Discover Fleur Sculptural and distinctive, a design statement in comfortable flexibility. The timeless silhouette, understated in approach, destined to become an Australian design icon.
Byron Bay Hinterland, NSW AUSTRALIA
AUCKLAND
KUALA LUMPUR
LONDON
SINGAPORE
SHANGHAI
VANCOUVER
REDEFINE PERFECTION M I E L E . C O M . A U / G E N E R AT I O N 7 0 0 0
#LifeBeyondOrdinary
G E N E R AT I O N 7 0 0 0 I N D U C T I O N C O O K T O P
MORE FREEDOM THAN EVER BEFORE
Miele’s full-surface Induction Cooktop has no predefined cooking zones so you have the freedom to move pots and pans anywhere you like. Heat settings can be retained thanks to the innovative intelligent pan recognition.
C R E AT E D B Y K Y L E C O N N A U G H T O N
A R M A D I LLO - C O.C O M
Our rugs lie lightly on this earth.
Contents
154
VLoves
Designer Diego Delgado-Elias reinstates heritage details in this refined Paris apartment.
Pared-back pieces that strip design down to basics, to its purest form of expression and material in a bold twist on raw beauty
30 BARE ESSENTIALS
38 THE VL EDIT A curated hit list of new feature pieces and accessories that have caught our eye
18 20 22 25
CONTRIBUTORS ONLINE NOW vogueliving.com.au EDITOR’S LETTER VL VIEW Renowned Sydney-based designer Thomas Hamel reflects on what the notion of elegance means to him, and why it’s making a resurgence in our homes
10
vogueliving.com.au
With a second textile boutique, a new book and a line of lime-based paints, the London designer is having more than a moment
56 FRESH TAKES The most promising young artists in Australia right now are creating work that challenges us to view this land, our heritage and ourselves in new ways
The interior designer of choice for Yves Saint Laurent, royalty and modern-day aesthetes brings his poetic yet unpretentious style to projects across multiple generations and locales
75 MARTHA HUNT With the help of designer Giancarlo Valle, the model beings an easy calm and an artisanal touch to her New York City abode
PHOTOG RAPH ER: DEPASCALE+MAFFINI
Upfront
46 ROSE UNIACKE
70 ICONIC STYLE: JACQUES GRANGE
. A D E L A I D E , Aurum Jewels . M E L B O U R N E , Trewarne Fine Jewellery . New Zealand . Australia
Flagship Stores
. SYDNEY. COPENHAGEN . PARIS . MUNICH. STOCKHOLM
FOR STORE LOCATOR, VISIT
www . O L E L Y N G G A A R D . com
OR PHONE 02
9283 4757
PHOTOGRAPHE R: ANSON SMART
82 130
94 140
104 154
116
PERTH’S LUXURY HOME BUILDER FOR 40 YEARS | WBHOMES.COM.AU BC5409
Contents
Kitchens & Bathrooms
VList
168 PERFECT MEMORY
Patina Maldives redefines modern luxury
14
Services
172 PLAYING HOST
42 SUBSCRIBE TO VL
A home’s update from humble beginnings to clean-lined family entertainer
Event invites and insider access with our Vogue VIP print and digital subscription
175 BON APPÉTIT
189 SOURCES
Layers of colour and tactile surfaces unite in one scrumptious Sydney confection
Contact details for the products, people and retailers featured in this issue
178 BRING TO LIGHT
192 VL LAST LOOK
Calm and delight in a 1960s-era overhaul
The chic appeal of Flexform’s Moka chairs
vogueliving.com.au
The living area of the Haussmannian apartment in Paris, reinvigorated by designer Diego Delgado-Elias. Photographer: DePasquale+Maffini. Story, page 154. Subscribe to Vogue Living: page 42. Be part of the conversation: #VogueLiving #loveVL
PHOTOG RAPH ER: CERR UTI & D RAI ME
Turning to the past has resulted in a coastalinspired space devoted to being present
184 IDYLL ESCAPE
On the cover
PUBLISHED BY CONDÉ NAST
Rebecca Caratti EDITOR editor@vogueliving.com.au ACTING EDITOR Jake Millar ART DIRECTOR Sandy Dao DEPUTY EDITOR Virginia Jen STYLE EDITOR Joseph Gardner MELBOURNE EDITOR & FEATURES WRITER Annemarie Kiely DIGITAL DIRECTOR OF DIGITAL STRATEGY AND E-COMMERCE Francesca Wallace HEAD OF DIGITAL CONTENT AND GROWTH Mahalia Chang HEAD OF DIGITAL CONTENT AND STRATEGY Sophie Miura HEAD OF BRAND Yeong Sassall ACTING HEAD OF BRAND Anna Lavdaras CONTRIBUTORS CONTRIBUTING EDITORS Fiona McCarthy (London), Freya Herring, Jason Mowen IMAGES Sharyn Cairns, Cerruti & Draime, Marina Denisova, DePasquale+Maffini, Felix Forest, Daniel Goode, Stephen Kent Johnson, François Halard, Gaelle Le Boulicaut, Georg Roske, Mark Roper, Anson Smart, Dave Wheeler WORDS Lee Cobaj, Thomas Hamel, Laura Leonelli, Hannah Martin, Ramsey Qubein, Dan F Stapleton, Rose Uniacke DIGITAL ASSETS & RIGHTS MANAGER Trudy Biernat COMMERCIAL FINANCE MANAGER Roshni Walder COMMERCIAL – ADVERTISING GENERAL MANAGER, PRODUCT INTEGRATION Nicole Waudby GROUP PRODUCT INTEGRATION DIRECTOR Amanda Spackman COMMERCIAL CREATIVE DIRECTOR Adelina Cessario SENIOR PRODUCT INTEGRATION MANAGER Elise De Santo PRODUCT INTEGRATION MANAGERS Alex Wilson, Izabela Gower, Thomas Hancock, Nadine Peach HEAD OF PRODUCT AND PARTNERSHIPS Sumit Chakravarty PRODUCT IMPLEMENTATION MANAGERS Mollie Dixon, Morgan Zhang GROUP SALES DIRECTOR, PRESTIGE Hannah David Wright PRESTIGE SALES MANAGERS Cheyne Hall, Kate Corbett, Jennifer Chan COMMERCIAL SALES EXECUTIVE Brigette Roberts ADVERTISING — CREATIVE HEAD OF CREATIVE Richard McAuliffe HEAD OF OPERATIONS Eva Chown SENIOR CREATIVE PRODUCER Louise Davids CREATIVE DIRECTOR Brooke Lewis LEAD ART DIRECTOR Karen Ng SENIOR ART DIRECTORS Georgia Dixon, Paloma Drehs, Nicole Vonwiller COPYWRITER TEAM LEAD Melanie Collins SENIOR CONTENT WRITERS Julian Hartley, Colin Sevitt, Benjamin Squires LEAD PRODUCERS Sarah Mury, Kristie Walden PRODUCTION MANAGER Michelle O'Brien IMAGING AND RETOUCHING SERVICES, PRESTIGE Michael Sykes INTERACTIVE EDITION PRODUCTION MANAGER Stuart McDowell GENERAL MANAGER, B2B REVENUE Ben Keating HEAD OF RETAIL MARKETING, RETAIL SALES & MARKETING Rohan Smith SUBSCRIPTIONS RETENTION MANAGER Crystal Ewins COMMERCIAL FINANCE MANAGER CIRCULATION, COMMERCIAL FINANCE Cindy Ourawattanphan GENERAL MANAGER, DIGITAL Stuart Fagg HEAD OF PRODUCT DESIGN Alex Fawdray DIGITAL DESIGNER Yeara Chaham DIGITAL PRODUCT MANAGER Benjamin Langford EVENTS & EXPERIENCES GENERAL MANAGER, EVENTS & EXPERIENCES Diana Kay CAMPAIGN MARKETING MANAGER Rachel Christian PROGRAM & CUSTOMER EXPERIENCE MANAGER Natalie Headland SENIOR EVENTS MANAGER Dorothy Reynolds CAMPAIGN MARKETING EXECUTIVE Sophie Mac Smith PRESTIGE MARKETING HEAD OF MARKETING Jarrah Petzold HEAD OF PLANNING, PERFORMANCE & ENGAGEMENT Alan Sims MARKETING EXECUTIVE, ENGAGEMENT Magdalena Zajac MARKETING COORDINATOR Louisa Healy EDITOR IN CHIEF, VOGUE, VOGUE LIVING AND GQ, AND PUBLISHER, NEWS PRESTIGE NETWORK Edwina McCann MANAGING EDITOR, CONDÉ NAST TITLES Louise Bryant DIRECTOR OF COMMUNICATIONS Sharyn Whitten HEAD OF FINANCE Jacob Shadwick CHIEF TECHNOLOGY OFFICER, DATA AND DIGITAL Julian Delany VOGUE LIVING is published by NewsLifeMedia Pty Ltd, ACN 088 923 906. NewsLifeMedia Pty Ltd is a wholly owned subsidiary of News Limited (ACN 007 871 178). Copyright 2022 by NewsLifeMedia Pty Ltd. All rights reserved. ISSN 0042-8035. 2 Holt Street, Surry Hills, NSW 2010. Tel: (02) 9288 3000. Email: mail@vogueliving.com.au. Website: vogueliving.com.au Postal address: Vogue Living, NewsLifeMedia, Level 1, Locked Bag 5030, Alexandria, NSW 2015. Melbourne: Level 9, 40 City Road Southbank. Tel (03) 9292 3208. Brisbane: 41 Campbell Street, Bowen Hills, Qld 4006. Tel: (07) 3666 6910. Fax: (07) 3666 6911.
SUBSCRIPTIONS within Australia, 1300 656 933; overseas (+61 2) 9282 8023. Website: magsonline.com.au. Email: subs@magsonline.com.au.
CHIEF EXECUTIVE OFFICER Roger Lynch GLOBAL CHIEF REVENUE OFFICER & PRESIDENT, U.S. REVENUE Pamela Drucker Mann GLOBAL CHIEF CONTENT OFFICER Anna Wintour PRESIDENT, CONDÉ NAST ENTERTAINMENT Agnes Chu CHIEF FINANCIAL OFFICER Jackie Marks CHIEF MARKETING OFFICER Deirdre Findlay CHIEF PEOPLE OFFICER Stan Duncan CHIEF COMMUNICATIONS OFFICER Danielle Carrig CHIEF OF STAFF Samantha Morgan CHIEF PRODUCT & TECHNOLOGY OFFICER Sanjay Bhakta CHIEF DATA OFFICER Karthic Bala CHIEF CLIENT OFFICER Jamie Jouning CHIEF CONTENT OPERATIONS OFFICER Christiane Mack CHAIRMAN OF THE BOARD Jonathan Newhouse WORLDWIDE EDITIONS FRANCE AD, AD Collector, GQ, Vanity Fair, Vogue, Vogue Collections, Vogue Hommes GERMANY AD, Glamour, GQ, GQ Style, Vogue INDIA AD, Condé Nast Traveller, GQ, Vogue ITALY AD, Condé Nast Traveller, Experience Is, GQ, La Cucina Italiana, L’Uomo Vogue, Vanity Fair, Vogue, Wired JAPAN GQ, Rumor Me, Vogue, Vogue Girl, Vogue Wedding, Wired MEXICO AND LATIN AMERICA AD Mexico and Latin America, Condé Nast College Américas, Glamour Mexico and Latin America, GQ Mexico and Latin America, Vogue Mexico and Latin America SPAIN AD, Condé Nast College Spain, Condé Nast Traveler, Glamour, GQ, Vanity Fair, Vogue, Vogue Niños, Vogue Novias TAIWAN GQ, Vogue UNITED KINGDOM London: HQ, Condé Nast College of Fashion and Design, Vogue Business BRITAIN Condé Nast Johansens, Condé Nast Traveller, Glamour, GQ, GQ Style, House & Garden, Tatler, The World of Interiors, Vanity Fair, Vogue, Wired UNITED STATES Allure, Architectural Digest, Ars Technica, basically, Bon Appétit, Clever, Condé Nast Traveler, epicurious, Glamour, GQ, GQ Style, healthyish, HIVE, La Cucina Italiana, LOVE, Pitchfork, Self, Teen Vogue, them., The New Yorker, The Scene, Vanity Fair, Vogue, Wired PUBLISHED UNDER JOINT VENTURE BRAZIL Casa Vogue, Glamour, GQ, Vogue RUSSIA AD, Glamour, Glamour Style Book, GQ, GQ Style, Tatler, Vogue PUBLISHED UNDER LICENSE OR COPYRIGHT COOPERATION AUSTRALIA GQ, Vogue, Vogue Living BULGARIA Glamour CHINA AD, Condé Nast Traveler, GQ, GQ Lab, GQ Style, Vogue, Vogue Café Beijing, Vogue Film, Vogue+, Vogue Business in China CZECH REPUBLIC AND SLOVAKIA Vogue GERMANY GQ Bar Berlin GREECE Vogue HONG KONG Vogue, Vogue Man HUNGARY Glamour KOREA Allure, GQ, Vogue, Wired MALAYSIA Vogue Lounge Kuala Lumpur MIDDLE EAST AD, Condé Nast Traveller, GQ, Vogue, Vogue Café Riyadh, Wired POLAND Glamour, Vogue PORTUGAL GQ, Vogue, Vogue Café Porto ROMANIA Glamour SCANDINAVIA Vogue SERBIA La Cucina Italiana SINGAPORE Vogue SOUTH AFRICA Glamour, GQ, GQ Style, House & Garden THAILAND GQ, Vogue THE NETHERLANDS Vogue, Vogue Living, Vogue Man TURKEY GQ, GQ Bar Bodrum, Vogue, Vogue Restaurant Istanbul UKRAINE Vogue, Vogue Man Condé Nast is a global media company producing premium content with a footprint of more than 1 billion consumers in 32 markets. condenast.com
Websites: vogueliving.com.au facebook.com/vogueliving instagram.com/vogueliving twitter.com/vogueliving pinterest.com/vogueliving Reply Paid 1224, Queen Victoria Building, NSW 1229 (no stamp required).
This magazine is made using paper from the Programme for the Endorsement of Forest Certification (PEFC): at the PEFC, we care for forests globally and locally. We work to protect our forests by promoting sustainable forest management through certification. This means we can all benefit from the many products that forests provide now, while ensuring these forests will be around for generations to come. We believe that only together can we protect our forests, which is why we form partnerships with a wide range of stakeholders around the world, enabling us to amplify our collective impact. When you see the PEFC label on a product, it means it comes from a PEFC-certified forest, one managed in line with the strictest environmental, social and economic requirements. Through PEFC certification, we can track the material from these forests down the supply chain to the final product you buy. The mechanism to track the material is called ‘chain of custody certification’. Beyond ensuring that the material comes from a certified forest, it also protects the rights of workers along the production process.
VOGUE LIVING subscription rate for 6 issues (1 year) post-paid is $65 (within Australia). Copyright © 2022. Published by NewsLifeMedia. All rights reserved. Reproduction in whole or part without permission is strictly prohibited. NewsLifeMedia is a licensed user in Australia of the registered trademarks. VOGUE LIVING, VOGUE and GQ have been granted the exclusive right to use those trademarks in relation to magazines published by NewsLifeMedia by the proprietor of the trademarks. Printed in Australia by Ovato Print Pty Ltd. Distributed by Ovato Retail Distribution, call 1800 032 472.
Contributors Michael DePasquale and Martina Maffini
A RT D IR E CTO R “Timelessness over trends, always,” states Sandy Dao, of her mantra when it comes to working in the realms of style and design. A creative director working across graphic design, publishing and branding over the past decade — “I started out in fashion publishing and developed a love for the world of interiors and product design. Both worlds speak to me” — Dao has also moved into consultancy work and producing visual content. “That’s what I love about being a creative director,” she says. “As much as it’s focused on visually communicating, it’s also about being experimental and challenging perception, which is very important.” The Vietnamese-Australian creative has now brought this varied experience, visual focus and passion for interiors and fashion to Vogue Living, with this elegancethemed issue being her very first. “There’s a renaissance on what elegance means to people,” she says. “For me, it’s one’s ability to unapologetically be their authentic self, through all facets of their life – craft, work and one’s self.” As for her place in the VL fold: “I have always looked to Vogue Living as a source of inspiration. It’s a privilege to be working with some of the most incredibly talented creatives in the industry and I’m looking forward to immersing myself in all the visual beauty.” @sansandao
Sandy Dao
Daniel Goode P H OTO GRA P H E R Seeing the kinetic energy of skateboarding visually captured led Daniel Goode on his creative path. “I was lucky enough to have people show me how to work the camera, something that stayed with me during high school,” he recalls. Goode went on to assist photographers who “opened my eyes as to how to make a career out of the craft”. “I’d like to think that I don’t think too much about it, but I like to consider the light first,” he says of his image making. “I look for lines, foreground props to add depth, textures, colours and I also like to add people or props to make the space look lived in and real, to loosen it up to create some tension.” Goode brought this approach to our Inspire story (page 30) with style editor Joseph Gardner. “Watching Joseph style the set with furniture to create a sense narrative was such a highlight,” he says. @dl.goode 18
vogueliving.com.au
DESIGNER “It was marvellous to step back from a busy work day and truly analyse the meaning of elegance — and what entails an elegant lifestyle — and consider how I might apply these ideals in my current projects,” says Sydney-based designer Thomas Hamel, who penned our Vogue View opening essay (page 25). US-born Hamel grew up in Virginia and studied design in New York and London before a two-week visit to Sydney turned into a lifelong love affair. “I was smitten with everything and moved here six months later,” says Hamel, who now owns homes in both Sydney and Melbourne. A dual US and Australian citizen, Hamel says he draws inspiration from designing interiors that merge his love of classic proportions and details with a fresh and modern twist. “It is really enjoyable to mix superb contemporary furniture and lighting into a classic space,” he says. “It’s like mixing a very delicate cocktail.” @thomashamel
Thomas Hamel
ED ITED BY V IRG IN IA J EN A ND V ER ITY M AGDAL IN O. PH OTOG RAP H ER S: R EE D YO UN G (D EPA S Q UA L E+M A F F I N I ) , W IL L H A RT L ( DA N I EL GO O D E) , K R ISTI NA S O L J O ( S A N DY DAO) , A LI C IA TAY LO R ( TH O M A S H A M EL )
P H OTO G R A P H E R S US-born Michael DePasquale and Italian native Martina Maffini met in 2011 when DePasquale was working as a still-life photographer in New York and Maffini was starting out her career in Paris. “For quite a few years we kept travelling together between Paris and New York,” says Maffini, who with DePasquale shot a Paris apartment by designer Diego Delgado-Elias (page 154) and architect Michele Pasini’s Milan home (page 130) for this issue. “We started to work together in 2014, when we photographed the house of a fashion designer,” says Maffini. “We went on to find beautiful homes and historical places to photograph and that allowed us to travel and work together.” Today, the pair calls Paris home. “Diego’s project was a highlight. It’s the third space we have shot for him and because of the scale, it was interesting for us to see how he designs different spaces,” says DePasquale. “And we loved the architectural details in Michele’s home and his use of different materials like stainless steel and brass.” @depasquale.maffini
www.camerich.com.au
SYDNEY sales@camerich.com.au (02) 9699 1088 723-725 Elizabeth Street, Waterloo, 2017
MELBOURNE (03) 9909 3509 richmond@camerich.com.au 597 Church Street, Richmond, 3121
GINGER ARMCHAIR
BOLERO TABLE
DESIGNED BY ROBERTO LAZZERONI POLTRONA FRAU
DESIGNED BY ROBERTO LAZZERONI POLTRONA FRAU
POLTRONA FRAU AVAILABLE EXCLUSIVELY AT MOBILIA
PERTH, MELBOURNE & SYDNEY
MOBILIA.COM.AU
Editor’s letter
In the art-filled sitting room of interior designer David Hicks’s home in Melbourne (page 94).
22
vogueliving.com.au
P H OTO GR APH ER S : GE OR GES A NTO NI (P ORTR AIT), M AR K RO P ER (S ITTING RO OM )
L
ike so many things these days, I first noticed it on social media. Young people posting about nights out, not at some underground rave or new pop-up bar, but at distinguished, old-school establishments. The kind frequented by silver-haired business types and wealthylooking couples of a certain age. Or so I thought. But there among the leather upholstery and brass fixtures were groups of fashionable twenty-somethings, sipping on classic cocktails. I’m telling you this not to keep you abreast of gen Z’s drinking habits, but because I think it speaks to something bigger, something we’re seeing not just online but everywhere. Namely, elegance is back. No one wants to hear about the pandemic anymore — least of all here — but after months spent all dressed down with nowhere to go, we are ready to appreciate the finer things again. For some, that means embracing the comforts of nostalgia, revisiting a time when things felt slower, more considered. For others, it is about taking that same approach to elegance and bringing it into the present. That’s what I love about this issue. Far from feeling quaint and stuffy, it celebrates a very modern take on what elegance means today. For that, I have the talented Vogue Living team to thank, so it feels like a good time to welcome our fantastic new art director Sandy Dao and deputy editor Virginia Jen. They, along with the impeccable eye of our style editor Joseph Gardner and Melbourne editor and features writer Annemarie Kiely, have helped make this issue one of my favourites. People often say that in this digital age, everything feels so temporary. A website refreshes, a fresh story appears, yesterday’s news is forgotten. But in fact, I think the opposite is true. The internet, as some people have discovered to their detriment, is forever, while a publication from 20 years ago has no hope of feeling as relevant today. But that’s the point. Magazines like this one are a time capsule, a snapshot of a moment. They offer a curated perspective on a particular theme in a way that the internet, with its limitless stream of content, struggles to do. There is nothing wrong with the instant gratification of a website or social media feed: two-and-a-half million Vogue Living followers can’t be wrong. But at a time when everyone’s head seems to be spinning, there is something to be said for embracing a certain sense of elegance, by stepping away from the noise and cherishing the things that make life special. A great piece of furniture. A much-loved artwork. A well-crafted cocktail. Or, perhaps, a favourite magazine.
Handmade culinary architecture. Designed and created for you in France, since 1908. w w w. l a c or nu e.c om.a u
In Thomas Hamel’s Melbourne home, rugs from Behruz Studio; fabrics from Milgate; Gregorius|Pineo furniture from Kneedler Fauchere. Details, last pages.
A return to elegance
PHOTOGRAPHER: MARK R OPER
Renowned Sydney-based designer Thomas Hamel reflects on what the notion of elegance means to him, and why it’s making a resurgence in our homes right now.
A
ustralians used to be such consummate travellers. Everyone you talked to was always focused on their next big trip and where they were heading, almost as though people lived vicariously through their travels, rather than enjoying their everyday lives. Then the rug was pulled from underneath us. All of a sudden, we needed to start thinking about our daily lives and the quality of that life. It used to be all about the next great hotel or restaurant, but everyone was realising that those experiences might last for a few days when actually, every day should be cherished. I think that’s when everyone looked around and thought, ‘Why do we have this kitchen that doesn’t really work that well’ or ‘Why don’t we have a private space for our study or gym?’. Dining rooms, kitchens and outdoor entertaining spaces have become so much more important, too.
Everyone still loves to have big family gatherings. But where they might have gone to hotels and resorts, now they’re looking for spaces where they can have their whole family together. So my team and I are seeing a lot more beach houses and the country houses — in the Southern Highlands of New South Wales, Victoria’s Mornington Peninsula and Margaret River in Western Australia — are just booming. We’ve been asked to add things like roast-pig spits that no one ever dreamt of before, plunge pools, treatment rooms for massages, even nail salons. Clients realise they can have all of these things under their own roof and they no longer have to go overseas to get those all-inclusive experiences. It’s about putting that money into something that’s used daily rather than a couple of weeks of the year. Thanks to magazines like this one, everyone has a lot more awareness of these things, so they think, ‘Why can’t I have them at home instead of Aspen?’ It is a reaction to what’s going on in the world and who knows how long ›› Mar/Apr 2022
25
VLview in the study of Thomas Hamel’s Melbourne home, artworks by Jean-Marc Louis.
TH IS PAGE
“There are now many designers giving the world this edited Australian lifestyle that appreciates quality things that don’t need to be crammed into a house — it’s about elegant sufficiency” More than just things, true elegance is about a generosity of spirit that should be applied to everyday life. I make a great effort to be appreciative to those around me, those who make the world a better place for me. Our world is so full of suppliers and craftspeople, and I genuinely try to make these people proud
26
vogueliving.com.au
of their work and contributions. To see a talented painter or wallpaper installer do a beautiful job, they deserve positive acknowledgement. I feel elegance is how we conduct ourselves and the generosity we share, not only with others, but with ourselves. VL thomashamel.com
PHOTOGRAPHE R: M ARK R OPER
‹‹ it will last but, for the time being, bringing those experiences into the home is very important for a lot of people. Australia’s approach to elegance has always had a more easygoing, come-as-you-are simplicity to it. Even though it’s more casual, people still want to have the best produce, the best plates, the best china — things that have intrinsic value. Rather than everything being cheap and cheerful, they want things that have a bit more substance. A lot of that comes from finding handmade pieces, such as hand-thrown pottery or unique artworks, sculptures and objects. People are also very excited to find things that have been made here in Australia; it just adds to that bespoke quality. I always say Carla Zampatti was so elegant. It was such a great loss for Australia when she passed because she had that Italian sense of style but in a pared-back Australian way that had this simplicity about it. But truly there are now so many interior designers that are giving the world a taste of this edited Australian lifestyle that appreciates quality things but also that they don’t need to be crammed into a house — it’s about elegant sufficiency. Elegance used to be all about soft furnishings and big curtains, whereas now younger people are saying that they’d prefer to have art or objects, rather than putting that budget into window treatments. And lighting would be another crucial one. A lot of people would rather have one special light fitting that means something to them, than installing a hundred downlights in a room that has no ambience. People are now realising that the only complication with getting all these beautiful things from overseas is the time it’s taking; unfortunately, I don’t think that’s going to get better anytime soon. But they know it’s worth the wait to get the bathtub, chair or artwork they really want. And rather than thinking what’s going to get the most attention for two minutes on an Instagram post (and being stuck with this thing you’re not sure you even like), people are trying to discover things that speak to them. Finding that sense of elegance doesn’t have to be costly — it’s about choosing things that are a bit more unique and special for you. But it’s also important not to be too concerned with damaging something beautiful, especially to the point of not using and enjoying that item. Simple but beautiful bed linen is a case in point as everyone should have a beautifully made bed every day.
ROGER SEATING SYSTEM | RODOLFO DORDONI DESIGN SUPERQUADRA COFFEE TABLES | MARCIO KOGAN / STUDIO MK27 DESIGN DISCOVER MORE AT MINOTTI.COM/ROGER
A U S T R A L I A
BY DEDECE 263 LIVERPOOL STREET - DARLINGHURST - SYDNEY NSW 2010 - T. 02 9360 2722 2 DALE STREET - CREMORNE - MELBOURNE 3121 - T. 03 9650 9600 INFO'DEDECE.COM
shop style
VLoves
Short elm bench, $990, from Water Tiger. Zanotta Fenis chair by Carlo Mollino, $4960, and Karakter Support cup by Aldo Bakker, $620, from Cult. Chinese glazed storage urn, $550, from Water Tiger. Turn the page for the full story.
PHOTOGRAPHER: DANIEL GOODE . STYLIST: JOSEPH GARDNE R. STY LE ASSISTA NT: L AU R A A LEXA N DR A
THIS PAGE , FROM LEFT
Mar/Apr 2022
29
ESSENTIALS
STYLE ASSISTANT: LAUR A ALE XANDRA
SHOP
BARE
Photo Sty
VLoves
Georges Chaise De Boudoir chair, POA, from Alm. De La Espada Shaker dining chair by Neri & Hu, $2650, from Spence & Lyda. Vintage ceramic bowl (under chair), $105, from Robert Plumb. Michaël Verheyden Komm bowl, $790, from Ondene. OP POSITE PAGE &Tradition Little Petra VB1 armchair by Viggo Boesen, $11,750, from Cult. Egg sculpture in Brass, $398, from Fourth St. Naga bed table, $2200, from Water Tiger. Details, last pages. THIS PAG E, FRO M LEFT
Mar/Apr 2022
31
Carl Hansen & Søn CH22 easy chair by Hans J Wegner, $5910, from Cult. Kar-studio Playdough chair in White, $1997, from En Gold. N001 Ewer vessel in Espresso, $520, from Softedge. Kar-studio Arch bench in Coffee, $3050, from En Gold. OP POSIT E PAGE, FROM LEFT Grey water pot, $240, from Water Tiger. Tree from Butterfly Blooms Garden Centre. Fogia Supersolid Object 1 stool/side table in Oak, $1410, from Fred International. Dornstab floor light, from $7950, from Great Dane.
THIS PAG E, FRO M L EFT
VLoves
Mar/Apr 2022
33
34
vogueliving.com.au
VLoves
Pinch Furniture Imo bar stool, $965, and By Lassen ML42 stool by Mogens Lassen, $1245, from Spence & Lyda. Seed dish in Brass, $70, from Dinosaur Designs. Fredericia Sequoia pouf by Space Copenhagen, $3190, from Cult. OPPOSIT E PAG E , FR OM LEF T Lady ’79 lamp in Black, POA, from Sarah Nedovic Gaunt. By Lassen The Tired Man armchair by Flemming Lassen in Scandilock Moonlight sheepskin, POA, and Mazo TMBO lounge chair in Scandilock Moonlight sheepskin, $7770, from Fred International. THIS PAGE, FROM LEFT
VLoves
Studio Floris Wubben Crown vase, POA, from Alm. Chinese cloud wooden stool, $215, from Water Tiger. Kar-studio round table in White, $5522, from En Gold. GG boots, $2150, from Gucci. Carl Hansen & Søn Egyptian stool by Ole Wanscher, $2700, from Cult. Details, last pages.
THIS PAG E, FROM TO P
36
vogueliving.com.au
FURNITURE & HOMEWARES . INTERIOR DESIGN . PROPERTY STYLING
SYDNEY . MELBOURNE . BRISBANE . GOLD COAST . PERTH . CANBERRA . AUCKLAND WWW.COCOREPUBLIC.COM.AU
VLoves B ELOW R IG HT
Soma by Georges table, POA, from Alm; studioalm.com BE LOW LE F T Tiered side table by Joe Hartley, from $2527, from The New Craftsmen; thenewcraftsmen.com
BE LOW
ABOVE
LEFT
BE LOW
A B OVE
ABOVE
38
vogueliving.com.au
PHOTOGRAPHER: KOVI KONOWIECKI (ME NU) . E XCHANGE RAT E COR RECT AT TIM E OF P R INT S U BJECT TO C HA N GE
BE LO W
ENJOY YOUR 3 COFFEE
The CUBE. A revolution in home espresso machines. Bringing the sophistication of café coffee straight to your kitchen countertop. Enquire online at www.sanremomachines.com.au/cube
BE LOW
ABOVE LEFT
ABOV E RIGHT BELOW
A B OVE LE FT
A B OVE R IGH T
40
vogueliving.com.au
PHOTOGRAPHE RS: OLLI E TOMLINSON ( STEFFAN ST UD IO) , CLE ME NT PASCAL (STU D IO GIAN CA R LO VALLE) , ALBE RTO STR ADA (ACE RBIS S HOWROOM) . E XCHANGE RATE COR RECT AT TIME O F P RI NT S UB JECT TO CHA NG E
VLoves LE FT
BE LOW
B ELOW
Cage chair, POA, from Studio Giancarlo Valle; giancarlovalle.com
A B OVE
Kodo Daybed
SYDNEY 02 9906 3686
BRISBANE 07 3252 8488 sales@cotswoldfurniture.com.au - www.cotswoldfurniture.com.au
MITTAGONG 02 4872 2585
Escape with anytime, anywhere 6 ISSUES OF
ACCESS TO
ACCESS TO
VOGUE LIVING
VOGUE LIVING
VOGUE VIP, OUR
DELIVERED TO
DIGITAL EDITION
SUBSCRIBER-ONLY
YOUR DOOR
AND APP
REWARDS PROGRAM
ALREADY A SUBSCRIBER? ACTIVATE YOUR VOGUE VIP MEMBERSHIP AT VOGUE.COM.AU/ ACTIVATE
E X C L U S I V E TO S U B S C R I B E R S
P R I N T & D I G I TA L S U B S C R I P T I O N F O R O N LY $ 6 5 * A YEAR AND BECOME A VOGUE VIP Subscribe to Vogue Living to become a member of our Vogue VIP subscriber-only program and be rewarded with exclusive event invitations, special insider access, must-have product offers, gifts from our luxury partners and so much more.
SCAN TO SUBSCRIBE OR VISIT MAGSONLINE.COM.AU/VOGUELIVING
*Offer ends April 27, 2022 and is available for delivery to Australian addresses only. A standard one-year subscription consists of six bi-monthly issues. For subscriptions on Auto-Renewal, your subscription will continue at $65 every six issues (12 months) thereafter. Your selection of Auto-Renewal ensures your subscription will continue with automatic payments unless otherwise advised by you. To access your Vogue VIP membership, a separate email will be sent with instructions on how to activate your account. If you are already a subscriber you can activate your Vogue VIP membership at vogue.com.au/activate. Our Privacy Policy can be found at newscorpaustraliaprivacy.com and includes important information about our collection, use and disclosure of your personal information. Minimum operating system requirements apply for digital edition access.
PHOTOGRAPHER: FRANÇOIS HALARD
art design people
VLife
in the drawing room of designer Rose Uniacke’s London home, 19th-century armchair by Thomas Hope (by desk); chandelier by Maison Baguès. Turn the page for the full story. THIS PAGE
Mar/Apr 2022
45
DESIGN
Rose Uniacke
With a new second shop on Pimlico Road devoted to textiles, a limited-edition book and a fresh line of lime-based paints, Rose Uniacke is having more than a moment. In this extract of Rose Uniacke at Home, the multi-talented designer details how she brought her covetable take on understated elegance to her 19th-century London townhouse. PHOTOGRAPHE R: M AUREE N E VANS ( PORTRAIT)
Photographed by François Halard
46
vogueliving.com.au
VL
I
fell for this house years before we bought it. There was a magic. But it was too large, too damaged and most definitely too big a project. My husband, David [Heyman, a film producer] and I walked away; it would be madness to take it on. But it never left me. I thought often about how I might tame its space just enough to become liveable. Three years later, it was still there. Nobody else would touch it, and we took the plunge. The house was the home and studio of James Rannie Swinton, a Scottish society portraitist who commissioned the architect George Morgan to design it. Completed in 1860 on an empty plot of land that Swinton bought on Warwick Square in Pimlico, it shares a lovely big communal garden near the river. The whole building was designed around the northfacing window in Swinton’s painting studio. Leading to the studio is a typical Victorian gallery space with a domed glass roof, designed so his visitors could walk past his paintings on their way through. Off the studio was the room where his paints were mixed and stored. Swinton’s living quarters were at the back of the house. The last owner ran the building as an exhibition space for 30 years and with the adaptations for public visitors and heavy white paint covering up much of the original detail, it had taken on the feeling of an institution. A lot had disappeared but some really superb work had survived — plasterwork in particular. Layers of thick whitewash had been applied over and over for years and never sanded, so everything was horribly lumpy. It took a great deal of time to dry-scrape the house ››
in the dining room of interior and furniture designer, Rose Uniacke’s London home, dining table made from an original draper’s model; 1930 dining chairs by Kaare Klint; neoclassical mirror; Infinity Nets (2000) artwork by Yayoi Kusama. TH ESE PAGES
48
vogueliving.com.au
VL
VL
52
vogueliving.com.au
VL
VLife ‹‹ to reveal the finer details — we even found hints of red silk on the library walls, on which Swinton’s paintings were probably hung. I wanted to assess everything in its rawest form before deciding the concept and feel. Once we’d stripped it, the house was sublime. It felt like an abandoned palazzo with extraordinary volume in the rooms and wonderful layers of distressed colours from years of decoration. I thought that if we did a little bit of work, we could simply live in it but as we started to restore and refresh everything an interesting and exciting energy started to develop, and the restoration work became really important. It took three months to clean and restore the intricate plasterwork in the ballroom, in the course of which the real beauty of it slowly emerged. In the structural reordering of certain areas, we accurately remodelled cornicing, skirtings, architraves, doorframes and arches and where windows and shutters of the house were remade, the details had to be correct for the period. But after that I wanted to add a fresh contemporary flavour without the house losing its period identity. I was determined to retain — and I hope you can feel it — a real sense of the empty house, a sense of the space in its very simplest form. But it couldn’t be cold or daunting or too grand, and it had to welcome. I love emptiness. I am interested in the value of negative space and how it changes in relation to other spatial influences. The entire volume of a room matters. Plain space can be sad, but it can also be very powerful, uplifting, or soothing and
“Plain space can be sad, but it can also be very powerful, uplifting, or soothing and restful” ROSE UNIACKE
restful. So, I wanted enough emptiness for us to read and enjoy the bare architecture. At the same time, I was interested in reducing the grandeur. By treating it lightly, I hoped to let its spirit speak while still having a family home in which to live and work. It feels as if Swinton commissioned the house with similar aims in mind. It was very much a place intended to empower him in his work as an artist but he also had a clear view of the enjoyable way in which he wished to live here. VL This is an edited extract of the limited-edition Rose Uniacke At Home, available now (Rizzoli Books, $430); roseuniacke.com
54
voguel
Australian designed & made.
Johanna Occasional Chair, Otway Sofa, Coffee & Side Table by Kett
Inside Looking Out Kett celebrates an Australian way of life; drawing inspiration from our natural landscapes and cosmopolitan cities.
Exclusive to
Showroom Locations
coshliving.com.au
Melbourne Sydney Brisbane Perth
Fresh takes
The most promising young artists in Australia right now are creating work that challenges us to view this land, our heritage and ourselves in new ways. By Dan F Stapleton It seems like almost everyone has faced some sort of identity crisis since the pandemic began. To cope with the existential unease, many of us have turned to art. And the practising creatives among us have been making it with gusto. Although these five artists come from disparate backgrounds and utilise different media, they are all creating work that grapples with identity, either individual or collective. It’s perhaps not surprising that the creative talents attracting the most attention are the ones trying to figure out who, exactly, we are now.
@shalxvx
S
ydney gallerist Edward Woodley says the opening night of Balun, Shaun Daniel Allen’s debut show, was extraordinary. “People sat on the floor and cried,” he recalls. The work the artist known as Shal has created since he took up painting in 2020 seems to depict water snaking across terrain. ‘Balun’ means ‘river’ in the language of the Yugambeh people, whose land lies near the Gold Coast and Scenic Rim regions as well as Logan and Tweed Rivers. However, for some viewers, the work transcends this literal interpretation and provokes a deep emotional response. According to Shal, a Yugambeh/ Bundjalung man who did not grow up on Country, it is part of his ongoing search for belonging. “Identity is a weird thing for a lot of people like me,” he says. “I’m trying to figure out where I actually fit and who I actually am.” Already, Shal has a sure hand and a distinctive voice. Performing in punk bands and working as a tattooer have taught him not to second-guess himself. “In live music and tattooing, once you’re done, you’re done,” he says. “I’m trying to approach painting in the same way: expressing what I need to and then moving on.” His artistic practice and his relationship with Country are evolving in tandem. Using ochre sourced on trips home, he is in the midst of producing a substantial body of work for his next solo exhibition, to be held in Sydney later this year.
PHOTOGRAPHERS : BLAKE PACE (SH AU N DANI EL ALLEN PORTRAIT ), SIA DUFF ( SAM G O LD P O RT R A IT), S A M R OB ERTS ( S AM G OLD P IECE)
Shaun Daniel Allen (Shal)
VLife Sam Gold @s . a m go l . d
S
am Gold seems to be everywhere right now. In the space of a few months, the South Australian ceramicist has been part of the Primavera 2021: Young Australia Artists exhibition at Sydney’s Museum of Contemporary Art, signed with Hugo Michell Gallery and announced shows in Adelaide and Canberra. But Gold has not been rushing. The non-binary artist has, in fact, been developing their practice for almost a decade, first by training as a transpersonal art therapist, then by studying furniture design and contemporary art. Gold thought carefully before choosing ceramics as their long-term medium in 2018. “I love that it’s a non-judgemental mirror to yourself,” they explain. “When you’re centring on the wheel, whatever you bring that day shows up in the work. Each piece becomes a way of recording that moment and the energy of that day.” The artist’s sculptural ceramics defy easy description. Some viewers see coral while others make anatomical connections. “I’m putting these non-functional objects out there and allowing people to consider them in any way they see fit,” they explain. Whatever position you take on the work, it’s hard to deny Gold’s dexterity. Their pieces are elegant and precisely crafted. Perhaps, like a flower or a piece of coral, no further explanation is necessary.
“I’m putting these non-functional objects out there and allowing people to consider them in any way they see fit” SAM GOLD
Mar/Apr 2022
57
VLife Mia Boe
T HI S PAG E , FR O M A BOV E
We Who Sit But Cannot Sit Still (waverley) (2021)
@ m ia . khi n . bo e
58
vogueliving.com.au
W
atching a photograph develop in a darkroom tray was a pivotal moment for mixed-media artist Noah Spivak. “It sparked something inside me, and ever since, I’ve been fascinated by chemicals and science-based work,” he says. After studying art in New York City and Vancouver, the Canadian native migrated to Melbourne with his boyfriend, an Australian whose visa expired. That was six years ago. “I didn’t think I would be in Australia for so long, but we just celebrated our 10-year anniversary,” Spivak says. “Melbourne has become home.” Since then, the artist has experimented with a range of media but has consistently employed chemicals to create work. A creative breakthrough came when he began making mirrors by applying silver nitrate to glass. Spivak’s mirrors straddle the line between art and design, inviting us first to view them and then to view ourselves within them. “Initially, you engage on a purely aesthetic level, but the more you look, the more you’re actually engaging with yourself,” he says. Melbourne has been good for the 29-year-old: since 2016, he has successfully mounted more than a dozen solo exhibitions and appeared in just as many group shows. Last year, he received the Emerging Artist Award from non-for-profit independent cultural hub Fortyfivedownstairs. He credits the city’s art scene for spurring him on. “Because there is so much creativity concentrated here, it’s highly competitive,” he says. “It drives you to be better and do better in the hope that you’ll be the one who rises to the top.”
PHOTOGRAPHE RS: INNE RSPACE CONT EMPOR ARY ART (M IA BOE PORTRA IT), S A MI HAR P ER (N OA H S P IVAK P ORTR A IT )
S
he’s young, progressive and keenly aware of her Aboriginal and Burmese heritage. Yet Brisbane-based painter Mia Boe is a happy disciple of the “old white men” who dominated 20th-century Australian art. “I’ve been so influenced by Russell Drysdale, Sidney Nolan and Albert Tucker,” she says. “My social perspective is very different from theirs, but I love their visual styles.” Boe’s interest in traditional figurative painters sets her apart from many of her peers. By referencing the Western canon in her works about colonial violence, she creates a sort of cognitive dissonance for viewers. “Dad moved here from Burma as a refugee when he was four, and Mum didn’t know she was Indigenous until she was 16, so my family has this common experience of growing up disconnected,” she says. In the two years since she started exhibiting, Boe’s practice has flourished. Residencies at the Museum of Brisbane and Brisbane’s Institute of Modern Art led to solo shows. Her latest show is with Blackartprojects at the Melbourne Art Fair in February. The new exhibition, which uses George Orwell’s writing on Burma as a jumping-off point, is Boe’s attempt at uncovering the pre-Australian history of her father’s family. She likens it to detective work. “I’m researching my parents’ cultures because I’m driven to learn more about myself,” she says. “I’m trying really hard to establish those connections.”
VLife Ezz Monem @ e z z mo n e m
L
VL
60
vogueliving.com.au
PHOTOGRAPHE R: IM AGES COURTESY OF THE ARTIST AND T HI S IS NO FANTASY (EZ Z MO NEM P ORT RA IT )
ike many young Egyptians, photo-based artist Ezz Monem was hopeful that the Arab Spring would lead to secularism and true democracy in his native land. Instead, the 2011 uprising fuelled ongoing instability, followed by a retreat towards traditionalism. “My ex-partner and I are both trained engineers, so we decided to apply for skilled visas and move to Australia as a way of achieving a new life,” says Monem, who has been living in Melbourne for the past five years. Finding computer engineering and software developer jobs was easy, and the pair felt welcome in Australia. However, in the process of migrating, Monem had drifted away from photography, his true passion. Before relocating, he exhibited his work regularly in Cairo and Europe. “I realised that I couldn’t do both things any more,” he says. “So, I quit my job and enrolled in a Master of Contemporary Art at the Victorian College of Arts in 2018.” The gamble paid off. A newly energised Monem began making connections in the art world and soon caught the attention of contemporary gallery This Is No Fantasy, which represents Petrina Hicks, Vincent Namatjira and others. He is now part of that stable. To fund his education he works part-time jobs including being a delivery driver, which inspired a recent photo series. He documented his shifts using an old Diana camera then applied darkroom techniques. The result is an incisive study of the gig economy.
ADVERTISEMENT
Smeg 270L Dolce & Gabbana Right Hinge Fridge, FAB28RDGC3. See in store for pricing.
A DV E R T I S E M E N T
Designer style FASHION MEETS FUNCTIONALITY WITH SMEG’S COLLECTION OF BEAUTIFUL DOLCE & GABBANA AND RETRO-STYLE KITCHEN APPLIANCES.
GO FOR BOLD Bring a burst of Sicilian style into your home with the Smeg Dolce & Gabbana fridge, cooker and rangehood. Seen here in the vibrant ‘Cart’ colourway, the cooker and rangehood are also available in ‘Majolica’, which features intricate patterns in blue and white. Beyond the striking looks lie clever innovations, including technology to guarantee perfect results and flame failure cut off safety feature. Complete the look with Smeg 50s Style benchtop appliances in bold block colours.
MIX AND MATCH Combine bold, curvaceous retro style with the convenience of modern technology and you get the power packed Smeg 50s Style Blender. The detachable, stainlesssteel blades move at four speeds, with a maximum of 18,000 revolutions per minute, for optimal blending control and consistency. Up top, the generous 1.5-litre jug has a transparent lid and it comes with a nifty 45ml measuring cup.
Intuitive technology COOK WITHOUT BOUNDARIES WITH THIS INNOVATIVE FULL SURFACE INDUCTION COOKTOP FROM FISHER & PAYKEL.
FULL FLEXIBILITY Forget separate heating elements – Fisher & Paykel’s full-surface induction cooktop has a large, seamless cooking surface that lets you arrange up to six pots or pans of any size and shape anywhere within the cooking zone. Featuring immediate heat response and highly accurate temperature control, the clever cooktop also remains cool to touch until a pot or pan is placed on the surface.
COOK WITH CONFIDENCE This cooktop’s large, high-resolution touchscreen provides an intuitive overview of cookware position, timers and heat settings, no matter where cookware is placed on the surface, and if you move a pot or pan, the display automatically updates. The PowerBoost and gentle heat functions deliver either very high or very low heat, fast, for specialised cooking tasks such as searing meat and melting chocolate. Every piece of cookware has an independent zone timer to keep you on track and help ensure food doesn’t overcook or burn.
A DV E R T I S E M E N T
A DV E R T I S E M E N T
Premium functions FROM MOISTURE INJECTION TO REMOTE ACCESS TO A WIRELESS FOOD PROBE, MIELE’S PURELINE PYROLYTIC OVEN IS A TECH GENIUS.
MOISTURE PLUS With its seamless design, including horizontal stainless-steel elements and eye-catching handle, Miele’s PureLine pyrolytic oven can be easily integrated into any ultramodern kitchen. The unique Moisture Plus function allows you to add extra moisture to ensure meat is tender and succulent inside while remaining deliciously crispy on the outside, and breads are soft and fluffy yet beautifully browned.
FOODVIEW Keep an eye on your cooking progress from wherever you are with the FoodView app. Accessible on your mobile device, this technology allows you to check on your food, thanks to the oven’s high-quality in-built camera, and even adjust cooking times and temperatures remotely via MobileControl. Meanwhile, the vast M Touch display works just like a smartphone screen, so you can swipe and scroll with ease.
Wine wonder
A DV E R T I S E M E N T
LOOKING FOR SUPERIOR, VERSATILE WINE STORAGE? YOU CAN’T GO PAST VINTEC’S PREMIUM, LARGE-CAPACITY WINE CABINET.
STYLE AND SMARTS For perfect wine storage, without fluctuations in temperature or micro vibrations that could disrupt the ageing of your beloved collection, the Vintec premium 180-bottle wine cabinet is the solution. Featuring a double-glazed, UV-treated tinted glass door, insulated side panels, dimmed internal LED lights and an inverter compressor, it’ll keep your wine in perfect condition. Plus, the pull-out shelves provide easy access.
MULTI-TEMP TECHNOLOGY Designed for serving different varietals at their perfect individual drinking temperatures, Multi-Temp technology provides a gradient of temperature throughout the cabinet, which is ideal for keeping all wine styles at their optimal drinking temperature. It gives you the flexibility to store all your varietals at their ideal serving temperatures in Multi-Temp mode or to cellar your wines at a single temperature in Single-Zone mode.
Harvey Norman® stores are operated by independent franchisees. The goods described in this advertisement may not be on display or available at each Harvey Norman® Complex, or online if specified as available “ in store” only. Call 1300 GO HARVEY (1300 464 278) before attending a Harvey Norman® Complex to enquire as to whether a franchisee at that complex has the goods on display or available. Offer ends 27/04/2022.
ICONIC STYLE
Jacques Grange The interior designer of choice for Yves Saint Laurent, royalty and modern-day stylemakers brings his own poetic yet unpretentious aesthetic to projects over multiple generations and locales.
T
hink of the world’s greatest interior designers and then go just a little higher, into the stratosphere of chic, and you will find Jacques Grange. He is, in fact, more portraitist than designer: a seer of souls in the vein of Goya, Bacon or Picasso, conjuring rooms with his insight into the unexpressed yearnings of his clients. His brushstrokes, however, are so singular that to the untrained eye, it’s difficult to pick two interiors as being by the same hand. One might be patterned and romantic, another is playful and yet another is streamlined and sleek. None allow for quick categorisation, united only in their spirit of elegant nonchalance, a predilection for all things Jean-Michel Frank and what seems to be a clientele in universal possession of exceptional paintings by the likes of Goya, Bacon and Picasso. The designer’s 2009 monograph, Jacques Grange Interiors, is one of the finest books ever to be published on interior design. I say one of, as it shares top place with The Private World of Yves Saint Laurent & Pierre Bergé from 2009. Some rooms appear in both books as, from 1974, Grange designed all homes belonging to the couturier and his art-loving partner. Saint Laurent would suggest the atmosphere — the films of Michelangelo Antonioni for his ‘bachelor’ studio in Paris, or Proust’s In Search of Lost Time for Château Gabriel in Deauville — and Grange would bring his esoteric visions to life. Bergé, meanwhile, was wary of interior designers but came to regard Grange as “a friend able to grasp and to share a sense of taste and understanding”. The collaboration produced a wondrous
70
vogueliving.com.au
portfolio of residential interiors, widely considered works of art in their own right. That’s not to say that over the past decade the continuum of Grange’s brand of unpretentious beauty has been any less impressive, as evidenced in a second monograph, Jacques Grange Recent Work, published by Flammarion last year. “The style of projects in my second book is less cluttered and more contemporary,” says Grange. “Art is also more present.” Born in 1944, Grange attended the École Boulle, a college of fine arts and crafts in Paris, followed by the École Camondo to focus on interior design. This foundation was reinforced when he landed a job interning for decorator Henri Samuel. He came into the orbit of art patrons Marie-Laure and Charles de Noailles — and their legendary 1920s interior by Jean-Michel Frank — as well as decorator Madeleine Castaing, from whom he learned the guiding principle of his career: “In decoration you should always evoke, never reconstruct.” When he founded his own studio in the early ’70s, his first major client was Princess Ashraf Pahlavi, twin sister of the Shah of Iran. Recent projects include Paris apartments, London townhouses and New York penthouses. There’s also a Venetian palazzo, a medieval castle in the South of France, and a 1954 Richard Neutra house in Los Angeles; a marriage of genres — French chic and California modern — especially delightful to see. In Paris, the home of Eileen Gray has been re-imagined for a collector of art and design while a new black-and-white mosaic floor anchors the grand salon of a 19th-century hôtel particulier, itself grounded by a spectacular swimming pool with lighting by American artist James Turrell. ››
PHOTOGRAPH ER: ALEXIA ANTSAKLI VAR DI NOYAN NI ( PORTRAIT)
By Jason Mowen Photographed by François Halard
VL
VLife in a bathroom of a hotel particulier in Paris, satin spar gypsum armoires and marble dressing table designed by Jacques Grange; Versailles parquet floor. In a bedroom of Grange’s home, artwork by Maurizio Cattelan. In a corner of the dining room of Pierre Passebon’s Paris apartment, sculpture by Fausto Melotti; table by Mattia Bonetti. T HIS PAG E, C LOCKWIS E F ROM LE FT
‹‹ “Grange designed the elaborate mosaic-tiled pool in a basement space where the lines between art, architecture and interior design are abolished,” writes Pierre Passebon, Grange’s partner who penned both monographs. Passebon’s own apartment is another favourite, with its striking 16th-century marble fireplace in the form of a grotesque mask and nods to the Vienna Secession. “Jacques makes houses like others make poetry, music or paintings,” he says. Fashion remains omnipresent. There is his collaboration with Mary-Kate and Ashley Olsen on the interior of The Row’s first store in New York, a boutique with the intimate feel of a home. And in Paris, white slipcovered armchairs and a magnificent Coromandel screen punctuate the silvery elegance of the Chanel haute couture salons at 31 rue Cambon — Grange’s first time working for the maison, due to a long-held falling out between the Saint Laurent and Lagerfeld camps. The inner workings of Grange’s own soul are perhaps best contained within the pale walls of his eclectic apartment that once belonged to the writer Colette. The space was recently expanded and now connects to an additional, upper floor via a ribbon-like spiral staircase inspired by Le Corbusier. Other subtleties are revealed at his beach house in Comporta, Portugal, where he spends two idyllic months each year. So dreamy is this little enclave of huts overlooking the Atlantic, it precipitated a new aesthetic movement: the Comporta Style. (Elements can be found at The Stork Club, Grange and Passebon’s boutique in Carvalhal village.) “For me, luxury is a space in the wilderness,” Grange has said. “You walk to the beach over the dunes and often it is empty. You wake up and you see a stork fly above you. That is luxury.” VL @jacques.grange 72
vogueliving.com.au
Your design statement...
... lies within.
The difference is Gaggenau. Grand architecture demands grand interior pieces. Refrigeration is one such design element and should speak to who you are. Every Gaggenau piece is distinctively designed, crafted from exceptional materials, offers professional performance, and has done so since 1683. Make a statement: www.gaggenau1683.com.au
VLife PROFILE
model Martha Hunt and her dog Coco next to custom patinated-copper shelves by Studio Giancarlo Valle evoking Donald Judd stacks. T H I S PAG E
Mar/Apr 2022
75
VLife um up how I feel about 2020,” says of the explosive abstract paintings s that hang in her New York City ecting the year that everything y’re really intense.” The vibe is e of this supermodel, who, on a recent rled with her puppy, Coco, on a sofa. ower Manhattan framed by corner d much of the pandemic. Her coping ting — and a lot of plants. eripatetic Hunt, now an ambassador Bulgari. Since moving to New York na in 2007, she has moved constantly. always had a bag packed and ready all.” drawn to Tribeca’s cobblestone streets Williamsburg, Chinatown, the Lower ets of the Village. She and her fiancé, onald, settled into a two-bedroom te. But on a visit to Giancarlo Valle’s icked. que point of view,” she recalls of the ugh mutual friend and fashion designer chairs, and it evolved from there.” rked his magic — opening up a wall, onceiving one-of-a-kind pieces, from a shade of ox blood to Donald Juddcopper. “The project became a bit of udio,” he notes. “I sent him images I love,” Hunt reminisces. “Ceramics luded vessels by John Born's Humble Lee Parker and a floor lamp by ››
in the den, custom sofas and TV cabinet; lamp by Carmen D’Apollonio.
T HE SE PAG ES
Mar/Apr 2022
77
‹‹ Carmen D’Apollonio. The last, she notes, “kind of looks like it has scoliosis,” a condition she’s had since she was a teenager and about which she now raises awareness. “Maybe that’s subconsciously why I got it.” Valle built upon that mix with works by Matt Merkel Hess and a bespoke bronze-and-ceramic table created in collaboration with Natalie Weinberger. When Hunt requested a limewash treatment for her bedroom walls (“It improves air quality and is very eco-friendly”), Valle chose a sage hue from Portola Paints to complement her pumpkin-coloured Mario Bellini sofa. And when she suggested a semi-circular sofa in the den, he came up with two J-shaped designs in nubby ivory bouclé that, set against plaster walls by Kamp Studios, evoke sitting in a cloud. This same space, with its wall of illuminated closets and drawers full of jewellery and handbags, was originally meant to serve as Hunt’s fitting room. But she and Valle morphed it into a cosy hangout spot when jobs and events slowed during the pandemic. The apartment then became something akin to her own personal set, a backdrop to DIY photo shoots and at-home Instagram campaigns, like the one she did for the Bulgari-sponsored virtual Tribeca Film Festival last February. All that nesting proved timely for Hunt and McDonald who, at the time of this interview, are expecting their first child. Glancing around the apartment, she observes: “I guess we’ll have to add a crib in here.” VL 78
vogueliving.com.au
VLife in the bedroom, side tables by Eny Lee Parker; 1950s Italian sconces; mohairwrapped bed. OPPOSIT E PAGE, FROM TOP in the living area, sofa designed by Giancarlo Valle; cocktail table designed by Giancarlo Valle and Natalie Weinberger; sconces designed by Jordan McDonald; artworks by Daisy Parris. Hunt lounging in her bedroom on a Camaleonda sofa by Mario Bellini for B&B Italia, enquiries to Space Furniture. Details, last pages. THIS PAGE
“I sent him images of things I had and things I love. Ceramics were a big part of that”
Subscriber exclusive offers Subscribers to Vogue Living gain access to our exclusive rewards program, Vogue VIP. Activate your membership now at vogue.com.au/activate HERE’S A TASTE OF OUR OFFERS
ENJOY
WIN
ENJOY
15% OFF PREMIUM
1 OF 5
10% OFF YOUR
ART PRINTS FROM
VIKTORIA & WOODS
NEXT BOOKTOPIA
FINEPRINTCO
EGIFT CARDS
PURCHASE
Explore these exclusive offers and more at voguevip.com.au *Offer 1: Limited to one redemption per eligible Vogue VIP member per month. Offer ends at 11.59pm AEDT on March 31, 2022. Valid exclusively for eligible members to use with Fineprintco online store. Not to be used in conjunction with any other offer from Fineprintco. Discount excludes Slim Aarons Premium Art Prints and Original Art. Fineprintco terms and conditions apply. Offer 2: Entries open at 9am AEDT on February 1, 2022 and close 11.59pm AEDT on March 31, 2022. Australian residents aged 18 years and over only. Limited to one entry per eligible Vogue VIP member. Winners drawn at 11am AEDT on April 1, 2022 at News Life Media Pty Ltd, 2 Holt Street, Surry Hills, NSW 2010. Winners’ names to be published within 7 days after the draw date on the Vogue VIP website. Total prize pool valued at $1250. There are 5 x $250 Viktoria & Woods eGift cards to be won. Winners drawn from entrants who are eligible Vogue VIP members. eGift Card is redeemable online or in-store, except at David Jones. eGift card has a 36 months expiry from date of issue. Gift card terms and conditions apply. Full terms and conditions available at voguevip.com.au. Offer 3: Limited to one redemption per eligible member per week. Offer ends 11.59pm AEDT on January 31, 2023 or while stocks last. New discount codes available weekly during the offer period. Australian residents only. Discount code valid for orders placed between 9am AEDT on February 1, 2022 and 11.59pm AEDT on January 31, 2023. Cannot be used in conjunction with any other offer. Weekly discount code is valid for a single use only during the promotion period. Offer not redeemable for cash and not transferable. Discount excludes postage, gift certificates, magazine subscriptions and audio & eBook subscriptions. Booktopia full terms and conditions apply.
PHOTOGRAPHER: GAELLE LE BOULICAUT
homes
VLiving
Mar/Apr 2022
81
Visionary soul Designer Sandra Benhamou lends her highly sought-after approach to a REFINED Parisian haven awash in luxury stone, WARM timber and soothing TONES OF TAN and chocolate. By Virginia Jen Photographed by Gaelle Le Boulicaut
in the living area of this Paris home, Ginger Dolly sofa from Sandra Benhamou, upholstered in Teddy mohair velvet from Pierre Frey, enquiries to Milgate; vintage straw lounge chairs by Charlotte Perriand; custom rug by Sandra Benhamou; Dan Pollock ebony coffee table from Galerie Desprez Breheret; Japanese stool from WA Design Gallery; artwork by Edgard Pillet from Galerie Alexandre Guillemain; Line L wall light from Ozone. Details, last pages. THIS PAG E
OP POSITE PAGE
84
whole picture, factoring “the harmony of volumes, the play of light, the colours and the choice of materials”. Her most recent project showcases this winning combination with quiet confidence. The brief for this central Paris apartment was simple. “The client wanted a sophisticated interior where typical Parisian elements — such as the mouldings — play the leading role alongside contemporary touches,” says the designer. “It had to be a chic and timeless atmosphere with all the comfort and high-end facilities.” She additionally drew from the hedonistic glossy glamour of the 1970s and ’80s, but also wanted to harness a haven with contemplative art, handcrafted furniture and wabi-sabi-inspired choices. Delectable shades of brown — chestnut, oak, walnut, caramel and chocolate — make up the interior palette, pulling zones that are equally warm and refined into focus. Benhamou also worked with mirror, grained timber and veined travertine to create a distinctive sense of volume and depth. A mirrored wall reflects light and the many works of art on display while also concealing the home’s old chimney that had separated the kitchen from the living area. Now the living space not only appears larger by circumstance, the statement feature also adds an extra layer of artful elegance and sense of place to proceedings. Together with the client, Benhamou traipsed through numerous galleries in the pursuit of the perfect pieces that would transform and finish the spaces. “We combined art by Latifa Echakhch and Douglas Gordon with tribal art and furniture pieces by Dan Pollock and Charlotte Perriand, among others,” says the designer. Round, organic elements also serve as a comforting counterpoint to soften the sharp linear lines of the home. The eye-catching Dolly sofa from Benhamou’s own Ginger collection, for instance, nods to the apartment’s architectural lines yet expresses inviting, cushioned solace with elegant contours that gracefully anchor the open living zone. Guided by an intuitive attitude, each Benhamou project is a unique result reflective of the client, as the chosen mix of furniture and art marry up with the articulated balance of materials and finishes to produce a cohesive whole. “My work is shaped by my inspirations, my travels, and also by the talented craftspeople that I work with. So I would say it evolves constantly,” says the designer. This continuing evolution all but guarantees a signature aesthetic of sorts, with style diversions leading to Benhamou’s ultimate interior destination: polished minimalism enhanced by a grounded take on panache, personality and detail. VL sandrabenhamou.com
designer Sandra Benhamou in the living area, tribal sculpture from Galerie Lucas Ratton; stool #13 by Guillaume Bardet from Galerie Kreo.
vogueliving.com.au
ADDITI ONAL WORD S: IMAGICAS A. SAN DR A IS WEARING A SHIRT FR OM MAR R A KS HI LIFE, MA R R A KS HILIFE.COM
H
aving travelled varying pathways from business school to the film industry, from Paris to New York and back, Sandra Benhamou finds herself with a particular perspective on the spaces we live in and how they are realised. “Cinema has always been part of my life, and of my inspirations,” says the designer. “I am fascinated and particularly sensitive to the photography and the decors of a film. The universe of great directors, such as Scorsese, Almodóvar or Lynch, can be very inspiring.” This ardour for the cinematic arts has led to a sixth sense for decorating spaces, of bringing together different objects, styles and eras. Benhamou also adds in a love of art and design to colour the decor, with homes becoming a series of real-life mise en scène. “I like to imagine eclectic and elegant universes in which Italian, American or Brazilian design, painting, tribal art or photography are mixed together, with unique, bespoke pieces conceived for a particular purpose,” she says. “I always aim to create interiors with soul and emotion. At the same time, I want to bring unexpected associations, while maintaining all the comfort that is needed.” Benhamou lived abroad for some 15 years and when she returned home to Paris in 2010, it was with a new intention in mind: establishing her own design studio. “The freedom of expression that I experienced in New York and London gave me a very special vision of interior design,” she says. “When I used to live in New York, I had the chance to renovate and entirely design a summer house in the Hamptons. I really enjoyed this experience and decided to make this new passion part of my daily life.” She identifies Gio Ponti’s Villa Planchart project in Caracas, Venezuela, as a brilliant example of an exploratory use of materials beyond mere function and the considered application of special details and moments for dramatic effect. Richard Neutra and Luis Barragán, who looked into the possibilities of light and volume, are also impactful influences for Benhamou. Her first wow experience with architecture “was during my first trip to Venice and a visit to the Olivetti showroom designed by Carlo Scarpa,” she says. And while these heralded design names have left an indelible mark on her, it is clear that creating remarkable interiors is something Benhamou strives for in her own work, too. “Each project is unique, adapted to the place and personality of my clients,” she says. “I try to never repeat myself.” Her meticulous eye for detail also takes in the
“I always aim to cre and emotion. At th bring unexpecte maintaining all the SAND
in the dining area, circa 1960 table and bench by Rudolph Condon from WA Design Gallery; lamp from Galerie Desprez Breheret; Tambour 124’ (2014) artwork by Latifa Echakhch from Kamel Mennour. THESE PAGE S
in the kitchen designed by Sandra Benhamou, oak cabinetry and island; I-Model pendant light by Anour, enquiries to Fred International; curtains from Jules et Jim; artwork by Douglas Gordon from Kamel Mennour. OPP OSITE PAGE in another view of the kitchen, Argentum travertine marble benchtops; ceramics from Drouot. THIS PAG E
in the ensuite, bespoke vanity in Etrusco travertine marble designed by Sandra Benhamou; Ura mirror by Pierre Charpin for Ligne Roset, enquiries to Domo. In the main bedroom, bed linen from Society Limonata; Bicolour yak wool blanket from Otherways; chair by Pierre Chapo; Untitled H wall light from Ozone. Nest #9 (2017) artwork by Tadashi Kawamata from Kamel Mennour. Details, last pages.
T HESE PAGE S, FROM L EFT
Mar/Apr 2022
93
Clear
Interior designer David Hicks mixes pure lines with a touch of French-influenced MODERN MINIMALISM in his new home, a BRUTALIST apartment in Melbourne’s Toorak. By Annemarie Kiely Photographed by Mark Roper
PHOTOGRAPHER: SAM BIS SO ( PORTRAIT)
direction
Mar/Apr 2022
97
F
rom fashion’s most lauded to academia’s most laurelled, it is agreed that elegance seeds in the dry soil of rigour and precision. Cristóbal Balenciaga equated it with elimination, Cecil Beaton with soap and water, Marcel Proust with moral purity and Coco Chanel with refusal — holding back on the impulse to keep adding more. Chanel’s ethos of subtraction — “Before you leave the house, look in the mirror and take one thing off” — now proving in spectacular survey show at the National Gallery of Victoria, seemingly underpins the order and effect of Melbourne designer David Hicks’s new home; a Coco-like construct of bouclé-textured ease balanced by a judicious layering of costume-meets-couture accessories. The Hicks mix of classic luxury with customised furniture and exotic quirk does not explicitly defer to the French designer but it proves the same potency of underdressing in precisely tailored monochromes. “Elegance is a function of simplicity and comfort,” says the eternally youthful Hicks as he declares celebrating 21 years in practice and his “surprising” circle back to the reductive “architectural” design that hallmarked his first projects. “I don’t believe in trends or following them.” Leading the home tour from a vestibule cast in a punchy contrast of black and white stone through an enfilade of rooms found on the first floor of a brutalist apartment block in Toorak, Hicks expounds on his disavowal of fads with the reveal of a wing that drinks in the skyline of Melbourne. To the right is a lounge-room play of pigmented whites in a scheme that favours the mid-century sensuality of such French visionaries as Serge Roche and Jean Royère. To the left sits an imperious island hewn from Paonazzo marble that animates under the light of a vintage Murano glass chandelier. “I like the irregular, rust-veined imperfections of the marble aligned with extreme precision,” says Hicks. “That space between control and no control is what makes modern minimalism human and warm but it relies on a mastery of detail to mediate those opposites.” Decrying the general lack of mastery “out there” and ubiquitous want to lean into stylised looks, Hicks says he envisioned his kitchen as a veritable homage to Venice appending at one end with an all-white dining alcove and at the other with a pantry corridor concealing contents behind satinwhite doors and displaying crystalline vessels collected for their shape. He lifts one globular ’60s bowl and notes that, as per the Italian want to elevate the prosaic, he likes to line it with a white napkin, pour in potato chips and pop it next to an aperitivo just mixed in the jewel-box bar. Going in search of said “entertaining wellspring”, the designer leads back into the main living area and flings open a pair of mirrored doors made to reflect city lights to guests seated at a dark ellipse of customised oak dining table. The gesture funnels sightlines straight into a black hole where neon-bright cocktail mixers bedazzle, and a dozen different gins confound choice. Delighting in its drama, Hicks informs that he is partial to a good Margherita and a glass of Ruinart champagne then points to the fine art follow-on of the box’s depthless black in the nearby Dale Frank painting; a gilt-edged portal into an otherworldly place that tips the surrounding polite cream completely off kilter. Hicks’s cosmic undermining of tailored sobriety continues in the north-wing winter room, a cosseting space where the seating is low to the ground, the palette muddies into textured variations of taupe, and the gravitational pull exerts from an astronomically inclined mirrored disc by French artist Christophe Gaignon. “I bought it so long ago in a Paris flea market,” he says of work by a then little-known artist now favoured by the likes of Jacques Grange and Christian Liaigre. “It reminds me a bit of Anish Kapoor… I have bought a few over for clients, but they are now almost off-the-scale in terms of price.” Entreating a look behind the room’s open-ended partition wall, where a long stretch of desk became the main office during lockdown, Hicks tells that this room is off limits to his two Tibetan spaniels, Dash and Jett, who would likely destroy all things sheep, including the decadent shearling rug designed in collaboration with Cadrys and a sculpted bronze-and-wool effigy found at Chicago antiques dealer Old Plank. “My cleaner calls him Shaun the Sheep,” says Hicks. And while it’s easy to read jingoist subtexts into “Shaun” about our country’s commerce and culture riding on the sheep’s back, Hicks thinks our national design identity now skews far more European. “I feel like we could be anywhere in the world in this and many other Melbourne homes,” he says with the add that his business is becoming more focused on full-design development, from first schematics to the build and final audacious furnish. “Interestingly, clients are wanting less, but wanting it better. Downsizing is the wrong term to use because they still want to feel space and seat 12 people around a dinner table but they demand simpler, more sensory schemes that are resistant to the tides of change. They are asking the big questions about real value.” Historically, such pause for existential reflection and the return to clean lines parallels global crises, à la the penitential purity of minimalism that followed the meltdown of financial markets in the late 1980s and early ’90s. “We are definitely in a moment that calls for cleansing and questioning,” says Hicks of his surrounds and the wider world’s want to pull back to first principles and dig deeper into process until all that remains are the facts of the situation. “What does it all mean? Who am I and what do I really want? Design is again asking the right questions.” VL davidhicks.com
in the main bedroo Dedar Dalie Papaveri Tulipani f vintage Murano Rostrato lamp Moderno; custom macassar ebo David Hicks; shearling rug by D PAGE in another view of the sitti 1940s Murano glass chandelier formal/winter sitting room bey by Afra and Tobia Scarpa for C (enquiries to Mobilia for reissue fabric from South Pacific Fabri Platner for Kno THIS PAGE
Mar/Apr 2022
103
Hide & SEEK A PARIS home originally designed by Gustave Eiffel — of the city’s famed landmark tower — receives a smart POLISH at the hands of Italian interiors maestro Fabrizio Casiraghi.
in the kitchen and dining area of this Paris home, bespoke lacquered wall panelling and ceramic wall sconce; vintage mirror and brass planter; Akari Light Sculpture pendant light by Isamu Noguchi for Vitra, enquiries to Living Edge; paintings by H Craig Hanna; Fijian Gugu club from Galerie Flak. Details, last pages. THESE PAGES
By Freya Herring Photographed by Cerruti & Draime
106
vogueliving.com.au
A
ttempting to refit an apartment created by one of the most celebrated names in design history might deter some. Not Fabrizio Casiraghi. An 130-square-metre third-floor apartment on rue Martel in Paris’s 10th arrondissement has been completely overhauled by the rising star designer. Who designed the building originally, you ask? Gustave Eiffel — yes, that Eiffel. Rather big shoes then. “It’s in one of the few buildings in Paris designed by Eiffel,” says Casiraghi. He admits that while one might assume the building was typically Parisian in style, in fact the opposite is true. “It’s very unusual for Paris because Eiffel’s style is very industrial, which is different from all the classic buildings here. So when you come inside, it looks more like a loft in SoHo, New York. But we didn’t want to create a typical American loft — that’s exactly what we wanted to avoid.” The client is an actor’s agent: an important — and busy — one. “He wanted something very masculine, something that is Parisian but not typically Parisian, something international,” says Casiraghi. “Because he has a huge job and travels a lot, when he comes home he wants a cosy space.” The pair decided to look across the Channel for inspiration. “We agreed on the definition of a cigar room and a little bit of an English gentlemen’s club, so that’s why we have the lacquered wooden panels all around the living area and dine-in kitchen to give that feeling.” It took about a year to renovate the space and conjure that sense of intimacy and welcome. “Six months of drawing, six months of work,” says the designer. The Italian creative likes to mix vintage furniture with new, as well as incorporate bespoke designs. “Sofas are usually designed by us, kitchens are always designed by us, and a few pieces of furniture — like consoles — can be designed by us,” Casiraghi says. So in the living space, the sofa, upholstered in Pierre Frey corduroy — “he asked me for something very masculine, so I used the same fabric as men’s pants” — faces off against a pair of vintage Art Deco armchairs, a reflective Willy Rizzo coffee table skewered between them, the scene canopied by an oversize Isamu Noguchi globe lantern. Open to the dine-in kitchen, pre-loved dining chairs encircle a glossy walnut table designed by Casiraghi. “We reupholstered the dining chairs to make them very comfortable,” he says. “You can sit for hours at the table talking and eating.”
“We agreed on the definition of a cigar room and a little bit of an English gentlemen’s club” FABRIZIO CASIRAGHI
Which is exactly the point because although the kitchen may look ultra pared-back, the homeowner loves to host. He also hates mess, so all the ugly kitchen paraphernalia is cleverly tucked away. “In this house, it’s all behind the wooden panels — everything is hidden,” says Casiraghi. “There’s a cupboard with all the dishes and glasses, the big fridge is behind another door. It’s bigger than you can see.” The door to the main bedroom is concealed by the glossy green lacquered panels, and in the living room, the TV — an essential item for an agent — is hidden behind them, too. Alongside all that panelling, the apartment features wall-to-wall windows facing both east and west, flooding the apartment with morning and evening light. Between these hard surfaces, enhancing the soft light of dawn and dusk, walls in the two bedrooms are dressed rather than left bare. “We used straw wallpaper on the bedroom walls,” says Casiraghi. “It’s like a cabana — very natural and unexpected for Paris where you expect to find white walls with mouldings, rather than a flat wall covered in straw.” He elected to use the same material, painted white, in the living area to dress the ceiling, “to give a bit of texture above the lacquered wood — we wanted to give a little bit of grain to this part of the room”. Spurning Italy’s feted marble, Casiraghi instead opted to indulge his passion for ceramic in the bathrooms. “I am a huge fan of ceramic tiles,” he says. “While I love marble, sometimes when bathrooms are completely covered in marble it is for me a little bit pretentious or ostentatious. I prefer more effortless chic, and with ceramic it’s easy to achieve this.” Using tiles sourced from Piedmont’s Ceramica Vogue, the checkerboard-like design contrasts with traditional fittings, walnut Art Deco footrest poufs and mid-century wall sconces by Swede Hans-Agne Jakobsson. “When there is just ceramic, no marble, you have to find the right design by playing with pattern and colour,” says Casiraghi. “It then becomes very precious, even if the material itself is not.” It is an approachable sort of elegance, then, rather than flamboyance, underpinning this apartment’s aesthetic. “The most important thing for me is that a client feels comfortable when they enter somewhere I design,” Casiraghi explains. “I don’t want them to feel like they are in a showroom, or in an over-designed place. I love spaces where people can just feel well, where they can lay on the sofa. And that was the feeling that we had when we finished this apartment — everybody just wanted to sit on the couch and drink a glass of wine.” VL fabriziocasiraghi.com Mar/Apr 2022
111
112
voguelivin
Blooming By balancing a moody CINEMATIC SENSUALITY with an overall aesthetic informed by the SEASONS, designer Tania Handelsmann has brought heightened everyday elegance to a Georgian terrace in Sydney.
romance By Verity Magdalino Photographed by Felix Forest Styled by Joseph Gardner
Mar/Apr 2022
119
T
his newly renovated heritage home, which Tania Handelsmann — one half of the Sydney interior design practice Handelsmann + Khaw — shares with her husband, Andrew, and their daughter Harper, son Oscar and Russian Blue cat Babushka feels every bit as romantic as its namesake, the Arthurian legend Lancelot. The knight’s name is imprinted in a brass plaque by an entryway shrouded by magenta bougainvillea. Inside, the family retreat is a masterclass in the art of conjuring subtly contrasting atmospheres from one space to the next while still maintaining an effortless sense of flow and harmony. One of a pair of 1850s Regency-style terraces, which originally formed a single freestanding home, the house was built well before any of its neighbouring Victorian-era dwellings, which makes the architecture a standout in the leafy urban enclave of Paddington in Sydney’s eastern suburbs. “I love the village atmosphere of the area with its rows of pretty terrace houses and leafy streetscapes,” says the designer, who purchased the house eight years ago and has just finished the six-month renovation. “I love old houses. This one had loads of original charm and I immediately fell in love with its high ceilings, porticoed flagstone porch and deep sunny verandah with bougainvillea spilling over the balustrade… I could also see that there were enough spaces so if we did some alterations and additions, it would work for us as a family.” It took seven years of living in the home, growing her family, and developing her practice with business partner Gillian Khaw, before Handelsmann began the process of renovating — a task she describes as supremely challenging despite the smooth construction process, care of builders Verdecon who finished the project ahead of schedule. “Being an interior designer with so much exposure to trends, I am very aware of how quickly I tire of things. Materials and finishes can date quickly but I needed them to be timeless so I very carefully considered every decision through that lens. I’m very happy with the results. I don’t regret anything.” While the practicalities of optimised space and light drove the overarching brief, the magic that transforms this house into a
120
vogueliving.com.au
soul-salving oasis of elegant curves and sensory delight is a focus on feeling and a subtle biophilic connection to seasonality. “I wanted to create different moods in different parts of the house,” says Handelsmann. “The formal front rooms are quite dark so I embraced that by creating a moody and sensual atmosphere with autumnal colours and tactile textures inspired by winter and the fire, which is the focal point in the room. These rooms are especially atmospheric at night with their mix of lighting including spotlights over the art, pendant uplights and floor lamps.” Conversely, the designer describes the ambience at the back of the house in the new, light-filled family room with its standout floral green sofa and green steel doors opening onto the garden as “casual, light and summery… This room really adds to our joy of the home because we never had a second family room or a direct connection to the garden previously,” she says. Originally a “rabbit warren” of smaller rooms with dated orange pine floors, the opening of spaces and in particular, the addition of Otsumigaki natural clay and lime trowelled plaster walls and solid French oak floorboards had a transformative effect that is felt throughout the entire house. “The plaster wall finish just completely changed the atmosphere — it evokes a feeling of elegant, faded grandeur,” says Handelsmann. “The flooring was an important decision that I researched carefully. I don’t think fashionable wide engineered boards are appropriate for a terrace house so I selected a narrow solid oak board with distressed edges. I wanted it to look like the floor would have originally been here.” A vintage brass bell, once owned by Handelsmann’s mother and used throughout her childhood to call the family to dinner at 6pm sharp and now freshly polished, takes pride of place in the kitchen; a 17th-century table graffitied with the date 1677; a pair of brass wall sconces acquired from the estate of Yves Saint Laurent and Pierre Bergé — these are just a few of Handelsmann’s favourite things. And again echoing Lancelot, all evidence a certain charm and are steeped in stories with the aura of historic fables. “My favourite furnishings are definitely the vintage pieces that I have collected over the last few years,” says Handelsmann. “And my favourite ››
‹‹ room is the kitc marble slab we foun has the best light in a generous kitchen friends and family t we spend a lot of our Indeed the cookin restrained beauty is “You can make thing work with a family h that has kids’ toys ev a big reason why I ch I wouldn’t have to w fingerprints on it. It sofa in the front livin kitchen — it all work
VL
126
vogueliving.com.au
Midas
TOUCH Architect Michele Pasini combines century-old frescoes with sleek reflective surfaces to make a solid impression in his Milan apartment. By Laura Leonelli Photographed by DePasquale+Maffini Styled by Francesca Santambrogio
in the living area of this Milan home, 1960s Relaxy sofa beds; 1950s 856 armchairs by Ico Parisi for Cassina; coffee table, a gift to Michele Pasini; glass dome by Tommaso Barbi; Rope/Rose artwork (inside dome) by Michele Pasini; wall light designed by Michele Pasini; suspended micro-perforated brass tapestry (on ceiling) from Storagemilano. Details, last pages. THE SE PAGE S
homeowner and architect Michele Pasini in the living area. O P PO SI TE PAG E in the kitchen, island in stainless steel wtih Scotch-Brite finish; vintage Pala table lamp (on left) by Danilo and Corrado Aroldi for Luci; customised cake dome by Michele Pasini featuring an Ikea bowl and golden doorknob; customised lamp by Michele Pasini featuring a ceramic vase base and a 1970s lamp. TH IS PAG E
132
vogueliving.com.au
T
he origin story of the latest rendition of this 1901-built apartment in Milan is as dramatic as its renewed interior is bold and unique. It was during a candlelit dinner party when Michele Pasini, architect and cofounder of Milan studio Storagemilano, brandished a hammer and took to the ’70s-era suspended ceilings of his new home, leaving guests speechless when he unearthed miraculously well-preserved frescoes. Miraculous not only because they survived Pasini’s precarious hammer-wielding but also the bombings of World War II that had hit the majority of homes in this part of central Milan, destroying countless magnificent buildings and historical detail. For Pasini, the frescoes were yet another hidden voice from the past to aid in his reinvention of this space, a space he says he found by chance but was in many ways destined for him. The voice of the previous owner, a woman who loved music is one he had access to. “When I went to see the house, of which the lady had been the only owner since 1928, her furniture was still there, including the piano,” he says. “It wasn’t exactly the house of my dreams but when I entered the first thing I saw was that piano — she was a pianist playing at La Scala. I returned to take measurements and I didn’t touch a thing but almost by magic, a photo from the 1940s falls out of a drawer. It portrayed the beautiful lady and her husband, leaning against the railing of the castle of Brescia, where they met and got married. I was born in Brescia.” Pasini bought the apartment. The one-bedroom retreat is, says Pasini, “probably” the eleventh home the architect has transformed since arriving in Milan to study in 1994. His new address is closer to the Storagemilano headquarters he shares with fellow cofounders Barbara Ghidoni and Marco Donati. Together the trio has gained renown for their work with high-end fashion houses including Dolce & Gabbana, DSquared2 and Bally. Pasini has now lived in the apartment for four years and, over that time, has organised and reorganised the space “until everything finally fell into place. I’m used to deciding everything on paper, in advance, in an orderly sequence,” he says. The organic evolution of this particular home is abundant with autobiographical touches: two chairs by Ico Parisi found at a junk shop when Pasini was still a student, and the T-chairs by William Katavolos, Douglas Kelley and Ross Littell, saved from the street. “I found the T-chairs by chance,” says Pasini. “One evening I leave the studio and ride my Vespa near a pile of rubble and see these wonders. I ran home, picked up the car, came back and loaded up.” Where necessary Pasini has created anew, updating the apartment’s original shell with modern 21st-century inserts that manage to create a feeling almost like a melding of dimensions from other times spanning the high-shine gleam of the ’70s, the brash boldness of the ’80s and ornate flourishes from the turn of the early-20th century. The architect has conjured a unique kind of magic via the allure of mirrored surfaces and metals ranging from warmly polished brass panels on the walls and ceiling to the sheen of an expansive steel dining table, designed to comfortably seat up to 16 guests. Stepping from the filtered light of the dining room through to the honey-toned reflections of the living area and then out onto a magnificent terrace dotted with citrus and olive trees, agaves and a large pine tree continues the sense of transitioning through eras and even geographic locations; the gloss of urban Milan inside giving way to a relaxing corner of lemon-scented Capri in the sunshine. VL storagemilano.com
134
vogueliving.com.au
another view of the custom stainless-steel kitchen with Scotch-Brite finish. OP P OS I TE PAG E in the hallway that leads from the living area to the kitchen and the bedroom, the large polished brass element conceals a wardrobe. TH IS PAG E
in the dining area, dining table from Storagemilano; 1952 T-Chair side chairs by William Katavolos, Douglas Kelley and Ross Littell for Laverne; custom candleholders (on table) in Grottaglie ceramic and bronze; 1970s Mazzega 1946 cone glass sconce; 1940 period engravings (on wall); floor lamp from Penelope Interni; 1950s vase from a flea market in Arezzo, Tuscany; 1958 Poliedri chandeliers by Carlo Scarpa for Venini. TH ESE PAG ES
Mar/Apr 2022
137
in another view of the living area, Storage Home Couture 2002 reissue console from Storagemilano; 1930s German lamps. OPPOSIT E PAG E in the main bedroom, bedspread from Hauz; 1970s embossed glass wall lamps; mirrored sliding door. Details, last pages. TH IS PAGE
Stand STILL A dramatic OV reveals TONA and artistic fl Melbourne Mission-style AB realised by Fla
Mar/Apr 2022
145
M
ost people’s notion of elegance sits somewhere between “the weird terrain” of subjective perception and a pure state of “effortless grace”, asserts Melbourne designer David Flack of Flack Studio as he tries to give it a face. “Audrey Hepburn,” he ventures, with the qualification that his choice is not about surface style “though she oozed it”, but the actor’s unwavering courage to be herself. “And Kate Winslet,” he adds, avowing that she could be pulling a pint at the local pub or standing at the Oscars’ podium, but never wavers from being “real”. “She’s altogether different to Hepburn, but has the same cotomfort in her own skin, as do these guys.” Flack nods to the nearby Mr and Mrs Smith, who are obliging with a portrait shot for these pages in their family room — a taupecoloured corner space that tracks the arc of afternoon sun, in which modern Italian furnishings and vintage finds talk to the colours in contemporary artworks by the likes of local artists Dane Lovett and James Lemon. James who? “Yeah, who is James Lemon?” repeats Flack, laughing at a glossy brownish floor pile that he says could pass as a mammoth’s giant poo. “He really is a talented young man with a bright future.” Flack, who is famous for inserting a conceptual levity crafted by emerging Australian artists into his interiors, informs that the Smiths — “who are parents to Ned, 13, and Pip, 10” — are the client couple who might claim the most common surname but expressed the most uncommon desire to honour architecture with a sympathetic refresh and bare sandy feet. “Most people think elegance is precious and puts you off sitting on anything, but these people totally get it.” Standing within earshot of the banter, homeowner Jeremy Smith weighs in: “Elegance is defined by virtue of what it is not … It is proportion, balance and intent.” His wife Michelle, a picture of Botticelli curls and in a billowing dress — worn to meet the high drama of the entry’s diagonal slice of stair and rosette floor bloom of inlaid marble “in memory of Villa Carlotta on Lake Como” — laughs at her husband’s legalese and declares the house has willed her into a different way of dressing. “It has made me want to feel beauty again,” she says with the recall of moving back to Melbourne from their coastal hideout as lockdown released and the renovation finished. “Suddenly my whole wardrobe became very feminine — I started wearing maxi dresses.” Such lean into Hollywood glamour circa 1920s Cecil B DeMille might be the mental impost of a structure designed in the Spanish Mission style by feted Georgian revivalists, architects Blackett & Forster, in 1926. “They had been engineers on the Western Front during the war and saw all the grand mansions in France,” explains Jeremy. “They returned to design some really novel houses in Toorak and Palladian-proportioned office buildings on Collins Street.” But down by the beach, in an era when British affinities were being hijacked by Hollywood, Blackett & Forster’s Georgian
146
vogueliving.com.au
propriety clearly tipped into the loose vernacular of Spanish Mission; its errant layout, airy loggias, curvilinear gables, rounded arches, stuccoed walls and terracotta tiles were the preferences of America’s ascendant stars and Melbourne’s society aspirants in the Roaring Twenties. The style’s romantic riff on monastic life let slip and the picturesque form is what Flack felt needed to be enshrined and abstracted in the new. His edgy essentialism — a self-described stretch of the Spanish Mission tropes in defined thresholds and borders, terrazzo floors, bronze display cabinets, custom lights, monumental fireplace surrounds “and new portals with tiny half-radius arches” — blurred all the discords created by a 1980s renovation. The beach-facing entry, a mere 50-metre dive away from crashing sea, states itself with requisite grandeur and glamour — a sveltelegged 1950s table furnishing key-drop surface at the base of a majestic Georgian staircase. But Flack equalled its gobsmacking effect in the rear kitchen, formerly an outside space that is now the main point of entry for friends and family. ››
‹‹ “This is like a little Italian provedore,” he says with a hand rub over the slab of veined Viola Calacatta marble — like buttery Wagyu beef — topping a bronze-legged island in the manner of Jean Royère. “You just want to slam the jamón on its surface and lay out the cheese.” Eyes lift to a moulded ceiling as morish as white chocolate as the designer declares, “You want delectable materials in a kitchen”. A heritage Bertazzoni cooker alerts to the Smiths’ “professionalism” with food, but the concealment of the fridge in a discrete glassdoored pantry makes it plain that an elegant aestheticism trumps ergonomics in this always-busy area. “All the cabinetwork has been painted onsite — the old-school way — so as not to look plastic,” notes Flack as he draws attention to the saddle-stitched leather backing a wall-hung, bronze-framed drinks cabinet that constitutes his version of the Savile Row suit — “gorgeous both inside and out”. The chat about “the joys of hidden detail” continues down a corridor, without orienting order, into a precious stone cave that could be a premium vigneron’s tasting room. “See here, bull nose into bull nose into negative detail,” he says in point to the junctions between vino-red stones, rough-coat renders, rounded walls and treasured wine. “We custom-mixed all the terrazzo.” The imperceptible care with contact points — the sensory gift that will give eternally to the Smiths — continues upstairs in a main ensuite streamlined with handmade Moroccan tiles matched to the Art Deco inflections of the original English porcelain bathtub and faucet. Freestanding cabinets, crafted with a Mission-meets-postmodernism whimsy, stand quiet sentinel over this petite sanatorium streaming from a master suite set with Patricia Urquiola’s Bio-mbo bed — a bouclé-rich refuge for sleep from Cassina. Just a single padded Ponti loveseat, upholstered in the same sea green of outer stormy waters, makes Flack’s point about elegance being neither profligate nor mean, but modest about its own magnificence. “You’ll notice no big robes or space-eating storage units,” he says, expressing awe at his clients’ willingness to divest of stuff and submit to the rhythms of a random 1920s ecosystem. “They are the perfect custodians of a perfectly elegant house.” VL flackstudio.com
in the dining room, vintage Cab chairs by Mario Bellini for Cassina from Castorina & Co.; solid walnut dining table designed by Flack Studio; Moon Jar vases from House Editions; custom fireplace in Opus marble from Artedomus; Apparatus Arrow pendant light from Criteria; walls painted in Porter’s Paints Blue Spruce; artwork by Gregory Hodge (on wall) and Harriet from upstairs (2018) artwork (on mantle) by Karen Black from Sullivan+Strumpf. T H E S E PAG E S
in another view of the entry, 1950s side table from Smith Street Bazaar; TG 15 Sling lounge chair by William Katavolos, Ross Littell, and Douglas Kelly for Gratz from Criteria; custom stone inlay designed by Flack Studio, Rosso Levanto, Opus, Vagli Oro and Tiberio marbles from Artedomus, supplied by Bluechip Marble and Granite. O P P O S I T E PAG E in the powder room, custom vanity in Rosso Levanto marble designed by Flack Studio; vintage Murano Rostrato glass wall sconce from Peninsula Antiques e Moderno; walls in custom Venetian plaster. Details, last pages. T H I S PAG E
152
vogueliving.com.au
Sense of
PLACE
Architect and designer Diego Delgado-Elias has reinstated the heritage details of this Haussmannian residence in Paris, DRAWING on the past with a focused curation of design classics and contrasting VINTAGE finds. By Freya Herring Photographed by DePasquale+Maffini
Mar/Apr 2022
157
P
aris’s Haussmannian buildings are, arguably, what largely make up the charming aesthetic of this magnificent city. But when Peruvian architect and designer Diego Delgado-Elias walked into the site of his latest project, what he saw shook him to his core. “The place had been renovated five or 10 years before — and it was a crime!” he declares. “This is a Haussmannian building and they had thrown out the wooden floors and almost every single moulding. The whole place had been painted grey with all these ceramic tiles in a fake concrete finish — it was a disaster. So part of the brief was to get back to the building’s DNA.” As a lover of historic buildings who rejoices in their quirks and idiosyncrasies, DelgadoElias set about repairing and replacing mouldings and flooring over eight months, capturing the essence of Haussmann’s elegant vision while incorporating the needs of the new dwellers of this 400-square-metre space. Having recently moved to Paris from Asia, the owners wanted subtle reminders of their time spent there. “That’s the reason why we worked with shutters and interior blinds, and the colour palette saw touches of red — this is our take on that Asian background,” says the designer. The expansive entrance, which reigns high on the fifth floor, is one of Delgado-Elias’s favourite spaces in the apartment. Rectangular at one end and oval at the other, sweeping windows overlooking a courtyard are flanked by bench seating and obscured with neat shutters in this transitional zone. Canopying all of this is an ornate aluminium chandelier above bulbous wooden objects by Arno Declercq atop a concrete table and wool rug, both custom-designed by Delgado-Elias. It’s some entrance. From here, you’re straight into the living room: an elegant space of warm-white panelling and sculptural furniture, some new but with custom finishes, like the Poliform sofa and ››
in the kitchen, island in oak; sink, benchtop and splashback in naica quartzite; stools designed by Diego Delgado-Elias; vases from Bzippy, enquiries to Jardan; vessels from Danny Kaplan; bull sculpture and terracotta vessels by artists unknown. OP P O SI TE PAG E in the entry, table and rug designed by Diego Delgado-Elias; feature aluminium chandelier; sculptures by Arno Declercq. T HIS PAG E
the building’s staircase. In another view of the living area, sofa and ottoman designed by Diego Delgado-Elias, upholstered in Pierre Frey fabric, enquiries to Milgate; Kangaroo lounge chairs by Pierre Jeanneret; coffee table by Jacques Adnet; wall light and rug designed by Diego Delgado-Elias; artwork by Javier Campins. THESE PAGES, FROM LEFT
Mar/Apr 2022
161
‹‹ ottoman, specially upholstered in nubbly, creamy Pierre Frey bouclette. “It’s not the fabric they normally work with,” says Delgado-Elias. “But I hate to design or go to a place where you can recognise the thing, so sometimes, when we buy new, we try to customise it a little bit, so the place looks like it has some personality, and not like the decorator just left.” Many objects are vintage. “I have someone in the office who is doing that 24/7,” he says. “We do a lot of 1stDibs, Instagram galleries and I travel like crazy, going to antiques shops and salons.” Two pre-loved chairs have been revitalised in Pierre Frey velvet to create a sort of winetasting niche, positioned as they are aside the wine cellar. “We upholstered the chairs with the same fabric as the curtains,” says the designer. “It’s rusty-coloured velvet that changes in the light, making it look copper-ish.” Elsewhere, a leather-clad Jacques Adnet coffee table rests against a bespoke wooden version, conceived by Delgado-Elias as a simulacrum of Adnet’s design. A pair of angled Kangaroo lounge chairs by Pierre Jeanneret contrast against a bronze-and-glass wall sconce by DelgadoElias that echoes the gently curvaceous silhouettes of Haussmannian design. Stepping through into the family room, much of the kitchen is hidden from view allowing for a social space with the prettiest parts of the cooking zone on show — an island in coffee-toned oak; and sink, benchtop and splashback in naica quartzite, its undulating veining bringing a striking organic feel to the uniformity of the room’s design. Tobia Scarpa chairs encircle a lacquered wooden table by Delgado-Elias, while back-to-back sofas create both banquette-style seating for dining and a tranquil casual area for languid lounging. Conceptually, the colour palette of the five-bed, four-bath home reflects each room’s function. “As you circulate inside, the colour tone and materials get darker and cosier the more private the rooms get,” says the designer. Just off the living room, the library — an intimate corner of stained-oak panelling and richly toned furnishings — is a case in point. “The library feels really nice, all that panelling makes it dark and cosy, and it is also very masculine — it feels kind of like a cigar room,” he says. Creating such a sublime series of spaces has been no mean feat. “Renovation is hard work,” says Delgado-Elias. “It’s stressful, there are a lot of surprises, there are things that make people mad at each other — like budget and delays and contractors and finishes — so it’s a hard process.” The designer warned the owners about what was to come. “When we started the project I was like, ‘Guys, be prepared: we’re going to get into massive arguments, we’re going to be hating each other but it’s normal, don’t worry about it. At the end, we’ll all be happy.’ Now they keep telling me how happy they are — last week, they had me over for dinner, with 25 friends, and they were so proud.” VL @diego_delgadoelias
in the entry, designer Diego Delgado-Elias. OPP OSITE PAG E in the library/ study, rug designed by Diego Delgado-Elias; artworks by artists unknown. T HIS PAG E
Mar/Apr 2022
163
Like the tropical grass that inspired it, Bamboo is the most versatile of evergreens.
Le Creuset Boutiques 7]HRI] '&( ` 'LEXW[SSH ` &SRHM .YRGXMSR ` 1IPFSYVRI '&( ` 'LEHWXSRI ` (SRGEWXIV ` 'ERFIVVE ` 4EGMƼG *EMV ` %YGOPERH www.lecreuset.com.au
PHOTOGRAPHE R: M AR INA DE NISOVA
kitchens and bathrooms
K&B
A sense of bold renewal and distinctive design has informed these celebrated hubs of the home, realised in a highly potent blend of material luxury and space savvy. Mar/Apr 2022
167
PROJECT
Perfect memory A talented up-and-comer turns to the past to create a coastal-inspired space firmly devoted to being present. By Annemarie Kiely Photographed By Marina Denisova
F
loating on fond memories of Mediterranean summers spent by the sea and the sensory pullback to a place of Roman ruins, rocky outcrops, warm sands and fish glinting in depthless green waters, Szymon Keller — a Warsaw-educated, Barcelona-based designer — says nostalgia nuanced his renovation response to this small Spanish apartment. Located in a fin de siècle building in a cool city-edge quarter considered the centre of Barcelona’s industrial revolution, the 60-squaremetre walk-up belonging to a “bold” couple was, according to Keller, suffering from a lack of natural light and a claustrophobic layout. And yet it had a desirable proximity to the waterfront and a willingness to be something else, which
168
vogueliving.com.au
the up-and-coming designer potted with the following poetic words: “Do you remember that summer night, at the sea, under the moon? That golden fish that shone from the deep waters… as it hid in the submarine caves.” Before translating that prose into resonant textures and tones, Keller replanned the three-room home into a four-room amenity, reinforcing the apartment’s sloping floor and ceiling, realigning its crooked walls, bolstering its structure with beams and installing new windows. He then conceptualised “a fluid scheme” in which an amorphous hallway spine absorbed public and private space, making “a middle ground” of both intimate and everyday activity. “This way we have reduced circulation areas, creating a unique space that splays off in all directions as you move through it,” he says, identifying the bathroom as the only gateway that contains with glass doors. Accessed through opposing arches that nod to Mediterranean ruins and mediate passage between living room and bedroom, the bathing zone conjures an underwater cave in its wrap of blue-green tiled wall and casts the copper bathtub as a big golden fish evading capture. At night, ››
in the bathroom of this Spanish home, Franklin copper bathtub from Affari of Sweden; matt black tapware from Icónico; Artisan ceramic tiles in Moss Green from Equipe Cerámicas; Scone papier-mâché wall sconce designed by Szymon Keller, produced by Crea-Re Studio; ceiling in NCS Colour S 5020-GA paint and arches in NCS Colour S 3030-Y60R paint; cementitious terrazzo floor with aggregates in white, brown, beige and red marbles from Tehnossa SL. O P P O S I T E PAG E in the kitchen and dining zone, DecoMetal cabinet fronts in Brushed Copper Aluminium from Formica; Grohe Essence tapware from Sanitino; white granite sink from Icónico; Estatuario benchtop in Silk finish from Neolith, enquiries to CDK Stone; custom dining table with Neolith Estatuario top in Silk finish, produced by Dadra; Monday chairs from Fést Amsterdam, upholstered in Kvadrat fabric; ceramics by Vito Montolio from Danide Vito Studio; Globo Cesta pendant lamp from Santa & Cole, enquiries to Mobilia; wall and ceiling in Stucco paint and cabinetry in satin lacquered finish in Arenoso from Pintura i Estuc; cementitious terrazzo floor with aggregates in white, brown, beige and red marbles from Tehnossa SL. Details, last pages.
K&B
T H I S PAG E
FINE R D ETAI LS COM PILED BY VICTORI A BAKER
Finer details Completedworks Fold ceramic fruit bowl by Ekaterina Bazhenova Yamasaki, $305, from Net-a-Porter; net-a-porter.com Gaggenau 200 series 60cm induction cooktop, $3499, from Winning Appliances; winning appliances.com.au Cast iron oval casserole in Meringue, from $450, from Le Creuset; lecreuset. com.au Engineered stone in Calacatta Nuvo, from $900 per sq m installed, from Caesarstone; caesarstone.com.au FROM TOP
The bathing zone conjures an underwater cave in its wrap of blue-green tiled wall and casts the copper bathtub as a big golden fish evading capture
K&B
‹‹ when a papier-mâché wall sconce — designed in collaboration with Spain’s Crea-Re Studio — powers on, the bathroom basks in moonlight. Or so says the narrative-driven Keller (pictured, left) who explains the everywhere incidence of curved corners as an augmentation of a sense of intimacy and a softening of the transition into neighbouring living area, where the kitchen has been scaled and surfaced to insinuate a ship’s galley. “The satin copper kitchen finish shines with a warm light that enhances the surrounding sandy stucco shades, lacquered cabinets and terracotta doorframes,” says Keller, likening it all to a sunset witnessed beach-side. “The set is completed by the white marble countertops with earth-coloured veins and the roughness of the textiles, with natural-coloured linen curtains and the tobaccocoloured cotton of the chairs.” In turning traditional service spaces into textured evocations of the seaside, Keller has cleverly transformed the tedium of the everyday into a holiday experience — a mind-trip without the hassles of travel. @szymonkeller 170
vogueliving.com.au
Finer details Pillar single towel rail in Matte Black, $75, from Linear Standard; linearstandard.com.au Coogee Antique Kit Kat mosaic tiles in Forest Green, $136 per sq m, from Tile Cloud; tilecloud.com.au Copper Apron bath, POA, from The Copper Sink & Bath Company; thecoppersinkscompany.com.au Axia wall basin/bath curved outlet mixer set, POA, from Phoenix; phoenixtapware.com.au FR OM LEF T
PROJECT
Playing host One designer couple’s petite house grows from humble beginnings into a clean-lined family home ideal for gatherings and entertaining. By Annemarie Kiely Photographed by Shayrn Cairns
W
hen architects Asha Nicholas and Chris Stanley — partners in both life and practice Splinter Society — bought a worker’s cottage in East Brunswick, they were still finishing degrees and weren’t flush with the funds to contract out construction of their proposed addition. “So, we built it ourselves,” says Stanley of a loose strategy to stage the project as their learning and liquidity grew. “We had a framework and could afford to experiment with details before ultimately applying them to the projects in our office. Colour became the ordering principle of our master plan.” Extruding the pitched roof-profile of the original Victorian architecture down the length of the site, the couple created new living programs in an open plan, delineating all contemporary inserts in black. “This is a small kitchen in a small house,” says Stanley with the share that the Darth-Vader-dark cabinets conceal cooking machinery and mess to serve a household of three. “We spend our entire life around this island, 24/7 music, books, cooking food
for our son at 6pm, later cooking for me the vegetarian and Asha who is not, so it’s three different meals every night. We never use the dining table.” Adding that people love “the special experience but don’t have the time in their lives to indulge the formalities”, Stanley says their studio is increasingly designing kitchens that don’t look like kitchens, relying on the shifting dynamic of daylight hitting textured surface to animate detail. Thus, the ongoing ode to monochrome in a main bathroom that tells of the couple’s time in Asia. “We developed a love for the bathing culture,” says Nicholas in nod to a deep-tiled “concrete soaker” with a cedar insert. “The outlook to garden was of real value to us for privacy, but also to enhance the sense of space.” Stanley explains their home’s epithet ‘Host House’ as a measure of the old architecture’s guest compere of the modern and the couple’s own love of entertaining. “Over the years we’ve had a lot of hospitality clients and have just started rolling out venues ourselves — it’s a super-fun sideline,” and a sure way of securing the best table in the house. splintersociety.com
Finer details La Cornue Cornufé Albertine 90cm dual fuel range cooker in Shiny Black, $17,750, from Andi-Co; andico.com.au Cor Ash Brushed Deep White Oil engineered timber flooring, POA, from Mafi; mafi.com.au Grigio Lana marble, POA, from Artedomus; artedomus.com Garsnas Greitz stool, from $1520, from SeehoSu; seehosu.com.au FR OM LEF T
K&B kitchen, joinery in mild steel with black powdercoat, Thermolaminated nt; rear benchtop in Valchromat panel in Black from Modinex; island or in Grey from Viridian; reclaimed cypress macrocarpa bench; Franke r from Miele; Senufo bird figure from Mali; Guaxs Yeola vase from ral White paint; Tullyspot wall lights in White from Masson For Light, dio Italia; wormy chestnut flooring in Porter’s Paints Wood Wash finish. eece; porcelain floor tiles from Cerdomus Tile Studio; Inax Yuki Border stom cedar insert; joinery, details as before. Details, last pages.
Finer details Missoni Home Keith 601 bath towel, $105, and hand towel, $40, from Spence & Lyda; spenceandlyda.com.au Nagoya Mosaic Tile Co Kayoborder mosaic tiles, POA, from Academy Tiles; academytiles.com. au Sussex Circa Vertex basin sink hob mixer set, $742, from Icon Bathware; iconbathware.com.au Flauto Nero Marquina marble basin by Greg Natale, $1400, from Teranova; teranova.com.au FR OM LE F T
“The outlook to garden was of real value to us for privacy, but also to enhance the sense of space” ASHA NICHOLAS
Mar/Apr 2022
173
Project: Isle of Capri Residence | Builder: Jawal Constructions | Interior Designer: Beckspace | Photographer: Andy Macpherson
PROJECT
Bon appétit Layers of delectable colour and tactile surfaces come together in one scrumptious confection in this Sydney home. By Annemarie Kiely Photographed by Anson Smart Styled by Olga Kelly
W
hen called on to blend the Arts and Crafts detail of a Federationhouse in Sydney’s inner west with the crisp, clean geometries of a contemporary two-level addition by Carter Williamson Architects, Juliette Arent Squadrito and Sarah-Jane Pyke of Arent&Pyke cooked up a scheme deemed delicious by their client couple. “A layer cake,” says Pyke in define of a concept that took the material integrity and assiduous hand-making ››
in the kitchen and dining nook of this Sydney home, Artek 611 chairs by Alvar Aalto from Anibou; built-in American oak bench designed by Arent&Pyke; Astep VV Cinquanta suspension pendant light from Mobilia. THIS PAG E
Finer details Astep VV Cinquanta suspension pendant light, from $3740, from Mobilia; mobilia.com.au DGC 7440X handleless XL Artline steam combination oven, $5999, from Miele; miele.com.au Helle Mardahl Candy pinch bowls, $524 for a set of 2, from Net-a-Porter; netaporter.com Engineered stone in Excava, from $700 per sq m installed, from Caesarstone; caesarstone.com.au Architect Collection engineered European oak flooring in Smoked, POA, from Royal Oak; royaloak.com.au F R OM LEFT
‹‹ of the original architecture’s aesthetic and mixed its essential ingredients in a modern recipe. “We kept seeing layers of cake and cream sandwiched together — it just felt good to break up the big new volumes at the back with contrasting marbles and terrazzos.” At the core of their confection — strawberry cream cast in coral-coloured terrazzo sandwiched between layers of fluffy meringue in Arabescato Vagli marble — is a kitchen catering for two dab-hand cooks who juggle busy careers with the care of three children. The clients were savvy about the ergonomics and effects that elicit an emotional connection to place, says Arent Squadrito. “They wanted a rich layering of colour that was a continuance of the home’s comfort.” The solution was to subsume the function of cooking in living-room finishes and create an “intimate dining nook” — a petite round table pushed up to a cushioned banquette within a timber-lined aperture stained green and given spot-lighting via a vintage Stilnovo sconce. “It replaces the formal, informal hierarchy of dedicated rooms,” says Pyke. “The nook is where the kids might do their homework while Dad cooks, or where Mum might enjoy a glass of wine with a girlfriend.” Call it the comforting equivalent of your favourite cafe’s “prized corner table”, adds Arent Squadrito. The home as a whole (the ensuite, pictured right, continues the kitchen’s layered approach to calm and comfort) is not a slavish rendering of the original Arts and Crafts architecture the design duo affirm, “rather a reductive abstraction” — a gateau as molecular gastronomy might conjure it so. arentpyke.com
K&B
Finer details Brooklyn gloss ceramic tiles in Menta, $115 per sq m, from Perini; perini.com.au Sussex Calibre vertical shower with 500mm arm, from $593, from Sydney Tap & Bathroomware; sydneybathroomware.com.au Veneziano Candido porcelain tile, POA, from Artedomus; artedomus.com Muuto framed mirror in Grey, $545, from Living Edge; livingedge.com.au Horn vase in Sandy Pearl, $420, from Dinosaur Designs; dinosaurdesigns.com.au FR OM LEF T
Mar/Apr 2022
177
PROJECT
K&B in the kitchen of this Sydney home, rangehood, cooktop and oven from Winning Appliances; Brodware City Stik mixer from Candana; Corian solid-surface benchtop in Glacier White and 966 integrated sink from CASF; splashback in Casa Handmade tiles from Onsite Supply and Design. O PPOSIT E PAGE in another view of the kitchen, island in Calacatta Oro honed marble from Prime Marble & Granite; joinery in Arcs 60mm panels from 3D Wall Panels in Dulux Antique White; Articolo Moni double pendant light from Est Lighting; walnut flooring from Precision Flooring. Details, last pages. THIS PAGE
“We believe that through very rigorous planning and extremely refined detailing, a space can be engendered with a sense of calm that is palpable” MADELEINE BLANCHFIELD
FINER DE TAILS COM PILED BY V ICTOR IA BAKE R
I
n light of changing lifestyles and the paradox that kitchens must now disappear into living rooms while delivering both fine food and relaxed fun, architect Madeleine Blanchfield and her team buried most of her house-wide concept and cleverness in this deceptively simple scheme. “We always attack the kitchen first,” she says in reference to an unremarkable 1960s architecture housing a family of four who, after many years in residence, were ready to swap its cold introspection for some of Blanchfield’s brand of sunlit sophistication. “We are lovers of light and simplicity,” she says. “We believe that through very rigorous planning and extremely refined detailing, a space can be engendered with a sense of calm that is palpable.” Putting that ethos into practice for clients who enjoy large gatherings but also like “intimate time together”, Blanchfield balanced the duality of public and private living in a series of aligned, sliding glass doors that allow spaces to connect or close-off without impeding the flow of light. The siphoning of sun into spatial depths allowed her to decorate with its diffusion and cast shadow. “We were interested in the play of light on different surfaces,” she says with illustration of a monolithic island, redolent of artist Rachel Whiteread’s early marble sculptures, that shifts in colour and character as the sun strikes through newly installed skylight. “Each face of the marble was book-matched and [a model] of the whole object was set up in our office using photos of the slabs before actually being constructed.” ››
Finer details Fisher & Paykel DD60DCW9 Double DishDrawer dishwasher, $2099, from Harvey Norman; harveynorman.com.au; Moni double pendant light, from $5950, from Articolo; articololighting.com Dekton Natural ultra-compact surface in Entzo, POA, from Cosentino; cosentino.com Kintore appliance pull in Bronze, $139, from Lo&Co; loandcointeriors.com.au Tom Dixon Press Stem vase, $130, from Living Edge; livingedge.com.au
F ROM LE FT
Mar/Apr 2022
179
K&B in the main ensuite, shower wall in Casa Handmade tiles from Onsite Supply and Design; tapware, handshower and showerhead, all from Astra Walker; floor tiles from Artedomus. In the powder room, vanity in Cippolino Ondulato marble; tapware from Astra Walker; Michael Anastassiades Brass Architectural SS150 wall sconce, enquiries to Mobilia. Details, last pages. THIS PAGE, FR OM LEFT
‹‹ Its floating monumentality, and altar-like form — an allusive nod to Australia’s reverential regard for food and wine — is further magnified by the textured monochromes of enveloping polished plaster walls, glazed finger tiles and banks of grooved floor-to-ceiling cupboards. But its bulk remains tethered to a dark walnut timber floor. Blanchfield mitigated the scheme’s rigour with more whimsical colour and striking curve in a nearby guestroom, where sea-foam green, oyster-grey marble and mounted arched mirror seemingly conjure the serenity of a Sicilian holiday escape. “Powder rooms are certainly an opportunity to have some fun,” she says. “We are doing some really unusual finishes and forms; one has a curved ceiling with all faces of the space finished in pink plaster; another has highly patterned pale-blue wallpaper and a red stone sink. It’s sweet to open a powder-room door and get a little surprise.” And the delivery of an unexpected delight in these days of random disquiet is what design is increasingly being asked to deliver, adds Blanchfield of her want to temper the measured response with a little reward. “Don’t we all need it.” madeleineblanchfield.com 180
vogueliving.com.au
Finer details Beach towel in Crocodile, $510, from Bottega Veneta; bottegaveneta.com Michael Anastassiades Architectural Single Sconce wall light, POA, from Mobilia; mobilia.com.au Manhattan basin set with swivel spout in Roma Bronze, $979, from Brodware; brodware. com.au Lavanza quartzite, POA, from Artedomus; artedomus.com CLOCKWISE FROM L E FT
GRAND MT. LAWLEY LIVING CONSTRUCTION UNDERWAY
ARTIST IMPRESSIONS
ABILITY TO PERSONALISE • PRIVATE PARK • HEATED POOL • DOG WASH • GYM & SAUNA • YOGA STUDIO EV CHARGING • SECURE BASEMENT PARKING • PRIVATE MAIL ROOM • UNDER 3KM TO THE EDGE OF THE CBD
FIXED PRICE • 10% DEPOSIT • BALANCE ON COMPLETION MARCH 2023
PRICED FROM $899,000 - $2.7M NO. 7 FIELD STREET
70% SOLD SARAH BROLSMA - 0477 740 444
VList
travel restaurants shop
PHOTOGRAPHE R: GE OR G ROSKE
Awe-inspiring escapes, need-to-know destinations and holiday essentials await.
Mar/Apr 2022
183
VList T R AV E L + L UX U RY
Idyll escape The blindingly beautiful Maldives is rightfully regarded as the pinnacle of far-flung luxury. The Indian Ocean archipelago is open once again to travellers with a fresh outlook and the newly opened hotel Patina Maldives is leading the way. By Lee Cobaj and Ramsey Qubein Photographed by Georg Roske This island getaway for aesthetes is one of the cleverest resorts to open in the past year — a particular achievement during a pandemic. It’s the first of a new progressive brand of hotels from Capella. (The second will be in Ubud, where Bill Bensley’s Capella Ubud is one of the parent brand’s show-stopping properties.) Patina and the recently opened Ritz-Carlton are also the first hotels built on the man-made Fari Islands, in the North Malé atoll. With space at a premium, artificial isles aren’t new in the Maldives, but here serious sustainability efforts and conservation projects go a long way to mitigate the environmental impact of the construction. The resort is the first hotel from Brazilian architect Marcio Kogan of Studio MK27, who has transplanted his take on tropical modernism to the Indian Ocean. The architecture encourages interaction with nature: the long, linear wooden structures are open to the elements and cooled by swirling fans and perforated screens, creating a chiaroscuro dance of light and shadow. Custom-made furniture from Dedon (the premium outdoor range is available in Australia through Cosh Living) and Paola Lenti (distributed locally through Dedece) sits beneath triangular sun shades strung between towering palms. Then there’s the art collection, which includes Amarta, a Skyspace light installation by James Turrell that is used by yoga gurus from Rishikesh to hold classes within. In the evening, when the room is illuminated violet, the ceiling aperture frames the moon. The resort’s 90 pool villas aren’t the largest in the Maldives, but they impress in other ways with glass walls that retract on three sides. In the bathrooms there are exfoliating seaweed soaps from Haeckels, and at bedtime vitamins appear on pillows in lieu of chocolates. The Flow Spa — where treatment rooms look like sugar cubes tossed into the long grass — offers flotation pods, LED-light therapy and Iris sound immersions, alongside rituals such as an out-of-body experience in the Watsu pool with Balinese healer Purnomo Diretno. Patina also has eight exceptional bars and restaurants. The Maldives’ next generation starts here. VL patinahotels.com/maldives-fari-islands
Mar/Apr 2022
185
T H I S PAG E , C L O
on the beach FAHR 021.3’s M of concrete rem villas, natural m clean-lined pieces from LinBrasil, G Karpenter and photographer Jo Amarta, a Skysp artist
186
vogueliving.com.au
PHOTOGRAPHER : JONAS POULSEN (PORTR AIT )
VList
Mita Kitchenware invites you to the world of Kütahya Porcelain’s Skallop Collection. Karim Rashid, who has signed more than 4000 designs and won more than 300 international awards, says that the Skallop collection which he designed for Kütahya Porcelain is a collection that reaches everyone that nature reaches, that seems to be hand-made, that refers to the organicity of our eating rituals and the imperfection of nature. Adding value to the world table culture with its products, Kütahya Porselen has prepared the Skallop collection by signing a creative collaboration with Karim Rashid, one of the names who shape the design world. The collection was created by Kütahya Porselen, which has brought to life award-winning designs with many valuable Turkish and foreign designers.
M ITAKI TCHEN WAR E .COM
PHOTOGRAPHER: GAËLLE LE BOULICAUT
Sources 1stDibs 1stdibs.com 3D Wall Panels 3dwallpanels. com.au Affari of Sweden affariofsweden.com Africanologie africanologie.com.au Alexandria Glass and Glazing alexandriaglass.com.au Alfies Antique Market alfiesantiques.com Alm studioalm.com Amalgamated Stone amalgamatedstone.com.au Angelucci 20th Century angelucci.net.au Angie Pai angiepai.com Anibou anibou. com.au Anna Charlesworth annacharlesworth.com.au Anna Schwartz Gallery annaschwartzgallery.com Anna Wili-Highfield annawilihighfield.com Anour anour.dk Arno Declercq arnodeclercq.com Artedomus artedomus. com Astier de Villatte astierdevillatte.com Astra Walker astrawalker.com.au Atelier MVM ateliermvm.com Bang & Olufsen bang-olufsen.com Behruz Studio behruzstudio. com Bluechip Marble and Granite bluechipmarble. com.au Briggs Veneers briggs.com.au Butterfly Blooms Garden Centre butterflybloomsgardencentre.com.au Bzippy bzippyandcompany.com CASF casf.com.au CDK Stone cdkstone.com.au CMO Paris cmoparis.com Cadrys cadrys. com.au Candana candana.com.au Carmen D’Apollonio carmendapollonio.com Cassina cassina.com Castor Fleuriste castor-fleuriste.com Castorina & Co. castorina. com.au Ceramica Vogue ceramicavogue.com Cerdomus Tile Studio cerdomus.com.au Chatsworth Fine Furniture chatsworthfinefurniture.com.au Christie’s christies.com Classic Ceramics classicceramics.com.au Classic Tiles classictiles.net.au Cosh Living coshliving.com.au Crea-Re Studio crea-re.com Criteria criteriacollection.com.au Cult cultdesign.com.au Dadra dadra.com Daine Singer dainesinger.com Daisy Parris daisyparris.com Danide Vito danidevito.com Danny Kaplan dannykaplanstudio. com David Bromley bromleyandco.com DeVol devolkitchens.co.uk Dedece dedece.com Dinosaur Designs dinosaurdesigns.com.au Domo domo.com.au Drouot uk.drouot.com Dulux dulux.com.au E&S Trading eands. com.au Edward Clark Antiques edwardclarkantiques. com En Gold engold.com.au Enoak enoak.com.au Eny Lee Parker enyleeparker.com Equipe Cerámicas equipeceramicas.com Est Lighting estlighting.com.au Fabio Ltd fabioltd.com Florian Wild florianwild.com Formica formica.com Fourth St. fourth-st.com Franke franke.com Fred International fredinternational.com.au Fést Amsterdam festamsterdam.com Galerie Alexandre Guillemain alexandreguillemain.com Galerie Desprez Breheret benjamin-desprez.com Galerie Flak galerieflak. com Galerie Kreo galeriekreo.com Galerie Lucas Ratton lucasratton.com Ganci gancisteel.com Gervasoni gervasoni1882.com Giancarlo Valle giancarlovalle.com Goldwood By Boris goldwoodbyboris.com Granite and Marble Works granitemarbleworks.com.au Great Dane greatdanefurniture.com Gucci gucci.com.au H Craig Hanna hcraighanna.com Halcyon Lake halcyonlake.com Hauz hauzonline.com House Editions house-editions.co Icónico iconico.es Idea Creations ideacreation.com.au Imperial imperialbathroomsinternational.com In Good Company ingoodcompany. com.au International Floorcoverings interfloors.com.au James Lemon james-lemon.com James Makin Gallery jamesmakingallery.com Jean-Marc Louis jeanmarclouis.com Jordan McDonald jordanmcdonaldstudio. com Jules et Jim julesetjim.fr Kamel Mennour kamelmennour.com Karpenter karpenter.com Kevin McLean kevinjmclean.com Kneedler Fauchère kneedlerfauchere.com Kolkhoze kolkhoze.fr Kvadrat Maharam kvadratmaharam.com Leisa Wharington @leisa_wharington Ligne Roset ligne-roset.com LinBrazil @linbrasilsr Living Edge livingedge.com.au Love Cashmere lovecashmere.com Mafi mafi.com.au Manorhouse manor.com.au Martel Upholstery martelupholstery.com.au Martin Browne Contemporary martinbrownecontemporary.com Mary Noall marynoall.com.au Masson For Light massonforlight.com.au Mazzega 1946 mazzega1946.it Miele miele.com.au Milgate milgate.com.au Mobilia mobilia.com.au Modinex modinex.com.au Mondopiero mondopiero.com.au NCS-Colour ncscolour.com Natalie Weinberger natalie-w.com Neolith neolith.com Nicholas & Alistair nicholasandalistair.com Noble Elements nobleelements.com.au Old Plank oldplank.com Ondene ondene.com Onsite Supply & Design onsitesd. com.au Orient House orienthouse.com.au Otherways otherways.fr Ozone ozonelight.com Panomo panomo.com.au Penelope Interni penelopeinterni.com
the main bedroom of a Paris home designed by Sandra Benhamou. Turn to page 82 for the full story.
TH IS PAGE
Peninsula Antiques e Moderno @peninsulaantiques Phantom Hands phantomhands.in Pierre Frey pierrefrey.com Pintura i Estuc pinturaiestuc. com Planet planetfurniture.com.au Polytec polytec.com.au Porter’s Paints porterspaints.com Precision Flooring precisionflooring.com.au Prime Marble & Granite primemarble.com.au Reece reece.com.au Richard Ellis Design richardellisdesign.com.au Robert Plumb robertplumb.com.au Roberto Ruspoli @robertoruspoli Rockcote rockcote.com.au Sanitino sanitino.fr Santa & Cole santacole.com Sarah Nedovic Gaunt sarahnedovicgaunt.com Signorino signorino.com.au Silhouette Kitchens silhouettekitchens.com.au Smith Street Bazaar smithstreetbazaar.com Society Limonta societylimonta. com.au Softedge softedge.studio Sophie Davies sophiedavies.com.au Space Furniture spacefurniture.com Spence & Lyda spenceandlyda.com.au Station Gallery stationgallery.com.au Studio Italia studioitalia.com.au Sullivan+Strumpf sullivanstrumpf.com Surface Gallery surfacegallery. com.au Tehnossa SL tehnossa.com The English Tapware Company englishtapware.com.au The Linen Valley thelinenvalley.com The Vault Sydney thevaultsydney.com Tigmi Trading tigmitrading.com Tom Dixon tomdixon.net Triple A @triplearendering Van Cronenberg vancronenburg.be Viridian viridianglass.com Vitra vitra.com WA Design Gallery gallery-wa.com Water Tiger watertiger.com.au Winning Appliances winningappliances.com.au
Mar/Apr 2022
189
VO GU E L I V I N G PROMOT IO N
POSTSCRIPT From the kitchen to the bedroom, update your home in style with these must-haves. OPEN INVITATION The Alison armchair from Flexform reinterprets traditional furniture design through a contemporary lens. The result is a versatile piece imbued with a timeless sense of charm. The seat’s generous padding makes it a pleasure to sit in while the solid curved-wood structure provides optimal support. Learn more at fanuli.com.au
DOWN TO EARTH Coco Republic’s Summer 2022 collection draws inspiration from cool desert minimalism to evoke a sense of sanctuary. Designed by Anthony Spon-Smith, the elegant range features earth tones and luxury materials like marble and travertine – everything you need for an undeniably polished aesthetic. View the whole collection at cocorepublic.com.au
ALFRESCO CHIC Drawing inspiration from the craft of rattan wickerwork, Kettal’s Tou chair by heralded designer Naoto Fukasawa is a must-have for any modern outdoor setting. The Tou employs striped vertical lines rather than more common weaving patterns to create a look that’s light, expressive and bold. To learn more, head to mobilia.com.au
LOUNGING AROUND Characterised by its aluminium frame and woven rope finish, the Anatra Chaise Lounge is everything you want in a piece of outdoor furniture – sophisticated, flexible and durable. The brainchild of renowned designer Patricia Urquiola, the Anatra is a celebration of texture and a stunning addition to Janus et Cie’s covetable collection. Visit janusetcie.com
THE ART OF CRAFT Comfort and quality come to the fore in the Harbour collection by Adam Goodrum. Built from solid timber and featuring handwoven paper cord frames, these pieces are supportive and inviting for ultimate relaxation. An homage to Scandinavian mid-century craftmanship, the full range can be seen at cultdesign.com.au/collections/harbour-collection
LIGHT IT UP Look at your best during your next video call with the Elgato Ring Light. This edge-lit WFH essential flatters the skin and minimises shadows. Adjust brightness and colour wirelessly via your phone or computer and you’ll be cast in your best light. Find out more at digidirect.com.au
VLast look Flexform Moka chairs, from $1350 each, from Fanuli; fanuli.com.au
TH IS PAGE
SHOP
Tubular belles The slender silhouette of these seats brings an avant-garde and quietly confident presence to any space, with an air of uncomplicated elegance. Photographed by Giulio Ghirardi Styled by Sarah de Beaumont
192
vogueliving.com.au
Create your own paint colour with Coloursmith®. Use the Coloursmith app and your FREE Coloursmith Window enclosed in this magazine to create your own personal paint colour—it couldn’t be easier! Order your Coloursmith sample pot online at coloursmith.com.au and enter your 15% off discount code CSVOG01 at the checkout*.
*Australian residents only. Ends 11.59pm AEDT 30/6/22. Not valid with other offers. T&Cs apply, see coloursmith.com.au.
Scan to learn how to use the Coloursmith Window.