On 350 North Canon Drive in Beverly Hills, where sunlight slips between the palm trees and the ghosts of old Hollywood glamour still linger, something quietly radical has taken flight. It’s called The Swan House, and if you listen closely, you can hear its founders—Tony Ferreira and Gant Griffis—finishing each other’s sentences, debating sleeve lengths, and discussing fine jewelry. It’s all part of the charm.
But beneath the banter lies a serious proposition: a reawakening of luxury as it once was—and perhaps, as it should be again.
Marisa Juliette wears a pink feather coat by Nicholas Oakwell Couture, paired with pink natural diamond earrings by Martin Katz.
“We wanted to bring back the luxury experience of shopping,” Ferreira says. “Old-fashioned customer service… where clients are treated the way they should be treated.”
Griffis jumps in, effortlessly: “They want to be treated like clients, not like you’re doing a favor for them.”
Marisa Juliette wears a lace bodice dress by Nicholas Oakwell Couture, paired with natural diamond and enamel earrings by Stefere.
The idea for The Swan House didn’t emerge from a boardroom strategy session. It came from fatigue. After decades inside the upper echelons of luxury retail—Ferreira alone boasts 30 years in the luxury fashion space and record-breaking sales figures—the pair began to feel the industry shifting beneath their feet.
“With the budget cuts and the experience levels cut,” Griffis explains, “everything took a hit.”
More than that, the magic was fading.
Marisa Juliette wears a strapless dress with a cocoon cape by Phan Huy, paired with natural diamond earrings by Sylva & Cie.
“I felt like [stores] were lacking the vision of what the luxury client wants,” Ferreira says. “They didn’t realize what the client still wants.”
What clients want, it turns out, is not sameness.
“I often joked I could have amnesia and walk into a department store in Hawaii and not know what state I’m in,” Griffis says. “Everything… looked the same.”
Luxury, once defined by daring distinction, had become—by their telling—safe. Predictable. Beige.
So they pivoted.
“Let’s just have fun with this,” Griffis recalls. “We can be our own bosses… go directly to the brands… plan our own events.”
The Swan House is both homage and manifesto. Griffis came up with the name, labeling it after Truman Capote’s famously elegant circle.
“Truman Capote called all his socialites ‘his swans’ because of how elegant, graceful they were,” Ferreira says. “So we thought, why not call our clients… our swans?”
It’s more than branding—it’s a philosophy. One that informs everything from the merchandise to the architecture.
Marisa Juliette wears an S/S 2014 archival Prada dress, paired with natural diamond Art Deco earrings by Martin Katz and a natural diamond ring by Sylva & Cie, styled with a black-and-white pillbox hat with netting by Gladys Tamez.
The boutique itself is split-level: downstairs, an open, highly curated retail space; upstairs, a more rarefied world—private fitting suites for appointment-only clients, celebrities, menswear patrons, and wedding parties.
“It gives clients access to more luxury designers than luxury retail department stores have access to,” Griffis explains.
And those designers? They range from the iconic to the nearly impossible to find.
“We have designers you can’t find in the States,” Ferreira says. “Unless you order them online and wait six or seven weeks.”
They’ve also made a point of championing the new.
“We just introduced a Vietnamese designer by the name of Phuy Han that I discovered five months ago,” Ferreira says. “And… he was confirmed to be the youngest designer to show couture in Paris.”
Griffis adds, with quiet pride: “We’re the only ones carrying him in the whole United States.”
They work with hard-to-find designers such as Elie Saab, Tony Ward, Georges Hobeika, and Stéphane Rolland— some of whom do couture, such as Viktor&Rolf. “We’ve done Maison Schiaparelli couture dinners in Paris and LA, we just did Nicholas Kirkwood here. We’re bringing in couture like Iris van Herpen.”
“We’re bringing back designers from the past, like Pierre Cardin, and reintroducing them to a new generation,” Griffis says.
At The Swan House, scarcity isn’t a marketing tactic—it’s a principle.
Marisa Juliette wears an S/S 2014 archival Prada dress, paired with natural diamond Art Deco earrings by Martin Katz and a natural diamond ring by Sylva & Cie.
“I try to buy one or two of each color,” Ferreira says. “So that you don’t see yourself at a party… with five other people wearing the same dress.”
It’s a direct response to what they see as a core frustration among high-end clients. “They’re getting sick of going to an event and seeing someone else wearing that same dress,” he continues. “They want something special.”
That philosophy extends to customization as well.
“I actually have the ability to speak to the designers themselves,” Ferreira says. “They can customize for our clients. This is what they really want.”
Sleeves are lengthened. Necklines softened. Hemlines reconsidered. It’s couture thinking applied across the board.
Griffis, whose expertise leans toward fine jewelry, brings a parallel sensibility.
“We’re trying to show investment pieces,” he says. “Rare stones… that it’s going to be even worth more.”
It’s not about dismissing traditional luxury—far from it.
“There’s a place for everything,” he adds. “Some people just like the beauty and the moment.”
But for those who want permanence, The Swan House offers something deeper: pieces that hold, and grow, in value.
If there’s a heartbeat to The Swan House, it’s not just in the clothes or the jewels—it’s in the experiences.
Marisa Juliette wears a strapless dress with a cocoon cape by Phan Huy, paired with natural diamond earrings by Sylva & Cie.
“We’re also going to be doing a lot of events,” Ferreira adds. “Luncheons… designers coming in from Europe… from Vietnam.”
They’ve already hosted a pre-Grammy event featuring live performances by nominees. More are planned: private dinners, fashion week excursions, even international buying trips with clients in tow.
“We did dinners with the designers… experiences with the designers,” Ferreira says of a recent Paris and Milan trip. “They get to know each other one-on-one.”
And then there’s the community aspect.
“We want to give back,” he says. “To MOCA, to LACMA, to pet rescues… children’s charities.”
It’s a vision of luxury that extends beyond the transactional.
Ultimately, The Swan House is less about rebellion than restoration.
“We want to make Beverly Hills one of the top fashion places again,” Ferreira says.
Griffis puts it succinctly: “We’re bringing fashion back to Beverly Hills… bringing experiences… designers you’ve never heard of… designers that are so exclusive.”
And perhaps most importantly, they’re bringing back a sense of joy.
In a world where luxury has too often become formulaic, The Swan House offers something rarer: personality. Vision. Deep personalization. And, if you’re lucky enough to be counted among their clientele—
“Well,” Ferreira smiles, “you’re one of our swans.”
Marisa Juliette wears a pink feather coat by Nicholas Oakwell Couture, paired with pink natural diamond earrings by Martin Katz.
