Elle Decoration UK - 08 2019 PDF

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AUGUST 2019
22 The revolution From tackling plastics to changing 50 The reopening Sweden’s National Museum’s
TRENDS
mindsets, it’s time to focus on sustainable design refreshed look – and how you can mimic it at home
27 The lighting launch Doshi Levien’s ‘Earth to Sky’ 52 The technology Devices designed to disappear
28 The new look Chubby design proves big is beautiful 54 The anniversary We celebrate Living Divani at 50
30 The interior designer Discover Hollie Bowden’s 57 The bathroom update The faucet of the future
mix of Japanese minimalism, antiques and craft
58 The collaboration Pierre Frey and Christian
33 The superpower There’s a wave of designers rising Astuguevieille’s fabrics born of artistry and friendship
in the East – and they’re capturing the world’s attention
60 The surface How 3D tiles are transforming walls
38 The innovation Stylish lights with a DIY approach
63 The extravagance Studio MTX’s haute couture
41 The ones to watch Scandi talents Färg & Blanche window treatments are the ultimate indulgence
42 The new landmarks Groundbreaking museums 64 The archive find May Morris’s designs – always
by the most inventive of contemporary architects ahead of their time – are finally being recognised
46 The revival In the midst of a 1970s boom, 66 The big idea Up walls, on ceilings and in every
Gabriella Crespi’s designs are more relevant than ever corner of the home, carpet is having a comeback
49 The furniture launch Brogan Cox steps into the 84 The mood Sculptural forms are dominating
spotlight with this season’s most colourful collection the design scene, giving homes a gallery-like feel
LOOKS THE
75 The four interiors trends to try right
now! Introducing Indigo Blues, Pale
Timbers, Nowhaus and Retro Futurism EDIT 165 Our pick of the best
new designs from the
Autumn/Winter collections
AUGUST 2019 ELLEDECORATION.CO.UK 11

HOMES
94 Potent pattern Quietly daring stripes and florals make a big impact
104 Blonde ambition With sustainability a growing trend, ethical
pale-toned oak is the only choice for a warm, modern interior
116 Off the spectrum Confident clashing colours, as seen in this Milan
apartment and gallery space, are key this season
126 Life in monochrome The timeless palette gets a modern update
136 Contemporary organic Luxury living takes a softer, natural turn
146 The big easy This Parisian home shows the charm of plump designs
154 Industrial bohemia Concrete and brick are paired with artisan
details to perfect this season’s free-spirited take on minimalism
ESCAPE
176 The new frontier Explore Under, the sub-aquatic restaurant
179 The social scene London’s most exclusive clubs – with a conscience
181 The stopover Jewel Changi airport is transforming the travel
experience with the addition of a wellbeing-boosting indoor forest
183 The hotel Why interiors fans should book a stay at The Standard
184 The restaurant Secure your table at the newly updated and
hotly anticipated Emporio Armani Caffè and Ristorante
187 The garden Plan a trip to The Newt, Somerset’s horticulture haven
189 The cultural destination It’s time to head to the Kent coast,
as the Carl Freedman Gallery moves to the artistic hub that is Margate
190 The culinary ethos How biodynamics is changing the way we eat
192 The getaway Why we’re heading to the eco-minded city of Oslo
FINALLY
18 Subscribe This month’s great
offer for loyal readers
194 Stockists Seen something you
love? Here’s where to buy it
202 The fine print ‘Floral Print’
wallpaper by Gucci Décor
THE COVERS
Newsstand This home
by Pierre Yovanovitch
(p146), shot by Jérôme
Galland, shows the
appeal of chubby design
Subscribers As does
the ‘Neotenic’ range by
Jumbo on this exclusive
cover. Details on p28
12 ELLEDECORATION.CO.UK AUGUST 2019

F ORCE
A FO
I S
E
R
G
GO
CHAN
OD
Without change, the world wouldn’t move forward, Stood close, holding hands, smoking a cigarette, were
learning and hopefully improving as it goes. The we doing anything depraved or offensive? No. We
arrival of this issue coincides with London Pride, the were just two men in love, enjoying a night out. Yet,
capital’s annual celebration of LGBT+ rights and nine people saw fit to express their anger at our
culture. If anything proves the power of positive difference with their fists, beating and kicking us to
change, it is this. Hearst – the company that publishes the kerb. I spent a month in hospital, but – thanks to
ELLE Decoration – will be marching in the parade an incredible team of doctors and nurses, and loving
on 6 July and I, along with my colleagues, will be there friends and family – I came through it stronger, and
waving banners and shouting myself hoarse. more determined to never let bigotry and small-minded
This year’s event is even more powerful, as it marks values triumph. I know I was one of the lucky ones.
the fifty-year anniversary of the Stonewall riots in Some will say that the intro to a humble design and
New York, where violent protests erupted in the face interiors magazine is hardly the place for politics or
of police brutality and acted as a catalyst for the the overtly personal. I disagree. Given the chance, we
modern fight for LGBT+ rights. While acceptance and should all leap onto any soapbox we can, no matter
tolerance have come a long way since then, there is how small, and shout at the top of our voices about
still much to be done. Last month, two women were what matters, what means something to us and those
brutally attacked on a London bus simply because of around us. And so, hopefully without trivialising any
their sexuality, and a recent report by The Guardian of this, I present our latest biannual issue dedicated
newspaper outlined that homophobic and transphobic to transition. The pages in front of you are filled with
hate crimes in England and Wales have more than the new, the unusual, what is to come – things some
doubled in the past five years. These are two facts that of you may find shocking, challenging even, but that,
have particular resonance for me. nonetheless, will become the new normal. Embrace
Two years ago this summer, I myself was attacked change and diversity. Welcome difference, be inclusive,
with my boyfriend outside a gay bar in Liverpool. and do it all with love. Be proud. I know I am.
ILLUSTRATION: PAUL HOLLAND
Editor
Follow me on Instagram: @mrbspriggs Twitter: @ELLEDecoBen Visit elledecoration.co.uk

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TRENDS
A U T U M N / W I N T E R 2 019
THE REVOLUTION
THE LIGHTING LAUNCH
THE NEW LOOK
THE INTERIOR DESIGNER
THE SUPERPOWER
T H E I N N O VAT I O N
T H E O N E S T O WAT C H
THE NEW LANDMARKS
T H E R E V I VA L
THE FURNITURE LAUNCH
THE REOPENING
THE TECHNOLOGY
T H E A N N I V E R S A RY
T H E B AT H R O O M U P D AT E
T H E C O L L A B O R AT I O N
T H E S U R FA C E
T H E E X T R AVA G A N C E
THE ARCHIVE FIND
THE BIG IDEA
PICTURE: JONAS LINDSTROM
Wall lights from Doshi

Levien’s ‘Earth To Sky’
collection. For the full
story, turn to p27
THE REVOLUTION
SUSTAINABLE
Gallerist Rossana Orlandi

at her ‘Guiltless Plastics’
exhibition, held during
Milan Design Week
TRENDS
DESIGN From tackling plastics to curbing our

consumerism, creative minds are focused
on stylish ways to save the planet
‘Underwater Landscape’
by Arsenio Rodriguez
at Rossana Orlandi Gallery
Words AMY BRADFORD
Over the past decade, the phrase ‘sustainable design’ has become an
increasingly familiar refrain in our lives. To begin with, it just seemed
like a really good idea; something we should all be supporting in whatever
ways we can. But now the conversation is becoming urgent. The recently
released Global Assessment report by respected UN research body
IPBES (Intergovernmental Science-Policy Platform on Biodiversity
and Ecosystem Services), which combines the findings of nearly 15,000
international studies, reveals that time is running out to save the plants,
animals and insects that support human life on Earth. Unless we change
our lifestyles (and quickly), some unpleasant shocks lie ahead.
This challenge was one of the main focuses at April’s Milan Design Recycled fishnets are
Week. Its prominence in the minds of designers served as an admission transformed into the
that the resources the industry consumes represent part of the problem. ‘Ocean’ chair by Mater
Gallerist Rossana Orlandi (left) focused the spotlight on plastics, one
of the most controversial materials of all – according to the Royal
Statistical Society, only around nine per cent of the plastic ever produced
has been recycled. As part of her ‘Guiltless Plastic’ initiative, Orlandi
showcased up-and-coming names such as German designer Alexander
Schul, who repurposes polystyrene to make furniture, and Spaniard
Alvaro Catalán de Ocón, whose lighting is made from plastic bottles.
British duo Barber & Osgerby also addressed the limits of recycling
by launching the ‘On and On’ chair for Emeco. Unlike many plastic
products, which can only be reused a few times – sometimes as little as
once – the duo’s chair can be repurposed indefinitely. It’s made from
rPET, a new material that combines plastic bottles with fibreglass, and
whose strength means that new chairs can be made from old ones.
‘Sustainable design should go beyond materiality,’ says Edward Barber.
‘Thinking about the way products are manufactured, packaged and
shipped also needs be part of the solution.’ Coasters made from waste
The amount of plastic in our oceans, in particular, has been making plastic by Weez & Merl
PICTURES: VALENTINA SOMMARIVA, ALICE IDA SALERNI (STYLING), SIMONI FURIOSI
headlines of late, and, at Orlandi’s exhibition, designer Brodie Neill

highlighted the issue with his ‘Capsule’ hourglass. Filled with microplastic Plasticiet produces
granules collected from Tasmanian beaches, the piece critiques our terrazzo-like surfaces
throwaway culture and serves as a tribute to the environmental workers from recycled plastic
who clean up our marine landscape. ‘Designers need to be looking
beyond raw materials and using waste ones, as they are now, unfortunately,
in abundance,’ says Neill. ‘Waste can be redeployed with endless
circularity. We have to consider the impact of materials at every stage
of their existence; the methodology should be cradle-to-cradle.’
There’s a similar philosophy behind Danish brand Mater’s ‘Ocean’
collection, a reinvention of a 1955 range by Nanna and Jørgen Ditzel.
Originally made of timber, it’s been reinvented using recycled fishing
nets and new-generation bioplastics, which can be made from corn
starch, eggs, algae or, in this case, charcoal.
Other designers are seeking to reform our habits by making recycled
plastic seem more precious than the virgin kind. Brighton duo Weez

TRENDS
& Merl make marble-esque tableware from salvaged plastic – the pieces
are being used in a number of zero-waste restaurants. Dutch company
Plasticiet’s recycled surfaces, meanwhile, resemble terrazzo and are crafted
using all kinds of plastic, from buckets to garden furniture, while London-
based designer Charlotte Kidger uses polyurethane dust, left over from
industrial manufacture, to form her colourful composite tables. Normally
the waste material would be incinerated or go to landfill.
Even furniture brands such as Kartell, for whom plastic is a USP,
understand the need for change. It has recently debuted a sustainable
Charlotte Kidger’s version of its classic 1967 ‘Componibili’ storage unit, made of bioplastic
colourful tables derived from plant sources such as sugar beet and waste cooking oil.
and vessels are The only visible difference from the original is the updated colour
crafted from foam dust palette – it now comes in four on-trend pastels (left).
Of course, plastics aren’t the only frontier in green design. Creative
use of organic materials is just as important. Thus we’re seeing designs
like Bethan Gray’s new ‘Eden’ furniture collection, created with eco-
surface specialist Nature Squared, which uses by-products from the
food industry, including pheasant feathers and shells, in its production.
And, while many of us have grown accustomed to buying eco-friendly
paints, Farrow & Ball is encouraging us to choose ethical wallpaper, too.
Its new metallic patterns are made with sustainably-sourced paper and
water-based pigments, and are 100 per cent recyclable.
All of these initiatives form part of a concept called the circular
economy, which seeks to minimise waste and ensure as much reuse
as possible. It’s being applied to every aspect of life, from fast food
(McDonald’s has replaced its plastic drinking straws with a recyclable
Kartell’s classic paper version) to our cultural heritage (Paris architects Studio NAB
‘Componibili’ has proposed replacing Notre Dame’s lead and timber roof, destroyed in
been reinvented using April’s fire, with a vast greenhouse and beehives). However, the circular
plant-sourced bioplastic economy won’t gain a foothold without individual sacrifice. As if to
acknowledge this, Swedish tech company Doconomy’s new DO credit
card – made, of course, from bio materials – tracks the carbon emissions
associated with purchases, making owners aware of the impact of their
consumption. They’re rewarded for ethical choices, but transactions
are denied when they reach a designated carbon limit.
But will all of this be enough to save the planet? There’s a swelling
chorus of voices that say no. In fact, they argue, we just need to stop
using problematic materials in the first place. ‘There’s so much reliance
on this magic phenomenon of recycling but, frankly, I think it’s just an
excuse to consume more,’ says Ross Lovegrove, whose new ‘Ergo’
collection for Natuzzi is made from sustainable woods and natural
latex. ‘It’s better to consume less from the outset – organic materials
make sense because of their intrinsic health benefits. In my own home,
I live predominantly with beautifully crafted secondhand furniture,
Pheasant feathers are pieces made during times when things were more valued.’
used in Bethan Gray’s Dutch designer Marcel Wanders takes a similar view. ‘Recycling PICTURES: VALENTINA SOMMARIVA, ALICE IDA SALERNI (STYLING), SIMONA PESARINI
‘Feather’ side table ultimately legitimates consumption,’ he says. ‘Let’s not recycle what we
can reuse.’ To make this point, Wanders’ contribution to Orlandi’s
Ross Lovegrove uses ‘Guiltless Plastics’ exhibition was a disposable PET plastic bottle (gifted
sustainable wood to him by its designer, Ross Lovegrove), which he’d marked each time
and natural latex in his he’d used it – 200 times – and daubed with the word ‘REUSE’ in red. ‘As
new pieces for Natuzzi well as a materials problem, we have a psychological problem,’ he adds.
‘Most of the products that go to trash aren’t broken; people are just bored
with them. Making things loved is a fantastic ecological step.’
We can all play our part by buying vintage and locally made products,
and by seeking out the growing number of stores specialising in
sustainable homewares – Wearth London, Home of Juniper and Urban
Collective are some of the best. ‘Buying things that last is the best and
easiest thing you can do for the environment,’ adds Tara Button, founder
of eco website BuyMeOnce.com. She’s campaigning for products to be
awarded a ‘longevity mark’. The notion flies in the face of global
capitalism, which functions by making us constantly crave new things.
Breaking that cycle is set to be design’s biggest challenge yet.

‘SUSTAINABLE
design should
GO BEYOND
materiality. How
products are
MANUFACTURED
needs to be part of
the SOLUTION’
The ‘On and On’ chair by

Barber & Osgerby for Emeco
is strong enough to be
recycled again and again
TRENDS
THE LIGHTING LAUNCH
‘EARTH TO SKY’
BY DOSHI LEVIEN
Born of experimentation and passion, this
collection displays the artistry of design
British designers Nipa Doshi and Jonathan
Levien have collaborated with many big-name
brands since setting up their studio, Doshi
Levien, in 2000. Their latest project, however,
is a more personal one. The seven lights in the
‘Earth To Sky’ collection are all self-produced.
‘I was exploring the coming together of
geometry and free forms, drawing fine lines
next to intuitive, sculptural shapes,’ says Levien.
‘Then, Nipa picked up a hole-punch, pierced
one of the shapes and put a line through it. We
instantly realised that we no longer had just
a composition, we had an actual structure.’ The
drawings were a starting point, with the duo
then approaching craftspeople to turn their
sketches into reality. All of the lights in the new
range are formed by machines normally used
for restoring the sophisticated bodywork of
‘E-Type’ and ‘XKI’ Jaguars, with each design
made of at least two pieces of automotive-grade
aluminium. ‘The project is a combination of
space, light and form,’ adds Levien. ‘We started
it in order to have complete freedom.’ The
results of that creative liberty are remarkable.
Prices on application (doshilevien.com).
WORDS: BEN SPRIGGS PICTURE: JONAS LINDSTROM
‘I WAS EXPLORING THE

COMING TOGETHER OF
GEOMETRY AND FREE FORMS’

TRENDS
THE NEW LOOK
CHUBBY DESIGN
Voluptuous proportions are in style and big is definitely beautiful
Lozenges, arches and curves have dominated in the design world even the most languorous of suppers. ‘Fat is being reclaimed
of late, and now a handful of creatives and makers are taking as a beautiful thing for a chair to be,’ he says. ‘It’s really hard to
things one step further and exploring a softer style, embracing design a seat that is comfortable, minimal and new looking, but
playful, marshmallow-like forms and podgy shapes. Russian we super-reduced its form. The idea was to inflate the piece’s two
designer Fedor Katcuba’s ‘Buzz’ chair is typical of the aesthetic, a main elements to make them as fat as possible, giving it character.’
piece of furniture distilled into the simplest of elements: one But could there be other, unconscious motives behind the move
continuous squishy line upholstered in rich velvet. to fuller-figured furniture? Maybe it’s a reaction to the tough
So what’s inspired this appreciation for political and socio-economic climate we’re
rotund, portly products? ‘My designs took ‘FAT IS BEING facing, which has left us craving softness
on this aesthetic due to my experiences
of pregnancy and motherhood, when
RECLAIMED AS A and reassurance. Or perhaps it’s a small act
of rebellion, challenging existing notions of
everything had to be well-rounded and fall- BEAUTIFUL THING FOR beauty and good taste – words like ‘elegant’
offable,’ explains Faye Toogood, whose
‘Roly-Poly’ chair was one of the forerunners
A CHAIR TO BE. THE have historically been attributed only to
delicate forms when it comes to high-end
of the trend. It was also practical concerns IDEA WAS TO INFLATE design. Whatever the reasons for the trend,
that led Tom Dixon to create his ‘Fat’ dining THE PIECE‘S TWO if the covetable pieces in our edit (below)
chairs, which are intended to closely hug are anything to go by, chubbiness is clearly
the body and provide comfort throughout MAIN ELEMENTS’ the shape of things to come.
WORDS: KATE WORTHINGTON PICTURE: SALLY WILLIAMS
Clockwise from top left ‘Fat’ chair, from £725, Tom Dixon (tomdixon.net). ‘Tube’ chair, £8,003, Objects of Common Interest (objectsofcommoninterest.com).
‘Form Stool 2’ by Nort, £1,313, Monologue (monologuelondon.com). ‘Buzz’ chairs, £500 each, Fedor Katcuba (fedorkatcuba.com).
‘Smalto’ table by Barber & Osgerby for Knoll, £3,888 Aram Store (aram.co.uk). ‘Neotenic’ chair by Jumbo, from £9,042, Matter (mattermatters.com)

THE INTERIOR DESIGNER
HOLLIE
BOWDEN The decorating world’s hot new talent
fuses Japanese-style minimalism with
an inspired use of antiques and craft
TRENDS
Up-and-coming interior designer

Hollie Bowden says her style sits
somewhere between maximalist
Jacques Grange and minimalist
Axel Vervoordt – a contrast, to
say the least. ‘I like to mix things
up,’ she says. ‘The juxtaposition
of bare walls and big open spaces
with theatrical statement pieces,
complex textures and antiques is something I love. As
is Vervoordt’s Japanese-inspired wabi-sabi aesthetic;
I use a lot of pieces that have an organic, aged character.’
Her style is evident when you look at the serene villa
(top right) she designed in Ibiza, and her subdued yet
glamorous palette of stormy hues and marble at the
headquarters of sake brand Heavensake (left).
Bowden established her Shoreditch studio in 2013
(now with a team of six) and has already amassed an
impressive list of projects in locations from London
to the Hollywood Hills. Most are residential, but there
are retail spaces in the mix, including a showroom for
luxury leather goods brand Tanner Krolle. For her, it
is key that every project tells a story. ‘My job is to build
a world and direct a vision that suits my clients,’ she
explains. ‘I believe your home informs your mood, so
it’s important that you get the tone right.’
‘MY JOB IS TO BUILD A

WORLD FOR MY CLIENTS.
YOUR HOME INFORMS YOUR
MOOD, SO IT’S IMPORTANT
TO GET THE TONE RIGHT’
As for where her diverse style comes from, it seems
Bowden has her mum to thank. ‘When I was growing
up, our house was always evolving,’ she recalls. ‘Mum
would get bursts of inspiration and be compelled to
revamp the place. I once woke up to find my bedroom
had been transformed around me.’ After taking an art
foundation course, Bowden trained at the KLC School
of Design in Chelsea and then worked for Oxfordshire-
based designer Harriet Holgate, who introduced her
to a quirky, classically English decorating style.
Her biggest solo project to date is Es Cubells, a 1980s
Modernist villa in Ibiza. The property is filled with
warm neutrals and bespoke furnishings, including
a moulded plaster bath designed to enhance the
property’s ocean views. Bowden regularly produces
such pieces; the Tanner Krolle store has a set of
horsehair-covered cabinets and iron shelving.
WORDS: AMY BRADFORD PICTURES: GENEVIEVE LUTKIN
Her next project is an abode on the picturesque

Isle of Bute, though Bowden dreams of designing
a boutique hotel. ‘I would bring my love of creating
homes to it,’ she muses, ‘but it would also give me
scope to be more adventurous’ (holliebowden.com).
Opposite A moody palette of monochrome marble and

deep teal at the headquarters of sake brand Heavensake
in London’s Chelsea This page, from top A redesigned
country estate in Ibiza. The marble bathroom and calm
living space in a private home in South Kensington, London

TRENDS
It’s almost unfathomable that China,

the second largest economy in the
world, with a population of 1.4 billion,
is at an early stage of development in
any field. And yet, for all the country’s
economic and technological power,
its product and furniture design scene
was almost nonexistent until recently.
‘China had a lack of design culture and
history,’ explains Sugar Lee, deputy
features director and digital content
director of ELLE Decoration China.
‘Just ten years ago, we were thought
to have no design scene at all.’ That
opinion is being quickly reversed.
This change in fortunes is thanks
to the government’s ‘Made in China’
initiative of 2015, which pledged to
reposition the country as a design
superpower by 2025. The aim was to
distance itself from the reputation of
being ‘the world’s factory’ and emerge
instead as a high-end manufacturer
of quality products. Almost £2 billion
was invested to support the creative
industries. Previously, the norm for
young Chinese designers was to study
and set up practices overseas, but
thanks to this new support, creatives
are returning home, bringing global
influences with them.
The effects of these advances can
take time to trickle down, but this year
it felt as though the design world’s
spotlight had swivelled east. China’s
rise is gathering momentum. Pioneers
of this new wave are Shanghai- and
London-based Neri & Hu, one of the
MADE IN
PICTURE: PIERRE GRASSET
The country once regarded as the world’s factory is in the midst of a creative
revolution, with a new generation of designers attracting international attention
Words AMY MOOREA WONG

TRENDS
country’s most successful exports – the

creative directors of furniture brand Stellar
Works are, so far, the only Chinese winners
of Designer of the Year at the annual ELLE
Decoration International Design Awards
(in 2017). The pair were guests of honour
at this year’s Stockholm Furniture Fair and
Canada’s Interior Design Show Toronto.
Word of China’s design revolution was
also on the lips of those at Maison & Objet
fair in Paris, where six Chinese creatives
were singled out for its Rising Talent award.
‘Chinese design today is like many flowers
blooming together,’ says Fan Zhe, curator of
a showcase dedicated to Chinese creativity
of the past, present and future at the Design
Biennale in Saint-Étienne. ‘The country is
producing outstanding work, and there’s
a huge demand for its individual pieces.’
‘China has established itself as a major
international player in design over the past
five years, with the culture shifting towards
innovation and originality,’ says Zhuo Tan,
director of Design Shanghai. A relative
newcomer on the design show circuit
(launched in 2014), the event has flourished;
this year it will play host to over 400 brands
from 30 countries. ‘When we launched, we
found only a handful of Chinese participants
who were dedicated to furniture. In 2019,
we had 60 brands – it shows how quickly
China is absorbing the movement. The world
is looking to us. It’s an exciting moment!’
But what of the ‘Made in China’ label that
came to signify mass production and low
quality? While Chinese architects were able
to prosper thanks to rapid urbanisation, the
design sector had remained weak. ‘There
was no concept of brand, and no willingness
to pay for independent creatives,’ explains
ELLE Decoration China’s Lee. Designers
were often imported, or looks simply copied.
The recent boom is seeing those negative
connotations turned on their heads. Now,
the country’s infrastructure of incredibly
efficient factories can be regarded as a huge
CHINESE DESIGN
advantage, with original designs able to be
ON THE RISE
developed and produced at a fraction of the
2014 Design Shanghai,
the first-ever design show time and cost of that in the West.
in China, launches There is now an ever increasing group
2015 The Chinese of young furniture makers, all hungry for
government invests £2 their slice of the global interiors pie. ‘Many
billion in creative industries of them,’ say Neri & Hu, ‘see the Chinese
2017 Neri & Hu win
PICTURES: PEDRO PEGENAUTE, ANDREW RAWAT
stereotype of mass production as the driving

Designer of the Year at force to do better. They’re striving to be
the ELLE Decoration more inventive to reverse this negative view’.
International Design Awards
The results are noticeable and, according
2019 Maison & Objet
to Zhe: ‘Forming a visual language that’s
champions Chinese creatives
with its Rising Talent award, contemporary and characterised by our
and a major Chinese Chinese heritage is only a matter of time.’
Previous page Traditional parasols on show at Biennale Saint-
exhibition is part of Design Étienne This page Chinese designers Neri & Hu and some of their
Biennale Saint-Étienne projects, including (from top) New Shanghai Theatre, Canton Table Turn the page to see work by some of the
restaurant, Mercato Shanghai and Le Meridien hotel in Zhengzhou hottest names in Chinese design

TRENDS
S H E R RY X U , 8 H O U R
‘Free and imaginative’ is how Sherry Xu describes the
work coming out of her studio, 8 Hour, which she founded
in 2016 after graduating from the Shanghai Academy
of Fine Arts. Her pieces are inspired by everyday life;
the new ‘Clips’ seating collection (below) references the
changing shape of the paperclip, with rounded upholstered
pieces held on a looping steel frame. It can be seen at
WeWork shared offices across Asia (8hourdesign.com).
XIMI LI, URBANCRAFT

Before founding Shanghai-based Urbancraft in 2016, Li
worked for designers Andrea Branzi and Luca Trazzi in
Italy, and spent six years as Neri & Hu’s chief designer.
Inspired by Chinese heritage and Italian icons, such as
Gio Ponti and Carlo Scarpa, his brand incorporates historic
references into contemporary pieces – take the ‘By 3’
storage system (above), which fuses interlocking sections
of glass, terrazzo and marble. And the future is bright:
‘Italian and Nordic firms are already talking with us about
collaborations,’ he says (urbancraftdesign.com).
FRANK CHOU
Growing up in Beijing and working in Europe has informed
the distinct east-meets-west aesthetic of the eponymous
Frank Chou Design Studio, established in 2012. Chou’s
‘Middle’ chair is a highly modern take on traditional
bamboo seats, while the ‘Combo’ modular system (below)
is a reinvention of historic upholstery techniques, using
wool, leather and a mixture of other fabrics. ‘As designers,
we have a strong responsibility to lead, teach and fight
for a better future,’ says Chou (frankchou.com).
MARIO TSAI
Tsai founded his Hangzhou studio in 2014, and his minimal
style, with its small, poetic details – realised in monochrome
and natural materials – has brought him to the attention
of Chinese and European brands alike. He’s lent his simple,
rounded forms to Danish firms Ferm Living and Woud,
Oslo-based Northern and Italian lighting giant Flos, as
well as several Chinese companies (mariotsai.studio).
FURONG CHEN, WUU

Focusing on traditional Chinese materials to distinguish
his pieces from mass-produced fare, Furong Chen was
named Emerging Chinese Designer at Design Shanghai
in 2015, just one year after founding his own brand, Wuu.
PICTURE: XU XIAODONG
Citing inspirations including Ronan & Erwan Bouroullec,

Konstantin Grcic and Donald Judd, the studio has already
collaborated with French-Chinese brand Maison Dada
on the ‘Looking for Dorian’ mirror (right), and creates
lighting, furniture and accessories (wuu.im).

TRENDS
T H E I N N O VAT I O N
CUSTOMISABLE LIGHTING
Bend them, shape them, any way you want them – these pieces give you the power to transform their look
Inventive creatives are disrupting the lighting world with a do-it- ‘Flexible spaces promote a more conscious use of energy and the
yourself approach. Their fluid designs can be tweaked, twisted and planet’s resources,’ argues Artemide chief executive Carlotta de
adjusted to form new shapes, altering the play of light and shade. Bevilacqua, highlighting the potential eco appeal of designs that
One of the finest examples of this trend is ‘Interweave’, a concept can adapt to the needs of different rooms and moods, therefore
by Italian brand Artemide and Dubai-based designer Pallavi Dean reducing the desire to buy new pieces. ‘Designing lighting is more
(above; artemide.com). The innovative lighting installation is and more about creating an experience,’ adds de Bevilacqua. By
composed of aluminium cylinders around which a malleable LED offering reinvention post-installation (all without ever touching
cord can be threaded. The piece touts total flexibility, with the size, a toolkit or needing to call in an electrician), each clever piece can
number and placement of its tubes affecting the shape of the glowing endlessly renew itself. Of course, the ‘Interweave’ isn’t the only
line – it can even be fitted with speakers, sensors or projectors. chameleon of the lighting world – see below for our full edit.
ENLIGHTENED THINKING Get creative with more lights that can be personalised
Combine your choice of the ‘Junit’ Manipulate the fabric of the ‘Nuée’ The ‘Lux’ pendant light by Cristina Twist the bottom of the ‘Clam’
range’s eight geometric elements. (French for ‘thick cloud’), by Marc Celestino for Fendi Casa features pendant, by Ahm & Lund for Fritz
WORDS: CAT OLLEY
Or pick a version curated by the Sadler for Foscarini, to subtly a balancing system that allows you Hansen, and its shell opens to
designer, Julia Jessen. ‘Karma’, change the way its light falls. From to easily adjust its glass sphere. From reveal the LED pearl hidden within.
£220, Schneid (schneid.org) £1,817, Aram Store (aram.co.uk) £2,500, Harrods (harrods.com) Available in 2020 (fritzhansen.com)

TRENDS
T H E O N E S T O WAT C H Crispbreads seem an unlikely inspiration, but not for the freethinking
French-Swedish partnership of Fredrik Färg and Emma Marga Blanche.
FÄRG & BLANCHE The pair are the force behind ‘The Baker’s House’ (below), the exhibition
staged in a 19th-century residence and former crispbread factory during
Meet the dynamic creative duo delighting this year’s Stockholm Design Week. The 12-strong collection of furniture
the world (and each other) with their designs and accessories it presented was the talk of the town, and rightly so.
Blanche grew up in France, but the show’s atmospheric location is
deeply connected to her Swedish roots. During the 19th and early 20th
centuries, her family ran a crispbread (knäckebröd) factory in the capital’s
Södermalm district. The elegant residence above – built by her great-
great-grandfather in the 1880s – was where she spent her holidays.‘We’re
telling the story of my family,’ says Blanche. New pieces include the
‘Julius’ armchair and sofa produced by Gärsnäs, tables inlaid with a star
motif from the parquet floors, and the ‘Heart’ and ‘Knäckebröd’ lamps,
both of which were inspired by the factory’s baked goods.
Although Färg & Blanche design together, they approach projects
very differently. Blanche is more theoretical, deconstructing the design
process before sketching, while Färg likes to dive into the hands-on
work. ‘You’re less nervous when there’s two of you,’ says Blanche, who
met Färg a decade ago, when they were both exhibiting independently
in Berlin. ‘I’d made a stool that contained powerful magnets. I couldn’t
take it on a plane, so I requested a list of other Swedish exhibitors and
asked whether I could hitch a ride with anyone. Fredrik said yes.’ Cue
a roadtrip that turned into a romance, which blossomed into a creative
partnership. Their studio was established in 2011 and, that same year,
the duo burst onto the design scene as co-creators and participants in
Stockholm Design Week’s ‘20 designers at Biologiska’ exhibition. Since
then, they have created pieces for Johanson, Design House Stockholm
and Northern, plus ceramics for Petite Friture. Their ‘A Stitch in Time’
textile collection for Bernhardt Design has just been released, too.
‘It’s in collaboration that innovation and ideas are born,’ says Blanche.
What’s coming next? Nobody knows. ‘Our primary goal is to surprise
one another,’ they conclude (fargblanche.com).
WORDS: KARIN OHLSSON-LEIJON PICTURE: JOHAN LINDSKOG

THE NEW LANDMARKS
GROUNDBREAKING
GALLERIES
Designing cultural venues has always allowed
architects to stretch their creative muscles, but these
three projects prove there’s still room to surprise
RUBY CITY, Sir David Adjaye

Spectacular cultural landmarks have become British architect Sir and mica that glistens in the Texan sun, the contemporary art centre’s
David Adjaye’s forte. He already has the award-winning National design was inspired by the historic Spanish mission churches that
Museum of African American History and Culture in Washington are dotted around the region. Inside, it will showcase the collection
DC and the Marian Goodman gallery in London under his belt, and of American philanthropist and artist Linda Pace. First imagined in
his latest offering, the Ruby City in San Antonio, Texas, is set to open a sketch by Pace, who became acquainted with Adjaye before passing
this October. Clad in crimson concrete panels inset with red glass away in 2007, the museum is a striking legacy (rubycity.org).
TRENDS
NATIONAL MUSEUM OF QATAR, Jean Nouvel

Having completed the Louvre Abu Dhabi museum in 2017, renowned
Pritzker Prize-winning French architect Jean Nouvel has become
the go-to talent for creating modern Arabic architectural wonders.
His latest masterpiece, the National Museum of Qatar, which opened
in Doha this spring, is a dazzling composition of circular forms. Its
unique structure was inspired by desert roses – natural flower-
shaped formations of sand and minerals that occur in dry arid
conditions. ‘It’s an architecture created by time and the desert
itself,’ says Nouvel of the beautiful natural phenomenon. The 539
sandy-hued interlocking discs that make up his homage are clad
in glass-fibre reinforced concrete, forming spaces of shade from
the intense sun. Concealed within the heart of this modern space
is the century-old palace once inhabited by the late Sheikh Abdullah
bin Jassim Al Thani – the seat of government for 25 years – as well
as Arabic and Persian artworks and artefacts (qm.org.qa). ➤
WORDS: JAMES WILLIAMS PICTURES: DROR BALDINGER/COURTESY OF
RUBY CITY AND ADJAYE ASSOCIATES, IWAN BAAN, DANICA O KUS

TRENDS
THE SHED, Diller Scofidio +

Renfro and Rockwell Group
Adaptable and expandable, with a colossal retractable roof, The Shed
is the latest addition to the Hudson Yards development on the edge
‘THERE ARE GREAT of the Chelsea district in New York’s Manhattan. Adding to the
INSTITUTIONS IN architectural delights of the elevated High Line park and the Vessel
– British designer Thomas Heatherwick’s beehive-like structure – the
OUR CITY, BUT new arts centre has been designed by New York-based studio Diller
MANY OF THEM Scofidio + Renfro and Rockwell Group. Its roof, made from a steel
shell covered in a high-tech plastic, can extend on demand to almost
ARE ABOUT THE double the size of the complex, catering to the needs of a whole host
PAST. THE SHED IS of performers and artists. The eight-storey building boasts two levels
of galleries and a theatre, plus rehearsal and events spaces, and
ABOUT THE FUTURE’ a 1,600-square-metre courtyard for open-air events and installations.
‘There are great institutions in our city, but many of them are about
the past,’ says Jonathan Tisch, vice chairman of the arts centre’s
board of directors. ‘The Shed is about the future’ (theshed.org).
PICTURES: IWAN BAAN

T H E R E V I VA L
GABRIELLA
CRESPI As the affection for all things 1970s
continues apace, this designer’s
work, reissued by Milan’s hip Dimore
Gallery, is more relevant than ever
TRENDS
Light was fundamental to the work of vogue: her pieces were all handmade by
Gabriella Crespi (1922–2017). It illuminates skilled craftspeople, using self-invented
the sculptural planes of her brass, steel and mechanisms that, for example, made table
lacquer tables, which feel still more lustrous leaves and cabinet doors smoothly unfurl.
alongside her space-age, mushroom-shaped Crespi herself was an alluring figure who
Plexiglas lamps. In her hands, even humble now seems remarkably ahead of her time.
materials – such as the bamboo she crafted Born into an aristocratic family, she studied
into curvaceous furniture inspired by the fine art and architecture – the latter a highly
silhouette of the rising sun – take on a glow. unconventional choice for a woman in mid-
A capsule collection of Crespi’s work has century Italy, especially one of her class.
just been reissued by Milan’s Dimore Gallery, She then began making one-off objets for
whose founders Emiliano Salci and Britt friends using precious woods and metals.
Moran have collaborated with the designer’s Dior spotted them and snapped them up for
daughter, Elisabetta, to revive tables and its Paris boutique. A forerunner of today’s
lighting created between 1970 and 1980. artisan-designers, Crespi showed great
‘Crespi inspires us because she was modern prescience in matters of taste. Her apartment
and daring,’ explains Salci. ‘Everything about in Rome contrasted ancient frescoes with
her was sophisticated and unconventional.’ her angular brass furniture – startling at the
The relaunch – which includes flower-shaped and geometric time, the combination would now be the last word in chic. Retiring
coffee tables reminiscent of Paco Rabanne’s futuristic couture – is at 65, she abandoned design and spent the next two decades living
timely for several reasons. Crespi’s style epitomises the louche in a Himalayan retreat. ‘I have always considered my independence
elegance of the 1970s, a decade that currently fascinates the design in my work as well as in my life as one of my biggest achievements,’
and fashion worlds. Her return to the spotlight also reflects the Crespi told the Wall Street Journal Magazine in 2015. Attitudes
trend for reviving work by forgotten names (Brazilian José Zanine like that never go out of fashion (dimoregallery.com).
Caldas and American Paul McCobb are currently experiencing From left ‘Fungo’ table lamps; ‘Cubo Tondo’ coffee table; ‘Eclipse’ coffee table,
similar comebacks). Plus, Crespi’s way of working is very much en all by Gabriella Crespi, prices on application, Dimore Gallery
‘CRESPI INSPIRES US BECAUSE

SHE WAS MODERN AND
DARING. EVERYTHING ABOUT
HER WAS SOPHISTICATED
AND UNCONVENTIONAL’
WORDS: AMY BRADFORD PICTURES: ARCHIVIO GABRIELLA CRESPI BY OLIVIERO TOSCANI, SIMONE FIORINI

TRENDS
THE FURNITURE LAUNCH
‘BARKER’ BY BROGAN COX

Sebastian Cox’s partner steps into the spotlight, with this season’s most colourful and covetable range
‘Sorry for the delay in replying. We’re in the woods this afternoon finished the course, but Brogan didn’t, heading instead to London
with unreliable signal,’ Brogan Cox emails. Tracking down Brogan, to work in advertising. She joined Sebastian’s business in 2012,
partner of Sebastian Cox and co-director of the eco-friendly design learning on the job. ‘Composition and shape is what I really enjoy
brand, is not easy – there’s the outdoor coppicing to do and newborn and that’s what I bring to the workshop,’ she says.
daughter Sorrel to care for – but she can always find time to talk For ‘Barker’, that approach was stripped back to basics; the
about her other baby: the new ‘Barker’ furniture collection . concept behind each piece was to choose one shape, one joint and
‘It’s so nice to do a project of my own, and with one colour. ‘They began like children’s scribbles,’
my name on it,’ says Brogan of the range which
takes her maiden name. It began with the small
‘IT’S SO NICE TO explains Brogan – ‘a green circle, a strange blue
oblong, a red square and yellow rectangle.’
green ‘Emerald’ table that debuted at Decorex DO A PROJECT Crafted from sustainable English ash, all of the
last year, and now ‘Barker’ exists as a four-strong OF MY OWN, designs celebrate construction, with the joints
collection of bright, simple wooden pieces. ‘We’ve evident and the wood’s grain showing through
done some pop-up shops and I had noticed AND WITH MY the water-based dyes. Inspired by medieval
something glaringly obvious: we don’t have NAME ON IT’ colour pigments (from which the pieces take
colour,’ she adds. ‘Green felt like a good place to their names), these are applied by hand.
start. I suppose it’s a reaction to Seb’s work; clean and blocky and Creating the collection has given Brogan a taste for branching
WORDS: BETHAN RYDER
colourful. I had to add more pieces,’ she says. out – the studio recently produced ceramic tableware and more
Until now, the pair have created almost everything together, plans are forming. ‘I would love to do tiles and wallpaper,’ she says.
although Brogan leads the interior design projects, and limited- ‘We really try to put nature into people’s home and connect with
edition gallery pieces are solely Sebastian’s work. They met at the raw materials. I’d love to introduce some wild and messy pattern
University of Lincoln when studying a design Masters. Sebastian next.’ From £1,850 for an occasional table (sebastiancox.co.uk).

THE REOPENING
NATIONAL
Sweden’s grande
dame of an exhibition
space has been
given a facelift, and
MUSEUM there’s more to love

than ever before
TRENDS
Stockholm’s National Museum has doubled its visitor numbers display than before), the courtyards have been opened up and
since reopening its doors last year. Proof, if it were needed, that given Pompidou-esque glass roofs, while the façade has been
the historic art and design destination’s £104 million renovation refitted with the same local Borghamm limestone Stüler used in
has been a roaring success. Swedish architecture practice Wingårds 1866. ‘Now, more than 5,000 works of art and design are displayed
and restoration specialist Erik Wikerstãl led the project – on a timeline from the 16th century to the present,’ explains
a collaboration, they say, that ‘turned out better than anyone Susanna Pettersson, the museum’s director general.
could have imagined’. Striking a balance between preserving and To complete the modernisation, more than 30 designers and 20
modernising, the space honours architect Friedrich August brands collaborated on pieces to complete the restaurant’s new
Stüler’s original design while simultaneously becoming one of the look – almost all are available to buy. TAF Studio designed the
world’s most technologically advanced museums – think state-of- ‘Atelier’ chair for Artek (above left), Örsjö Belysning and The Glass
the-art climate control and acoustic-attenuating stucco surfaces. Factory made lights, Chris Martin and Mass Productions created
As well as revolutionising the building, the work has also the ‘Draft’ tables, and the covetable tableware is courtesy of
changed the way the collections are presented. Exhibition space Carina Seth Andersson and Design House Stockholm. The result
has been increased (there are three times more artefacts on is a celebration of modern Scandi design (nationalmuseum.se).
M O D E R N A R T E FA C T S Take home a piece of the museum, with these specially designed buys
WORDS: ALEX MOORE PICTURES: NATIONAL MUSEUM/BRUNO EHRS/PIA ULIN
The ‘Kolonn’ vase by Carina Seth Made from simple bent and ‘Museum’ by TAF Architects Diners at the National Museum will
Andersson decorates the restaurant’s varnished beech, the stackable for String is a neat shelf that’s fall for the clean lines of the ‘Ehra’
tables. Produced by Swedish ‘Avavick’ stool is by Katja perfect for displaying objets cutlery by design studio Note and
glassworks Skruf, it is available at Pettersson for Swedese. £402, d’art or as a bedside table. Gense. £237 for a 16-piece set,
Artilleriet. From £29 (artilleriet.se) Inform (informfurniture.co.uk) £145, Utility (utilitydesign.co.uk) Royal Design (royaldesign.co.uk)

TRENDS
THE TECHNOLOGY Technology is disappearing before our eyes: streaming apps

have replaced DVD players, wi-fi has banished cables and AI
DISCREET DEVICES voice assistants have started to kill off buttons and screens.
Enter the age of invisible technology, hidden in homes and
From transparent TVs to disguised speakers, everyday objects. Sonos has already tapped into this trend,
technology is being designed to disappear teaming up with audio brand Sonance on a collection of
‘Architectural’ speakers – discreet panels that can be cleverly
concealed in walls and ceilings. Amazon’s ‘Echo Wall Clock’
looks innocently analogue, but syncs with Alexa and doubles
as an LED timer, while architecture firm Foster + Partners has
joined forces with LG Signature on the world’s first rolling
WITH DIGITAL ‘OLED TVR’ screen, which emerges seamlessly from a fixed
base. Ikea, meanwhile, has camouflaged its ‘Symfonisk’ hybrid
DETOXES ON THE speakers as a lamp and a floating bookshelf.
RISE, LESS INVASIVE Panasonic’s approach is yet more striking. It has teamed up
with Swiss design brand Vitra to unveil the ‘Vitrine’ (below;
TECHNOLOGY IS A panasonic.com/uk), a transparent OLED television concept
WELCOME ADDITION that resembles a pane of glass in a handcrafted wooden frame.
TO OUR LIVES The result of two years of research, the screen transforms from
a clear display to a first-class TV at the flick of a switch, with all
of the electrical components and wires hidden within its thin
frame. It seems the omnipresent black rectangles that have
dominated homes for years are set to become a thing of the past.
With digital detoxes now on the rise, less invasive technology
– artfully designed to fade away when we want some peace and
privacy – is a welcome addition to our lives, and living spaces.
WORDS: TOM BAILEY

TRENDS
T H E A N N I V E R S A RY
LIVING
DIVANI
AT 50
This year marks half a century
of the Italian furniture brand.
We celebrate by looking at its
seismic impact on the design world
Portrait (from left) Luigi Bestetti,

Renata Pozzoli and their daughter,
Carola Bestetti, sit on the ‘Metro2’
sofa designed by Piero Lissoni
for Living Divani in 1999

Founded in Milan in 1969 by husband-and-wife team Luigi Bestetti

and Renata Pozzoli, Living Divani credits ‘a fixation on contemporary
design and a touch of luck’ for its success. It was at just 26 years
old that Bestetti decided to strike out from his family’s traditional
furniture company and forge the modern brand we know today.
Still honouring the principles that it established 50 years ago –
elegant silhouettes and a considered colour palette – it’s now
just as celebrated for its creative collaborations and the ageless
outlook that’s allowed it to traverse half a century with ease. ‘I PUSHED THEM TO BE MORE
Bringing Italian design maestro Piero Lissoni on board in
1989 – a partnership that’s celebrating its own anniversary of 30 CONTEMPORARY AND,
years – was a pivotal moment, solidifying Living Divani’s unique LUCKILY, THEY BELIEVED IN
style. ‘I’ve seen the company completely transform,’ says the
designer, who, upon joining the brand, set about overhauling its ME AND MY CRAZY IDEAS’
factory in Como, which opened in 1974, updating its materials and
reimagining its visual identity. He also created some of the most
iconic Living Divani pieces, such as 1995’s ‘Frog’ chair (above and
left), now considered a forerunner to the subsequent vogue for
low seating, and the ‘Wall’ sofa (left) of 2000, which was the brand’s
first design without legs. ‘I pushed them to be more contemporary
and, luckily, they believed in me and my crazy ideas,’ he says.
Collaboration has been a mainstay of the firm’s identity, thanks
in no small part to the vision of the founders’ daughter, Carola
Bestetti, who joined the firm in 2004. The roll call of those who have
contributed to the portfolio is a who’s who of the design scene – Arik
Levy, Claesson Koivisto Rune, Giopato & Coombes, Nathan Yong,
Victor Vasilev, Shiro Kuramata, Junya Ishigami and Lanzavecchia
WORDS: AMY MOOREA WONG PICTURES: SIMONE BOSSI
+ Wai, to name but a few. Each designer is specially chosen for their
ability to harmonise with the brand’s clean-lined aesthetic.
At 50 years young, Living Divani continues to uphold its global
reputation for creating fine furniture, with a range that now spans
the entire home. For 2019, it has partnered with another impressive
array of designers, both new and established, including David Lopez
Quincoces, Keiji Takeuchi and Shibuleru, plus, for the first time,
young Italian Leonardo Talarico, Milan-based Studio Klass and New
York’s Stephen Burks. Of course, Lissoni has contributed too, with
‘The Uncollected Collection’ (chaise longue, right), a limited-edition
range of chairs and tables that are part furniture, part sculpture.
What now? ‘On to the next 50 years!’ says Lissoni (livingdivani.it).
TRENDS
T H E B AT H R O O M U P D AT E
‘ALLURE BRILLIANT ICON 3D’ TAP BY GROHE

This futuristic piece of hardware shows the possibilities offered by cutting-edge design methods
As technological advances continue to drive designers to push the first seem hard to believe that water can flow through this tap. When
boundaries of creation, the bathroom is the latest space to be it’s turned on, a stream appears as if from nowhere – an optical
revolutionised by 3D printing. Grohe’s ‘Allure Brilliant Icon 3D’ illusion made functional. ‘What is possible or not possible has
tap – the first of its kind in Europe – is composed of a staggering become a question of perspective,’ continues Seum.
WORDS: AMY MOOREA WONG
4,700 printed layers of 0.06-millimetre-thick raw steel. Its design As well as this design, Grohe has also reimagined the clean-lined
echoes the look of the brand’s ‘Allure Brilliant’ tap, but with ‘Atrio’ tap, with both pieces printed and then milled by machines,
a sharper profile that could not be forged by human hands. before being honed and finished by skilled craftspeople. Made to
‘We strive to create products that at first appear impossible,’ says order, both taps can be personalised for any space, making each
Michael Seum, vice-president of design at Grohe. And, with its one completely unique. With production limited to just a few
unique hollow form and razor-thin architectural lines, it does at a year, they’re a real luxury. From £12,000 (grohe.co.uk).

TRENDS
T H E C O L L A B O R AT I O N
PIERRE FREY
X CHRISTIAN
ASTUGUEVIEILLE
The new ‘Coquecigrues’ collection is an energetic
collision of styles born of a long creative friendship
Patrick Frey, the patriarch of fabric brand
Pierre Frey, has been friends with Christian
Astuguevieille for years. A design polymath,
Astuguevieille (below) is the artistic director
of Comme des Garçons Parfums and has
designed jewellery for Hermès and Lanvin,
but it’s his rope-covered furniture (stool, below)
for which he’s most famous. Frey, meanwhile,
is responsible for curating the extensive Pierre
Frey archive – a resource used by designers
and museums alike. The duo’s ‘Coquecigrues’
collection of seven wallpapers and nine fabrics
marks the first time they’ve worked together.
A true collision of styles, it exudes the colourful
joie de vivre of Pierre Frey and the dynamic
energy and artistry of Astuguevieille’s work.
The surreal ‘Les Coquecigrues’ print (right),
for example, is an adaptation of a design kept
at the Musée de la Toile de Jouy that dates
back to 1792. To modernise it, the colours were
intensified and the pattern enlarged by 300
per cent. For an even more contemporary take,
there’s the ‘Symboles Les Coquecigrues M’
(far right), daubed with Astuguevieille’s graffiti-
like mashrabiya (a latticework often seen on
Arabic buildings), the vibrant toile still visible
beneath. ‘What pleases me,’ says Frey, ‘is that
the collection is very French. It came from
18th-century French documents, and it is this
classicism that Christian has expanded and
recoloured, so that it becomes something else.’
From £192 per metre (pierrefrey.com).
WORDS: KIERA BUCKLEY-JONES PICTURES: LUCKY IF SHARP
WORDS: KIERA BUCKLEY-JONES

T H E S U R FA C E
THREE-DIMENSIONAL
TILES Forget dull, f lat walls – designers are bringing
ever more inventive and original texture to homes
(and it’s not just for the bathroom and kitchen!)
We first admired the renaissance of 3D tiles last year at the opening of
Harrod’s revamped Fresh Market Hall, where Cristina Celestino’s ‘Plumage’
design by Botteganove added glamorous texture. Since then, we’ve been
treated to a growing number of innovative options, with the trend really
making its mark during this year’s Milan Design Week at the ‘Perfect
Darkness’ installation. Created by H+O (a collaboration between Josephine
Akvama Hoffmeyer of Danish studio File Under Pop and Italian designer
Elisa Ossino), the display showcased the possibilities available with tiles,
presenting them as an exciting alternative to paint and wallpaper.
When it comes to stretching the boundaries of this type of surface, few
have done more than Finnish designer Jonas Lutz. For his surrealist ‘Guts’
tiles, he had to develop a new technique to create all of their bodily lumps
and bumps. Lutz carved the shapes directly into plaster, then filled the
cavity with liquid clay to make 20 different patterned moulds that all fit
together to form a seamless pattern. ‘The name comes from the texture,
but also from the name of the tool I used, which in Dutch is called a guts,’
he says. ‘It creates the feeling that you are inside the belly of a giant being.’
Of course, the avant-garde Italians are also spearheading this architectural
tile revival. Venice-based Zaven has designed the vividly coloured ‘Rilievi’
range, inspired by the work of artist and activist Nino Caruso during the
1960s and 70s, while Marazzi has launched the ‘Eclettica’ collection, with
its tasteful wave and diamond shapes. Whatever your style, from geometric
to gutsy, there’s a design that will give your walls a new dimension.
TRENDS
Opposite ‘Triangolo’ tiles, from £110.50

per square metre, H+O (hpluso.design)
This page, clockwise from top left
‘3D Decor’ tiles by Zaven for Cedit,
£129 each, Domus (domusgroup.com).
‘London Roundel’ tiles, £11.76 each,
Lindsey Lang (lindseylang.co.uk).
‘Guts’ tiles, price on application, Jonas
Lutz (jonaslutz.com). ‘Biscuit’ tiles,
by 41 Zero 42, £103 per square metre,
Domus (domusgroup.com)
GEOMETRIC OR
ORGANIC, CLASSICAL
OR INNOVATIVE –
THERE’S A TILE DESIGN
TO SUIT ANY ROOM
IN ANY HOME
WORDS: KIERA BUCKLEY-JONES PICTURE: PIM TOP

TRENDS
T H E E X T R AVA G A N C E
HAUTE
COUTURE
WINDOW
DRESSING
Blending fashion and
function, it’s the new art
form for the home, and
textile design agency Studio
MTX is leading the way
It’s no longer just the walls of your home that can accommodate edgy designs that utilise traditional techniques of tapestry and
unique artwork – windows are the new canvas. Paris-based company weaving, integrating heritage materials such as ribbon, crystals
Studio MTX is pioneering this elevated form of window dressing, and pearls. The studio’s most progressive projects include wood
using architectural embroidery to create solutions that maintain and plastic – it’s even woven glass tubes into fabrics.
natural light and offer privacy, while also being graphic and Now under the creative leadership of Mathieu Bassée, formerly
WORDS: KIERA BUCKLEY-JONES PICTURE: CECIL MATHIEU
memorable. At this year’s Milan Design Week, the studio collaborated of Hermès, Studio MTX is taking its experimental tendencies to
with furniture brand Sé at the Rossana Orlandi Gallery, layering new heights, collaborating with global brands, including Pierre
ethereal silk panels to breathtaking effect. Composed to reflect Hardy, Issey Miyake and Didier Faustino, to create bespoke textile
the soft curves of Sé’s designs, the fabric panels (above) were creations. Train to Rouen, an installation designed in partnership
outlined by brushed brass detailing that glints in sunlight. with artist Vikram Divecha, has even been displayed at the Louvre
This is haute couture reimagined for the home, and Studio MTX in Abu Dhabi, cementing the studio’s artistic expertise. The late
is uniquely placed to bring fashion and art credentials to interiors. Karl Lagerfeld has championed the brand’s fashion-forward style,
Established in 2013 as a directional division within Chanel’s commissioning a piece for a restaurant he designed in Macau.
embroidery atelier Montex – a workshop whose roots go back to Want to turn your own windows into a work of art? The studio’s
1939 – its aim was to redefine, innovate and push the boundaries window dressings will soon be available in three sizes, installed
of what it’s possible to achieve with embroidery. The result is cool, as fixed or moving panels (mtx-paris.com).

TRENDS
THE ARCHIVE FIND
‘MESLETTER’
COLLECTION
Morris & Co’s latest range of fabric
and wallpaper draws inspiration
from the intricate work of its
founder’s daughter, May Morris
May Morris (1862–1938) has finally emerged
from the long shadow cast by her father
William with the release of a new Morris
& Co collection inspired by her designs. No
mere needleworker, May, a fervent socialist,
also designed pieces of jewellery, was painted
by Dante Gabriel Rossetti, and elevated
embroidery to an art form. As she once told
MAY’S LOOSE, ORGANIC DESIGNS WERE

ENTIRELY AHEAD OF THEIR TIME, A CONTRAST
TO THE REPEAT PATTERNS OF THE DAY
playwright George Bernard Shaw (with
whom she was romantically involved): ‘I’m
a remarkable woman – always was, though
none of you seemed to think so.’
Style Library, custodian of the Morris &
Co archive, does think so, however, and its
‘Mesletter’ range of seven embroideries,
seven prints and ten wallpapers does much
to restore May’s reputation. A reworking
and updating of her designs to suit the
contemporary home, it has the stylised
flowers and birds characteristic of Arts &
Crafts style, but with the detailed richness
of embroidery, and a modern colour palette.
May learnt her craft from her mother
and aunt, revealing a talent that led to her
overseeing embroidery at Morris & Co aged
just 23. Her loose, organic designs were
entirely ahead of their time, and offered a
contrast to the repeat patterns of the day.
The ‘Mesletter’ collection, named after the
house in Orkney that housed her hangings,
is a fitting tribute to May and to the other
talented female needleworkers who stitched
alongside her. Some designs are faithful
copies of the original documents from the
archive, others are interpretations and some
are entirely new but reference her style.
According to Rebecca Craig, head of design
at Morris & Co, the new collection is a true
celebration of ‘May’s commitment to her Main image ‘Double Bough’
PICTURES: ANDY GORE, ELLE DUNN
own creative vision and to her father’s ideals’. wallpaper, £115 per roll
Not only does it validate her contribution Fabric swatches, clockwise
WORDS: CLARE GOGERTY
to the Morris & Co brand and to the wider from top left ‘Morris Oak’,
£49 per metre; ‘Morris
Arts & Crafts movement in general, but it Brophy’, £109 per metre;
finally offers us the chance to decorate our ‘Wilhelmina’, £69 per metre;
homes with the beautiful work of this once- ‘Morris Mesletter’, £295
forgotten star (stylelibrary.com). for a three-metre panel

THE BIG IDEA
CARPET
EVERY WHERE
No longer restricted to floors, the plushest and most
fantastically patterned carpets are running wildly
up walls, ceilings and into every room of the home
Words KIERA BUCKLEY-JONES
Photography HELENIO BARBETTA/LIVING INSIDE
Carpet-clad walls, like tasselled three-piece

suites and cork tiles, were trends we thought
we’d left behind, along with power cuts and
strikes, in the sepia-tinted past. But style is
cyclical and, as we reported in our February
issue, we’re in the midst of a 1970s-inspired
interiors boom. We’ve seen the return of cork
and fringing, and now carpet is rolling back
into every corner of our homes.
At this year’s Milan Design Week, the
decorative possibilities of carpet were on full
display. For Studiopepe’s ‘Les Arcanistes’
installation, jewel-coloured examples covered
the floors and crept up the walls, while Cristina
Celestino’s ‘Planetario’ apartment (right) was
a dreamlike paradise inspired by influential
designers from the 1960s and 70s, particularly
those with a penchant for fitted carpet – think
Joe Colombo, Nanda Vigo and Willy Rizzo.
Created in association with Italian flooring
brand Besana Carpet Lab, the fantastical
apartment showcased the new ‘Nebula’ design
by Celestino, notable for its enhanced colours
and subtle, 1970s-style iridescent effect.
‘In uncertain times, we often look to the more
familiar and to textures which offer comfort,
sanctuary or a sense of belonging,’ says Lorna
Haigh, director of creative and marketing at
rug and carpet brand Alternative Flooring.
‘There is something about the feel of soft carpet
underfoot which is reassuring,’ she adds. And,
with cutting-edge creatives like Celestino
showing how it can be used in kitchens and
bathrooms, as well as across ceilings (see
following pages), there’s even more opportunity
to enjoy its comforting, cocooning benefits
(cristinacelestino.com; besanamoquette.com).
Living room Carpet covers even the furnishings here,

with a design by Besana Carpet Lab tying the sofa into
the look. Celestino has arranged three colours of carpet
and her ‘Nebula’ pattern to accentuate the curvaceous
seating. The fabric on the sofa is by Rubelli

Dining room Carpet covers the base

of the Celestino-designed table, which
is surrounded by ‘Botolo’ chairs by Cini
Boeri for Arflex. The pendant light is the
‘Pulsar’ by Celestino for Esperia
Kitchen A diagonal stripe of ‘Nebula’
carpet by Celestino for Besana Carpet
Lab links this room to the living space.
The floor lamp is the ‘Leila’ by Celestino
and the ‘Gaspare’ pendant light is by
Angelo Brotto, both for Esperia
TRENDS

TRENDS
Hallway A pink version

of Celestino’s ‘Nebula’
carpet for Besana Carpet
Lab covers the ceiling,
drawing visitors’ eyes
upwards to create a sense
of grandeur. The light is
the ‘Diva’ by Esperia,
while the rug is formed
from sections of carpet
Bedroom The ‘Nebula’
carpet is also the focus;
it’s even used inside
the fireplace. A neutral
coloured carpet covers
the undulous cladding
on the wall. The ‘Lucilla’
and ‘Sassone’ lights are
by Esperia

The world of ELLE Decoration just got bigger!
Pick up the latest volume today to enjoy exclusive tours of the

world’s most breathtaking rural homes. From Modernist coastal
villas to hilltop castles and sun-drenched chateaux,
there’s inspiration on every page
Order Volume 14 online at HEARSTMAGAZINES.CO.UK/ED-COUNTRY-14

or find it on sale at WHSmith and selected newsagents
F E AT U R E
Introducing two NEW standalone magazines
Our newest title is a collection of guides to Europe’s most exciting cities,

featuring undiscovered neighbourhoods, happening hotspots and places
where urban architecture and nature sit side by side. Plus, there’s the
definitive hotel guide for design-savvy travellers
THREE
GREAT
COVERS
TO PICK
FROM!
Buy the first volume online now at HEARSTMAGAZINES.CO.UK/ED-CITY

or find it on sale at WHSmith and selected newsagents
MONTH 2019 ELLEDECORATION.CO.UK 73
LOOKS
A U T U M N / W I N T E R 2 019 Edited by KIER A BUCKLEY-JONES
INDIGO BLUES
PA L E T I M B E R S
NOWHAUS
RETRO FUTURISM
THE LOOK
Indigo BLUES
Deep inky and stonewashed hues are bringing the everyday beauty of denim to
the home. Much like your favourite pair of jeans, it’s a look you’ll never tire of
1 3
10
1 ‘Apparel’ fabric, £176 per metre, Kvadrat (kvadrat.dk) 2 ‘Spice’ shelving unit in ‘Monarch’, from £790, Montana (montana.dk) 3 ‘Camague’ fabric, £85 per metre,
William Yeoward at Designers Guild (designersguild.com) 4 ‘Genesi’ tiles by Sartoria, £61.83 per square metre, Terratinta (terratinta.com) 5 ‘Woad’ paint, £45 for
2.5 litres, Little Greene (littlegreene.com) 6 ‘Funnel’ pendant light, £192, Mineheart (mineheart.com) 7 ‘Yale’ lounge chair by Jean Marie Massaud for MDF
Italia, from £3,774, Aram Store (aram.co.uk) 8 ‘Avio’ sofa system by Piero Lissoni, from £11,124, Knoll (knoll-int.com) 9 ‘Buee’ glass vase, £84, Ligne Roset
A / W 2 019
11 12
13
(ligne-roset-westend.co.uk) 10 ‘Mushroom’ vase, £59.50, Broste Copenhagen (brostecph.com) 11 ‘Rio Fragments’ needlepoint cushion,
£158, Jonathan Adler (uk.jonathanadler.com) 12 ‘Dots’ cushion by Fine Little Day, £39, Couverture & The Garbstore (couvertureandthegarbstore.com)
13 ‘Colour Stories London Fields Lido’ rug, from £750, Floor Story (floorstory.co.uk) ➤

THE LOOK
PALE timbers
Beech, plywood, oak and maple are the materials of the moment – sustainable
and sophisticated, they bring a quiet warmth to interiors
2
3
10
1 ‘Great White’ paint, £46.50 for 2.5 litres, Farrow & Ball (farrow-ball.com) 2 ‘Oak’ screen by Hubsch, £217, Smallable (smallable.com) 3 ‘White
Maple’ flooring from the ‘Spacia’ collection, £39.99 per square metre, Amtico (amtico.com) 4 ‘Calamine’ paint, £46.50 for 2.5 litres, Farrow
& Ball (farrow-ball.com) 5 ‘YB18’ pendant lights, £290 each, Yellow Broom (yellowbroomproduct.co.uk) 6 ‘Relic’ wallpaper in ‘Rune’, £216 per
square metre, Calico (calicowallpaper.com) 7 ‘Roundish’ armchair by Naoto Fukasawa, from £1,083, Maruni (maruni.com)
A / W 2 019
12
14
15
13
11
16
8 ‘Ring’ stool, £120, Zara Home (zarahome.com) 9 ‘Kami’ mug, £48, Such & Such (suchandsuch.co) 10 ‘Noka’ oak bed, £349, Made (made.com)
11 ‘Vakka’ box, from £167, Iittala (iittala.com) 12 ‘Eden’ mirror, £379, Heal’s (heals.com) 13 ‘Jut’ cabinet by Skagerak, £1,799, Haus (hauslondon.com)
14 ‘Batwa’ mango wood vase by Nkuku, from £40, Amara (amara.com) 15 Oak bowl, £55, Native & Co (nativeandco.com)
16 ‘Feather’ rug in ‘Heron’ by Ellinor Eliasson, from £287, Kasthall (kasthall.com)

THE LOOK
NOWhaus
In the wake of Bauhaus’s 100th anniversary, graphic patterns and primary
colours – the school’s hallmarks – have been given a contemporary update
1 ‘Cabana’ tiles in ‘Sunrise’, £69.94 per square metre, Claybrook (claybrookstudio.co.uk) 2 ‘Bauhaus’ plates, £89 each, Darkroom (darkroomlondon.com)
3 ‘Transfer’ artwork, from £150, Formworks (formworksstudio.co.uk) 4 ‘Dot’ pendant light by Foster + Partners for Lumina, from £856, Aram Store (aram.co.uk)
5 ‘Perse Grey’ paint, £49.50 for 2.5 litres, Paint & Paper Library (paintandpaperlibrary.com) 6 ‘Mazarine’ paint, £45 for 2.5 litres, Little Greene (littlegreene.com)
A / W 2 019
11
3
10
12
7 ‘ISO-A’ side table by Pool, £290, Petite Friture (petitefriture.com) 8 ‘Zylinder’ teapot, £68; ‘Kreis’ mug, £24, both Design K Ceramics (designk.co.uk) 9 ‘Cotone’
sofa by Ronan and Erwan Bouroullec, £9,180, Cassina (cassina.com) 10 ‘Apollo’ chair, £3,350, Bohinc Studio (bohincstudio.com) 11 ‘Check’ cabinet by Elisa Ossino,
price on application, SEM Milano (sem-milano.com) 12 ‘Bauhaus Edition’ rugs (four shown), from £255 per square metre, Reuber Henning (reuberhenning.com) ➤

THE LOOK
RETRO futurism
Today’s designers are looking to visions of the future from the 1950s and 60s,
with sci-fi-inspired shapes and stones resembling the surfaces of distant planets
1 2
6 9
8
1 ‘Globe’ floor lamp, £245, Soho Home (sohohome.com) 2 ‘Luna’ three-tier chandelier, from £9,796, Gabriel Scott (gabriel-scott.com) 3 ‘Lemon Spice’
granite, from £280 per square metre, Gerald Culliford (geraldculliford.co.uk) 4 ‘Remembering the Present Moment’ wallpaper, from £140 per roll,
Beth Nicholas (beth-nicholas.com) 5 ‘Platinum Pale’ paint, £42 for 2.5 litres, Fired Earth (firedearth.com) 6 ‘Neotenic’ chairs by Jumbo (two pictured),
A / W 2 019
10
£12,761 each, Matter (mattermatters.com) 7 ‘Big Table 10th Anniversary Edition’ by Alain Gilles for Bonaldo, £11,000, Go Modern (gomodern.co.uk)
8 ‘Mini’ bowl, £62, Cabana (cabanamagazine.com) 9 ‘As Above, So Beneath’ sculpture, price on application, Zuza Mengham (zuzamengham.com)
10 ‘Fordite 2’ rug by Patricia Urquiola, from £8,697, CC Tapis (cc-tapis.com)

D
O
O
M
E
TH
te s define the d
et esi
ou g
nt
ilh
ld, distinctive s
ren
IS AO
SSI N O S
TU d that’s giving
EL D
g
IO
NE St y
D RO li n
o
CE
Ph
B
O ot
RI C
og
h
ra ph
y FE D E
o
m
ea
galle e feel
ry-lik
From left ‘Sydney’ sofa by Jean-Marie Massaud, from £7,000, Poliform (poliform.it). ‘Composizione 74’ rug by Manlio Rho, from £7,525, Amini
(amini.it). ‘Primitive’ coffee table by Massimo Castagna, from £1,723, Henge (henge07.com). ‘Nuage’ vase by Ronan and Erwan Bouroullec
for Vitra, £130, Twentytwentyone (twentytwentyone.com). ‘Vulcano Corteccia’ vase by Paola Paronetto, £475, Artemest (artemest.com).
‘Artifex’ vase by Charlotte Juillard, £436, Ligne Roset (ligne-roset-westend.co.uk). ‘Mila High’ side table by Sebastian Herkner for Pulpo,
from £1,279, Connox (connox.co.uk). ‘Coassiale’ light by Vittorio Venezia for Martinelli Luce, £599, Barry Perrin (barryperrin.com).
‘Primordial’ bookcase by Raphael Navot, £4,640, Roche Bobois (roche-bobois.com). ‘Pouf Round’, from £599, Ferm Living (fermliving.com)
From left ‘Sitar’ chair by Enzo Berti, £1,560, Saba (sabaitalia.it). ‘Match Point’ side table by Omri Revesz for Baleri Italia, £605, Artemest (artemest.com).
‘Tavolo Basso 080’ coffee table by Dimore Studio, £10,096, The Future Perfect (thefutureperfect.com). ‘Journey’ table lamp by Signe Hytte for &Tradition, £270,
Monologue (monologuelondon.com). ‘Stilla’ mirror by Serena Confalonieri, £770, Potocco (potocco.it). ‘Chief Chair’, £6,511, Cara Davide (caradavide.com). ‘Noce’
dining chair by Yabu Pushelberg, from £1,754, Henge (henge07.com). ‘North’ floor lamp by Arik Levy, from £582, Vibia (vibia.com). ‘Table En Forme Libre’ by
Charlotte Perriand, from £7,452, Cassina (cassina.com). ‘Pura’ marble bowl by Angelo Mangiarotti, £1,428, Poltrona Frau (poltronafrau.com). ‘Simultanea’ vase
by Valentina Cameranesi Sgroi, £338, SEM Milano (sem-milano.com). ‘Spade’ chair by Faye Toogood, £430, Please Wait To Be Seated (pleasewaittobeseated.dk)

From left ‘Botolo’ chair by Cini Boeri for Arflex, £1,255, Twentytwentyone (twentytwentyone.com). ‘Dewdrops 07’ chandelier, from £5,767, Giopato & Coombes
(giopatocoombes.com). ‘Arc’ dining table by Foster + Partners for Molteni & C, from £3,948, Chaplins (chaplins.co.uk). ‘Paco’ vase in ‘Honey’, £75, Federica Bubani
(federicabubani.it). ‘Speckled Clay’ vase by HK Living, £49.99, Trouva (trouva.com). ‘Tellina’ table plinth by Chiara Andreatti, £144, Paola C (paolac.com).
‘Immaculate’ chair in elm, £1,971, Henry Timi (henrytimi.com). ‘Ultimate Bliss’ rug by Mae Engelgeer for CC Tapis, £9,600, Monologue (monologuelondon.com).
‘Torii’ stool by Gino Carollo for Porada, £1,750, Go Modern (gomodern.co.uk). ‘Wooden Cloud’ bookcase by Ronan and Erwan Bouroullec for Cappellini, £7,739,
Clippings (clippings.com). ‘Dos À Dos’ chair by Pierre Paulin for La Cividina, £2,720, Artemest (artemest.com)

From left ‘Wirering’ wall light by Formafantasma for Flos, from £620, Heal’s (heals.com). ‘Sanluca’ limited-edition armchair by Achille and Pier Giacomo
Castiglioni upholstered in ‘Geophysical Waves’ fabric by Max Huber, £4,500, Poltrona Frau (poltronafrau.com). ‘Tenco’ side table by Carlo Ballabio for Porada,
£1,172, Chaplins (chaplins.co.uk). ‘Insert’ side table, £489, Ferm Living (fermliving.com). ‘Pùka’ circular chair by Verter Turroni, from £4,000, Imperfetto Lab
(imperfettolab.com). ‘Cal 3’ rug, £441; ‘Stone 1’ rug, £370, both by Nanimarquina, Ambiente Direct (ambientedirect.com). ‘Ring’ coffee table by Nendo,
from £5,800, Minotti (minottilondon.com). ‘Eucalyptus & Acacia’ high carafe by Eva Claessens, £43, Serax (serax.com). ‘Edge’ vase by Skagerak, from £32,
Nunido (nunido.co.uk). ‘Gallery Object’ marble tray, £290, Louise Roe (louiseroe.dk). ‘Akari’ floor lamp by Isamu Noguchi, £2,090, Vitra (vitra.com).
‘Floyd’ sofa by Piero Lissoni, from £6,483, Living Divani (livingdivani.it)

HOMES
A U T U M N / W I N T E R 2 019
P O T E N T PAT T E R N
BLONDE AMBITION
OFF THE SPECTRUM
LIFE IN MONOCHROME
C O N T E M P O R A RY O R G A N I C
THE BIG EASY
INDUSTRIAL BOHEMIA
PICTURE: KASIA GATKOWSKA/PHOTOFOYER
POTENT
PAT T E R N
HOME TREND
Prints don’t have to shout to make a big

impact. In this home, florals and stripes
in soft colours demonstrate the growing
appeal of quietly daring decoration
Words TESSA PEARSON
Photography DENISE BONENTI/LIVING INSIDE
Styling BARBARA VERGNANO/SLOBS
Guest room ‘Brocade’ wallpaper

by Farrow & Ball stretches from floor
to ceiling on one of the walls, while
Cole & Son’s ‘Cambridge Stripe’
extends part of the way up. The blind is
by C&C Milano, while the armchair’s
upholstered in textiles by Dedar and
Mark Alexander. The rug is from Tibet
Stockist details on p194 ➤
‘
nspiration for most of the patterns in this house came from the gardens,’
says landscape architect Cristiana Ruspa of her Turin home, located
close to the River Po in the city’s Precollina district. It is this element of
the natural, perhaps, that brings a sense of calm to what could be a very
daring combination of prints – the striking and the subdued in perfect
harmony. Indeed, Cristiana’s flair for layering colour and texture,
gained while creating green spaces for clients with her firm Giardino
Segreto (or Secret Garden), can be seen throughout the home she
renovated for herself and her children – Filippo, Sofia and Letizia.
Things were not always so serene in this 1930s property, though.
‘When we moved in, the house was full of dark wood and lacked natural
light,’ she recalls. ‘I used a lot of white for the interior so that I could
retain the period features, while making it a much more inviting place
to be.’ Now, her four-bedroom home’s clean, bright scheme is the
perfect foil for her expertly implemented mix of wallpapers and fabrics.
Shades of green – ranging from pale and muted to vibrant and jewel-
like – combine with corals and soft pinks throughout the interior, while
repeating floral patterns sit harmoniously alongside wide-set stripes.
The overall effect manages to feel fresh and current, while also
conveying an air of nostalgia that conjures up the old-world charm of
1930s summerhouses and garden rooms. Carefully selected furniture
pieces from many different eras contribute to the modern-vintage
aesthetic, curated by Cristiana in a bid to reflect the history of the
building. ‘Why buy a period house only to destroy all the elements that
give it character?’ she muses. ‘I needed to update the place to suit my
taste and needs, but I wanted to retain its soul.’ giardinosegreto.com
Portrait Landscape architect Cristiana Ruspa

Hallway This space features the vibrant
‘Pompom’ wallpaper by Natasha Marshall
Opposite In the living room, period features,
such as the fireplace, have been painted white
for a more modern feel Stockist details on p194 ➤

Living room The ‘Move’ sofa by Francesco Rota,

‘Ivy’ coffee table by Claesson Koivisto Rune, ‘Amable’
chair by Victor Carrasco and ‘Wind Low’ rug are all from
Paola Lenti. The yellow footstool is a custom design
Stockist details on p194

LIGHT, BRIGHT ROOMS AND HINTS OF GREEN CONJURE UP

THE CHARM OF SUMMERHOUSES AND GARDEN ROOMS
Dining room Cristiana found a local carpenter to build

a custom-made table, around which she’s placed ‘Elsie’
chairs by Francesco Rota for Paola Lenti. The rug is by
Galleria Battilossi. ‘Block Print Stripe’ wallpaper by Farrow
& Ball has been used on the lower part of the wall, below
artworks by Patrizia Guerresi Stockist details on p194

BOTANICAL AND STRIPED WALLPAPERS IN MUTED TONES

SHOW THE STRIKING AND THE SUBDUED IN HARMONY
Bathroom Ceramic tiles by Patricia Urquiola

for Mutina cover a wall in the shower. On the floor is an
antique Tibetan rug. The ‘Offcut’ stool is by Tom Dixon
Bedroom ‘Meadow Sweet’ wallpaper by Morris & Co gives
a vintage feel to this space, which features striped blinds
made from Sunbrella fabric. The linen bedspread is by
Atelier Adriana Fortunato Stockist details on p194

Living room Style Wars 2014 by Russian artist Stepan

Krasnov hangs in front of a pair of ‘Don Juan’ sofas from
Christian Liaigre, a bronze ‘Aes’ coffee table by Barber
& Osgerby for Hermès Maison and Pierre Jeanneret chairs.
The ‘Jardin’ rug is by India Mahdavi for Cogolin and the
‘Scramble’ floor lamp is by Mauro Fabbro, from the Galerie
Alexandre Biaggi in Paris Stockist details on p194 ➤
HOME TREND
B
L
O A
N M
D B
E I
Ethically and
aesthetically,
the only choice T
for timber is
pale-toned
oak. It creates
a warm I
welcome in
this Parisian
abode
O
Words IAN PHILLIPS
Photography
STEPHAN JULLIARD/TRIPOD AGENCY
Styling SARAH DE BEAUMONT N
Kitchen Two bookcases with concealed sliding doors

separate this space. The photographs are by Philip Lorca
di Corcia and the ‘Shuffle MH1’ side table is by Mia Hamborg
for &Tradition. Beyond, ‘A110’ lights by Alvar Aalto for Artek
illuminate the marble counter Stockist details on p194 ➤
THE TREND
French interior designer Charlotte Macaux Perelman,
the mastermind behind the inviting look of this
Parisian home, believes that the current affection
for blonde timber is down to much more than just
a continued obsession with Scandinavian design.
As she points out, there are ecological concerns that
have led to this growing trend. ‘Darker woods, such
as wenge and mahogany, have become much rarer
in recent years, therefore it would be unethical to
use them in large quantities today.’ When it comes
to sustainable timber, the best choices are fast-
growing soft woods, such as pine, or oak from
European forests where harvesting is monitored.
THE HOME
‘There’s a soul to every home, something to preserve,’
says Charlotte, whose approach to design is always
to respect the history of a space. There is, however,
an exception to every rule, and what interested her
about this 230-square-metre apartment, which
overlooks Paris’s Parc Monceau, was precisely the
fact that there was nothing to salvage. The former
owner had lived here for 42 years and redecorated
rooms at different times, each in the tastes and
fashions of the specific period. ‘It was all over the
place stylistically’, Charlotte recalls.
The project represents the most extensive
demolition job the interior designer, who divides
her time between her own studio and her role as
co-creative director of Hermès Maison, has ever
undertaken. ‘Nothing was left in place’, she says. Or
rather, almost nothing. During the renovation, a
ceiling with majestic mouldings – hidden for decades
behind simple plaster panels – was revealed in the
living room. Although it was painted brown and
The design world’s AFFECTION for covered with dirt, Charlotte decided to celebrate
this one original feature by modifying her initial
blonde TIMBER is due to more than plans. Instead of configuring several smaller reception
rooms, she created one large open-plan living space,
tailored to accentuate the ceiling’s dimensions.
a love of the SCANDINAVIAN look The apartment’s décor is typical of Charlotte’s
style. She favours a rigorous architectural approach,
with white walls, clean lines and natural materials
– particularly wood and marble. The pale oak used
for the flooring throughout was also used for the
cabinetry, with Charlotte choosing to leave the
timber untreated. ‘I wanted to preserve its natural
honey tone’, she explains. Both of the apartment’s
owners are art lovers (he is the grandson of an
antique dealer; she formerly worked in the legal
Above An Italian 1950s armchair, Gino Sarfatti lamp and ‘Lalinde’ table from Sentou
department of a well-known art foundation) and,
Dining area The Corian-topped table is a custom design which has been paired with
‘Ant’ chairs by Arne Jacobsen for Fritz Hansen and a ‘Coogee Cotton’ sofa from Sentou. for Charlotte, their collection brings a dose of fantasy
A pair of ‘Marseille’ wall lights by Le Corbusier for Nemo and a photograph to this home. It’s the ideal contrast to the elegant
by Jean-Pierre Khazem hang above Stockist details on p194 ➤ restraint of her design. studio-cmp.com

This home’s ART COLLECTION brings a dose

of FANTASY to the interior, in CONTRAST to
its RESTRAINED, understated furnishings
Above A bright painting by Bernard Frize greets visitors in the entrance hall. Below it, a ‘RAR’ rocking chair by Charles & Ray Eames
for Vitra, a pair of ‘Lalinde’ tables from Sentou and a vintage Robert Mathieu floor lamp create a cosy corner Opposite In the office,
a Lindsey Adelman chandelier hangs above a Jean Prouvé desk and the ‘Oria’ chair, designed by Spanish architect Rafael Moneo
for Hermès Maison. The painting is another Pop Art piece by Stepan Krasnov Stockist details on p194 ➤

Charlotte favours a rigorous ARCHITECTURAL approach

to design, with WHITE walls, CLEAN lines and
NATURAL materials – particularly WOOD and MARBLE
Above This wall in the bedroom is clad with linen, which adds a softness to the interior. A portrait of Picasso by André Villers and
a Gérard Garouste drawing hang on the wall above a vintage teak and cane bench by Pierre Jeanneret Bathroom Carrara marble reigns
in this calm space, with two Takashi Murakami screenprints injecting a dose of colour above the bath. The stool is the ‘Butterfly’ by Sori
Yanagi for Vitra and the tub is from Hidrobox’s ‘Beta Essential’ collection Stockist details on p194 ➤

Bedroom Pillowcases and

a blanket from Society
Limonta have been teamed
with a throw from Hermès
Maison. The photograph
above the bed is by David
Levinthal, while the lights
are vintage pieces by Robert
Mathieu. The Moroccan rug
is from Paris Berbère
HOME TREND
OFF
Colour confidence is key to creating a space
THE
where clashing hues exist in harmony. This
SPECTRUM
Milanese home-turned-gallery shows how it’s done
Words KARA O’REILLY
Photography MONICA SPEZIA/LIVING INSIDE
For Milanese interior designer Sophie Wannenes, the biggest pitfall to avoid when
decorating is ‘using two very similar colours together’. This aversion to safe, expected
shades should come as no surprise to anyone who has entered her gallery, PalermoUno,
which she set up in her own apartment in the city’s stylish Brera district.
‘You make better colour choices if you know it’s okay to change your mind,’ says
Sophie, whose own decisions demonstrate the current trend for clashing home hues.
Her approach may be bold, confident and ahead of the curve, but it’s practical, too.
‘Choose the main entrance colour and start from there,’ she advises. ‘Make it neutral,
so, for example, I picked a brick-like shade as it fits with most other tones. From there,
you can select other colours you like, holding them next to it to see if they’re suited.’
Work on the gallery – where everything from the light fittings to the wall paint is
for sale – began in September last year, and it opened in November. ‘Let’s just say
I had to do everything pretty fast,’ says Sophie. The two-bed, two-living room, second-
floor apartment is classically Milanese, with high ceilings and parquet flooring. It’s
a stylish canvas that’s given Sophie the space to be experimental. ‘I am never insecure
when decorating,’ she says. ‘I trust my taste and follow my instincts.’ This confidence
shows – Sophie has created an elegant space that packs a visual punch. ‘The colours
are exaggerated because we want to impress,’ she says. ‘But I always like to be daring.’
A large part of Sophie’s motivation for establishing PalermoUno was to create
a community as well as a place to display the work of designers she likes. The plan is
to rearrange the gallery twice a year, with a special showcase for the annual design
pilgrimage, the Salone del Mobile. ‘It’s about putting together many different creatives
– some known and some unknown, but all very talented,’ she says. It’s a very personal
project, but one that, luckily, has a wider appeal. ‘I noticed I had an eye for choosing
objects and I love the idea that other people appreciate my selection.’ palermouno.it
Entrance hall Paints used throughout the apartment are all by Ressource – this shade
is ‘Della Robbia Aubergine’. The table is a vintage piece, as are the statement mirrors. The
rug is from Ilo Rugs and the light fittings are the ‘Apollo’ by Pholc. The decorative objects
on the table include items by Simona Cardinetti Stockist details on p194 ➤
’WHEN DECORATING, I TRUST MY TASTES

AND FOLLOW MY INSTINCTS’
Kitchen ‘Sebastian’ paint by Ressource covers the walls and cabinets. The table is vintage, as is the Pier
Luigi Colli chair and the 1950s mirrors on the wall. The light fittings are by Tala, while the ceramics and
pieces of glassware are all from PalermoUno Dining room The walls are painted ‘Bleu Nuage’ and the
ceiling ‘Thé de Chine’, both by Ressource. Sophie designed the table in collaboration with G-Lab Milano,
while she sourced the rug in Morocco for PalermoUno. The chairs and cabinet are vintage. The light fitting is
by Bomma. Glassware includes pieces by Fferrone and Natalia Criado Stockist details on p194 ➤

Living room The walls are painted in

‘Nuitée’ by Ressource. The sofa
is vintage, decorated with cushions
by Kirkby Design, and the chair is by
Mario Milana. The marble side tables
are from Marsotto Edizioni, while the
‘Ventus’ pendant lights are by Frama,
and the rug from Ilo Rugs. Artworks
by Victor Cadene hang on the wall
‘YOU MAKE BETTER CHOICES IF YOU KNOW

YOU CAN CHANGE YOUR MIND’
Yellow room The paint colour on the walls is ‘Jaune Raisin’ by Ressource. The screen (opposite) and
sideboard (above) are both by Decorum. The marble table is from Marsotto Edizioni and the chairs are by
Mario Milana. The pendant light is the ‘Gamma’ by Serena Confalonieri for Mason Editions, while the
‘Borgia’ brass candelabra on the table is by Carla Baz – try Bonadea Stockist details on p194 ➤

PALERMOUNO’S OWNER, SOPHIE, HAS AN

AVERSION TO SAFE, EXPECTED COLOURS
Bedroom Walls are painted in ‘Feuillage’ by Ressource. The curtain is a Kirkby Design
fabric and the bedding is from Harmony Textile. The aluminium ‘Rivet’ bedside table is
by Frama, while the lamp on the vintage chest of drawers (above) is the ‘Lotus’ by Serena
Confalonieri for Mason Editions Stockist details on p194

HOME TREND
Life in monochrome
Black and white never goes out of fashion, but to keep it contemporary,
take inspiration from this London home’s focus on geometric details
Words TRISH LORENZ Photography MADS MOGENSEN Production MARTINA HUNGLINGER
T
his mews house in the central London neighbourhood of Bayswater
is home to architect Cooky Monseignat, her husband Nicholas and
children, Theo, four, and Cat, eight months. The family moved here
in 2017 after a two-year renovation process that saw them transform
the traditional 170-square-metre home into a modern, monochrome
space that channels the couple’s interest in art, taking inspiration
from contemporary galleries. ‘My elder sister is a photographer and
my younger sister a sculptor, so I’ve spent a lot of time in galleries,’
says Cooky. ‘They give me a sense of peace, with their minimalist
white spaces. I wanted to partially recreate that at home.’
You enter the three-floor house via a small cloakroom framed by
a ceiling-hung curtain, inspired by French brasseries that protect
entrances with heavy drapes as a buffer against the cold air. This
leads into the open-plan living and dining room, where a full-height,
freestanding bookshelf defines the zones. Through an arched
opening – which mirrors the shape of the large front windows – is an
ebony-coloured kitchen and, to the right, a glazed extension that
contains a home office. The children’s bedroom and playroom, as
well as a guest bedroom and bathroom, are in the basement, with the
main bedroom, bathroom and walk-in closet upstairs.
Black and white is a classic, timeless colour combination, but it
can sometimes feel a little starchy and cold. To avoid this, Cooky’s
opted for a sophisticated tonal palette, utilising shades ranging from
steel to charcoal to add depth and warmth. Dark-stained oak flooring
and black joinery contrast with the pale grey sofa, slate-coloured
curtains and white walls. There are plenty of on-trend geometric
details, too, such as the chevron flooring, the gridded simplicity of
the pattern on the dining table and the tiling in the bathroom.
As in the galleries Cooky was inspired by, her home’s pared-back Previous spread and opposite
scheme allows the couple’s colourful art collection to shine. And The living room sofa is secondhand
there are some powerful paintings in this home, including the nude and the coffee table a repurposed
by Robert Stanley that hangs above the fireplace. The considered art plinth. A ‘Mobile Chandelier 9’
tranquillity of the interior extends outside, too. The house is at the by Michael Anastassiades, available
at Twentytwentyone, and a Serge
end of the mews, so there is no through traffic, and Cooky has created Mouille floor lamp add graphic
a small garden for the family to enjoy. ‘We have an apricot tree, apple touches. The white tower bookcase
tree and a fig tree in large black glazed ceramic pots in front of the is the ‘Sapiens’ by Sintesi
house. We can sit out here and forget we’re in central London.’ Stockist details on p194

GEOMETRIC details
keep this TIMELESS
black and white colour
Kitchen The units are bespoke and
SCHEME from feeling
the black pots are from the ‘Barro’
collection by Ames Sala, while the artwork
is by London-based Whitney McVeigh
too cold and starchy
Dining area SuperStudio’s ‘Quaderna
2600’ table for Zanotta was the first piece
bought for this home. The light is the
‘Mimosa’ by Atelier Areti, and the painting
is by Italian artist Romana Londi. Shelving
by Rimadesio separates this space from the
living room Stockist details on p194

‘Galleries give me a sense of

PEACE, with their MINIMALIST
white spaces. I wanted to partially
RECREATE that at HOME’
Opposite The ceramic floor tiles

in the kitchen were cut to exactly
the same size as the parquet
throughout the rest of the house
Above Glimpsed through this
window, the all-white scheme
of the office, situated in a glazed
extension, has an orderly look

SHADES ranging from

steel to charcoal add
a SOPHISTICATED
tonal depth to this
Bathroom Square white tiles, arranged
in a grid pattern, are given an element
of drama with contrasting black grout
MONOCHROME palette
Bedroom White Company bedding and
a throw by Toast are topped by cushions
covered in fabric from Romo. The raffia
cushion was a holiday find in the Belgian
town of Knokke-le-Zoute, while the wall
light is by Vincent Devisscher for Atelier
Moderniste Stockist details on p194

HOME TREND
CONTEMPOR ARY
ORGA NI C
Luxury living is taking a softer turn, with
designers offsetting clean lines and sleek materials
with a more natural take on opulence
Words RACHEL WARD
Photography KASIA GATKOWSKA/PHOTOFOYER
Living room Christophe Delcourt’s ‘Eko Meridienne’ sofa, Faye Toogood’s ‘Roly Poly’ chairs and the ‘Ad’
lounge chair by Arno Declercq sit beside a ‘Lob’ coffee table, also by Christophe Delcourt, and side table by
Rick Owens. A ‘Spider’ light by Serge Mouille hangs above, while the rug is the ‘Egg Shell’ by Atelier Février
Opposite This library corner features a ‘Teo’ table and ‘Lek’ sofa, both by Christophe Delcourt, and a ‘Stag T’
stool by Rick Owens. The ‘Image’ pendant light is by Vanessa Mitrani Stockist details on p194
THE TREND
When it comes to homes, luxury is no longer defined
purely in terms of sleek materials and architectural lines.
In fact, high-end style is waking up to the calming influence
of nature – from the irregular grain of timber to the
sensual forms of furniture by the likes of Faye Toogood,
Christophe Delcourt and Rick Owens. It’s a marriage of
the best elements of ultra-modern design with softer
touches. We’re labelling the look Contemporary Organic,
and its relaxing and grounding effect is evident in this
apartment’s interior, conceived by Konrad Kudraszow,
the Polish-born founder of interior design gallery Kooku.
THE HOME
When Polish-American architect Daniel Libeskind designed
Złota 44, a 52-storey residential tower in Warsaw, he was
looking to capture the spirit of a city resurgent. Completed
in 2017, it is now one of the most prestigious addresses in
Poland, with its silhouette, inspired by the wings of a soaring
eagle, symbolic of the capital’s renewed sense of freedom.
EVERYTHING HAS Located on the 45th floor of Libeskind’s skyscraper, this

200-square-metre one-bedroom residence has been
BEEN SKILFULLY transformed by Konrad, whose company Kooku is known

for sourcing unique pieces that have been handmade using
ARRANGED INTO raw materials. His rarefied designs bring a gentleness to

this modern interior, lending the sharp lines of its concrete
STAGE-LIKE SET PIECES, ceilings, American walnut flooring, travertine bathroom

and black marble kitchen a more sensual quality.
CREATING ZONES ‘I wanted to transfer the soul of a post-factory loft interior

into this ultra-modern apartment,’ Konrad says of this
OF CONTEMPLATION space in which sculptural furniture made of wood, jesmonite

and alabaster is paired with artworks by local creatives. In
the living room, Jarosław Perszko’s marble wall sculpture
offers a dynamic contrast to the items surrounding it.
Everything has been skilfully arranged into stage-like set
pieces, creating zones of contemplation.
To harmonise the look, Konrad chose a limited palette
of whites, blacks and earthy tones, with the only additional
shades introduced organically through the vast windows.
Exterior The Złota 44 building by architect Daniel Libeskind ‘I left the walls white to provide a neutral backdrop, but
Dining area The table, by Victoria Yakusha for her ‘Faina’
collection, is paired with a ‘Spade’ chair by Faye Toogood, a wooden
also so that they can be coloured with daylight – from
‘Mary’s’ chair by Matthew Hilton for De La Espada and a ‘Shibari’ bright white through to delicate beige and grey, and brilliant
ceiling light by Kateřina Handlová for Bomma. The rug is by Helmut orange at sunset,’ explains Konrad. ‘Even 45 floors up,
Lang for Henzel Studio Stockist details on p194 nature plays a huge role in this design.’ kookudesign.com

‘I WANTED TO
TRANSFER THE SOUL
OF A POST-FACTORY
LOFT INTERIOR INTO
THIS ULTRA-MODERN
APARTMENT’
Above A painting by Tomasz Baran hangs above the

‘Pechyvo’ cabinet by Victoria Yakusha for the ‘Faina’
collection. The rug is by Anselm Reyle for Henzel Studio
and the long table is the ‘Til’ by Christophe Delcourt
Kitchen The cabinets are bespoke, as is the walnut
island topped with black marble. The white ‘Pilotis’
side table is by London-based designer Malgorzata Bany

Opposite American walnut

has been used for the parquet
flooring Bathroom Entirely
clad in silver travertine, this
space has a luxurious look.
A ‘Whisper’ box by Nika
Zupanc for Sé sit on the vanity
Study The ‘Twi’ desk and ‘Oud’ chair are both by

Christophe Delcourt, and the mirror above is the ‘Luna’
by John Eric Byers. A ‘Pulley & Pulley’ light by Jérôme
Pereira – available at Kooku – provides illumination
Bedroom Bedlinen by Faye Toogood for Once Milano
brings a soft, natural texture to the ‘Suite Bed’ by
Autoban for De La Espada. The striking floor lamp
is the ‘Einstein Was Right’ by Jérôme Pereira
HOME TREND
THE
B IG EASY
Plump, curvaceous furniture is hot property
and, in this home by interior designer Pierre
Yovanovitch, it creates a friendly atmosphere
Words BETHAN RYDER Photography JÉRÔME GALLAND
Comfort and colour are in plentiful supply in this two-bedroom apartment

located in a 1950s property in Paris’s tranquil Les Invalides neighbourhood.
Designed for a young French couple who both work in the fashion industry,
and their young daughter, the home is the perfect example of Nice-born interior
designer Pierre Yovanovitch’s eclectic approach. He is known for blending
architectural elements with artisan-produced bespoke furniture, 20th-century
design collectables and contemporary art. On paper, this could sound dry, but
in reality his lively and inviting spaces are full of texture, materiality and
cheerfulness – imparted by his own expressive designs.
It’s hard not to feel affection for someone who christens their furniture and
lights with names such as ‘Papa Bear’, ‘Oops’ and ‘ET’. A pioneer of the curvaceous
and generous forms trending right now – the ‘Papa Bear’, for instance, designed
in 2012, is a huggable teddy of a chair with plush ears – Yovanovitch honed his
talents in residential projects after segueing from fashion (he was formerly
a menswear designer at Pierre Cardin). ‘I want my designs to bring character
to any space,’ he says. ‘I try to insufflate poetry into my work, so there is an
element of playfulness in most of my pieces. This is what gives life to an interior.’
In this home, Yovanovitch has generated that energy by creating a fluid,
open-plan atmosphere while maintaining distinct rooms. It is an approach
that is ideal for relaxed family living. At the heart of this layout is the living
room, dominated by a capacious solid-oak sofa upholstered in Jouffre linen.
‘It required exceptionally skilled craftspeople to realise the piece’s complex
shape,’ he says of the custom-designed piece. ‘I wanted to create a welcoming
feel, and this sofa, with its curved shape, lends itself to conversation.’
The calming neutrals and natural textures of the living area are enlivened
by the punchy dark teal and rust orange of Yovanovitch’s reassuringly chunky
and enveloping ‘Asymétrie’ armchairs. By extending this colour combination
throughout the rest of the apartment – the two shades are most notable in the
kitchen, where they add a vivacious warmth – he creates a harmonious flow,
not to mention a home full of verve and personality. pierreyovanovitch.com
ARTWORK: COPYRIGHT GEORG BASELITZ 2019
Living room A pair of Yovanovitch’s chunky

‘Asymétrie’ armchairs, available at The Invisible
Collection, sit with a concrete coffee table
by Matthias Kohn for Pierre Yovanovitch and
a 1960s red lacquered side table by Tommi Parzinger
from Eric Philippe gallery. The floor lamp is a vintage
design by Alvar Aalto and the artwork is Cobra Baroc
(2016) by Georg Baselitz, from Galerie Thaddaeus Ropac
Living room The curved sofa is a custom-designed

piece. Behind it, a Tracey Emin artwork from Xavier
Hufkens gallery hangs above a console table by Max
Lamb. The ‘Question Mark’ floor lamp is a vintage
piece from the 1950s, by Danish designer Svend Aage
Holm Sørensen Stockist details on p194 ➤
Dining area ‘Monsieur

Oops’ and ‘Madame Oops’
chairs surround a walnut
table, all by Yovanovitch.
The artworks on the nearest
wall are You Wanted Me
(2016) by Tracey Emin from
Xavier Hufkens gallery
Kitchen A terrazzo table
by Yovanovitch is paired
with ‘Dining Clay’ chairs
by Maarten Baas. Above the
granite countertop hangs
a ‘Plaster Cone’ pendant
light by Rose Uniacke
PIERRE
YOVANOVITCH
IS A PIONEER
OF THE CURVY,
GENEROUS
FORMS THAT
ARE THE
CURRENT BIG
TREND IN
DESIGN
Bathroom The chunky dimensions of the travertine vanity unit

contrast with the delicate fluting of the oak panelling behind
Bedroom Jean Royère’s 1949 ‘Elephanteau’ armchair,
upholstered in purple mohair velvet, sits beside a vintage floor
lamp by Paavo Tynell. The artwork above is Pregnant Woman
(2008) by Louise Bourgeois, from Xavier Hufkens gallery.
Armelle Benoit designed the bedside table for Pierre Yovanovitch
HOME TREND
Industrial bohemia
Concrete and exposed brick are no longer just for minimalists – paired with artisan
textiles and greenery, they take a free-spirited turn Words EMMA LOVE Photography ANSON SMART
Living room The Lines of Confluence 2

artwork by Judith Wright hangs above
a ‘Tactile’ sofa by Vincenzo De Cotiis for
Baxter. The rattan chair is by Sika Design
P
lanting a fig tree in the centre of their cottage felt the most natural way for South African-born couple
Natalie and Keiron Devlin to bring softness to the space’s industrial style. The home, in the Sydney
suburb of Annandale, would look quite severe, with its exposed brick walls and concrete floors, were
it not for the branches of the tree that reach up through the central stairwell towards a retractable
glass roof. ‘From community gatherings to school lessons, somehow everything happens under a tree
in South Africa, and we wanted our home to nod to that in a subtle way,’ explains Natalie of the
statement greenery that sets the tone for this very contemporary take on urban chic.
The original property, which the couple bought in 2010, came with several add-ons, but still felt
too cramped for family life with their two children – Indigo, now 13, and Guinness, ten. Working with
architects Welsh + Major, and later Arent & Pyke interior design studio, they knocked down the outer
buildings and started from scratch, constructing a new section that now houses the galley kitchen
and living area, as well as a third bedroom. ‘The brief to our architect was to create rough and mutable
spaces that can perform a number of functions,’ recalls Natalie. ‘When it was built, our home was
beautiful but very stark. It needed warming up in a way that didn’t detract from its rawness.’
To loosen up the house’s structure, Arent & Pyke used globally inspired artisan textiles. ‘Nothing
too flouncy or frou-frou, though,’ says the interior design firm’s co-founder Juliette Arent. ‘We layered
slubby, raw linens that offer softness while still being in keeping with the architecture.’ To this she
added ambient lighting, handmade ceramics and artworks chosen organically over time. Colour has
been used to inject personality, but the tones are muted – ‘olive, khaki and chartreuse, all hues that
work beautifully with grey concrete,’ adds Juliette. The result is a grown-up refresh of the bohemian
look. ‘There was something about the space that demanded texture,’ continues Natalie. ‘For me, our
cottage manages to be interesting in a calm, relaxed way.’ welshmajor.com; arentpyke.com
Dining area ‘Beetle’ chairs by GamFratesi for Gubi are placed below artist Christian Thompson’s Untitled
(Banksia Leaf) Portrait Homeowners Keiron and Natalie Devlin Opposite The ‘LC4’ chaise longue by Le
Corbusier for Cassina sits beside an ‘Akari’ floor lamp by Isamu Noguchi for Vitra Stockist details on p194

‘When it was built, our home was

BEAUTIFUL but VERY STARK. It
needed WARMING UP in a way that
didn’t detract from its RAWNESS’
Living area A ‘Tivoli’ travertine-topped coffee table by Ten10 sits on a vintage rug. The sofa, upholstered in Belgian linen,
was designed by Arent & Pyke, while the shelves above are a bespoke design in Tasmanian blackwood, steel and brass by
architects Welsh + Major Stockist details on p194

‘From community gatherings to

school lessons, somehow everything
happens UNDER A TREE in
South Africa. We wanted our home
to nod to that in a SUBTLE way’
Kitchen The bespoke cabinets are by Welsh + Major Courtyard ‘Palissade’ stools by Ronan and Erwan
Bouroullec for Hay and a terrazzo table by Arent & Pyke Stairway A fiddle-leaf fig tree grows towards
the retractable glazed roof Stockist details on p194

Textiles in EARTHY TONES

and original artworks bring an
ARTISAN QUALITY to this
home’s severe structure of
concrete and EXPOSED BRICK
Bathroom For similar pencil tiles, try Fired Earth Bedroom A ‘Crosshatch’ chair by EOOS for Herman
Miller sits below the I Had Searched Everywhere for My Love Except the Other Side of Death artwork by
Leah Fraser. The bedlinen is by Society Limonta Stockist details on p194

EDIT A U T U M N / W I N T E R 2 019 Edited by A MY MOOREA WONG
S O FA S
LOUNGE CHAIRS
S M A L L TA B L E S
STORAGE
DINING CHAIRS
D I N I N G TA B L E S
D E S K S & D R E S S I N G TA B L E S
BEDS
LIGHTING
OUTDOOR FURNITURE
TH E
EDIT
Our pick of the world’s best new designs
S O FA S
Comfort is taken to new heights this season, with plush fabrics, plump dimensions and even quilting
‘BFF’ BY MARCEL
WANDERS,
£5,043, MOOOI
‘SOPHIE’ BY FEDERICA (MOOOI.COM)
BIASI, £6,144,
GALLOTTI & RADICE
(GALLOTTIRADICE.IT)
‘GENTLEMAN’ BY MARCEL
WANDERS, AVAILABLE
2020, POLIFORM
(POLIFORMUK.COM)
‘GOULD’ BY
PIERO LISSONI,
£7,946, KNOLL
(KNOLL-INT.COM)
‘LE MARAIS’ BY
STEFANO SPESSOTTO,
£3,783, CALLIGARIS
(CALLIGARIS.COM)
‘ARMAND’,
£8,038, FLEXFORM
(FLEXFORM.IT)
‘SUZENNE’ BY CHIARA ‘CHEMISE’ BY STUDIO

ANDREATTI, £2,328, LIDO, £2,173, MY
GEBRÜDER THONET HOME COLLECTION
VIENNA (GEBRUEDER (MYHOMECOLLECTION.IT)
THONETVIENNA.COM)
‘YUMI’ BY NIELS ‘FLAMINIA’ BY CRISTINA ‘CONTOUR’ BY BØRGE

BENDTSEN, £1,576, CELESTINO FOR FENDI MOGENSEN, £1,518,
MOROSO CASA, £4,440, HARRODS CARL HANSEN & SØN
(MOROSO.IT) (HARRODS.COM) (CARLHANSEN.COM)
LOUNGE CHAIRS
Minimalist seating has become a thing of the past as pioneering designs champion curves, colour and pattern
‘ORFEO’ BY MAURIZIO
MANZONI AND
ROBERTO TAPINASSI,
‘ECHINO’ BY £2,290, NATUZZI
SEBASTIAN HERKNER, (NATUZZI.CO.UK) ‘RE’ BY BEN WU,
£863, ZANOTTA £3,861, LONGHI
(ZANOTTA.IT) (LONGHI.IT)
‘METODO’ BY
‘BONSAI’ BY PAOLO LEONARDO TALARICO
GRASSELLI, FROM FOR MDF ITALIA,
£1,059, BONALDO £397, ARAM STORE
(BONALDO.IT) (ARAM.CO.UK)
S M A L L TA B L E S
The easiest way to add interest to a room, whether with structural shapes or mixed materials

TH E
EDIT
‘SELF BOLD’ BY GIUSEPPE

BAVUSO, £5,594, RIMADESIO
(RIMADESIO.IT)
‘BOLIDE’ BY MAURO
LIPPARINI FOR
ARKETIPO, £15,775,
CHAPLINS
(CHAPLINS.CO.UK)
‘EDEN ROCK’ BY
SACHA LAKIC, £3,930,
ROCHE BOBOIS
(ROCHE-BOBOIS.COM)
‘MTM’ BY CARLO COLOMBO,

£11,929, GIORGETTI
(GIORGETTIMEDA.COM)
‘TESAURUS’ BY ANTONIO
CITTERIO FOR MAXALTO,
£12,093, B&B ITALIA
(BEBITALIA.COM)
STORAGE
Choose pieces that celebrate wood’s natural grain with innovative forms and modern marquetry
DINING CHAIRS
Ice-cream shades and soft lines bring a more playful mood to mealtimes
‘AISUU’ BY GINGER ‘REMIND’ BY ‘PLANET’ BY JEAN- ‘ROUNDISH’ BY NAOTO ‘FRAMES’ BY JAIME

ZALABA, £798, EUGENI QUITLLET, BAPTISTE SOULETIE, FUKASAWA, AVAILABLE HAYÓN, FROM
WALTER KNOLL £114, PEDRALI £437, LA CHANCE OCTOBER, MARUNI £823, EXPORMIM
(WALTERKNOLL.DE) (PEDRALI.IT) (LACHANCE.PARIS) (MARUNI.COM) (EXPORMIM.COM)
D I N I N G TA B L E S
Bold, structural lines dominate this season, creating spaces fit for the most stylish of gatherings
‘FOREST’ BY CARLO
COLOMBO FOR RUGIANO,
£11,350, GLOBAL LUXURY
LONDON (GLOBAL
LUXURYLONDON.COM)
‘NETTUNO’,
FROM £14,000,
PAOLO CASTELLI
(PAOLOCASTELLI.COM)
‘MARI CRISTAL’ BY
PHILIPPE STARCK,
£3,451, GLAS ITALIA
(GLASITALIA.COM)
‘DOLMEN’ BY GIULIO
CAPPELLINI, £13,715,
CAPPELLINI
(CAPPELLINI.COM)
‘PARALLEL STRUCTURE’ BY
‘WEDGE’ MICHAEL ANASTASSIADES,
BY NENDO, £4,613, B&B ITALIA
£23,250, MINOTTI (BEBITALIA.COM)
(MINOTTI.COM)

TH E
EDIT
‘VANITY’ BY STUDIO
SOLIDO, £3,684,
BONTEMPI
(BONTEMPI.IT)
‘NINFEA’ BY NICCOLÒ
DEVETAG FOR
PORADA, £3,440,
CHAPLINS
(CHAPLINS.CO.UK)
‘WALL STREET’
BY ROBERTO
LAZZERONI, £33,166,
VISIONNAIRE
(VISIONNAIRE-HOME.COM)
‘SIGMUND’ BY STUDIO
ASAÏ FOR ARFLEX,
£3,480, CHAPLINS
(CHAPLINS.CO.UK)
‘GIANO’ BY GIUSEPPE
BAVUSO, £8,821, ALIVAR
(ALIVAR.COM)
D E S K S & D R E S S I N G TA B L E S
Whether you’re working on your look or your career, luxurious materials and mirrored surfaces are essential
BEDS
Sleek lines and organic materials are key to a stylish night’s sleep
‘MADDOX’ BY LEONARDO
DAINELLI, £5,519, LEMA
(LEMA-UK.COM)
‘FLOYD-HI’ BY PIERO LISSONI,

£3,646, LIVING DIVANI
(LIVINGDIVANI.IT)
’TWELVE A.M.’ BY
NERI & HU, £8,030,
MOLTENI & C
(MOLTENI.IT)
‘CRAWFORD’ BY TOM
FEREDAY, FROM £3,276,
STELLAR WORKS
(STELLARWORKS.COM)
‘BYRON’ BY PIERO
LISSONI, AVAILABLE
NOVEMBER, PORRO
(PORRO.COM)

TH E
EDIT
‘57’ BY OMER ARBEL,

£434, BOCCI
(BOCCI.CA)
‘COORDINATES’ BY ‘OE QUASI’ BY OLAFUR ‘IVY’ BY LUCIE

MICHAEL ANASTASSIADES, ELIASSON, FROM £10,000, KOLDOVA,
AVAILABLE 2020, FLOS LOUIS POULSEN £2,250, BROKIS
(FLOS.COM) (LOUISPOULSEN.COM) (BROKIS.CZ)
LIGHTING
Functional works of art, these pendants shine brighter than the competition
‘WICKED’ BY ALAIN GILLES FOR

VINCENT SHEPPARD, £698,
HEAL’S (HEALS.COM)
‘MOON WALK’
BY MARNI, £690,
LUISAVIAROMA
(LUISAVIAROMA.COM)
‘GRAND LIFE’ BY CHRISTOPHE

PILLET, £2,677, ETHIMO
(ETHIMO.COM)
‘ZIGI’, £1,201, ‘AMBIENT LINE’ BY
SUTHERLAND SEBASTIAN HERKNER,
(SUTHERLAND £531, GLOSTER
FURNITURE.COM) (GLOSTER.COM)
OUTDOOR FURNITURE
Transform your garden, balcony or courtyard with cutting-edge contemporary designs

ESCAPE
A U T U M N / W I N T E R 2 019
THE NEW FRONTIER

THE SOCIAL SCENE
THE STOPOVER
THE HOTEL
T H E R E S TA U R A N T
THE GARDEN
T H E C U LT U R A L D E S T I N AT I O N
T H E C U L I N A RY E T H O S
T H E G E TAWAY
THE FINE PRINT
Dining at The AllBright

members’ club in
Mayfair, London. For the
full story, turn to p179
THE NEW FRONTIER
UNDERWATER
DINING
As Europe’s first sub-aquatic restaurant, Norway’s
Under takes fine cuisine to exciting depths
Half submerged in the wind-whipped waters of the North
Sea, just off the rugged coast of Lindesnes on Norway’s
southernmost tip, Under looks like the world’s most modern
shipwreck. The region’s rocky landscape proves a striking
yet unforgiving home for Oslo-based architecture firm
Snøhetta’s ambitious project for local hoteliers Stig and
Gaute Ubostad. ‘It was important that the structure be
integrated in a respectful way – we wanted it to look like it’s
diving into the water,’ says Snøhetta’s Rune Grasdal. ‘During
submersion, the structure floated on its own before being
moved to its final position – that was the riskiest phase.’
WORDS: CAT OLLEY PICTURES: INGER MARIE GRINI

ESCAPE
‘UNDER PROVIDES A JOURNEY

INTO THE UNKNOWN. GUESTS
WILL BE GIVEN A UNIQUE
OPPORTUNITY TO EXPERIENCE
A SUBMERGED UNIVERSE’
Doubling as a marine research centre out of dining hours,
Under’s colossal half-metre-thick curved concrete hull is
bolted into the bedrock five metres below water level, in an
area where the storms of the North Sea converge, bringing
with them incredibly abundant biodiversity. Designed to
slowly integrate with the wildlife, the structure’s rough
exterior functions as an artificial reef for kelp and limpets,
as well as playing host to the many cameras and other
measurement tools that will document life underwater.
Inside, an imposing Norwegian oak staircase leads down
to a welcoming, cave-like interior, dominated by a vast
floor-to-ceiling window. The textile-clad ceiling deepens
from sunset pink to a rich cerulean blue as you descend.
‘Under provides a journey into the unknown. Guests will
be given a unique opportunity to experience a submerged
universe,’ says Grasdal. The seafood dishes are served on
ceramics crafted from local sand and the 40-seat dining
room sits under a constellation of hundreds of LED lights
that, when adjusted, illuminate the conditions outside. In
Norwegian, ‘under’ means both ‘below’ and ‘wonder’ – a
fitting name for this architectural achievement (under.no).

ESCAPE
THE SOCIAL SCENE
MEMBERS’
CLUBS WITH 1 T H E C O N D U I T M AY FA I R
Pioneering the new, more altruistic, way of
MISSIONS attracting members, this club, which opened
last year, describes itself as ‘a home for
London’s newest, most exclusive a diverse community of people passionate
venues are more about what you about social change’. It hosts events around
believe than who you know the themes of gender empowerment and
sustainability, with talks on subjects such
as ‘how to shake up philanthropic giving’.
The venue’s serious green credentials are
woven into its very fabric, too, with the
hemp-based plaster that covers many of the
walls providing more efficient insulation
and improved air quality. From £1,800 per
year (theconduit.com).
2 H O M E G R O W N M A RY L E B O N E
The cooler little sister to members’ club
3
Home House, this venue’s raison d’être
is to be the catalyst new entrepreneurs
need to build their empires. There are
bedrooms, pitching suites, restaurants
and lounges, while a programme of talks
(speakers include self-starters such as
Kelly Hoppen) provides inspiration. Even
its colourful interior – the work of Russell
Sage Studio – is specially designed to help
you get down to serious business. From
£1,500 per year (homegrownclub.co.uk).
3 T H E A L L B R I G H T M AY FA I R
‘There is a special place in hell for women
who do not help other women,’ said former
1 US Secretary of State Madeleine Albright.
This feminist call to arms is what inspired
the AllBright clubs, the second outpost of
which opened recently (another is planned
for LA soon). Designed by Suzy Hoodless,
the Mayfair branch takes a holistic approach
to women’s careers, with wellness treatments
offered alongside programmes such as its
‘AllBright Academy’. Monthly ‘pitch days’,
which pair entrepreneurs with potential
investors, are another highlight. From £1,150
per year (allbrightcollective.com). 4
4 ARBORETUM COVENT GARDEN

WORDS: KATE WORTHINGTON, CAT OLLEY PICTURE: NEIL KENYON
This newly opened venue sees itself as a SUSTAINABILITY,

place where people who care about the planet
can convene. Sustainability runs to its very DIVERSITY, FEMALE
core – all food and drink on site is seasonal EMPOWERMENT AND
and locally sourced, while the deli serves
only plant-based fare. The focus isn’t just ENTREPRENEURIAL
on the environment, though, with mental SPIRIT – CARING IS THE
wellbeing also important. Interiors take
a leaf from the club’s name, featuring green NEW SOCIAL CAPITAL
walls and plants to promote tranquillity,
while perks include pods for meditation, as
well as skill-building workshops and events.
From £950 per year (arbor-etum.com).
2

ESCAPE
T HE ST OPOV E R
JEWEL CHANGI AIRPORT

A departure lounge like no other, Singapore’s new sanctuary is a triumph for aviation and architecture
Once the epitome of bland, functional style, airports are getting

a fresh look as a new wave of pioneering design elevates layovers
with statement landscaping – and it’s transforming the travel
experience. Leading the way is the ambitious complex at Singapore’s
Jewel Changi Airport, an innovative design by Israeli-Canadian
architect Moshe Safdie. In a bid to create a ‘paradise garden’ that
visitors would come back to again and again, Safdie crafted the
‘Forest Valley’. This huge indoor garden, complete with the world’s
tallest indoor waterfall, sits at the heart of the airport’s newest
terminal – a distinctive glass dome, criss-crossed with steel supports
that took five years and almost £1 billion to build.
‘The Jewel complex juxtaposes nature with a vibrant marketplace,
dramatically extending the concept of it as an urban centre,’ says
Safdie. Nature is introduced with some 900 trees and 60,000 shrubs.
Two walking trails climb up through five levels of palm-dotted
greenery to the Canopy Bridge, a dramatic glass-bottomed platform
suspended 23 metres above the terminal. And at the centre of this
spectacular indoor forest is the airport’s showstopper, the ‘Rain
Vortex’. The 40-metre waterfall funnels natural rainwater down
into the airport lounge’s irrigation system.
Adding another dimension to Safdie’s inventive take on what an
airport can offer is the capacity for play at Jewel, where, alongside
airy terrace restaurants and refreshed retail spaces, you’ll find the
Discovery Slides – toted as Singapore’s first large-scale interactive
sculpture – a hedge maze and a mirror room. ‘The world-class
shopping and dining, seamlessly integrated with lush foliage, fulfils
the needs of increasingly discerning travellers for a meaningful,
WORDS: CAT OLLEY
experiential journey,’ says CEO Hung Jean, pointing to a new era

for airport design. Considering Singapore’s nickname as ‘the City
in the Garden’, there seems no better introduction to the country
than this verdant sanctuary ( jewelchangiairport.com).

ESCAPE
THE HOTEL
THE
STANDARD
For fans of Brutalist architecture
and playful interiors, there’s no
better place to stay in London
Located directly opposite St Pancras railway
station, this is the US-based Standard hotel
group’s first international outpost and the
most exciting opening in London’s ever-
evolving Kings Cross Quarter. The Brutalist
property it occupies, formerly an office block
and public library, has been heightened
by a new glass extension, which will host
a restaurant and club accessed via a bubble-
like external elevator. The building’s concrete
façade was a major plus for the team behind
the project, who wanted to, in the words
of the group’s chief executive Amar Lalvani,
‘preserve and enhance its beauty’.
Tasked with creating its 266 rooms and
public areas, American interior designer
Shawn Hausman was equally enthused by
the venue’s history. ‘There’s a lot of reference
to the 1960s and 70s in The Standard’s hotels,
but this was one of the first times we’ve
actually had a property from that period.
‘THERE’S A REAL
LIGHTNESS AND SENSE
OF HUMOUR TO THE
STANDARD. IT
DOESN’T TAKE ITSELF
TOO SERIOUSLY’
The architecture plays an important part in
the rooms and their identities.’
There’s a mix of design references in the
interior, with 1970s-style grooved fir and
walnut panelling sitting alongside bold,
modern terrazzo – Lubna Chowdhary’s
ceramic wall tiles in the reception (top right)
are a highlight. Facing the gothic red bricks
of St Pancras, visual tributes to London’s
transport system feel right at home, from
Mondrian-esque blocks of pillar-box red
and royal blue to subway tiles and linear
motifs reminiscent of patterns seen on the
Underground. ‘There’s a real lightness and
a sense of humour to The Standard,’ says
Hausman. ‘It doesn’t take itself too seriously
– playfulness is important.’ The designer
also finds charm and inspiration in Kings
WORDS: CAT OLLEY
Cross’s somewhat chequered past. ‘The

potential naughtiness that the area was once
known for is something we’ve fully embraced.’
(from £305; standardhotels.com).

T H E R E S TA U R A N T
EMPORIO
ARMANI
CAFFÈ &
RISTORANTE
Secure your table at Milan’s newly
updated and hotly anticipated eatery,
overseen by Giorgio Armani himself
Long-time haunt of the Italian fashion set,
Milan’s Emporio Armani Caffè & Ristorante
in the Quadrilatero district has a new look.
Its soft, iridescent tones, metallic finishes
and clean lines are very much in keeping with
the brand’s spirit. ‘I was inspired by elements
from the 1930s, the period the building dates
back to,’ explains Giorgio Armani, who has
been closely involved with the historic venue’s
refurbishment. ‘The layout and colour scheme
create an elegant and contemporary look.
I wanted it to be a welcoming space,’ he adds.
The café, which sits together with Armani’s
flagship store and hotel, gets an additional
touch of glamour with large, dark terrazzo
tiles – a modern nod to traditional Venetian
flooring – and gleaming brass trims. In this
luxurious setting, customers can devour sweet
treats made by the in-house pastry chef and
‘Armani/Dolci’ delicacies by famed chocolatier
Guido Gobino, all while relaxing on armchairs
and banquettes upholstered in lustrous blue,
green and red Rubelli fabrics. Come evening,
brunch and lunch are exchanged for aperitifs
– often accompanied by live DJ sets.
Upstairs, the formal restaurant (right) and
Champagne bar are adorned in the same
elegant palette of glistening green and blue,
while slender glass panels decorated in a palm
leaf print from the ‘Armani/Casa’ collection
create an intimate feel. The menu comprises
light Italian and Mediterranean fare, such as
spaghetti with tomatoes from the Mount
Vesuvius region and saffron risotto: classics
with a twist – nothing less than you’d expect
from Armani (armani.com/restaurant/it).
‘THE LAYOUT AND

COLOUR SCHEME
CREATE AN ELEGANT,
CONTEMPORARY LOOK.
I WANTED IT TO BE A
WELCOMING SPACE’

WORDS: ROSARIA ZUCCONI AND FRANCESCA BENEDETTO
PICTURES: GIORGIO POSSENTI
ESCAPE
ESCAPE
THE GARDEN
THE NEWT
This redesigned country estate seals Bruton’s
reputation as a horticultural haven
Possibly the biggest news in the British gardening world since Dutch
plantsman and author Piet Oudolf opened his ‘Field’ at Hauser &
Wirth in Somerset’s Bruton, is the makeover of Hadspen House – just
a ten-minute drive down the road. The 300-acre estate, now named
The Newt, was already attractive to the green fingered: once the
home of garden writer Penelope Hobhouse, it was then tended by
Sandra and Nori Pope, renowned for their colourful planting.
Now under the ownership of Koos Bekker and Karen Roos, the
duo behind famously chic farm, hotel and restaurant Babylonstoren,
near Cape Town, the venue has been stylishly transformed. similarly
to the South African mothership, where the eight-acre kitchen
garden inspires the entire offering, The Newt’s gardens and apple
orchards have been placed at the heart of the project. Their seasonal
produce informs the look of the hotel, located within the honey-hued
walls of the Grade II-listed Georgian manor house, as well as the
restaurant’s menu. An apple-tree maze occupies the ‘Parabola’, the
curved walled garden, plus there’s cider making and a museum to
explore. With historically-inspired formal gardens, not to mention
a spa, pool and shops stocked with local delights, from West Country
cheese and meats to ceramics, candles and prints by Somerset-based
artists, The Newt promises to be a destination like no other. Gardens
open 10am–6pm, £15 (thenewtinsomerset.com).
WORDS: NATASHA GOODFELLOW

ESCAPE
T H E C U LT U R A L D E S T I N AT I O N
CARL FREEDMAN
GALLERY
Swapping Shoreditch for the seaside, this
iconic arts space has found fresh inspiration
Margate’s evolution from tired seaside bolthole to lively home of the arts is freshly
buoyed by its latest cultural landmark: the newly relocated Carl Freedman Gallery,
‘MARGATE IS which opened in Shoreditch in 2003. ‘Margate is going through an amazing
transformation, led by a growing art community,’ explains Freedman, the gallery’s
GOING THROUGH founder. ‘The new home is a fantastic opportunity for us to present larger-scale
AN AMAZING solo exhibitions by our artists as well as more expansive curated shows.’
Set back from the bustle of the seafront, behind the Old Town, the cavernous
TRANSFORMATION, gallery – part of what was once the headquarters of Thanet Press – houses three
LED BY A GROWING
WORDS: CAT OLLEY PICTURE: OLLIE HARROP
exhibition spaces, an apartment and a huge, 929-square-metre upper floor dedicated

to Freedman’s printing business, Counter Editions. Offering high ceilings and
ART COMMUNITY’ copious space uninterrupted by columns, the former commercial site looks set to
be a coveted address for creatives, with Tracey Emin’s new studio currently under
construction next door. The Carl Freedman Gallery’s inaugural exhibition, ‘Man
in the mouth of a cave’ (until 25 August), is a solo show celebrating expressive new
works from painter, poet and fixture of the Kent arts scene Billy Childish. It’s
a wonderfully local start for a venue that promises to celebrate the very best of
contemporary British and international talent (carlfreedman.com).

ESCAPE
T H E C U L I N A RY E T H O S
BIODYNAMICS Top chefs are tasting the benefits of this age-old method of growing food
Organic farming and food is widespread now, but just a few decades top restaurants and cooks, including Nigel Slater and the Hemsley
ago, you’d have to go considerably out of your way to find it. The sisters. Acclaimed chef Skye Gyngell was an early advocate, sourcing
movement’s roots can be traced to the beginnings of biodynamic ingredients for her London restaurant Spring from Fern Verrow,
WORDS: KATE WORTHINGTON PICTURE: MATT RUSSELL
agriculture, an approach developed in 1924 by Austrian scientist a biodynamic farm in Herefordshire run by grower Jane Scotter.
and philosopher Rudolf Steiner – although it can be argued that Gyngell is also at the helm of the kitchens at Heckfield Place in
many farmers around the world had followed similar practices Hampshire, which is currently in the process of converting its
before that. Like organic farming, biodynamic growing strictly gardens and on-site farm to biodynamics. Aiming to be fully certified
prohibits the use of chemical fertilisers and pesticides, but it also next year, Heckfield will be the first biodynamic hotel in the UK.
goes a few steps further than that, treating farms as balanced For its contemporary European dishes (above), Peckham-based
organisms that can sustain themselves, with waste being recycled restaurant Levan teams up with allotment growers who use
to feed plants and animals. It adheres to a horticultural calendar, biodynamic principles on a small scale. ‘The plots are so local that
used to indicate optimal sowing, pruning and harvesting times. the tomatoes can still be warm from the sun when they arrive,’
Not only does this approach benefit our ecosystem, but the quality enthuses chef Nicholas Balfe. With around 5,000 biodynamic farms
of the produce it yields is so good, it’s sought after by the country’s worldwide, you can expect to see it on a menu near you soon.

ESCAPE
Oslo’s streets bathed in sunshine Fuglen coffee shop
T H E G E TAWAY
OSLO
Those in the know are heading to this eco-minded
Scandi destination, named 2019’s European Green
Capital. And, with an index-topping quality of life,
a trip to Norway’s first city is sure to raise a smile
WHERE TO STAY Norway’s largest hotel, Clarion

Hotel The Hub, boasts an urban rooftop garden, where it grows
greens for its local produce-championing restaurant Norda (from
£190 a night; nordicchoicehotels.com). For a stay inspired by the
Hotel Amerikalinjen
glamour of ocean travel, there’s Hotel Amerikalinjen, located in
the former Art Deco home of the Norwegian-America cruise line.
The building was designed in 1919 by architects Andreas Bjercke
and Georg Eliassen, and the new hotel nods to its heritage, with
Norwegian Hadeland Glassworks, which designed glassware for
cruise ships in the 1950s, supplying the bar (from £170 per night;
amerikalinjen.com). For a more traditional stopover, The Grand
Oslo, whose Nobel suite plays host to the winner of the eponymous
prize each year, is the last word in luxury, with a powder pink lobby
and Murano glass chandelier (from £163 per night; grand.no).
BREAKFAST & LUNCH Fuglen (known

locally as ‘The Bird’, thanks to its logo) has been expertly making
coffee using beans from local roasteries since 1963. Its wooden
interior sports a bevy of mid-century Norwegian accessories and
furniture, which are also for sale (fuglen.no). For baked goods,
it has to be Handwerk. The bakery uses only organic, natural
ingredients (even its own yeast) to create delicious breads including
Puffen, Kamelåså, Durum and sweet sourdough (handwerk.no).
Kollekted By
If you’re stopping for lunch, the plant-based bowls at Nordic
Foodprint offer a near-zero carbon footprint, thanks to organic
Oslo Opera House
ingredients sourced from small local farms (nordicfoodprint.com).
WINE & DINE From vegetables gathered at Losæter’s

urban allotments to seafood caught fresh from Norway’s venerable
waters, it’s easy to eat like the locals. In fact, if you dine at slick
eatery Maaemo – ancient Norse for ‘Mother Earth’– you’ll find
Losæter’s rose petals on the artful plates of the city’s only three
Michelin-starred restaurants. On the set menu, delicacies such as
scallops with fermented celeriac or well-smoked reindeer broth
are given a contemporary edge (maaemo.no). For fine dining with
a twist, Rest uses food waste to concoct imaginative dishes such as
cod with crisped bread, Jerusalem artichokes and fried leek roots
(restaurantrest.com). And, for an evening tipple, sit among exposed
Norda at Clarion Hotel The Hub Futura Classics
copper piping at vintage-inspired bar Himkok, the recent winner

of the World’s Best Sustainable Bar award, thanks to its links with
local farms and the on-site distillery (himkok.no).
ARTS & CULTURE With the city’s Green Capital

title comes a programme of eco exhibitions. Visit ‘Be Prepared’,
a thought-provoking exhibition on weather and climate change
housed at the museum beneath the world’s oldest ski jump,
Holmenkollbakken (skiforeningen.no/holmenkollen). Get your
bearings atop another of the city’s heights – the sloped roof of the
Snøhetta-designed Opera House, which offers panoramic views of
the Oslo fjord (operaen.no). From there, head to Astrup Fearnley
Museet. Designed by architect Renzo Piano, it exhibits works by
the likes of Andy Warhol and Francis Bacon (afmuseet.no). For
your green fix, explore Frogner Park and its 212 Gustav Vigeland
sculptures, highlighted this year by an exhibition celebrating 150
years since the artist’s birth. You can find more of his work indoors The Vigeland Museum
at the Vigeland Museum (vigeland.museum.no).
SHOP Oslo is a fantastic place to track down sustainable Astrup Fearnley Museet
secondhand buys. Scandinavian design is championed at lighting
and mid-century furniture specialists Futura Classics, but you’ll
also find pieces from further afield (futuraclassics.no). Continue
your hunt at Utopia Retro Modern, whose quirky showroom is
full of hand-picked homeware, art and collector-baiting rarities
(utopiaretromodern.com). Flying the flag for contemporary
Nordic design is cool curated store Kollekted By. Its concrete-clad
home in the lively Grünerløkka district is as minimalist as the
furniture, ceramics and skincare on offer (kollektedby.no).
ESCAPE THE CITY Before making a break for

the surrounding countryside, discover the Vøyenfallene waterfall
that sits, surprisingly, right at the city’s centre. Head just beyond
Oslo’s boundaries and you’ll find the forest-fringed Sognsvann
lake. It’s frozen over in winter but busy with hikers and picnickers
during summer. An hour’s drive north west is Kistefos Museum,
WORDS: CAT OLLEY PICTURES: GETTY IMAGES.EYEEM, IVAR KVAAL, EINAR
an eccentric fusion of sculpture park, art gallery and industrial

ASLAKSEN, KYLE MEYR, INGER MARIE GRINI, FRANCISCO NOGUEIRA
mill. From September, visitors can enjoy Danish architect Bjarke

Ingels’ hotly anticipated indoor gallery space/bridge, which twists The Grand Oslo hotel
impressively across the river (kistefos.museum.no).
To discover more design-

savvy destinations, get your
copy of ELLE Decoration City,
the style bible for urban explorers
– buy it online now from
hearstmagazines.co.uk/ed-city
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THE FORECAST SHOP THE EDIT

Looks, launches, innovations & the newest names

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Wall lights from Doshi

Gallerist Rossana Orlandi

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Portrait (from left) Luigi Bestetti,