RO C K S
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CONTENT S 05
Facet: An introduction from Erin Morris
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Jean Campbell and Matilda Lowther photographed by Sølve Sundsbø, fashion editor Katie Grand
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Remembering luxur y interior designer David Collins, whose hits included The Wolseley, J Sheekey and Brasserie Zedel written by Amy Bradford
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British sculptor William Turnbull has finally found favour with the art establishment. His son Alex talks to Rachel Potts about the artist’s legacy
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The David Morris campaign for autumn/winter 2014 photographed by Katja Rahlwes
'CERTA IN GEMS T ONE S C AU SE A P HYSI C A L R E SP ONSE . I S TI L L R E M E M B E R WH E N I S AW M Y F I R S T C U S H I O N CUT DI A MOND, I C OUL DN ' T BR E ATH E' – ER IN MOR R IS –
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Stephen Bailey considers the magic and mechanics of the Rolls-Royce myth
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Giles Coren on Cecconi’s
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The Holy Trinit y of British Fashion: Giles Deacon, Jonathan Saunders, Christopher Kane written by Ben Perdu
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Stockists
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Now Open in Harrods
C o v e r : K A T R I N w e a r s “ P a g o d a ” e a r r i n g s w i t h p i n k a n d w h i t e d i a m o n d s e t i n 18 c t r o s e a n d w h i t e g o l d , 2 2 . 2 2 c t D/ I F p e a r - s h a p e d d i a m o n d p e n d a n t o n w h i t e a n d v i v i d p i n k d i a m o n d n e c k l a c e s e t i n p l a t i n u m , “A n e m o n e ” v i v i d p i n k a n d w h i t e d i a m o n d r i n g s e t e n ’ t r e m b l a n t a n d 6 . 0 0 c a r a t E / V S h e a r t shaped diamond set in pink and white diamond bracelet P h o t o g r a p h e r K ATJ A R A H LW E S S t y l i s t L E I T H C L A R K M a k e - u p G E O R G I N A G R A H A M Hair SEBASTIAN RICHARD Manicure JENNI DRAPER
Opp osite: scar f detail Photographer ROB JARVIS Designer ERIN MORRIS
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D AVI D M O R R I S F I N E J E WE L L R Y M A G A Z I N E FI R S T I S SUE OF RO CK S W h e n I f e l l i n l o v e w i t h m y h u s b a n d J e r e m y, w e d i s c o v e r e d t h a t w e shared the same beliefs about what a great gemstone is and how it should b e p re sente d, and what luxur y re all y me ans. Luxur y is timele s s and hit s o ur s e ns e s: it ap p e als to n o t just o ur visio n b ut o ur t ast e, sm e ll an d touch to o. Few sensations can b e at the p er fe ct fit of a b e autif ull y made and presented piece of jeweller y – a simple eternit y b and of diamonds, l e t ‘s s a y – s o m e t h i n g t h a t h a s b e e n a r o u n d f o r c e n t u r i e s, t h a t h a s b e e n carefully considered and reinterpreted and that will live on for centuries t o c o m e. I h o p e t h a t “ Ro c k s” w i l l l a u n c h a v i e w o n w h a t l u x u r y i s: the ever yd a y at tainab le and the dre am of the unat tainab le…
FAC E T I have happy memories of my first visit to Harbour Island in the Bahamas. I met up with a few of my friends and their husbands there for a New Year’s vacation, and was heavily pregnant with my first child at the time. Harbour Island is a sandy pink jewel in the middle of the Caribbean, accessible only by ver y scar y prop planes from Nassau. In the middle of turquoise waters, this tiny island is dotted with sorbet-coloured colonial houses and you can only travel around it in golf carts. Ever yone was ver y excited about enjoying all the local flavours: conch fritters, conch stew and raw conch salad – all of course washed down with lots of sweet rum cocktails against a background of beautiful sunsets and pink sugar-sand beaches. Although if you’re heavily pregnant and the designated golf-cart driver, it may get a little dull. Which is what led me to set out on a mission to find the elusive conch pearl. I love conch pearls. They come from the queen conch, a magnificent creature whose shell grows to an enormous size with a pearl-white exterior and bubblegum-pink lipped interior. Though they are plentiful, only one in ever y thousand will contain a pearl. The pearls come in all colours, but the most coveted and beautiful are the brilliant pink ones that burn with a chatoyancy that looks like flame. These gemstones were highly collectable in Victorian times but fell out of favour in the 20th centur y. However, unlike Mikimoto or farmed cultured pearls, conch pearls can only be created by nature, which is why they are so ver y rare.
' O N LY O N E I N E VE R Y T H O U S A N D QUE E N C ON CH E S WI L L C O N T A I N A P E A R L' – ER IN MOR R IS –
Tired by my pregnancy and the revelr y of my friends, I took my golf cart around the island and started inter viewing fishermen to find out if they had ever found a pearl inside any of the thousands of conches that they fish for a living. Time after time, the reply was “no Mon”. After I’d been searching for a week, a fisherman heard about my quest and came to me with three pieces of conch pearl. The first was shaped like a tooth, while the second was brown, demonstrating t wo of the many colours and shapes they can come in. But the last one was a perfect little bubblegum gem. The excitement of finally having found this precious pearl was only heightened by the knowledge that I was having a little girl who I would later give it to.
O p p o s i t e : C o n c h p e a r l w i t h p i n k a n d w h i t e d i a m o n d s s e t i n 18 c t w h i t e g o l d Photographer ROB JARVIS
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' DI S T I N CTIVE, C R E AT I V E AND A LWAY S ON TREND' – JEREMY MORRIS –
P h o t o g r a p h e r S Ø LV E S U N D S B Ø Fa s hio n Edit o r K AT I E G R A N D
J E A N w e a r s “ P a g o d a ” e a r r i n g w i t h p i n k a n d w i t e d i a m o n d s s e t i n 18 c t p i n k a n d w h i t e g o l d
L A DY J E AN CAM PBE L L The daughter of Lord Cawdor from up North (the Scot tish Highlands, to b e precise)
JEAN wears conch pearl and white diamond chandalier earrings and l o t u s b l o s s o m w h i t e d i a m o n d n e c k l a c e b o t h s e t i n 18 c t w h i t e g o l d
M A T I LDA LOW T HE R T h e high -jumping ar t st u d e nt, als o f ro m up N o r t h (the Lake District), k nown as B ambi to her friends
M AT I L D A w e a r s 14 . 4 9 c a r a t p e a r s h a p e w h i t e d i a m o n d e a r r i n g s w i t h w h i t e d i a m o n d t a s s e l n e c k l a c e s e t i n 18 c t w h i t e g o l d a n d w h i t e r o s e - c u t d i a m o n d b a n g l e s s e t i n 18 c t w h i t e g o l d
' YO U SHOULD WE AR YO U R J E W E L L E RY, NOT THE O T H E R WAY RO U N D ' – ERIN MORRIS –
M AT I L DA we ars ro u n d w hit e diam o n d e ar rin g s w it h mic ro - s e t an d w hit e diam o n d “Lo t u s” f i n g e r r i n g w i t h w h i t e d i a m o n d “ C o s m o s ” b r a c e l e t a l l s e t i n 18 c t w h i t e g o l d
D AV I D C O L L I N S by Amy Bradford A tribute to the interior designer whose daz zling spaces stand as an enduring testament to luxur y living Not ever yone has the skill to make mauve crocodile leather look sophisticated. But David Collins did.
The exotic skin adorns the Irish-born designer’s Artesian bar at the Langham hotel in London’s Portland
the space – from pendants with exposed bulbs and cr ystal details to daint y table lamps and gold wall
The Connaught Bar, too, is a masterclass in illumination. Collins scattered lights throughout
Place, which recently topped the World’s 50 Best Bars Awards for the second year running. It’s a
sconces – to create a precious sparkle, ensuring that his grey palette never looks cold. It’s a tactic
testament to Collins’s greatest talent: his unerring abilit y to transform a bar, restaurant or hotel into the
that illustrates the attention to detail involved in his work. As he told Esquire in 2009, his st yle was all
most desirable destination in town. The distinguishing features of his designs are easy to spot: a mix
about bespoke. “It’s not a pastiche or a copy. And we like to do better. Better than we did last time
of heritage and modern touches, luxurious materials lavishly used, bespoke finishes, exquisite colours
and better than anyone else.”
and perfectly judged lighting. But his work also has that little extra spark of genius that you can’t quite
put your finger on: atmosphere, sexiness, what Diana Vreeland would have called ‘pizzazz’.
really a foodie. But he was passionate about shopping, an excitement he brought to bear on his
Ironically, despite his status as a bar and restaurant guru, Collins didn’t drink and wasn’t
Collins’s sudden death at the age of 58 earlier this year, from an aggressive form of skin cancer,
numerous boutique designs. Several of these were for David Morris, with whom he worked for nearly
shocked ever yone who knew him and dismayed those who have admired his work over the past three
15 years, creating its stores all around the world. Erin Morris, who runs the fine jeweller y house
decades. He always seemed destined for a role in design: his father was an architect and his grandfather
with her husband Jeremy, says that Collins was a natural choice thanks to his fusion of glamour
worked in the housing industr y, while Collins himself exhibited a love of beaut y from a young age. A
with craftsmanship. The couple forged a close collaborative relationship with the designer, working
self-proclaimed “precocious child”, he would spend hours in his local Dublin librar y poring over books
together on ever ything from colour palettes to bespoke cabinetr y. “He had the abilit y to rethink
on film stars, photography and set design. Following in his father’s footsteps, he studied architecture at
modernit y while still looking at the past, something that resonates with us,” says Morris. “For me,
Dublin’s Bolton Street School of Architecture and in later life would continue to describe himself as an
his designs always have a 1940s feel about them – he references Art Deco and the opulence of that
architect – one who, like the great Modernists, focused as much on a building’s contents as on the structure
era with his clean lines, but in such a modern way.” At the David Morris store in Bond Street, this
itself. Yet his career happened almost by accident, when a friend asked him to help decorate their home
translates into a refined but neutral décor that allows the spectacular jewels to shine. “It has lovely
– at a time when, by his own admission, he had “never even seen The World of Interiors”. By a stroke of
couches, really luxurious fabrics and leathers, detailing in bronze and hand-painted silk walls,”
luck, that friend knew chef Pierre Koffmann, who admired Collins’s debut project and asked him to
explains Morris. “Ever ything feels like a little treasure box. We changed our packaging at the same
revamp his Chelsea restaurant, La Tante Claire. A commission from Marco Pierre White followed – and
time, creating bronze boxes that you have to unlock with a key, to form a cohesion bet ween his
the rest, as they say, is histor y.
aesthetic and ours.”
Now, so many of London’s great dining establishments – both the timeless classics and newer
Collins was soon a personal friend as well as a colleague. “He was a ver y conscientious
hotspots – have his stamp on them: The Wolseley, Delaunay, Brasserie Zedel, Colbert, Nobu Berkeley
and caring person, and he became friends with his clients, which not many people do,” says Morris,
Street, J Sheekey… the list goes on. They remain desirable long after the fashion crowd has moved
who was treated to a demonstration of his intuitive flair when she invited him round for tea one day.
on to the next big thing. Take The Wolseley, for instance. It’s ten years since it opened, but the place
“We had just bought our house, and we laid out the architectural plans. He looked at them and
has kept its cachet thanks to Collins’s minimal inter vention in the original space – a 1921 former car
said, ‘Nope, nope, nope,’ and ten minutes later he had reconfigured the whole house. And he was
' N O T E V E RYO N E HA S T H E S K I L L T O M A K E M AU V E C RO C O D I L E L E AT H E R LO O K S O P H I S T I C AT E D ' – A MY BR A DF OR D –
right! I think it’s the way with designers who are ver y good at what they do – he didn’t have to
showroom that, with its towering pillars, glowing chandeliers and marble floor, seemed destined for his touch. Or oriental restaurant Nobu Berkeley Street, where he took inspiration from Japanese timbers
overthink things, he just instinctively felt them.”
and forests to create an opulent look in gold, silver, black and green. All too aware of the dangers for
the successful designer carried away by ego, Collins was careful to respect both the heritage of the
unveile d its new d e sign fo r t he A l exand er M c Q u e en b o utiqu e. O n t he sur face, it ’s t y pical of his
space he was working on and the integrit y of his clients’ identit y, resulting in finely calibrated designs
work, t he glos s y she en of b o ok- matche d marb le, go l d and chand eliers on show ever y w here.
with impressive longevit y. You can see the hallmark of his personalit y in one of his best-loved designs,
B ut as wit h t he Connaught B ar, t here are hid d en d etails to b e dis covere d: miniat ure skulls,
the Blue Bar at the Berkeley hotel, opened in 2010. It sprang from a happy coincidence: blue
g argoy le s, wings and t railing l e ave s a do rn t he b e sp o ke p l aster p an elling, w hil e cl awe d
was the favourite colour of Edwardian architect Edwin Lut yens, who designed the wood car vings
animal fe et and g a zell e ho ove s can b e glimp s e d o n t he b as e s of disp l a y cabinets. Co llins
and chandelier in the bar, and of Collins himself, who was known for his signature blue sweater,
has manag e d to convey t he d ark, got hic asp e c t of t he M c Q u e en b ran d w hil e simultane o usl y
trousers and shoes. He had adored the pale blue walls of his childhood bedroom, and his own
cre ating an at mosp here of re st raine d el e g ance. Yo u can s ens e t hat t he man w ho to o k su ch
home was decorated in blues and lavenders. The Blue Bar is finished in no less than 17 shades of
p ains to cre ate p re cious surro undings fo r clot he s and jewell er y als o ha d an innate ap p re ciatio n
blue, from powder to cornflower and china; it’s a small space, but with its celestial hues, it feels as
of luxur y go o ds.
boundless as a summer sky.
Up t he ro a d f ro m t he D avid M o rris sto re o n B o nd St re et, Co llins’s st u dio re cent l y
Erin Morris found that her designer also became her customer. “He bought a couple of gifts
Heritage was crucial to Collins – his own as well as that of the spaces he reinvented. Over
from us for his mother,” she says. “He really took care of her and his t wo sisters. And I think if you’re
in Mayfair, the Connaught Bar at the hotel of the same name is also steeped in Collins’s heritage.
going to be an interior decorator it’s natural to want to look at new things, to have a curiosit y about
Even if you knew nothing of the stor y behind it, you’d still be impressed by its layering of multiple
shopping and collecting.” One of Collins’s last projects was the launch of his own capsule furniture
grey and muted pastel tones, from dust y pink to sage green and lilac, embellished with platinum silver
collection for Italian company Promemoria. Inspired by symmetr y and geometr y, it was a logical
leaf. But how much more interesting when you learn that these colours, and the abstract patterns
career progression for this connoisseur of beautiful objects.
on its walls, were partly inspired by the work of Paul Henr y, a painter from Collins’s native Ireland
(Connaught – or Connacht – is a province in the west of the countr y). Look at Henr y’s landscapes,
kindness, humour and personal st yle. Erin Morris is no exception. “He was ver y well dressed and
with their spectrum of stormy greys, blues and greens, and you’ll understand how.
always smiling,” she says. “He had an acerbic sense of humour and suffered fools poorly, but he
Since the news of his death broke, friends of Collins have repeatedly paid tribute to his
Then there’s Collins’s flair for lighting. Apparently, his mother once complained to him that
was a ver y kind man. He was a good Irish raconteur, and a good gossip, too. I get really upset when
restaurants were always badly lit – words he clearly took on board, because a Collins space is
I think about the fact that he’s not going to be in my life any more.” Those of us who have enjoyed
notable for its supremely flattering glow. At Bob Bob Ricard in Soho, a bar-restaurant decorated in
his bars, restaurants and shops will feel his loss in a different way, but it’s important to point out
petrol blue tones and dark wood, tiny lamps in each booth bounce light over gleaming gold fittings
that David Collins Studio will live on to continue his legacy: it has several important projects in the
creating a chiaroscuro effect. Perhaps it was remembered from those early sessions musing over studio
pipeline, including the revamp of Jimmy Choo’s stores. For now, we might just raise a glass to toast
portraits of Holly wood icons.
him at one of his many fine watering holes and soak up the atmosphere.
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DAVI D CO LLI NS P h o t o g ra p h e r FAU B E L C H R I S T E N S E N
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ALEX TURNBULL, SON OF WILLIAM TURNBULL by Rachel Potts
'HER E'S A
YO U N G M A N WH O G O E S T O PA R I S . . . A N D E N D S U P M AK I N G A B O DY O F WO R K T H AT C A N S TAND C O M PA R I S O N T O G I AC O M E T T I . . .' – SI R NICHOL A S SE RO TA –
The legac y of this renegade mid- centur y ar tist is currently enjoying a reappraisal. H i s s o n R i c h a r d r e c a l l s h i s f a t h e r ’s a n t i - e s t a b l i s h m e n t i n s t i n c t s
O p p o s i t e :‘ 9 -19 6 3 ’ Co ur te s y of ES TAT E O F WI L L I A M T U RN BU L L
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“I got asked to join Madness,” says Alex Turnbull, sitting in a spare, white East London studio
hop and breakbeat label Ronin, releasing the underground dance hit Jailbreak in 1989. But he was in
surrounded by his father’s commanding art work. He was friendly with the band in the early 1980s –
no hurr y to repeat this commercial success for its own sake. “In the Nineties, we got asked to do the
like its members, he was from North London – and already doing well with his own group, 23
Spice Girls, Robbie Williams.” His answer? “Leave us alone – no way.”
Skidoo. “But I thought, ‘Actually, I don’t want to go to Glasgow and play to ten thousand skinheads.
Creatively, that’s not where I’m at.’”
time for William Turnbull. Time however has mellowed the establishment’s verdict, as several major
British exhibitions over the last six years have attested. His debts to his heroes are acknowledged by
Alex and his brother Johnny, both former skateboarding champions, then topped the
Alex says that similarly William “had no time for the art establishment”. It in turn had little
independent charts with 23 Skidoo in 1982. Renowned for their percussive funk and tribal elements,
many inter viewed in Beyond Time, but so is the quiet power of his own work.
they were asked to play the World of Music and Dance festival. Inspired by the context of the recent
Although allied with minimalism and abstraction, Bill always looked to the world,
sacking of their singer and guitarist (itself a “complete kiss of death”, says Alex), the band faced
to life... Heads, horses and aquariums recur in his work, often suggested in the sparest means
an 11.30am crowd with an experimental mix of tape loops, gas cylinders, camouflage and noise.
possible. Even the iconography of Holly wood inspired him. Alex lost a classic 1970s skateboard
Challenging audiences became their MO. Now aged 41, Alex admits he might have been a richer
once, and found it in his dad’s studio. Cycladic in shape, it piqued William’s interest in plain
man had they been content to let the band continue on its original musical path. But he has always
distillations of creativit y. Marks on his bronzes have been compared to the touch of a make-believe
had an unshakeable belief in putting creative honest y before mainstream success – a qualit y he shares
tribe. He himself avoided theoretical indulgence and rarely planned or sketched in advance.
with his father.
Claire Lilley – head of the Yorkshire Sculpture Park, which hosted a Turnbull show in 2005, and
He is the son of the late British sculptor William Turnbull, also known as Bill, who died in
curator of his sculptures at Chatsworth in 2013 – has remarked on “his love for and interest in
2012. Two years earlier Alex completed the film Beyond Time: William Turnbull, which had a starr y
the ordinar y things around us… things made by human hands and expressions of our humanit y.”
premiere, is narrated by Jude Law and features inter views with Nick Serota, Tim Marlow, Matthew
Collings, Richard Hamilton and other art-world luminaries.
to paint and sculpt. As someone in the music business, Alex shares his father’s refusal to submit to
Though best known as a sculptor, William regarded himself as an artist who happened
Beyond Time highlights an incongruit y. William Turnbull was a bright young post war sculptor:
restrictive pigeonholing. A former skateboard champion, a DJ, martial arts teacher and now filmmaker,
David Sylvester curated his solo exhibition in 1950 and he participated in the seminal New Aspects
Alex exemplifies the multitasking, cross-filtered 21st centur y that the Independent Group anticipated,
of British Sculpture at the 1952 Venice Biennale. He met with giants of abstract expressionism, Barnet
and is fascinated by its role in the birth of postmodern mash-up culture.
Newman and Mark Rothko, in New York, and his works are “as strong as any Newman”, according
to Serota. Yet William Turnbull remains comparatively under the radar among his generation, which
his father that he encountered: “As time goes by, it’s like histor y changes; perspectives change.” This
includes Hamilton, Anthony Caro and another artist and friend, Eduardo Paoloz zi. In the wake of
is also true of Alex’s own reputation. He remembers the absurdit y of waking up one day in 2012 to a
Beyond Time’s release, a major exhibition at Chatsworth House in 2013 sparked a flurr y of press
double-page feature in London’s Metro newspaper hailing 23 Skidoo as “the greatest band to never
articles seeking to account for his relative obscurit y. Much was made of the fact that his sculpture is
have a hit record”, after legendar y producer Trevor Jackson had invited them to contribute to a post-
most familiar from appearing in David Hockney’s portrait American Collectors (1968) in the garden
punk compilation. To a small, discerning audience they are a cult band, just as William, Alex says,
of a wealthy L A couple.
was “the artist’s artist”.
In the film and in conversation with Alex, many possible explanations for this obscurit y
Alex found the process of making the film rewarding, not least because of the respect for
Alongside planning a British kung-fu film and finishing another on street fashion, Alex
emerge, the primar y being that William never courted money or fame. Alex’s mother Kim Lim was also
is actively managing his father’s estate with his brother. He co - curated the Chatsworth show
a renowned sculptor (also “massively overlooked” according to the major curator Claire Lilley), and he
and masterminded the installation of his father’s work in Park Lane for the Queen’s Silver Jubilee.
remembers both of his parents warning against a career in art because it was “a crap way of making
William’s friend and fellow artist Tess Jaray says in Beyond Time that William embodied the idea
a living”. His father did not “play the game” with museum professionals, and a strong character
of ar t as “a noble enterprise”. If that seems untenable now, perhaps even lost, Alex is sure of one
emerges from Beyond Time. At one point, William speaks about the critic Clement Greenberg, who
thing: that he has given his father’s work exposure “in a way that’s commensurate with how he was,
almost singlehandedly canonised classical abstraction and was a might y art-world force. Greenberg
with integrit y and taste, without lowering the value of what it is. Not its monetar y value; I mean
came to visit William – and left rather abruptly. William simply explains: “I didn’t have a falling out
its spiritual value.”
with him, but I never liked people telling me what to do.”
William was brought up in a depressed early-1930s Dundee, and from the start, Alex says,
he was a square peg in a round hole. As a young child, he painted all of his parents’ mahogany furniture blue and copied voraciously from new American colour magazines. At only 16, he was scouted at an art class for a job as a publisher’s illustrator – “When ever ybody around him was being laid off from the shipyard,” Alex adds.
In 1941 and mindful of the horrors of trench warfare, William joined the RAF – taking with
him a treasured Phaidon art book – and as a pilot absorbed the aerial views and cultures of Canada and the Far East; he liked flying at night, seeing it as “something in the modern world that triggers off something primitive”. Five years later, he used an ex-ser viceman’s grant to enroll at the Slade, but almost immediately became disenchanted with a British art establishment he found inward-looking and staid. Driven by his passion for European modernism, he left early to embed himself in the café culture of Paris where, with few resources, he made spindly, plaster-covered wire works. These bear the influence of Giacometti, with whom he became friends. He also met Picasso, Miró and Léger.
In 1950 he returned to London where, with fellow Slade sculptor Paolozzi, Nigel Henderson,
Richard Hamilton and others, William was part of a dynamic scene based at the ICA. Together they founded the Independent Group, the birthplace of British Pop Art. But aside from a love of James Cagney films (he liked the clothes, apparently), William did not share the fascination with American mass culture shown by Hamilton and others; again, he stood slightly apart. Alex points to his ‘mood boards’ at the time: conglomerations of African masks and sections of planes, exemplif ying the openminded experimentation with collage that characterised his generation’s new mode of making.
It has been proposed that William’s elegant, primal works were more popular in America,
among collectors such as Hockney’s subject Fred Wiseman who had more time for abstraction, than in England. In the film, Tim Marlow suggests, “When the world was speeding up, Turnbull was evoking stasis,” drawing on the stable simplicit y of ancient forms which he embedded in a midcentur y aesthetic. William spent much time in the British Museum, and after his marriage in 1960 to Lim, who shared his interest in early art and craft, travelled to Indonesia, Egypt and China. He was drawn to totems and haiku – neither of which enjoyed much currency in the conceptual, new mediadriven post war world. He found an ostensibly new language in the 1960s and began working almost exclusively in steel and clean-lined industrial forms. In the Eighties and Nineties, he returned to primal bronzes, as if he had seen a thought right through to its natural conclusion. Marr ying a woman from Singapore is further evidence that social norms did not come to bear on William’s decision-making. Alex was called Chuang for the first eight years of his life. In the 1970s, blunt racism at school – from teachers and peers alike – for having a parent from the Far East made this a turbulent time.
Alex says he only came to recognise what he calls a “hereditar y” predilection for integrit y
when he began making Beyond Time: William’s own decisions foreshadowed “the creative cycles me and my brother have followed”. While 23 Skidoo enjoyed a devoted but limited following among fans of industrial and experimental music, Alex was also involved in setting up the early British hip
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T h i s p a g e : ‘ 2 3 -19 5 8 ’ Co ur te s y of ES TAT E O F WI L L I A M T U RN BU L L O p p o s i t e : ‘ H o r s e 19 9 9 ’ Co ur te s y of ES TAT E O F WI L L I A M T U RN BU L L
UNTOUCHABLE P h o t o g r a p h e r K AT J A R A H LW ES Stylist LEITH CLARK Hair stylist SEBASTIEN RICHARD Make-up artist GEORGINA GRAHAM P ro d u c e r S Y LV I A FA R AG O M o dels K AT RI N TH O R M A N N, JULIA RESTOIN - ROITFELD
T h e D a v i d M o r r i s c a m p a i g n 2 014 /15
T h i s p a g e : J U L I A w e a r s “ Y a s m i n a ” w h i t e d i a m o n d e a r r i n g , 13 . 7 0 c t D / V V S ’ M a r q u i s e c u t d i a m o n d a n d w h i t e d i a m o n d s w a g b r a c e l e t a l l s e t i n 1 8 c t w h i t e g o l d O p p o s i t e : K AT R I N w e a r s “ Ta j ” c o c k t a i l r i n g w i t h 3 . 0 0 c t D/ I F r o u n d b r i l l i a n t c u t d i a m o n d s u r r o u n d e d i n p u r p l e , w h i t e a n d p i n k d i a m o n d s , “ Ta j ” d i a m o n d e a r r i n g w i t h w h i t e , p u r p l e a n d p i n k d i a m o n d s a n d h e a r t - s h a p e d p i n k a n d w h i t e d i a m o n d b a n g l e a l l s e t i n 18 c t r o s e g o l d
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T h i s p a g e : K A T R I N w e a r s “ P a g o d a ” e a r r i n g s w i t h p i n k a n d w h i t e d i a m o n d s e t i n 18 c t r o s e a n d w h i t e g o l d , 2 2 . 2 2 c t D/ I F p e a r - s h a p e d d i a m o n d p e n d a n t o n w h i t e a n d v i v i d p i n k d i a m o n d n e c k l a c e s e t i n p l a t i n u m , “A n e m o n e ” v i v i d p i n k a n d w h i t e d i a m o n d r i n g s e t e n ’ t r e m b l a n t a n d 6 . 0 0 c a r a t E / V S h e a r t - s h a p e d diamond set in rose and white diamond bracelet O p p o s i t e : J U L I A w e a r s “ L o t u s ” w h i t e d i a m o n d e a r r i n g s , n e c k l a c e , f i n g e r r i n g a n d b l o s s o m s p r u n g b a n g l e a l l s e t i n 18 c t w h i t e g o l d . T h e “ L o t u s ” C o l l e c t i o n
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T h i s p a g e : J U L I A w e a r s w h i t e d i a m o n d d o u b l e e a r r i n g a n d d o u b l e r i n g b o t h i n t h e “ B u t t e r f l y ” c o l l e c t i o n s e t i n 18 c t w h i t e g o l d , w h i t e d i a m o n d s p i r a l b a n g l e a n d “ W a v e ” w h i t e d i a m o n d n e c k l a c e b o t h s e t i n 18 c t w h i t e g o l d O p p o s i t e : K A T R I N w e a r s C o l o m b i a n e m e r a l d a n d d i a m o n d e a r r i n g s s e t i n 18 c t w h i t e g o l d , 4 4 . 3 5 c a r a t F a n c y I n t e n s e A s h e r c u t y e l l o w d i a m o n d r i n g s e t i n 18 c t r o s e g o l d , 16 . 2 2 c a r a t C o l o m b i a n e m e r a l d a n d d i a m o n d r i n g s e t i n 18 c t w h i t e g o l d , “ C a l y p s o ” c o l l e c t i o n b a n g l e s i n w h i t e d i a m o n d , e m e r a l d s and vivid yellow diamonds
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Image courtesy of rollsroyce.com
ROLLS-ROYCE: A BRIEF HISTORY by Stephen Bayley
How the British car manufacturer forged a reputation for being the last word in high end
Manchester was the scene of t wo meetings that defined the possibilities of the modern world: Karl
in a flying accident in Bournemouth. The ver y same year, Royce became ill. He built the Villa Mimosa
Marx met Friedrich Engels in Chetham’s Librar y to discuss the imminent workers’ revolution; and
at Rayol-Canadel-sur-Mer on the Côte d’A zur, with a drawing office called Le Rossignol attached.
Charles Rolls met Henr y Royce in, one imagines, more convivial circumstances, at the Midland Hotel.
From here, with a mixture of stern engineering principles and a little of the Riviera’s unique blend of
The first meeting led to The Communist Manifesto and, indirectly, to Kim Jong Un. The second meeting,
luxe, calme et volupté, he guided the fortunes of his company.
in 1904, led to the creation of the ultimate road transport and today’s Rolls-Royce Phantom, a car that
tests the artistic and conceptual limits of Henr y Ford’s original “gasoline buggy”. Your new Phantom
luxur y founded in the Jaz z Age have been a part – and remained an enduring element of – the Rolls-
can, for example, be ordered with a magnificently kitsch t winkly planetarium-effect headlining as if to
Royce stor y. In Rolls-Royce, the deeply serious and the decadently frivolous mingle. It was a set of
demonstrate that, in the back of “the best car in the world”, the sky is not the limit.
Rolls-Royce Eagle VIII aero-engines that powered Alcock and Brown’s Vickers Vimy across the Atlantic
Ever since, an incongruous mixture of earthy North Countr y engineering and a taste for
With an irony that Marx would have savoured, the hotel where the engineer Royce met the
in 1919, an aeronautical first and a feat of unusual, unpressurised braver y. By contrast, three years
salesman Rolls – at the junction of Oxford Street and Mosley Street – had been built as a promotional
later, F Scott Fitzgerald had part y-boy Jay Gatsby in a yellow Rolls-Royce. This fair ytale of ambition,
tool for the Midland Railway. The cars that appeared after their over-lunch agreement helped make
vanit y and ruin fixed one version of Rolls-Royce in the popular imagination forever. (Gatsby’s car was
railways redundant as a form of first-class travel.
probably a 40 or 50hp Silver Ghost, although Fitzgerald is unspecific. Curiously, in the recent film
Leonardo di Caprio drives a Duesenberg Model J).
At a recent meeting of the Magistrates’ Association, the nation’s creaking criminal justice
system was described as a Ford Escort running out of petrol. Instead, the collected magistrates
yearned for a system of – as they put it – Rolls-Royce qualit y, integrit y and reliabilit y. With a ver y high
radiator mascot: a not-fully-dressed young woman with head down into the wind. She is always
gloss. The way in which a Manchester carmaker from the age of the Model-T Ford became a metaphor
known as the Spirit of Ecstasy. The sculptor Charles Sykes explained that his model “has selected
for perfection superbly articulates the way cars are much more than mere transport. They move the
road travel as her supreme delight”. The not-at-all covert eroticism of this proposition was there for all
imagination as well as the body.
to enjoy. At speed. Today’s Rolls-Royce customers can now whimsically deploy or retract Ms Ecstasy
with an electronic switch.
There have been technical events of distinction in the histor y of Rolls-Royce, but the
What are the other elements of the Rolls-Royce myth? There is, of course, the famous 1911
achievement is based as much in the creation of enduring myths as in the development of mechanical
Then there was the business of India, where about eight hundred magnificent Rolls-Royces
engineering. This myth-making was facilitated by the friendship of Claude Johnson (the engineer who
were exported in the first half of the 20th centur y. In a complex symbol of reverse colonialism,
'DIGNI FI E D BU T E L E G A N T, I M P O S ING BUT P OLITE , RAZ O R- E D G E D B U T VO L UP T U O U S' – S T E P H E N B A YL EY –
actually built the company) with Alfred Harmsworth, pioneer press baron. When the 1907 Silver Ghost
the cars were much favoured as prestige assets. Typical was Bhupinder Singh of Patiala, whose habit
performed extraordinarily well at endurance trials, it was dutifully reported in Harmsworth’s papers
it was to travel in a motorcade of 20 Rolls-Royces. In this fashion, an aura of absolutism began to
and soon became known as “the best car in the world”. Of course, there never was and never can
attach to the cars.
be any such thing, but it is an essential truth of marketing that reputations long sur vive the underlying
truths that give rise to them. A 21st-centur y Rolls-Royce has ver y little in common with the stuttering,
its own with no competitors to lead. Instead, its great cars were always conceived in terms that would
belching machine that lurched out of the Cooke Street factor y, but that aura of “best” still attends it.
have been understood by countr y-house architects. Ivan Evernden’s Silver Dawn, for example: as fine
as a small neoclassical pavilion in a Home Counties park.
This reputation did, however, have a credible source in the fanaticism of Royce himself.
In matters of aesthetics, Rolls-Royce has never led – perhaps because it is in a categor y of
Just like Jonathan Ive at Apple today, Royce was fascinated by bonding and fixing materials. If you
understand this, you understand the true nature of machines. The iPhone looks gorgeous because
arrogance, but here is a masterful design. Neither old nor new but timeless as a Doric temple, the
Ive has researched the physical limits of aluminium and glass. Rolls-Royce became the ultimate car
1955 Silver Cloud is one of the unarguable peaks of automobile art. It was drawn by JP Blatchley,
because Royce was obsessed with… bolts.
whose job title was “chief st yling engineer”. Blatchley was, by all accounts, an authoritative but
He knew that the largest bolt he would use would be three eighths of an inch in diameter,
quietly spoken man who never sought personal fame. Instead, his wonderful Silver Cloud achieved it
and that the majorit y would be much smaller. Run-of-the-mill mild steel bolts would be inadequate: he
for him. It is architecture and it is rolling sculpture: dignified, but elegant; imposing, but polite; razor-
specified 3.5 per cent nickel steel. He believed the classic Whit worth threads were too coarse, so
edged, but voluptuous. The subsequent design language of Rolls-Royce is based on all Blatchley’s
insisted on British Association Standard Fine Threads. Additionally, Royce’s bolts were square-headed
assumptions. And Rolls-Royce design language always will be.
rather than hexagonal. This was because a square head can readily be prevented from turning loose
by building a spigot into the component it houses.
Blatchley-era Rolls-Royces used American gearboxes sourced from General Motors. And when in 1958
In this way, invisible to the customer, was great refinement achieved. The psychohistor y
the prototype Mad Man, David Ogilvy, wrote the ad campaign that said “At 60mph in a Rolls-Royce
is revealing: Royce was the son of a dirt-poor miller, but an apprenticeship at the Great Northern
the loudest thing you can hear is the ticking of the clock” it was an inspired half-truth. By 1958, the
Railway workshops in Peterborough taught him the language of engineering. He met Sir Hiram Maxim
average US sedan was already quieter and more refined than Gatsby’s or the Maharaja’s Roller.
(who patented a gas recoil and blowback mechanism for his infamous machine gun) and was soon
making electrical components under his own name in Manchester. It was Royce who patented the
purpose here. A Rolls-Royce transcends the ordinar y, even if the stor y began with square-headed
bayonet socket for electric lamps. Then histor y and fate stepped in. Histor y when he had that meeting
bolts. The reason is written over the mantelpiece in Henr y Royce’s West Wittering house: quidvis recte
with Rolls. (It was a real Lennon and McCartney moment). Fate when, six years later, Rolls was killed
factum, quamvis humile praeclarum, or ”whatever is rightly done, however humble, is noble”.
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But the masterpiece was the 1955 Silver Cloud. Master y can be misunderstood as
Myth and reality are still elements in Rolls-Royce. Things were not always as they seemed. The
But that is scarcely the point. Dismal facts and technical specifications are really not the
CECCONI’S by Giles Coren O n e t r i p t o C e c c o n i ’s w i t h E r i n M o r r i s w a s a l l i t t o o k t o p e r s u a d e G i l e s Coren to review his opinion of the swish restaurant that ser ves as B o n d S t r e e t ’s g l a m o r o u s c a n t e e n
As chief restaurant critic of The Times, ‘incorruptibilit y’ is my middle name. Along with ‘discretion’
The place was rammed full of wealthy, beautiful people on a glorious sunny autumn day.
and ‘anonymit y’. Giles Incorruptibilit y Discretion Anonymit y Coren. It’s a bit of a mouthful, but it’s me.
There was not a space in the house, nor at the pavement tables outside.
What this means in practice is that I always book restaurants under a pseudonym, tr y not to
“We’ll have to go to McDonald’s,” I thought.
draw attention to myself, and never, ever allow my judgement to be swayed by fawning waiters, flirt y
But then people started waving at Erin and calling out her name with joy. Senior staff kissed
waitresses, or gifts of free food and drink, which I always refuse. I feel that I get the most authentic
her, younger ones merely touched the hem of her garment.
impression of a restaurant by seeing to it that I am treated as much as possible like any normal member
of the public.
conjured out of nowhere. Ice cold bottles of Gavi di Gavi were thrown down our necks and people
“We are two, but we may become three,” she said. And in a trice a terrific table was
That was probably why I did not much care for Cecconi’s when I first visited it in 2005.
were waving and cheering and throwing their hats in the air and shouting, “Hurrah for Erin Morris!”
I thought it was too flashy by half. I felt that the exclusively Italian staff had too many airs and graces,
Clearly, if you are hot stuff on the Bond Street scene, then Cecconi’s is your office canteen,
too little humilit y. I didn’t like the look of the clientele either: rich, successful men and women of all
and you will be treated far, far better than any boring old restaurant critic.
nationalities, wearing beautiful handmade suits and tans newly painted on by Sardinian sunshine on
the decks of their gleaming yachts. I felt like a bit of a tramp compared to them, to be honest. A bit
buried in about a thousand pounds’ worth of white truffle. Then a huge escalope of veal Milanese
of a smelly old homeless. And I confess that despite my three middle names, I felt a little aggrieved
for me, beaten to the thinness and surface area of a banana leaf, with perfectly crisp and frangible
that nobody at all seemed to know who I was, or care.
zucchini fritti, and for Erin the organic salmon fillet which, as if it were not already restrained enough,
she shared with a beautiful girlfriend who at one point flitted across our lunch.
So when Erin Morris. Dear Erin Morris. Daz zling Erin Morris, gemologist extraordinaire and
The food was ver y good, too. We had excellent lamb carpaccio and then luscious tagliatelle
jeweller to the stars, suggested Cecconi’s for a lunch together, I was initially unenthusiastic. But then
I thought, hell, eight years is a long time. Maybe it’s changed. And even if it had not, I suspected that
were gleaming and then Erin insisted on picking up the bill – a perfect afternoon.
I might have a ver y different sort of experience if I went with a ‘local’. And boy, was I right.
recommend you to go. But go with Erin Morris. In her hands, a ver y good restaurant becomes
You can practically see Cecconi’s from the David Morris boutique on New Bond Street and
We were all of us far too slim and glamorous to eat pudding, but the coffee and petit fours I need hardly tell you that I have revised my view of Cecconi’s and that I heartily
an absolute jewel.
we walked to it in less than a minute.
A b o v e: C e c c o n i ’s Photographer ROB JARVIS Opp osite: Burmese ruby and white diamond ring Photographer ROB JARVIS
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T H E H O LY T R I N I T Y O F B R I T I S H FA S H I O N by Ben Perdue
' F U RT H E R E M P HA SISING THE I NDIVI D UA L I T Y ' – BE N PE R DUE –
A t r i o o f d e s i g n t a l e n t s u p h o l d i n g L o n d o n’s r e p u t a t i o n a s t h e m o s t creative cit y in the world
Opp osite: GILES Photographer GAUTIER DE BLONDE
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CHRISTOPHER K ANE
GILES DEACON Very few London designers have maintained a balance between superstar status and a reputation for
Christopher Kane is a hard man to pin down – but then myster y has always been a big part of the
edginess like Giles Deacon. No mean feat, seeing as he comes from a pool of young fashion talent
31-year-old Scot’s appeal; name another designer of his commercial calibre who can sur vive in this
that produced some of Britain’s best-loved names in the early Nineties, such as Alexander McQueen,
digital age without a website, Twitter account or Facebook page.
Matthew Williamson and Luella Bartley. “He is from a generation that was fundamentally shaped by
that period in pop culture and fashion,” wrote Jo-Ann Furniss in her review of his spring/summer 2014
to the Fashion TV channel as a boy, taping hours of cat walk videos to watch with older sister Tammy,
show for St yle.com. “The era is seen as a golden age for London, when st yle magazines ruled,
now his business partner and creative director of the label. “These were pivotal moments I’ll always
personal st yle was all, and both mainly formed fashion.” While Deacon undoubtedly rode that wave,
remember,” he explained last July in the Vogue Voices series of online films. “Recording the Versace
his enduring relevance owes as much to the years he spent perfecting his skills at established brands
show, the Helmut Lang show, and being sucked into a world of complete contrast to the black
before launching his own, and to an emphasis on collaboration that remains central to his work today.
and white of Scotland.” It was watching a McQueen show that introduced the idea of attending
Born and raised in Newarthill, an industrial village near Mother well, Kane was addicted
That the Nineties were a formative period for the Darlington-born 44-year-old can still be
Central Saint Martins, the college he graduated from in 2006 with a final M A collection of body-
seen in his latest collection, which uses blown-up Glen Luchford pictures of the decade’s supermodels –
con minidresses that catapulted him into the industr y. “London was full of so many characters, and
including Kate Moss and Amber Valetta – to create digital prints on summer dresses. Taken back in
Saint Martins could be a circus, but I could truly be myself there,” he continued on Vogue Voices –
1997, they were test shots for a Prada campaign that never happened, and the fact that Miuccia
and it still plays a big role in his work now, having lived in the cit y for 12 years, running his label
Prada gave her blessing for them to be used now is testament to Deacon’s standing in the industr y. It
from a Dalston studio for the last six. Over a career that has seen him become firmly established
was also during the Nineties that he learned how to build a fashion brand, working for Jean-Charles
internationally, picking up British Fashion Awards and the Vogue Fashion Fund, and helming the
de Castelbajac in Paris, Debenhams in London, and then rising to the position of head designer at
Versace sister label, Versus, in the process, he has understood that the world looks to London for
Bottega Veneta before being sacked to make way for Tomas Maier. Next he worked alongside Tom
newness, so it remains a central source of inspiration.
Ford at the über-luxurious Gucci, but after one season illness forced him to leave. When his own label,
GILES, finally debuted in 2003, instead of being printed on his clothes the ‘supers’ were wearing
he graduated, sparked by the neon colours, animal print and diamanté cr ystals that have dominated
them, as Eva Herzigova, Erin O’Connor and Karen Elson all walked for him, illustrating his significance
previous collections. But his approach is more about celebrating the ever yday in fresh ways than
to London fashion even then.
mining low culture. It also explains his abilit y to connect with a varied customer base, from those
Turning bad taste into high fashion has been a theme present in Kane’s work ever since
The first GILES show was important for another reason: it highlighted the role of Katie
after a statement piece, or trend-led fans of his iconic monkey T-shirts, to high-street shoppers via
Grand, his friend and long-term collaborator who st yled it. He first met the LOVE Editor In Chief at
a string of Topshop collaborations, and even to men since 2010. Lou Stoppard, Fashion Editor
Central Saint Martins, and they later worked at Bot tega Veneta together. Grand has been st yling
of SHOWstudio, summed it up best in a round table discussion during the last London Fashion
his shows ever since, employing the same touch she used at Louis Vuit ton to emphasise his focus
Week. “He’s a symbol of what it takes to be a really successful designer,” she told the panel.
on modern glamour. If the gap -toothed pout prints peppering this season’s collection – rumoured to
“Young fashion kids still love Christopher Kane: it’s that the thing of being very commercial,
be an ode to Grand’s iconic smile – are any thing to go by, her involvement with the brand remains
but still being cool.”
invaluable. But then collaboration is something that Deacon is good at, having enjoyed great success with his series of collections for New Look, and now branching out into less likely fields
O p p osite: CH RISTO PH ER Photographer KAI Z FENG
such as designing furniture for DFS and candles for Molton Brown. And even if they are just projects that inject cash into his business, ever yone wins at the end of the day, because it means more ways
B e l ow: J O N AT H A N Image cour tesy of J O N ATH A N SAU N D ERS
to take a piece of Giles’ home.
JONATHAN SAUNDERS “If you think of Jonathan Saunders as a freewheeling colourist, you’re in the right ballpark,” said fashion critic Cathy Hor yn after the designer’s show last September, praising a defining characteristic of the Glaswegian’s work that is only surpassed by his talent for print. Having graduated with a BA in printed textiles from the Glasgow School of Art in 1999, followed by an M A in the same subject from Central Saint Martins in 2002, print was bound to factor heavily in his work, and this shines through in the stunning bespoke fabrics at the heart of his collections.
Saunders’ skills were ver y much in demand after his graduate show and he went straight
to work creating prints for Alexander McQueen, followed by stints at both Chloé and Pucci, before debuting his own label at London Fashion Week in 2003. Since then his Islington-based brand has grown to include pre-fall and resort collections, alongside the successful menswear offering he launched in 2012. As you would expect, print is the element that ties them all together, following a design process using silk-screened patterns that are engineered specifically for each piece, rather than having one standard print for all, further emphasising the individualit y of ever y garment.
This season he showed just how important silhouettes are too, not just as print vehicles
but as clever commercial separates with a strong mix-and-match appeal. Signature items like the satin bomber jacket were updated with luxurious floral embroideries, and worn with silk tracksuit trousers and boyish Bermuda shorts, while delicate summer dresses and rodeo shirts featured bold peony prints. Seventies influences mixing with youthful, accessible shapes to create a collection that was as exciting as it was wearable. If a designer’s success is measured by the accolades they have collected, then 36-year-old Saunders is at the top of his game after only ten years in the industry, with awards under his belt ranging from the Lancôme Colour Award to Elle’s Designer of the Year, and GQ’s Breakthrough Menswear Brand. Like many designers in his generation he has also undertaken projects with high-street retailers, producing collaborations with both Topshop and Target. But for a clearer indicator of his current importance you could look at how his work has been received on a global scale: he has shown on the London, Milan and New York schedules, as well as boasting a high-profile client list that includes Kate Middleton, Diane Kruger and Michelle Obama.
Saunders will remain grounded by his experiences as a London-based designer though, no
matter who buys his clothes. “I appreciate anybody making the choice to wear something that I’ve designed. I always felt like when I started, that I was kind of learning as I went,” he told St yle Editor Suz y Menkes at The International New York Times earlier this year. “I think what’s wonderful about London is that it supports designers to be able to do that. In no other cit y in the world could you do it from nothing.”
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H E R I TA G E P I E C E Looking at some of the beautiful leaf jeweller y that was constructed during the 19th centur y in Europe, Jeremy Morris created a series of leaves executed in a variet y of sizes and materials: ruby, sapphire, fancy-coloured and white diamond. Worn in t wos or threes the brooch is always a powerful statement piece, evoking a lineage of glamour that stretches from the 1920s and 1940s to the power-suited businesswomen of today. This one-of-a-kind leaf is made of diamond, lilac and magenta sapphires, tsavorite garnet and crowned with a South Sea Pearl. Circa 1995. Please contact David Morris for more information.
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WE A R E N O W O P E N I N H A R ROD S For over five decades, royalt y and international collectors have counted among the clientele of the esteemed British jeweller y brand that David Morris established in 1962. Jeremy Morris has since followed in his father’s footsteps by taking over as managing director and principal designer in 2010. From within the elegant New Bond Street atelier in the heart of London, beautiful couture jeweller y is handcrafted to the highest standards using only the finest stones to ensure each piece is a work of art. Magnificently set diamonds in unique handcrafted mountings are all certified by the world’s top independent laboratories, ensuring a truly exceptional piece of jeweller y to cherish for years to come. Whether it is a sapphire from the historic Kashmir region, renowned by connoisseurs the world over for producing stones of the richest velvet blue, the rich, deep green found only in Colombian emeralds or the rarest pigeon-blood red ruby from the mines deep within Burma, a David Morris creation assures the wearer of the finest provenance and rarit y. “I am delighted to open in the world-renowned Harrods department store. This new boutique will offer clients the same comfort as shopping in the flagship store on New Bond Street, but with the added treat of exclusive pieces that will only be available to purchase from the Harrods showroom.” – Jeremy Morris – We look for ward to welcoming you to our new boutique and sharing with you the histor y of our brand as well as the beautiful jeweller y we have to offer.
HARRODS Fine J eweller y Ro om 8 7-13 5 B r o m p t o n R o a d Knightsbridge London S W 1X 7 X L T e l : + 4 4 ( 0 ) 2 0 7 8 9 3 8 810
90 x 90 silk scarf design by ERIN MORRIS S c a r f a v a i l a b l e f r o m D a v i d M o r r i s s t o r e s – £1 8 5 B a c k c o v e r : D a i s y f l o w e r r i n g w i t h p i n k a n d w h i t e d i a m o n d s s e t i n 18 c t w h i t e g o l d
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