeated architectural details and materials created continuity throughout the experience.

“We approached the Love Chalet as if we were designing a house,” explains Greenblum. “Each area had its own personality, but they all spoke the same language… like discovering different rooms in a beautifully curated house rather than moving to a branded event.”

This same philosophy shaped the play’s most overtly experiential moments. Custom neon installations and a playful “dripping honey” motif in the photo room certainly lend themselves to social media, but Greenblum argues that these elements only succeed when rooted in the larger spatial narrative.

“If a moment is memorable, beautifully executed, and contributes to the sense of space, it doesn’t have to sacrifice sophistication,” he says. “The goal is always to create experiences that people really connect with, not just props for a photo.”

Just as importantly, the studio deliberately avoided many of Aspen’s familiar design tropes. “There were no horns, traditional plaid, or overly literal references to chalet culture,” says Greenblum. “The goal was to evoke the feeling of Aspen rather than recreate a stereotype of him.”

The project ultimately demonstrates that temporary environments can aspire to something more lasting. Instead of designing just for photos, Studio Coco Greenblum focused on how the space would make people feel.

“We wanted it to feel focused, not staged, so people remembered how he felt and not just how he photographed,” he says. Looking back, he believes the project showed that “branded environments can be imaginative without sacrificing warmth, authenticity or good design.”

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