In the Details, the Divine: Dior Beverly Hills
Dior Beverly Hills was DCC's largest project of 2025, and the office team behind it was Senior Project Manager Maxime Boulenger and Project Engineer Emile Bayme. We sat down with both of them to hear how they experienced the build and what it means to them now that it's done.
Like many projects of this caliber, Senior Project Manager, Maxime Boulenger, will tell you: nothing about it was effortless. Behind the elegance and visual serenity were months of problem-solving you’ll never see. For Boulenger and Project Engineer Emile Bayme, the project was as much an exercise in collaboration as it was in construction.
“Like every Dior,” Maxime says, “you could recognize the brand without the name. The design language is that distinct. But each project has to belong to its place.” In Beverly Hills, that meant marrying the familiar rhythm of Dior’s Parisian detail with the sunlight and spatial drama of California
The scope was ambitious — three levels of retail, an integrated restaurant, terraces, and the monumental interior stairway that ties it all together. It was also Dior’s first restaurant in California. For Dickinson Cameron, it was familiar ground. With roots in luxury retail and a dedicated restaurant division, the team merged two disciplines under one roof. “It meant double the coordination,” Maxime explains. “Every mechanical line, every finish decision — both had to be perfect, but for entirely different reasons.” Their dual expertise proved invaluable in navigating California’s health codes, kitchen MEP systems, and inspections, delivering a build fluent in both the mechanics of fine dining and the perfection of luxury retail.
And then came the pace. “Designs were changing constantly,” Emile recalls. “You’d update something in the morning, and by night, it was already shifting again.” The tempo never eased either. New drawings, client reviews, brand directives from Paris, all while Rodeo Drive kept its steady hum outside the windows. “We just kept adapting,” Emile recalls. “Max saw early on that we’d need extra estimating support to keep up, and he brought in help. No ego, just teamwork.”
The project’s visibility added its own quiet pressure. A Peter Marino flagship on Rodeo Drive meant global eyes were watching: Dior’s design teams, the architects, and, soon enough, the public. Every inch would be photographed and immortalized. There was no room for almost. “We knew this one mattered,” Maxime says simply. “It wasn’t just another store. It was Dior on Rodeo.
Through it all, DCC’s culture of flexibility carried our team; Say "yes" first and figure out the "how" later. “We want to be seen as partners who solve problems,” Maxime says, “not obstacles to change.” That mindset kept the project moving even when fatigue set in, and it turned the chaos into a forward rhythm of give and take between brand, architect, and builder.
And then there were the moments that stayed long after the final walkthrough. For Emile, it’s the Shady Lady tree — a single olive tree meant for the courtyard. The team spent months hunting for the right one, losing it once in Florida, finding it again by chance in Malibu. “It’s just a tree,” Emile laughs, “but we’ll never forget it.”
For Maxime, it’s the staircase. “We modeled it in 3D from every angle before we ever built it,” he says. “When it came together perfectly with no clashes, we knew we’d succeeded.”
When the dust settled, the team felt relieved, they said. When asked to summarize the project in a single word, Emile described it as “challenging,” while Maxime defined it as “pride.”
At Dickinson Cameron, that's often how it goes, one born directly from the other. It is only through the weight of a truly challenging project that real pride becomes possible. Dior Beverly Hills confirmed something. That the work DCC does, and the reason they keep doing it, lives exactly here: in the spaces where difficulty and excellence are the same thing.
