Intentional Imperfection: The Rise of the “Unarranged” Aesthetic

For a long time, beauty in design was defined by precision. Perfect symmetry, clean lines and tightly controlled palettes. Spaces were polished and refined, but often felt distant or untouchable.

Recently, there has been a noticeable shift.

Florals are looser. Installations feel more organic. Nothing looks over-styled, yet everything feels intentional. This movement is often referred to as the “unarranged” aesthetic and despite its name, it is far from accidental.

At its heart, this trend reflects a growing desire for spaces that feel human, calm and alive.

What Does “Unarranged” Really Mean?

The unarranged aesthetic is characterised by asymmetry, movement and variation. Florals appear instinctive rather than formal. Stems lean, textures overlap and negative space is just as important as fullness.

This approach is not about disorder or randomness.

It is about restraint.

Every element still has a purpose. Scale is considered. Balance is achieved quietly rather than enforced. The result feels effortless, which is precisely why it resonates so strongly.

Why Imperfection Feels So Appealing Right Now

In a world saturated with polished imagery and perfectly styled interiors, imperfection feels grounding. It softens spaces and creates comfort rather than distance.

Unarranged design invites people in. It encourages presence rather than admiration from afar.

Across hospitality, retail and residential environments, there is a clear shift towards spaces that feel warm, welcoming and emotionally engaging. Clients are increasingly drawn to interiors that feel good to spend time in, not just good to photograph.

Imperfection brings that sense of ease.

Effortless Design Still Requires Intention

One of the most common misconceptions about the unarranged aesthetic is that it is unplanned.

In reality, this style relies on a strong understanding of proportion, flow and materiality. Knowing when to stop adding. Understanding when asymmetry feels balanced rather than unfinished. Allowing materials and forms to speak without overpowering a space.

Loose design only works when there is an underlying structure supporting it.

At LHD, this philosophy shapes how installations are approached, from large-scale botanical features to permanent interior pieces. While the final result may feel organic, each design begins with careful consideration of the space, the architecture and the story it needs to tell.

Beyond Florals: Imperfection as a Design Language

Although the unarranged aesthetic is often discussed through florals, its influence extends far beyond them.

It appears in layered botanical installations that soften architectural edges, variations in height and density, and organic forms that contrast with clean, built environments. Repetition gives way to rhythm, and rigidity is replaced with movement.

This approach works particularly well in commercial and hospitality spaces, where botanical installations can bring warmth, texture and emotion to otherwise structured settings.

Imperfection becomes a design tool, one that humanises scale and adds depth without overwhelming.

Designing Spaces That Feel Alive

Perfect spaces can feel static. Imperfect ones feel dynamic.

Intentional imperfection allows installations to evolve naturally within their surroundings. It creates longevity and avoids the rigidity of trend-led styling. Instead, the focus shifts to atmosphere, mood and how a space makes people feel.

Spaces designed this way feel less controlled and more considered.

A Return to Instinctive Design

For LHD, the rise of the unarranged aesthetic does not feel like a fleeting trend. It feels like a return to instinctive design.

Designing with trust. Allowing room for variation. Creating work that feels natural rather than forced.

Because imperfection, when designed intentionally, does not weaken a space. It gives it soul.