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Chimneypieces | Lighting | Furniture 020 7730 2122 | jamb.co.uk

02.22

contents

86 VOLUME 77 NUMBER 2. PHOTOGRAPH: MICHAEL SINCLAIR COVER STORIES ARE HIGHLIGHTED IN COLOUR

CLASSICAL COMPOSITION The sitting room of furniture restorer Jeremy Rothman’s house in Hampshire

ON THE COVER The dining

15 SHOPPING Rémy Mishon

room of a house in Toronto reimagined by designer Colette van den Thillart (pages 110-115), photographed by Alex Lukey

celebrates modern Irish makers

8 FROM THE EDITOR

DECORATE 11 NOTEBOOK Ruth Sleightholme shows us which striking pieces have caught her expert eye this month

INSIDER

52 THE LIST Olivia Capaldi showcases a New York-based designer and three rug specialists

20 WISE BUYS Bradley Palmer’s 37 NEWS Featuring new design choice of correspondence cards

22 STYLE STORY Ruth Sleightholme’s bold and brilliant Nineties-inspired schemes

studio Palefire and Rose Uniacke’s range of elegantly eco paints, plus a trio of bathroom collaborations that are making a splash

Hawkins, founder of wallpaper brand CommonRoom, details the vibrant use of colour and pattern in her own house in London

Clare Foster on books to inspire, tools to use and a garden to visit

58 BOOKS Clive Aslet reviews a 44 OUT & ABOUT Laura

31 DESIGN IDEAS Kate

55 OUTSIDE INTERESTS

Normanton presents her pick of products, from candles to cookers

handsome volume on Stourhead; plus Terence Conran’s life and work, and a hotel lover’s manual

49 SOURCEBOOK Lighting

60 ART SCENE Exhibitions

for kitchens and bathrooms

to see and artworks to buy HOUSEANDGARDEN.CO.UK FEBRUARY 2022 3

contents 02.22

PEOPLE 63 LIFESTYLE Charlotte McCaughan-Hawes visits the city and country homes and studios of Steve Harrison, where every part of his life feeds back to pots 71 PROFILE Serena Fokschaner learns how British-Iraqi designer Walid Damirji’s passion for upcycling shapes his intricately layered homewares 75 ARTISTS IN THEIR STUDIO Emily Tobin meets Hurvin Anderson in his lockdown workspace in Cambridgeshire

STORIES 80 THE HOUSE BUILT BY THE LANDSCAPE Testament to Studio KO’s skill, this Moroccan villa seems to have sprung from the hills. By Dominic Bradbury

22

86 RESTORED AND

110 UPON REFLECTION

131 TASTE NOTES Blanche

REVIVED Having made this former cowshed in Hampshire habitable in a matter of weeks, furniture restorers Jeremy and Anna Rothman were free to do what they do best – layering art, antiques and bespoke pieces to create a timelessly elegant space.

By Elizabeth Metcalfe

Colette van den Thillart’s signature reflective surfaces magnify light and space in this glamorous yet comfortable house in Toronto. By Bronwyn Cosgrave

Vaughan shares foodie news and tips with a Japanese twist

94 BEYOND THE LAW Interior design was an instinctive career move for former lawyer Brandon Schubert, whose sense of conviction is evident in his assured use of colour and craftsmanship in this London terrace. By Elfreda Pownall

102 REMOTE POSSIBILITIES With a clear palette lifted by subtle pattern and an eclectic mix of furniture, interior designer Victoria Gray’s own Cotswold retreat marries rustic charm with minimalism.

By Fiona McKenzie Johnston

4 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

116 HISTORY IN THE SHAPING In this extract from their book Winter Gardens, Clare Foster and photographer Andrew Montgomery explore the magical topiary gardens at Mapperton

132 RECAPTURING THE CASTLE Stanley Stewart is delighted to observe how the architectural heritage of the Transylvanian village of Cris is being carefully preserved as its buildings are turned into charming accommodation

136 SEASON IN THE SUN 122 COLD COMFORT Clare Foster meets nurseryman Chris Lane, whose collection of witch hazels proves what joy they can bring to a dormant winter garden

FOOD AND TRAVEL

Laura Normanton recommends superior spots for a spring break

& FINALLY 124 SUBSCRIPTIONS How to subscribe to House & Garden in the UK and worldwide

138 STOCKISTS

125 WHEN NOT IN ROME Rachel Roddy serves up classic recipes from the Italian capital

152 LAST WORD Sophie Dahl on her predilection for cushions

OWEN GALE; RACHEL WHITING

63

contributors RACHEL RODDY / WRITER AND CHEF Originally from London, Rome-based Rachel Roddy shares some of her recipes from page 125. This includes her favourite chicken dish with herbs and wine, which she describes as ‘everyday alchemy’. It was not until a year after she had moved to Rome in 2006 that she noticed her diaries and notes were almost entirely about food and so she began her blog Rachel Eats. Although she has written three books, the first, Five Quarters (Headline Home, £30), is still important to her: ‘It was the culmination of 10 years of living in Italy, and unselfconscious creative blogging.’ In 2015, it won her an André Simon Food and Drink Book Award.

Rachel now writes a weekly column for The Guardian called A Kitchen in Rome.

Which ingredient is worth investing in?

‘Extra-virgin olive oil. It is the polymath of the kitchen, providing fat, flavour, seasoning and liquid herbs.’

ALEX LUKEY / PHOTOGRAPHER ‘I’ve found photos of me aged six with a Polaroid camera. I guess I was always destined to be a photographer,’ says Alex, now one of Canada’s top interiors photographers. He studied at Algonquin College in Ottawa and later moved to Toronto, where he began shooting projects for some of the city’s interior designers. Alex explains that his influences begin and end with his photographic mentor Virginia Macdonald, who taught him ‘to see the light’. For this issue, Alex photographed a house in Toronto designed by Colette van den Thillart (from page 110). When he is not working, Alex can be found at his local coffee shop sipping a caramel corretto and people-watching.

What is your favourite location you have shot in? ‘I was commissioned by Four Seasons to travel to Whistler in British Columbia, Canada. The landscape there is completely breathtaking.’

WORDS: BARBARA UZOIGWE. PHOTOGRAPH: ALEX LUKEY

YUKI SUGIURA / PHOTOGRAPHER ‘If you stop exploring, you stop being creative,’ says Yuki who, while studying ceramics and graphic design at Camberwell College of Arts, fell in love with photography after coming across old copies of Food Illustrated magazine: ‘I had never seen such beautiful food photography before and I thought, this is the job for me.’ She moved back home to Tokyo, where she built up her portfolio, before returning to London and spending five years assisting food and interior photographers. ‘It was tough at first,’ she admits, but she had a lucky break when she was able to photograph London restaurants for Japanese magazines such as Elle. For this issue, she has shot a selection of beautifully crafted pieces from Ireland (from page 15).

If you were not a photographer, what would you be? ‘A potter, a chef, a writer or a tableware designer. I love making things with my hands’

Hardware | Switches & Sockets | Lighting corston.com

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M A N AG I N G D I R E C T O R ALBERT READ

Made in England UCOWGN JGCVJ EQO "UCOWGNJGCVJQHƂEKCN Showroom at Design Centre - Chelsea Harbour Thermostatic shower in Unlacquered Brass

Background wallpaper: ‘Damaskus’ (lapis), from Totty Lowther at The Fabric Collective

FROM THE EDITOR

W

hen it comes to clothes, while I’m not an ardent follower of fashion – and don’t necessarily see a need to be – it niggles me that the five-year-old dress I have donned for dinner, or the 10-year-old pair of jeans I’m wearing for coffee with a friend might be letting me down in the fashion stakes. Indeed, until only recently, last year’s clothes were too often relegated to the back of the cupboard to avoid any potential pitfalls.

Luckily, now, with sustainability at the forefront of our minds, an old dress is more acceptable. But I’ve often wondered why, when it comes to interiors, the need to be on trend doesn’t apply in the same way.

Frankly, it’s the last thing I want. If a certain new lampshade or wallpaper appears too many times in our pages, or on my Instagram feed, it’s likely to be dropped from my wishlist. I don’t want my house to feel staid, but I am not embarrassed by my grandmother’s armchair in our sitting room, or our old Ikea kitchen chairs. Is there such a thing as old hat when it comes to a colour or furniture choice? I would say anything goes, as witnessed by the diverse styles of the houses featured in this February issue (from page 80). It’s the spirit with which elements are combined that makes a room sing – or fail.

Perhaps, in my case, this is about confidence.

I feel better versed to make an interiors decision than a fashion one and therefore more at ease doing what I want. Hopefully, it is also because anything for the home needs to last longer. The fabric you chose for your curtains cannot be hidden in a cupboard the following year. The sofa you had to crane in through a window is not going to be craned out again any time soon. There is also thankfully – and now more than ever – an emphasis on buying to last.

That said, there is no doubt that when we look back on this issue in years to come, it will reflect an obvious moment in time – be it the combinations of colours or the lines of the furniture, or even the way we use a room. Our clever decoration editor, Ruth Sleightholme, has picked up on a renewed interest in Nineties pop and rave culture, combining smiley faces and rainbow hues in a way that is at once cool and chic (from page 22). They capture something in the zeitgeist, but are entirely of their own in execution – as all good design should be

F O R M O R E D E C O R AT I O N I N S P I R AT I O N , V I S I T H O U S E A N D G A R D E N .C O.U K

8 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

DEAN HEARNE

F O L L O W U S O N T W I T T E R , FA C E B O O K , I N S TA G R A M A N D P I N T E R E S T, A N D

The Swale

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Shopping | Style Story | Design Ideas

Notebook

RUTH SLEIGHTHOLME shows us what has caught her eye this month

CLOCKWISE FROM TOP LEFT Borosilicate glass ‘Acorn Vases’, £28 each, (from left: scarlet red, burnt orange, emerald green, mellow yellow, lapis blue, rose pink, smoke grey, russet brown), from Ilex Studio. ‘Jardins de Shalimar’ porcelain dessert plates, by Marie Daâge, £440 for set of 4, from Bonadea. ‘Elena Paisley Stripe’ (green), by Cabana, linen/cotton, £195.60 a metre, from Schumacher. ‘Rainbow’ oak and raku table, by Laura Gonzalez and Fabienne L’Hostis, from £7,000, from Laura Gonzalez. ‘Watts’ stained glass, aluminium and brass table lamp (green), $3,000, from Lulu LaFortune

HOUSEANDGARDEN.CO.UK FEBRUARY 2022 11

DECORATE shopping

‘Roman’ beech-framed sofa, from £8,926; upholstered in ‘Alizon’ (canard), linen mix, £428 a metre; both from Pierre Frey ‘Peachzebra’ wood, cord and stoneware candelabra, by Petra Börner, £775, from Partnership Editions

‘Wave Console’ grand antique marble table, by The Refined Workshop and Tollgård, £36,000, from Tollgård ‘For the Love of Art’ acrylicembroidered cotton cushion cover, by Diana Ejaita, £19.99, from H&M Home

‘Blossom’ wallpaper (coral sea), 136cm wide, £74.35 a metre, from Lewis & Wood

Hand-carved paraffin wax ‘Flower’ candle, by Chefanie, £95, from Koibird 12 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

‘Explosions in the Sky’ cedar wood and acrylic side table, by Laurids Gallée, €5,350, from Tableau ‘Monster’ mohair and wool throw (ochre/ off white stripe),

by Siri Carlén, €319, from Hem

‘Reciprocating Shadows’ chenille rug (demeter), £2,898, from Shame Studios

‘Tigre’ cotton cushion cover, £80, from Caravane

‘La Serenissima’ ceramic lamp, made to order from £2,400, from F Taylor Colantonio

‘005’ pine coffee table, by Soft Baroque for Vaarnii, £4,360, from Twentytwentyone.

For suppliers’ details, see Stockists page HOUSEANDGARDEN.CO.UK FEBRUARY 2022 13

SALE 0333 011 3333 |

DECORATE shopping

Treasure Ireland RÉMY MISHON assembles beautifully crafted pieces and furnishings from Irish makers Hand-printed washi paper ‘Shell Prints’ (mussel, clam, scallop), €90 each; with plywood ‘Hanging Frames’ (medium), €30 each; all from Superfolk. Porcelain ‘Pendant Lampshades’ with ceramic stains and oxides, €175 each, from López Castro Ceramics. Fired clay sculptures (from left), ‘Heart Stone’, ‘Caledonia’ and ‘In a Broader Sense’, £800 each, from Mike Byrne Ceramics. ‘Donegal Tweed’ (6959 1411), wool, €95 a metre, from Molloy & Sons. Wall in ‘Palm House Fountain’, €62.50 for 3 litres ceramic matt, from Colourtrend

PHOTOGRAPHS YUKI SUGIURA

HOUSEANDGARDEN.CO.UK FEBRUARY 2022 15

DECORATE shopping

TOP LEFT Mohair and wool ‘Tartan Mohair Cushions’ (red, yellow), €350 each; wool ‘Maroon Tassled Blanket’, €650; all from The Tweed Project. TOP RIGHT Stoneware ‘Wall Plate Installation’, €500, from Claire Dooley Ceramics. Willow baskets, ‘Pouch on Weathered Gorse Wood’, £5,360; and ‘Long Pouch with Horn’, £3,460; both by Joe Hogan, from The New Craftsmen. Willow ‘Celtic Platter’, €90; large ‘Mohair Blanket’ (turf), €190; both from Stable of Ireland. Wool ‘Yellow Fine Diamond Throw’, €175; curtain in ‘Donegal Tweed’ (6959 0136), wool, €95 a metre; both from Molloy & Sons. Wool and feather ‘Shaggy Dog Cushions’ (monochrome VI), £170; and (natural white), £195; both from Mourne Textiles. ‘Mainie Jellett No22’ wool rug (new beige and charcoal), by Mainie Jellett Heirloom Collection, €4,650, from Ceadogán Rugmakers. Wall in ‘Palm House Fountain’, €62.50 for 3 litres ceramic matt, from Colourtrend. BOTTOM LEFT Stoneware ‘Teapot with Handwoven Handle’ (nuka grey), €110, from Katharina Treml. Stoneware ‘Medium Teapot and Tea Bowl’ (orange iron glaze), €160 a set; ‘Medium Teapot’ (celadon glaze), €120; all from River House Pottery. Stoneware ‘Cane Handled Teapot’ (olive), £80, from Shearer Ceramics.

‘Ash Trivet’, €120, from Superfolk. ‘Denim Quilt’, £2,860, from Bricolage Quilts. Floor in ‘Palm House Fountain’, €62.50 for 3 litres ceramic matt, from Colourtrend. BOTTOM RIGHT Glass and kaolin ‘Metameric Cylinders’, from £220, from Edmond Byrne. ‘Donegal Tweed’ (6959 1411), wool, €95 a metre, from Molloy & Sons. Wall in ‘Brickstock’, €69.50 for 3 litres ceramic matt, from Colourtrend

16 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

Showrooms

London

Paris

Culemborg

arte-international.com

Los Angeles

DECORATE shopping

Oak and American redwood burr ‘Flos Pendant Light’, £640, from Alan Horgan Studio. Stoneware and tenmoku glaze ‘Bottle with Handle’, £95; and ‘Bottle Form’, £90; both from Shearer Ceramics. ‘Porcelain Jar’ (speckled white), €45, from Katharina Treml. ‘Mainie Jellett No22’ wool rug (new beige and charcoal), by Mainie Jellett Heirloom Collection, €4,650, from Ceadogán Rugmakers. ‘Donegal Tweed’ (6959 0136), wool, €95 a metre, from Molloy & Sons. For suppliers’ details, see Stockists page

18 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

DECORATE shopping

‘Des Tropiques Card Set’, €24.95 for 5, from Hôtel Magique

‘Blue Bouquet Cards’, £18 for 10, from Peggy & Kate

‘Monogram Rick Rack’ notecards,

by Matilda Goad, £22 for 10, from Papier

wise buys

NOTE CARDS BRADLEY PALMER writes up correspondence sets for £27 or less For suppliers’ details, see Stockists page

‘British Teapot’ correspondence cards, £27 for 10, from Smythson

‘Monarch Butterfly’ correspondence cards, £25 for 10, from Meticulous Ink

‘Notecards in Pressed Floral Print’, by Lily and Lionel, £16 for 6, from Katie Leamon 20 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

‘Square Greeting Cards’, £20 for 6, from Choosing Keeping

‘Border Notecards’ (burgundy and oyster), £22 for 10, from Mount Street Printers

Some home design is for the here and now, some home design stands the test of time.

At Neptune, we believe that the best can do both, and needn’t cost the earth.

Good design never grows old.

neptune.com/home-design

DECORATE style story

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Inspired by the resurgence of interest in Nineties pop and rave culture, RUTH SLEIGHTHOLME presents a series of heady, rainbow-hued schemes – with a warehouse-living vibe

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OPPOSITE WALLS Fabric partition, ‘Reclaim Reversible’ (denim), by Kirkby Design, cotton/linen, £150 a metre, from Romo. Wall covered in ‘Manzoni’ (pistachio), cotton/linen, £49 a metre, from Designers Guild. Jacquard-woven cotton throws (used as wall hangings), ‘Jenkins’ (front) and ‘July’ (rear wall, reverse side shown), $230 each, from Slowdown Studio. FLOORS ‘Borrowed Light’ paint, £73 for 2.5 litres modern eggshell, from Farrow & Ball.

FURNITURE Cardboard and found metal ‘Up-cycled Tub Chair’, by Domingos Totora, £5,400, from Rose Uniacke. Scrap wood and lacquer ‘Oak Chair’, by Piet Hein Eek, £584, from SCP. Recycled foam ‘New World Projects Mattress’ (as daybed), £3,600, from Seeds London. ‘Ondamarmo’ marble side table (Carrara + varnish/Monologue Edition), by Federica Elmo, £3,390, from Monologue. ‘Tufted Pillow’ hand-dyed wool stools (square, triangle), by Max Lamb, £1,500 each, from Gallery Fumi. ACCESSORIES ‘Milky Eye’ linen cushion (powder), by JP Demeyer, €240, from Svenskt Tenn.

‘Bon Bon’ large glass jar (honey and pink), by Helle Mardahl, £505, from Matches Fashion. THIS PAGE ‘Usnic’ panels of multi-layered solid surface resin finish on plywood, £500 a square metre, from Mirrl. ‘Smiley’ glass-beaded placemat, £120 for 4; and coasters, £45 for 4; both from WA Green HOUSEANDGARDEN.CO.UK FEBRUARY 2022 23

DECORATE style story WALLS Fabric partitions, ‘Reclaim Reversible’ (denim), by Kirkby Design, cotton/linen, £150 a metre, from Romo. FLOORS ‘Borrowed Light’ paint, £73 for 2.5 litres modern eggshell, from Farrow & Ball. ‘I Feel Love’ wool rug (green), by Henry Holland, from £3,100, from Floor Story.

FURNITURE Hardwood-framed ‘Hall Sofa’, £4,254, from Porta Romana; upholstered in ‘Ozone’ (lemon), linen, £222.50 a metre, ‘Peace & Love’ (hot pink), linen, £199 a metre, and ‘Pop Art Border’ (orange), jute/cotton, £111.50 a metre; with cushions in ‘Tasha’s Trip’ (hot pink), linen, £230.50 a metre; all by Kit Kemp, from Christopher Farr Cloth.‘The Dancing Partner’ Arabescato Bianco marble, aluminium and walnut veneer table, £7,000, from EJR Barnes.

‘Stool 60’ birch and linoleum seating (orange blast, powder), £214 each; and ‘Stool 60 in ColoRing’ (pink/purple), reinterpreted by Jo Nagasaka, £388; all by Alvar Aalto for Artek, from The Conran Shop. Beech and coloured pine plywood ‘Demountable Chair’, by Fredrik Paulsen, £1,440, from Seeds London. Pine folding desk (used as worktop), by Giovanni Battista Bassi, £2,800, from Béton Brut. ACCESSORIES Acrylic yarn ‘Handmade Tufted Rug Mirror’ (green cream), by House of J, £125, from Etsy. ‘Magma’ and ‘Glad Gradient’ multi-layered solid surface resin finish on plywood panels, £500 a square metre, from Mirrl. Antique toleware daisy chandelier, £594, from Retrouvius. ‘Knot No 2’ glass sculpture (light green), by Hay, £46, from Nordic Nest. ‘Rock Peony’ paper flowers in terracotta pot, by The Green Vase, £345, from Cutter Brooks. ‘Bon Bon’ large glass jar (honey and pink), £505; and tea glasses (milky rose and bubblegum, bubblegum and plum), £215 each; all by Helle Mardahl, from Matches Fashion. ‘Rainbow’ medium ceramic plates (light blue, light yellow, light pink), by Hay, £12 each, from Liberty

HOUSEANDGARDEN.CO.UK FEBRUARY 2022 25

DECORATE style story

TABLE DETAIL ‘Winter Rainbow Linen Tablecloth’ (used as wall hanging), £275, from Summerill & Bishop. Onyx ‘Ondamarmo Side Table’, by Federica Elmo, £2,950, from Monologue. ‘Handblown Kokomo Glass’ (green), by Upstate, £93, from Koibird. ‘Blunt Twisted Long Candles’ (moss green, lilac, red), €17.95 each, from Anna + Nina. RUG DETAIL ‘4AM’ wool rug (green), by Henry Holland, from £600, from Floor Story. ‘Reclaim Reversible’ (denim), by Kirkby Design, cotton/linen, £150 a metre, from Romo. CAKES DETAIL ‘Wavy Checker Board’ cotton tablecloth, £75; ‘Checker Board ’ cotton napkins, £15 each; all from Dolly Rocket. ‘Rainbow’ medium ceramic plates (light blue, sand, light pink, light yellow), by Hay, £12 each, from Liberty. ‘Bon Bon’ glass espresso cups (plum and bubblegum, bubblegum and plum), by Helle Mardahl, £168 each, from Matches Fashion. ‘Wavy Marble’ acrylic coasters, £80 for set of 6, from Dolly Rocket. ‘Stockholm’ stainless steel bowl, £12, from Ikea. ‘Leo’ polyester sponges,

by Hay, £20 each, from Couverture & The Garbstore. Signature cakes, from £3 each, from Anya Café at Anya Hindmarch. CUSHION DETAIL Wall hanging, ‘Reclaim Reversible’ (monochrome), by Kirkby Design, cotton/linen, £150 a metre, from Romo. Acrylic yarn ‘Handmade Tufted Rug Mirror’ (orange tangerine), by House of J, £130, from Koibird. Wool cushions, by Ellie Pearce Textiles, £120 each, from The Pop Up Girls Shop 26 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

HANDCRAFTED FOR A LIFETIME OF GREAT SLEEP VISPRING.COM KEW HEADBOARD DESIGNED BY

DECORATE style story

WALLS Wall hanging, ‘Reclaim Reversible’ (denim), by Kirkby Design, cotton/linen, £150 a metre, from Romo. Drawing 8, 2020 lithograph print on paper, by Ronan Bouroullec, £220 on aluminium dry-mount, from The Wrong Shop. FLOORS ‘Borrowed Light’ paint, £73 for 2.5 litres modern eggshell, from Farrow & Ball. ‘Diagonal Melt’ wool rug, by Henry Holland, from £2,950, from Floor Story. FURNITURE Scrap wood and lacquer ‘Waste Cabinet’,

by Piet Hein Eek, £11,748, from SCP. Steel, birch and willow ‘Side Chair’, by EJR Barnes, £1,500, from Atelier LK. ACCESSORIES Paper ‘Medium Pink Prayer Plant’ in cloth pot, by Brazen Botany, £135, from The Pop Up Girls Shop. ‘Get Wavey’ soy candle (green), by Wavey Casa, £27, from Koibird.

‘Chunk’ compressed tin foil candlestick (pink), by Ward Wijnant, £255, from WA Green. Paper pulp ‘Pavilion Table Lamp’ (axis/citrine), from £385 with shade, from Palefire Studio. Present in ‘Checker Board’ cotton napkin (pink & green), £15, from Dolly Rocket. For suppliers’ details, see Stockists page 28 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

The Winter Sale is now on. www.cphart.co.uk | 0345 600 1950

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DECORATE design ideas

DESIGN IDEAS - from -

KATE HAWKINS PHOTOGRAPHS PAUL MASSEY

When the CommonRoom founder and her husband Sam bought this Victorian terrace in Clapton in 2017, it was in need of a complete structural and decorative overhaul. For Kate, who creates new wallpapers as well as reviving archival designs, the house has become a showcase for her love of pattern and colour. Here, she explains the design process to ELIZABETH METCALFE HOUSEANDGARDEN.CO.UK FEBRUARY 2022 31

DECORATE design ideas SITTING ROOM

We wanted it to feel cosy, but also have a sense of grandeur. By knocking down a wall, we created a double room: the front is the grown-up part; and the back is our children’s playroom, with cupboards by joiner Stuart Indge. The walls are in Farrow & Ball’s ‘Setting Plaster’, which adds warmth, while the curtains are in Tinsmiths’ ‘Marbled Fabric’. It is quite a full-on pattern, but works really well here. stuartindge.com | farrow-ball.com | tinsmiths.co.uk ENTRANCE HALL

It was super dark, so I added as much colour and pattern as possible. The wallpaper’s CommonRoom’s ‘Love Leaves’, a design by William Kilburn from 1800, which we have revived. Though it’s not from exactly the same era as the house, it feels right, especially with woodwork in Paint & Paper Library’s ‘Blue Gum’, and it shows dirt much less than paint would. commonroom.co | paintandpaperlibrary.com

DINING AREA

We worked with Emil Eve Architects to extend at the rear and side to create a kitchen-dining area.

It has high ceilings and a lot of thought went into getting the angles right, such as the triangular ceiling, above a table that was sourced from Howard Byrom of Societique. emileve.co.uk | societique.co.uk

KITCHEN

I very consciously kept wallpaper out of the kitchen and the dining area, as I wanted the space to work in contrast with the pattern-rich hallway and to be almost monastic in its simplicity. We knew it would be the room in which we spent the most time, so it became our priority. Emil Eve Architects helped us to create the perfect space for family life. Our brief for the units and central island was ‘Victorian contemporary’ and our joiner Stuart worked his magic, building a Shaker-style kitchen with oak cabinets to a design that I sketched. For us, it was all about pairing old with new in this space, so the units and the poured concrete floor are balanced out by a reclaimed Victorian light. These are tempered by the red-framed picture window and the doors at the end of the room, which feel quite contemporary. I was not sure that we would have the space, but we managed to sneak an Ikea ‘Ektorp’ sofa covered in ‘Lingbo’ floral fabric in here, too.

Also, by the picture window, there’s an ‘Arnold Circus Stool’ by Martino Gamper, which almost mirrors all the ceiling angles. It’s a genius piece of furniture. ikea.com | martinogamper.com HOUSEANDGARDEN.CO.UK FEBRUARY 2022 33

DECORATE design ideas B AT H R O O M We wanted this space to feel a little more contemporary than the rest of the house, so opted for clean lines and a palette of blues, with walls in Farrow & Ball’s ‘Light Blue’.

Equally, we didn’t want it to feel cold, so we introduced mustard tones through the massive mermaid collage above the bath – which I actually made for a launch some years ago and only just fits here – and chose warm brass fittings from Porter Bathroom. The amazing curved tiles are from DTile, a Dutch company discovered through our architects. porterbathroom.com | dtile.info MAIN BEDROOM This room (below) has walls painted in Farrow & Ball’s ‘Drop Cloth’, which provides a lovely calm backdrop, while The ‘Ivy Chaplet’ border I designed for CommonRoom helps to lift the space. Above the bed is a joyful collage by my good friend Eloise Fornieles, with the four elements representing each member of our family. @eloisefornieles S PA R E R O O M This bedroom (below right) was initially going to have a flat roof, but the builders discovered that there was all this empty space above, so we decided to open it up. I thought it would be lovely with wallpaper, so we lined the ceiling and headboard wall in CommonRoom’s ‘Old Oak’ design

by William Kilburn from 1800, which almost feels like a tent and canopy. I found the joinery that frames the bed on Ebay and I love how it adds to the theatrical feel. ebay.co.uk

³

I bought this antique chair from Howard Byrom of Societique and covered the seat in a bespoke fabric.

It mirrors CommonRoom’s ‘Ribbons Wrap You Up’ wallpaper, which costs £156 a 10-metre roll

³ This striking, colourful design by my dear friend James Ferris, ‘282 Ways of Making a Salad’, £114 a 10-metre roll from CommonRoom, is a metaphor for the process of making art. commonroom.co ³

³

Kate Hawkins reveals what inspires her and what she is currently coveting

My pinboard

It is hard to choose a favourite rug, but I am enjoying Campbell-Rey’s collaboration with Nordic Knots. This ‘Folding Ribbon’ design, from £670, is particularly jazzy. nordicknots.com For a while, I’ve had my eye on Beata Heuman’s ‘Olympia Wall Light’, £2,160. beataheuman.com

Anything by Aimée Parrott is great. Her ‘Chameleon’ lampshades, £450 from Felt, show her mastery of light and transparency. aimeeparrott.com

I love these collages,

by Eloise Fornieles, whom I’ve known for 17 years. Her work is brave and theatrical; from £200. @eloisefornieles

³ Paint & Paper Library’s ‘Blue Gum’ (above), £51 for 2.5 litres pure flat emulsion, is great for woodwork while The Hackney Draper’s vibrant ‘Temple Gold’ (right), £54 for 2.5 litres eco emulsion, is gloriously rich. thehackneydraper.co.uk HOUSEANDGARDEN.CO.UK FEBRUARY 2022 35

THE

DECORATIVE ANTIQUES & TEXTILES FAIR

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Winter 2022 Tuesday 25 to Sunday 30 January Battersea Park, London Antiques and 20th century design for interior decoration

News | Out & About | Sourcebook | The List | Outside Interests | Books | Art

INSIDER A LIGHTBULB MOMENT

‘Pavilion’ (left) and ‘Parasol’ (below) table lamps in the serpent/bay colourway from Palefire, with a jug by ceramicist Nicola Tassie (nicolatassie.com)

KIM LIGHTBODY

After years working for the likes of The Fine Art Society in London, where she was managing director, and the gallery and store 8 Holland Street, where she was the curator, Rowena Morgan-Cox decided it was time to do something on her own. So, late last year, she launched decorative homeware company Palefire. ‘I had always been interested in the point where fine art and design merge,’ she says. ‘The Art Nouveau movement and Omega Workshops, established by painter Roger Fry in 1913, were big inspirations.’ Rowena has produced eight lights for her first collection – four table lamps and four pendants made of moulded recycled paper pulp, with prices from £195. She paints them with abstract designs in her Brixton studio: ‘I’ve always seen myself as a painter at heart. The idea for painted surfaces came first, then I hit on the material.’ There is more to come, she promises, ‘I’d love to experiment with a coffee table and screens, too.’ palefirestudio.com

HOUSEANDGARDEN.CO.UK FEBRUARY 2022 37

INSIDER news

EDITED BY ELIZABETH METCALFE

Pottery show Head to The Fine Art Society in London and Edinburgh this month to see sculptural vessels by Waistel Cooper (19212003). The exhibition will explore the role that the studio potter – a contemporary of Hans Coper and Lucie Rie – played in the evolution of the art form with more than 70 of his pieces on show across the two galleries, including those pictured here, all available to buy. From January 14 to February 18. thefineartsociety.com

INTRODUCING: Sergio Roger One of our favourite discoveries during Milan Design Week last year was textile artist Sergio Roger, whose playful fabric busts (above left), statues and ionic columns (with Sergio above right) were shown in the basement of Rossana Orlandi’s gallery. The Barcelona-based artist studied at Berlin’s College of Fine Arts, where he focused on sculpture and new media, and began to experiment with what he describes as ‘soft sculptures’. Inspired by the classical world, the pieces are crafted from remnants of antique linen, which he stitches, drapes and quilts to resemble the Greek and Roman stone originals. ‘I wanted to challenge our perception of permanence by using an unexpected material,’ explains Sergio, whose pieces were on display at Christie’s, SW1, for Classic Week last December. sergioroger.com

London-based design studio known for its impactful wallpapers, has launched Wallpaper by You, a new service that allows customers to create a bespoke design. There are myriad combinations, and customers receive an A2 sample to approve before their wallpaper is hand-printed. Shown here is the ‘Accent’ design. From £195 for a 10-metre roll. custhom.co.uk 38 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

EUGENI PONS; TARL JAMIESON; MTLAPCEVIC/SHUTTERSTOCK

WALLS TO ORDER Custhom, the south

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HANDMADE IN THE UK VIRTUAL HOME VISITS SHOWROOMS NATIONWIDE Request a free brochure 0800 389 6938 harveyjones.com

INSIDER news

Splashing out CHEMICAL-FREE COLOURS

From collaborations to revivals, here are a few bathroom products that have recently caught our eye

Rose Uniacke has launched a range of paints that is every bit as elegant as you would expect from a designer renowned for her serene interiors. Consisting of 14 harmonious neutrals, 10 of which can be seen behind Rose here, the palette ranges from ‘Apple Mint’ to the warm, almost stone-like ‘Canvas’. But they do not just look good: the paints, which are produced by Norfolk-based Graphenstone, are free from chemicals and made from a combination of vegetable resins and pure lime. In fact, one of the paint finishes – ecosphere, made from pure lime – absorbs CO2 from a room. From £78 for 4 litres grafclean paint. roseuniacke.com

V I T RA X TO M D I XO N Ranging from basins to mirrors (above), the designs in the ‘Liquid’ bathroom collection are as intuitive as they are fun – a combination Tom has dubbed ‘expressive minimalism’.

From £300 for a stool. vitra.co.uk

I D E A L S TA N DA R D X GIO PONTI This new ‘Tipo-Z’ basin reimagines a design that the Italian icon created for the Brussels-based brand in 1954; from £1,703. idealstandard.co.uk

ART OF GLASS

40 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

DRUMMONDS X MARC NEWSON Featuring strong lines and simple silhouettes, the bath, tap and shower are typical of industrial designer Marc’s work. ‘The Coln’ bath costs from £7,110. drummonds-uk.com

HARRY CROWDER

These joyful glass vases are the fruits of Olivia Thorpe’s latest endeavour – Curio.

The founder of skincare brand Vanderohe launched the range last year, offering jugs, glasses and vases mouthblown in a UK workshop. An edit is currently available from Net-a-Porter and Shop The River Café. net-a-porter.com shoptherivercafe.co.uk vanderohecurio.com

Louis XV Caned The Louis XV caned bed is uniquely inspired by the designs of the Rococo period.

This graceful bed features handwoven tea-stained cane, a hand-carved solid timber frame and elegant rose motifs, all specially treated for a superior finish.

ANDSOTOBED.CO.UK | 0808 144 4343

INSIDER news

Out & about

Laura at the Neptune showroom on Wandsworth Bridge Road, SW6

EDITED BY LAURA NORMANTON

HEAVEN SCENT

Brighten your bathroom with the bold coloured porcelain lever handles in Waterworks’ Highgate x ASH NYC collection.

They come in jade green, azure blue and cerise red, as well as citron yellow.

‘Low Profile Three-Hole Deck Mounted’ taps cost £846. 020 7384 4000; waterworks.com

S L E E P I N G PA R T N E R New from Vispring this is the limitededition, hand-crafted ‘Lana’ mattress, made from a blend of soft, springy Exmoor Horn wool, cotton and Tencel.

Available exclusively from And So To Bed, the kingsize version costs £2,995. 01752 366311; vispring.com

SEATING ARRANGEMENT

This ‘Alexandra’ bench from handcrafted furniture specialists Beaumont & Fletcher is one of the company’s bestselling designs. The buttoned padded seat sits on turned faux-bamboo legs in walnut-stained beechwood and is seen here upholstered in ‘Capri’ silk velvet in the terracotta colourway. It costs from £4,616 excluding fabric. 020 7352 5594; beaumontandfletcher.com 44 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

PHOTOGRAPH: JOSHUA MONAGHAN. LAURA IS WEARING A ‘DENEUVE BLOUSE’ AND ‘PINAFORE SKIRT’, BOTH FROM ANNA MASON (ANNAMASONLONDON.CO.UK)

Well handled

Available in six fragrances, including Cyprès, shown here, French perfume house Rigaud’s scented candles are made from soft wax that burns evenly and allows the fragrance to linger. In a glass jar with a metal lid that acts as a candle snuffer, they cost from £20 for 60g, which has a 28-hour burn time. rigaud-paris.com

Your Story by Design

We are a multi-award-winning kitchen and furniture design house, specialising in uncompromising design that tells the story of a life lived.

EX T RE ME-D ESI G N .C O.UK 0 20 33 69 6 02 9

SCAN TO REVEAL THIS AWARD-WINNING KITCHEN

INSIDER news Man of the moment Tom Faulkner, seen here with his ‘Papillon’ steel and glass side tables, is celebrating 25 years of designing and making contemporary tables, chairs and accessories. His collection of distinctive modern furniture is handcrafted in the company’s workshop in Wiltshire and can be viewed in the showroom on Lots Road, SW10. The colourful ‘Papillon’ tables cost from £2,270. 020 7351 7272; tomfaulkner.co.uk

THE FUCHSIA IS BRIGHT One of Colefax and Fowler’s much loved chintzes, ‘Fuchsia’ is now available on a linen ground. The charming print, featuring vivid flowers and delicate leaves, measures 122cm wide and costs £95 a metre. 020 8877 6400; colefax.com

Globe trotter Designed in Devon and made in India, this cotton block-print ‘Meadow’ quilt, £175, and ‘Ikat’ silk cushion, £65, come in several colours and are among the World Secrets home accessories range. worldsecrets.co.uk

COOK TO PERFECTION

BOWLED OVER Catchpole & Rye’s ‘The Manhattan’ washstand, shown in Nero Granito marble with an aged brass frame, would make a stylish statement in any bathroom. It costs £7,020 excluding taps. 01233 840840; catchpoleandrye.com 46 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

Wolf’s new induction range cooker has a touch-control panel and sleek display within a chic stainless steel exterior. Its ‘Dual VertiCross’ convection oven system provides even distribution of heat and faster cooking times for delicious results more quickly than you expected. The new induction surface heats pans with a rapid temperature-change response. Available in 76cmand 91cm-wide versions, the cooker costs from £11,400. subzero-wolf.co.uk

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INSIDER sourcebook

LIGHTING TOP OF THE GLASS

LAURA NORMANTON selects the latest suitable designs – from pendants to wall lights

The retro prismatic glass ‘D’Arblay’ light is great as a pair or trio above a kitchen island or table. Seen here in an aged brass finish, it is £197 from The Soho Lighting Company. soholighting.com

...for the kitchen

Sourcebook

INDUSTRIAL CHIC With a handmade studded metal coolie shade, Jamb’s ‘Kick’ light has a smart utility look. Available in nine metal finishes, it costs £336 as seen in antique brass. 020 7730 2122; jamb.co.uk

SWITCH ON Choose light switches in distinctive materials to add stylish detail to a room. Transparent designs are discreet and will show off a paint colour or wallpaper, while a metal finish can tie in with other decorative accents.

Aged brass is one of the most popular finishes by Forbes & Lomax. It is seen here on the ‘4 Gang Toggle’, which costs £182. forbesandlomax.com/uk

The age of elegance Inspired by a light spotted in a French stable yard, the ‘Eglinton’ ceiling light from Vaughan is striking yet simple in its design, with a rust-effect finish that adds to its appealing vintage country feel. It costs £1,962 and is shown here with two 38cm-diameter ‘Warwick’ cream silk laminated shades, which cost £274 a pair. 020 7349 4600; vaughandesigns.com

DOUBLE TAKE

After many requests for a double fitting that could be installed over a kitchen island, worktop or table, lighting specialist Hector Finch has developed the eye-catching ‘Lucia Double Rise and Fall’, seen above in (from left) the acqua, naval and taupe colourways. The shades have a diameter of 32cm and the height of the light can be adjusted easily. It costs £1,356 as seen. hectorfinch.com HOUSEANDGARDEN.CO.UK FEBRUARY 2022 49

INSIDER sourcebook

...for the bathroom

1

2 A shore thing

HOT RODS

I like the curved Art Deco-inspired cylindrical profile of the ‘Narrow Pillar’ LED wall light by Davey Lighting. Made of 8mm-diameter solid glass rods, it is seen here in a weathered brass finish and costs £685 for the larger of two sizes from Original BTC. 020 7351 2130; originalbtc.com

COLOUR TRIO An elegant option that comes in a choice of Indian red, ochre and black, the ‘Edith’ wall light from Porta Romana can be IP44 rated for use in a bathroom. It costs £336 and is seen here with a neutral 14cm ‘Fez’ natural linen shade, which is £118. portaromana.com 50 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

1 This hand-cast brass ‘Scallop’ wall light from Collier Webb has an adjustable arm and shade, so you can position it beside a mirror or to illuminate an artwork. It can be IP44 rated on request and it costs from £1,014 for the nickel finish pictured. collierwebb.com 2 Made from honed alabaster and satin brass, the ‘Artés 300 IP44’ from CTO Lighting is a bold, architectural-style light that can be fixed to a wall or ceiling, and would look dramatic in multiples.

It costs £1,487. ctolighting.co.uk

INSIDER The List

EDITED BY OLIVIA CAPALDI

The List By House & Garden is our indispensable guide to design professionals. Take inspiration from this interiors scheme and these products, selected from some of its standout members in the UK and the US

The anatomy of a room by

ARIEL OKIN

‘We moved to this house in the New York City suburbs during the pandemic. I wanted it to feel as if it had come together over time and I’ve used lots of pieces my mother had saved from my childhood home.

This is the side-door entrance, but it’s the one we use the most. I’m not afraid of using colour and that’s something my interior-design studio is known for. I wanted the boot room to feel joyous and inviting: the striped wallpaper and green paint give it punch without being overwhelming. Colour is peppered throughout the house, with lots of blues, greens and yellows, so this space also introduces the colour story for the rest of the house. We’ve used a jute rug as we have a dog and a toddler; jute is durable and affordable to replace if it gets worn. The chequered fabric on the bench seat offers another contrast of textile and colour. The side table is from my capsule collection with Society Social, and we brought the mirror and pendant from our apartment in Manhattan.’ arielokin.com | thelist.houseandgarden.com ADDRESS BOOK Walls in ‘Closet Stripe’ wallpaper; woodwork in ‘Breakfast Room Green’ modern eggshell; both from Farrow & Ball. farrow-ball.com | Bench seat upholstered in ‘Smithton Weave’ cotton mix, from Schumacher. fschumacher.com | Rug, by Himalaya Rugs Company, from Etsy. etsy.com | ‘Topeka’ mirror; and ‘Santa Barbara Round’ pendant light; both from Serena & Lily. serenaandlily.com | ‘Amy Scalloped Console’ table, from Society Social x Ariel Okin. shopsocietysocial.com | ‘Amagansett’ table lamps, from Hudson Valley. hudsonvalleylighting. hvlgroup.com | Empire ‘Alderley Lampshades’, from Bunny Williams Home. bunnywilliamshome.com

D E I R D R E DYS O N In Tibetan wool with silk

TAT E & DA R BY This scalloped jute rug

VA N D E R H U R D Wool and silk ‘Four Leaf

elements, ‘Love Letter’, which is from her Paper and Stone collection, is inspired by a torn-up note; £1,080 a square metre. deirdredyson.com

with a pink border is handmade in India.

Prices start at £420 for 170 x 240cm, with the option of bespoke sizes. tateanddarby.com

Clover’, shown in the aqua and rose colourway, is designed to mimic the appearance of tiles; £1,407 for 200 x 300cm. vanderhurd.com

Visit The List today to find a design professional, or if you are a design professional and wish to join The List, call 020 7152 3639 or email olivia.capaldi@condenast.co.uk 52 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

DONNA DOTAN; COLIN PEACOCK

RUG SPECIALISTS

SOFAS . BEDS . CHAIRS www.love-your-home.co.uk

loveyourhomeuk

INSIDER news

Outside interests

A new book will inspire you to dry flowers for beautiful, long-lasting displays Prolonging the life of your flowers by drying them is a wonderful, sustainable way to enjoy their beauty in the home all year round. Rather than buying imported cut flowers in winter, you can create stunning arrangements using dried blooms, which offer a lovely muted palette and interesting textures. In her recently published book, Cut & Dry (Laurence King, £17.99), floral stylist Carolyn Dunster recommends the best flowers, foliage and grasses to grow and dry, from well-known dried-flower favourites such as strawflowers (xerochrysum), statice (limonium) and larkspur (consolida), to large hydrangea and amaranthus blooms. Seed heads are included, too, inspiring us to look at a wealth of different plants and reappraise their value in winter.

The book gives clear instructions. ‘Air drying is the most straightforward way to dry freshly picked flowers,’ writes Carolyn. ‘It is a totally natural method that encourages the moisture within the component parts of a flower (stem, leaves, head and petals) to evaporate over time.’

The most important factor for success, she points out, is to use material that is as fresh as possible, with minimal time lost between harvesting and the drying process. Suspending flowers upside down in bunches can look decorative in itself, whether they are strung up over a kitchen table or in a garden shed. Cut & Dry also has chapters on pressing and other methods of preserving flowers, as well as ideas for displaying them in vases, bouquets or wreaths.

IDA RIVEROS

EDITED BY CLARE FOSTER

CUT AND DRIED IDEAS

HOUSEANDGARDEN.CO.UK FEBRUARY 2022 55

INSIDER news

A new leaf This striking ‘Zinc Leaf Planter’ from Re will elevate your house plant display to a work of art. Rusted zinc leaves are arranged on a wire frame around a separate tapered container in which to place your potted plant. It is 32cm tall with a 26cm diameter and costs £40. re-foundobjects.com

GROW UP Maximise your garden space by installing a living wall for herbs or ornamental plants. Garden in a Box supplies vertical garden kits complete with wall-mounted or floorstanding shelves made from recycled plastic, a built-in self-watering system and enough plants to create instant impact. Choose from sunny, shady or herb planting combinations, from £135. gardeninabox.com

Garden of the Month: Easton Walled Gardens

This historic garden in Lincolnshire has been brought back from dereliction and lovingly restored by Ursula Cholmeley over the past 20 years. With meadows, grassy terraces, cottage-garden borders and its woodland walks, Easton is a delight at any time of year and, in February, the snowdrops are a special attraction. Carpeting the woodland slopes in thick drifts, they mingle with winter aconites and hellebores in an uplifting display. visiteaston.co.uk 56 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

Finely drawn A new book by Kew Publishing brings together a wonderful collection of botanical art by Indian artists from the 17th, 18th and 19th centuries. Working under the patronage of the East India Company, these skilled artists painted the flora of the Indian subcontinent, making a great contribution to the documentation of many plants that were introduced to European gardens. With text by botanist Martyn Rix, Indian Botanical Art costs £25. kew.org

SEED SOWING MADE EASY

RICH KENWORTHY; J WILSON; FRED CHOLMELEY; © THE BOARD OF TRUSTEES OF THE ROYAL BOTANIC GARDENS, KEW

1 3 2 1 | Measuring up This useful ‘1 Metre Planting Ruler’ allows you to measure the planting distance for different vegetables, with holes to allow even spacing of seeds along a drill. It costs £12.99 and is designed to be used with the matching dibblet, £5.99. burgonandball.com

2 | Wooden wonder Sow tiny seeds thinly by placing them in this beech ‘Seed Planting Chute’, £11.50, then rub the stick on the ridges below to create vibrations that cause the seeds to scatter a little at a time. heima.uk

3 | Building blocks Propagate seeds without using plastic cell trays with ‘The Eco Soil Blocker Mini 4’, £29.95. Simply push the zinc-plated steel tool down over wet compost to make individual 5cm blocks of compost, each with an indent ready for the seed, then put them into a non-plastic seed tray before sowing the seeds. worm.co.uk WWW.JOSEPHINEHOME.CO.UK

INSIDER books

Words and pictures EDITED BY DAVID NICHOLLS

STOURHEAD: Henry Hoare’s Paradise Revisited

by Dudley Dodd (Head of Zeus, £40)

TERENCE CONRAN: MAKING MODERN BRITAIN

BY DEYAN SUDJIC (DESIGN MUSEUM, £20)

The best books are by writers who know their subject inside out, which is why this one is such a stonking great read. Deyan, one of the country’s leading design critics, first met the late Sir Terence in 1977 and the former’s career trajectory meant Sir Terence was a constant figure in his life. Deyan edited Blueprint magazine in the Eighties and Nineties, and for 14 years served as director of The Design Museum, which Terence founded in 1989. (Today, he is the museum’s director emeritus.) As Deyan writes in the introduction, this is an account of a great man’s life and work explored through themes rather than dates ‘to help define his complex character’. Design, culture, food and people are among the subjects examined in this insightful book. DN 58 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

in Bristol over follies inspired by the Pantheon. Some later Hoares became spendthrifts but, on the whole, a financially prudent gene prevailed, preserving an extraordinary legacy that is now cared for by the National Trust.

This handsome volume does justice to the subject. Indeed, Marianne Majerus’s dreamy photographs make me want to stop writing this review and dash to Wiltshire to see the mists rising from the lake. James Stourton, a scion of the family who owned this place before the Hoares, has contributed an elegant introduction: the Stourton coat of arms is a heraldic representation of the six springs at Stourhead, with the river Stour that flows from them. Dudley Dodd, a figure from the golden days of the National Trust, is the perfect guide.

At times, I found the book’s organisation muddling, since family history is treated separately from the garden and the garden from the house. But why quibble about a book in which there is so much visual richness to enjoy? Clive Aslet

HOTEL TO HOME

BY SOPHIE BUSH (WAREHOUSE HOME, £30)

This design manual from interior designer and writer Sophie Bush is an in-depth exploration of the interiors of hotels worldwide. Sophie launched Warehouse Home, the sourcebook for industrial design inspiration, in 2014; Hotel to Home is the imprint’s second book release.

More than 40 hotels are featured, from Chicago’s Soho House to The Zetter Hotel Clerkenwell, EC1, with each case study accompanied by advice on how to recreate the look in your home.

For those who covet an industrial aesthetic with all modern comforts, this book will provide indispensable instruction – and for hodophiles who like to pore over images by leading photographers, including House & Garden contributor Michael Sinclair, it will do the trick. Christabel Chubb

MARIANNE MAJERUS

When John Aubrey visited Stourhead, as it would be called, in 1670, he found the park ‘large, but bald for timber trees’.

That was before it had come into the possession of the Hoare family. As successful bankers, they had the fortune to create an idyllic, superbly wooded landscape and also the imagination to commission architecture, buy works of art, erect temples and investigate local history. Today, Stourhead is not only a glorious garden but also an unusually complete index to 18th-century taste. Remarkably, although they employed architects such as Henry Flitcroft, the Hoares undertook much of the direction themselves. ‘He paints as he plants’ was how Henry Hoare, known as ‘the Magnificent’, recommended Capability Brown to other landowners. But the person principally responsible for creating the Elysium of Stourhead was Henry himself – magnificent indeed.

Henry was succeeded by his grandson Sir Richard Colt Hoare, who favoured Gothic crosses saved from demolition

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INSIDER art

Art scene EDITED BY EMILY TOBIN

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Art to see

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At Two Temple Place, WC2, this explores how the medium of ceramics has been questioned and reimagined by women of colour over the past 70 years. It includes more than 80 works by artists including Ladi Kwali, Dame Magdalene Odundo, Jade Montserrat, Shawanda Corbett, Bisila Noha and Julia Phillips. January 29-April 24; twotempleplace.org Pictured Water Carrier (Esniasulo), c1974-76, Magdalene Odundo

THE TUDORS: PASSION, POWER AND POLITICS

Art to buy Works to add to your collection 1 GEORGIA GRINTER

Louder Prouder Storm Cloud, acrylics, inks and oil on cotton, 76 x 56cm, £620. wonderingpeople.com 2 MARY NORDEN

Homage to Rothko, mixed vintage and hand-dyed textiles, 30cm square, £425. amongthepines.gallery 3 GIORGIO GRIFFA

PSOTUMOK, etching, 32 x 23cm, edition of 30, £500. camdenartcentre.org 60 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

This exhibition at Bath’s Holburne Museum examines a particularly tumultuous period of religious conflict and political intrigue. The show features some of the best-known images from British portraiture, with depictions of significant figures from the period, including Sir Francis Drake, Sir Walter Raleigh, William Cecil, Sir Thomas More and Thomas Cromwell, as well as five Tudor monarchs. January 28May 8; holburne.org Pictured Queen Elizabeth I, c1588, unknown artist

HOCKNEY TO HIMID: 60 YEARS OF BRITISH PRINTMAKING Printmaking enables artists to explore new creative possibilities. This exhibition in Chichester celebrates various techniques – from wood engravings and etchings to lithographs and screen prints. It features more than 100 prints by 90 artists, including Peter Blake, Henry Moore and Chris Ofili. Until April 24; pallant.org.uk Pictured Afro Harlem Muses, 2005, Chris Ofili

©NATIONAL PORTRAIT GALLERY, LONDON. ©THE ARTIST, COURTESY THE HEPWORTH WAKEFIELD, WAKEFIELD PERMANENT COLLECTION, PHOTO: LEWIS RONALD. PHOTOGRAPH: BARNEY HINDLE

BODY VESSEL CLAY: BLACK WOMEN, CERAMICS & CONTEMPORARY ART

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Lifestyle | Profile | Artists in their Studio

PEOPLE

THIS MONTH: A ceramicist whose studios embody his rustic ideal; a designer giving new life to exquisite antique textiles; and an under-the-radar Turner Prize nominee

Ceramicist Steve Harrison inspects one of his beautiful salt-glaze pieces, which he has fired in his kiln at his cottage in mid Wales

PHOTOGRAPH OWEN GALE

HOUSEANDGARDEN.CO.UK FEBRUARY 2022 63

Lifestyle

DOWN TO EARTH Ceramicist STEVE HARRISON works from pared-back studios in London and Wales, where minimal concessions to modern life create the conditions that ground him TEXT CHARLOTTE M C CAUGHAN-HAWES PHOTOGRAPHS OWEN GALE

S ABOVE Steve at his kitchen table in London, drinking tea from one of his cups, brewed in one of his teapots. On the dresser behind him are more of his pieces. BELOW The kitchen is beautifully rudimental, with a splashback made by Steve and cabinets crafted by the carpenter Ben Casson (kitchenwood.co.uk)

at in his sunny kitchen, ceramicist Steve Harrison is surrounded by his ‘pots’, as he refers to his incredibly fine and skilled work. From beakers to tea caddies and plates to ink pens, he experiments with clay in all its forms, creating beautifully delicate salt-glaze pieces. ‘Every part of my life feeds back to my pots,’ he says.

Steve’s journey to ceramics began at school; having failed his O level subjects the first time round, he returned to school and persuaded his teachers to let him have a go on the potter’s wheel. Within six months, he had gained an A in ceramics, completing his A level the following year. While at school, he borrowed a video from the library called The Craft of a Potter, which featured David Leach and Michael Casson, among others.

The latter was to have a profound effect on Steve and his work, and when he was studying at Middlesex Polytechnic (where he met his wife, Julia), he asked if he could be a visiting lecturer. ‘Mick had always been the voice of a potter to me,’ says Steve. ‘We formed an immediate friendship – I had never met anyone else who wanted to talk about pots the way I did.’

After Middlesex, Steve won a New Designers Award before continuing his studies at the Royal College of Art, during which time he sold some of his items at Bonhams’ Decorative Arts Today sale. Recognition came slowly but steadily, with a cover feature in the September/October 1997 issue of Ceramic Review and a long relationship with the Crafts Council and its Handmade Chelsea craft and design fair, where he would sell his salt-glaze pottery.

A turning point came in 2003, when Sonya Park – who owns Arts&Science in Japan – saw a thumbnail of one of his tankards in The World of Interiors. ‘She phoned me from Tokyo and asked how she could get my work,’ explains Steve. ‘Because she wasn’t a gallery, just a shop, she placed my pots in this environment and made them overtly functional and accessible for use. In Japan, they not only treasure my pots but they live in the moment and understand what contributes to this.’ Sonya is now his best client and has her pick of pieces from every firing.

Steve makes all of his pots in London, in a studio in his back garden, and then fires them in his cottage in Wales.

To the untrained eye, the London studio looks like a Georgian beauty but its story is much more telling of

PEOPLE lifestyle

CLOCKWISE FROM TOP LEFT A stool made

by Ben Casson, a longtime friend and collaborator of Steve’s, for an exhibition at London stationery shop Choosing Keeping.

Ben and Steve inspecting the yew desk they created together for the same exhibition.

Steve at his wheel. A detail of one of his salt-glaze bowls. Ben with Julia Jeuvell, the founder of Choosing Keeping, at the shop during the exhibition in September 2020

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PEOPLE lifestyle

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‘ This is somewhere I can observe my POTS in CONSTANT USE. I don’t want the DISTRACTION of a washing machine’ Steve’s nature, as he built the entire studio himself. He began in 1995 by creating ‘a pebble-dash box’. In 2007, inspired by Gustave Courbet’s Pavilion of Realism – a makeshift exhibition space the painter built in Paris in 1855 as a protest against the art establishment– he converted his workshop for his 20-year retrospective: ‘I clad the front in timber to look like a Georgian stone façade.’

Japanese fans of his pottery often travel to meet Steve and to see his impressive workshop. Every visitor is given an English tea ceremony, with loose leaf tea brewed in one of Steve’s pots, served in one of his mugs and enjoyed with a slice of Julia’s homemade Victoria sponge.

‘They get a great insight into how I live my life, because they have to come through the house to get to the workshop,’ explains Steve.‘You must just be yourself: you can’t be that finicky with people coming through.’

It is an amusing statement from a man who has gone to great lengths to hide every sign of modern life in his kitchen – the only obvious exception being a plug socket, though he wishes he could get rid of that, too. ‘This is somewhere I can observe my pots in constant use,’ Steve reasons. ‘I don’t want the distraction of a washing machine and so on – I want it to be as rudimentary as possible.’

Rudimentary it may be, but it is beautiful, too, with cupboards made by carpenter Ben Casson, the son of Mick and a longtime friend and collaborator of Steve’s.

Cutlery lives in old library drawers, the cooker has a splashback made by Steve and there are ceramic sunflowers – a 2015 addition – covering two of the cabinets.

Life in the couple’s cottage in Wales – where Steve has his kiln – is even more basic. There is no mains water, a phone signal is unheard of and if Steve could persuade Julia to do away with electricity, there would be none of that either. It is like stepping back in time, with the loo – and a shower for modern comfort – in an outhouse built

by Steve, and a copper bath on the landing upstairs. ‘It has reached a level of perfection for me in a very rustic way,’ says Steve. ‘It’s the antithesis of my life in Enfield and a kind of life that doesn’t exist any more.’ It took Steve 23 years to alter the cottage to his liking, all in four-day bursts while waiting for the kiln to heat or cool.

The cottage is special for many reasons, but most of all because it is where Steve sees his work come to fruition.

For a man who is such a ball of energy, it is remarkable to witness his stillness as he unpacks his kiln and sees his pieces for the first time. The pots are stacked on different tables to signify which are to be kept, which are to be sold and which he considers a failure. The ones he keeps are sequestered away in the loft and, Steve believes, ‘No money is enough for the loft pots.’ A recent unveiling of

OPPOSITE CLOCKWISE FROM TOP LEFT Steve inspects one of his cups after firing. His desk, where he sketches ideas for designs. The sitting room of Steve and Julia’s cottage in Wales. At nearby St Cewydd’s church in Disserth, Powys.

THIS PAGE CLOCKWISE FROM TOP The cottage and studio. One of Julia’s Victoria sponge cakes.

Steve and Julia in the kitchen. The spare room

PEOPLE lifestyle

ABOVE Steve’s studio in his garden in Wales, where he fires his pieces, is constructed from army barrack panels given to him by Ben Casson. BELOW Steve and Julia walking in the hills near Howey. BELOW RIGHT Pots from the first firing in a new kiln, which, by chance, took place on the same day as our visit. As Steve explains, this turned the usually solitary experience of kiln opening into a rather powerful shared moment

his collection, which was shown at Blue Mountain School in Shoreditch, had a profound effect: ‘I had this feeling that if I died now, my work is done. It was lovely, because I’m more aware of how I am as a maker – I wasn’t aware of that before because I was still on the journey.’ It caused a change in direction for Steve, who previously obsessed over each individual item. Now, with a body of work behind him, he is deciding which way to ‘set the sail’. As he explains, ‘Maybe I want to just explore one shape and have a kiln with no variety in it. I like the devotion to the one thing; it moves to more of the artistic pursuit.’

This spring, an exhibition titled The Age of the Beaker will celebrate the conclusion of a two-year collaboration with the food writer and cook Nigel Slater. A short film

by Jack McGoldrick documents the autotelic approach adopted by Steve and Nigel, and will be shown at the event at Blue Mountain School. This follows an exhibition at Covent Garden stationery shop Choosing Keeping in September 2020 – Steve is a long-standing collaborator with its founder Julia Jeuvell – for which he created a collection of stoneware stationery items, and worked with Ben Casson on a yew desk and chair with ceramic accents.

‘I still love pots in the same way I did at school,’ Steve says, which is evident if you spend any time with him. It is not just the finished product, of course, but the getting there, and a love of the raw material and its unique way of being formed. ‘I just love the processes, the ritual,’ muses Steve, adding, ‘There are a lot of menial tasks involved in making ceramics, because clay is so dirty to work with, and it keeps you grounded in all areas of your life’ Steve Harrison: steveharrison.co.uk | @steve_harrison_pots

68 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

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BY WALID SERENA FOKSCHANER visits the London workshop of British-Iraqi designer Walid Damirji and discovers how his passion for upcycling feeds into his multi-layered pieces crafted from restored antique textiles PHOTOGRAPHS JAMES M C DONALD

W

hen I meet Walid Damirji at his west London studio, he is unpacking a parcel of antique fabrics. Sun-washed chintzes, silver-threaded ecclesiastical embroidery and Chinese silks – all carefully teased from their tissue paper wrappings – are laid out on a worktop, like leaves from a rare folio. Even the most timeworn scraps, explains the British-Iraqi designer, will be ‘given a new lease of life’ in his intricately layered, upcycled furniture and furnishings.

These zero-waste, eco-couture homewares are a natural extension of By Walid, his unisex fashion label, sold at stores including Selfridges. ‘I’ve always collected textiles and been interested in their history,’ he says. ‘One day, I decided to make a coat from some 18th-century French hemp linen I’d found in a market. A friend

suggested I did a show in Paris and I sold 800 pieces.’ That was in 2011. In 2019, a buyer from Matches Fashion spotted one of his cushions made from a ‘tattered’ panel of Aubusson tapestry: ‘She loved its distressed feel and ordered more.’

Further ‘imperfect’ upholstery on tubby antique footstools and fauteuils, as well as ottomans and blinds, followed. Now clients include Bergdorf Goodman in New York and Browns in London.

The Conduit members’ club, which wanted a ‘non-standard’ look for its Covent Garden interiors, commissioned a set of reworked Victorian nursing chairs and a wall panel made up of hundreds of opera gloves for its after-hours lounge. No two pieces are alike.

‘Our customers range from young to old. I think people find the layers – with their different stories – intriguing, because they draw you into other worlds. Today, we’re much more interested in where things come from and how they’re made,’ says Walid, who dreams of receiving a call from Buckingham Palace one day.

‘I imagine the Royals rather like the unfinished look,’ he says.

ABOVE FROM LEFT Walid Damirji, dressed in his own upcycled clothing, in his Kensington sitting room, with some of his creations including an ottoman with 18th-century ecclesiastical embroidery on vintage leopard-print velvet. His west London workshop is filled with his eclectic pieces HOUSEANDGARDEN.CO.UK FEBRUARY 2022 71

PEOPLE profile ‘I never set out to be sustainable, but waste is a problem for me and so I’ve always included something recycled or vintage in my designs: it’s part of my DNA,’ continues Walid, whose grandfather ran one of Iraq’s largest textile factories until the July 14 uprising in 1958, which forced the family to flee to Britain.

Walid studied art history at Tufts University in Massachusetts in the Eighties, where the fledgling entrepreneur sold – what was then vogue-ish – paste jewellery to his peers. ‘I’d bring it over from Britain in suitcases,’ he explains. His route into creativity came from working in shops such as Pellicano, a boutique on South Molton Street, W1, which championed avant-garde fashion designers from around the world: ‘I’m a self-taught designer and, over the years, I have had some fantastic mentors.’

He collaborated on vintage-themed projects with the fashion designer Joseph Ettedgui and, in the Nineties, Walid ran a factory in Turkey: ‘We made clothes for designers like Roland Mouret, who wanted small runs of pieces. My team wore white jackets and we sat down to a good lunch together.

I’ve always been drawn to the cottage industry – the small scale.’

He likes to compare his pieces to collages, ‘They evolve organically – it is the shape of a chair or a stool that will dictate the pattern. Over time, I have developed my own

techniques.’ Fabrics and trimmings sourced through dealers – a 19th-century piano shawl, an American cabin quilt, twinkling bugle beads – are restored and backed with layers of linen. Tiny stitches with code names such as butterfly, skyscraper or cloud bind the layers, adding tactility and inviting closer inspection.

‘I know my team so well, I can tell who did what by the stitch,’ explains Walid, who employs nine people full time. Larger pieces can take several weeks to complete, but nothing is overworked: ‘We don’t do polished – the faults are works of art.’

Any remnants are used for what he affectionately calls his ‘little monsters’: imaginative sculptures of heads or animals with bullion fringing for eyebrows and hair, the stuffing made from torn-up T-shirts donated by friends. ‘I’m everybody’s tip,’ he says. His ‘Bad Horse’ head is now part of the permanent collection at the Museum of Applied Arts in Vienna.

Walid’s eye alights on another recent arrival, a panel of black silk embroidered with a delicate cherry blossom motif, probably originally used on a traditional Japanese screen. ‘Just look at how beautifully distressed this is,’ he enthuses, his expression agleam with possibilities. ‘There is nothing so old or so fraying that it cannot be rescued and reinvented’

By Walid: bywalid.co.uk

‘I’ve always included something recycled or vintage in my designs: it’s part of my DNA’

ABOVE FROM LEFT A cushion with a panel of Victorian woollen and glass beading on 19th-century hemp linen in skyscraper stitch brightens an 18th-century Italian love seat. A Twenties American patchwork quilt was used to upholster this English 19th-century chair in the studio 72 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

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Artists in their studio

HURVIN ANDERSON EMILY TOBIN visits the 2017 Turner Prize nominee’s Cambridgeshire home where, for almost two years, his powerful explorations of migration and displacement have taken form Before 2020, Hurvin Anderson worked predominantly from a large, purpose-built studio in south London.

When lockdown struck, he ‘hired a van, grabbed some paintings’ and committed to working full time from his home in Cambridgeshire.

An outbuilding, which he had used previously solely for drawing, became, by necessity, a space for everything. ‘Having somewhere separate to paint had become an obsessive habit,’ says Hurvin. ‘In the Tulse Hill studio, I would work on three or four paintings at once.’ By comparison, his studio at home is small

and has brought with it a new level of intensity and ‘a different way of working’. Once a painting was on the wall, it had to stay put. ‘I didn’t have a chance to get away from it, to hide it away or leave it alone,’ he explains. ‘Having to look all of the time takes a lot out of you – things need to be seen afresh.’

Despite the intensity of this new mode of working, it was a fruitful period. The last few months have been busy for Hurvin who, despite a 2017 Turner Prize nomination and critical success, has managed to stay under the radar somewhat. Last year he had an exhibition

ABOVE LEFT Hurvin in the outbuilding he has used as a studio since the beginning of lockdown, in front of a work in progress.

ABOVE RIGHT A painting from the artist’s archive hangs on the right of the brick fireplace, with a panel of a wallpaper to the left HOUSEANDGARDEN.CO.UK FEBRUARY 2022 75

PEOPLE artist at The Arts Club of Chicago and a show at Thomas Dane Gallery, SW1, featuring a series of seductive, vibrant paintings that used the inhospitable buildings of Jamaica to explore ideas of migration and places of limbo. As with most of Hurvin’s work, the paintings came from photographs, which in this case were taken by the artist on a trip to the island five years ago.

Like much of Hurvin’s output, this cycle of work quietly unpacked the post-colonial myth. The strange, derelict hotels that inhabit his canvases are both beautiful and unsettling. Glossy, green vegetation pours out of windows and over balconies; it is hard to tell where paradise ends and where the concrete ruins begin. ‘I thought about them in terms of palaces,’ he says. ‘They

are a kind of Eden. A lot of people in the Caribbean came to this country looking for a place to rest, but theirs was a constant search for home, for a state of perfection. To me, these places embody these ideas.’

Works by Hurvin currently play a central role in the group exhibition Life Between Islands, an exploration of Caribbean British art across four generations, which opened at Tate Britain in December, and they provide further evidence of his captivating skill as a painter. His remaining under the radar for much longer seems increasingly unlikely ‘Life Between Islands: Caribbean-British Art 1950s– Now’ is at Tate Britain, SW1, until April 3: tate.org.uk.

Thomas Dane Gallery: thomasdanegallery.com

BELOW CLOCKWISE FROM TOP LEFT A work in progress in blues and greens. Hurvin uses a mix of oils and acrylics on canvas and paper to create his vibrant paintings. The artist in front of another of his works. Distinctive blocks of colour feature in a recent piece. A detail from the painting shown top left. The building in the garden that Hurvin uses as a studio was once a workshop

76 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

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JAKE CURTIS; ANNAICK GUITTENY; MARTIN MORRELL; JOSHUA MONAGHAN; PAUL MASSEY; ISSY CROKER; OLIVER PILCHER

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Stories

RICHARD POWERS

Built from distinctive local red stone, this Moroccan hillside house by Studio KO celebrates spectacular vistas with a terrace and infinity pool, from page 80

THIS MONTH: Richly layered houses in London, Hampshire, the Cotswolds and Toronto, plus enchanting topiary at Mapperton and a guide to witch hazels HOUSEANDGARDEN.CO.UK FEBRUARY 2022 79

The house built by the landscape An hour’s drive from Marrakech, this newbuild seems to have sprung from the Moroccan hillside – testament to the skill of architectural firm Studio KO in using local elements such as red stone and mud to give it a sense of place TEXT DOMINIC BRADBURY | PHOTOGRAPHS RICHARD POWERS

SITTING ROOM Studio KO’s focus on architecture over decoration is evident in their choice of sprawling modular sofa from Living Divani, which is almost sculptural in form and works in pleasing harmony with the slate floor and a pair of brass lights from Azucena. Beyond, a pair of Flexform chairs with side tables by Studio KO are set on a Beni Ourain rug facing a Giovanni Travasa Fifties ‘Eureka’ hanging chair from Bonacina, which is perfectly positioned to take in the view across the veranda HOUSEANDGARDEN.CO.UK FEBRUARY 2022 81

T

he hillside setting of Villa E is both sublime and wonderfully escapist.

This modern Moroccan house sits alone, floating above the surrounding landscape, looking across to the snow-capped Atlas Mountains in the distance. There is hardly a neighbour in sight, and the only sounds are provided by the cuckoos calling in the trees and the goats grazing on the hills. The house itself manages to celebrate these vistas, yet it is also decidedly solid and protective, rather like a 21st-century fortress.

‘Because the house is in the mountains and far from the city, we imagined it as a kind of kasbah, sitting on top of the hill,’ says Karl Fournier of Studio KO. ‘It is contemporary, but there are some of the references that you might find in a kasbah, like the stone floors or the dining table that can seat 20 people, as well as the fireplaces and tapestries.’

The owner of this family house, a French businessman, had bought the hilltop site, as well as the surrounding farmland, a number of years previously. He heard about Studio KO’s work in Morocco, which includes a number of private houses and the Yves Saint Laurent Museum in Marrakech, and also saw some of the practice’s work in magazines. He contacted principals Karl Fournier and Olivier Marty, who then took the hour-long drive from Marrakech up into the hills.

‘The owner wanted us to see the landscape. We agreed right at the beginning that the house needed to be contextual and something that came from the hills and the mountains,’ says Karl, whose practice has offices in both France and Morocco, and an international portfolio, including projects in London such as Chiltern Firehouse hotel. ‘He wanted a contemporary house and had an idea of what he needed, such as the number of bedrooms and a swimming pool. But we then had a lot of creative freedom with the architecture and design of the villa, working around that.’

The design and planning process took around a year, due to the need to not only respond to the surroundings but also to deal with various challenges, such as the lack of services, including electricity and water, at the build site. Construction lasted more than two years. This included the drilling of a borehole for water, installing a generator and taking other measures to make the house self-sufficient. Cutting the stone to build the house took more than 18 months in itself, although Karl and Olivier were helped considerably by their longestablished contacts with local suppliers and craftspeople.

‘We used the same kind of stone that you can see in the landscape all around the house,’ explains Karl. ‘The colour is the particular kind of red that you see on the hillsides and we used local mud for the pisé coating on other parts of the house. The stone for the floors on the ground floor is also local. We were looking for the right material for years and finally found this black slate. It’s quite difficult to work with because it’s so hard, but we like the colour and texture.’

Natural textures of all kinds play an important part both within and without at Villa E. The character of the stone, pisé, plaster and timber gives the house much of its personality, along with the way that light is so carefully edited and key 82 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

DINING AREA The walnut table, seen here in two parts (above and below opposite), was designed by Studio KO, as was the light, which was made by local glass-blower Myriam Roland-Gosselin. The chairs are Norman Cherner’s Fifties ‘Cherner’ design while the tapestry, an auction find, is 17th-century French. KITCHEN The concrete island and glazed cupboards were custom-designed by Studio KO. VERANDA The lime-, straw- and earth-coated walls have been hollowed out to create a daybed with cushions from Brigitte Perkins

‘ The view changes every day if you take the time to look. It is like a living painting’ views are framed throughout. The engaging journey through the house begins, of course, at the front door – a sculptural piece made of ironwork with a character of its own. This doorway leads into a soaring double-height hallway, with a cantilevered staircase to one side. Simple seating arranged on the dark slate floor, a circular mirror and a circular hanging ceiling installation are enough to set the scene.

‘We agreed on the idea of almost empty spaces, with just a few things and very little on the walls,’ says Karl. ‘With contemporary houses, we try to avoid too much decoration and concentrate on the architecture. In spaces like the dining room, the view is enough. It changes every day if you take the time to look, because of the sun, the animals, people making their way to the village behind the hill. It is like a living painting.’

On the ground floor, the main spaces are fluid and interconnected, with the dining and seating areas only lightly separated by a crafted timber installation holding a bar, a cast-iron fireplace and a wood store. The space also flows outwards, via pivoting slabs of glass, to the adjoining veranda, which faces the High Atlas range. Again, the organic textures of the modern furniture and textiles here – much of it bespoke – reinforces the idea of a 21st-century country house.

The kitchen and service spaces are at one end of the property, while spare rooms are at the other. The family bedrooms are upstairs, including the spacious main bedroom and the extraordinary main bathroom: marble-lined with a single rooflight, reminiscent of a James Turrell Skyspace framed by an oculus. Much of the furniture throughout is integrated, allowing the interiors to remain uncluttered.

Outside, a semi-sheltered courtyard, punctuated by olive trees, leads to the infinity pool, which also looks out over hills and valleys. This landscape is green and verdant in the spring, transforming over the summer into something earthy and full of reds, yellows and oranges. Yet, compared to Marrakech, the hills are kind and temperate even during the hottest months of the year, which adds to the allure of this area.

‘It’s very different here compared to the city – much cooler and fresher,’ Karl says. ‘When it is 40°C in Marrakech, it might be 30°C here, which is perfect. But during the winter it is really cold; the house has fireplaces and underfloor heating so it can be used all year round.

‘I especially like the entrance,’ he continues. ‘There’s a lot of drama in this empty space, with just a few things – somewhere to sit, the light coming in and that’s it. Even though it is a contemporary house, it feels as though it has a history’ Studio KO: studioko.fr. Studio KO’s book ‘Yves Saint Laurent Museum Marrakech’ (Phaidon, £39.95) is published this month 84 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

SPARE ROOM A vintage Sixties ‘Falcon’ chair by Sigurd Ressell and a low coffee table – made locally from a simple tree slice – are framed within the ‘living painting’ viewed from the bed. Locally sourced pine floorboards provide a slightly softer feel than the slate used elsewhere.

MAIN BATHROOM (below) Natural light streams in through the rooflight, illuminating the Carrara marble and a sleek chrome towel rail. GUEST BATHROOM (opposite) On the ground floor, a shower area lined in black concrete with Cristina fittings opens onto a terrace

TEXT ELIZABETH METCALFE | PHOTOGRAPHS MICHAEL SINCLAIR

restored and revived

Transforming this cowshed-turned-office in Hampshire into a home was all in a day’s work for furniture restorers Jeremy and Anna Rothman, who have layered art, antiques and bespoke fittings to create a timelessly elegant space

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SITTING ROOM (both pages) A mid-20th-century painting of Rome hangs behind a marble bust of Caesar Augustus displayed on one of a pair of George II mahogany side tables sourced from the Olympia Art & Antiques Fair. Made for a previous home, the tall bookcase housing Jeremy’s reference books separates the open-plan kitchen and dining space from the study area with its inherited late-Regency rosewood desk

DRAWING ROOM An ‘Onslow’ chimneypiece from Jamb is complemented by ‘Chippendale Gainsborough Chairs’ and two ‘Derbyshire Sofas’, based on a Regency carved mahogany design at Chatsworth and covered in Villa Nova’s ‘Geneva’ fabric, all from Jeremy’s furniture collection. The specimen marble-topped coffee table was made by a friend in Rome

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single-storey office with foam ceiling tiles and caged strip lighting may not sound like the ideal environment for a home. In fact, when Jeremy Rothman and his wife Anna bought the property in 2010, they had no intention of living in it. They were based five miles down the road with their two – then teenage – daughters, in the Hampshire village of Bramdean. This space presented itself as the perfect workshop for Jeremy, who has been restoring and manufacturing fine giltwood furniture for clients, among them Jamb founder Will Fisher and the interior designer Nina Campbell, for the best part of 40 years (as featured in the September 2021 issue of House & Garden).

By 2014, however, Jeremy and his team were fast outgrowing the workshop. At the same time, he and Anna were on the hunt for a new house. ‘We’d sold up in the village and had been renting the wing of a charming house nearby.

But the owners put it on the market and we ended up with two months’ notice to move out,’ explains Anna, a trained textile designer who now works for Jeremy’s business, restoring pieces and producing exquisite hand-drawn designs. And so a plan was forged: the workshop would move to a larger location near Winchester (where it remains) and this freed-up space would become their home. ‘It has beautiful views across the fields – we couldn’t really contemplate living anywhere else,’ says Jeremy.

The first task was to make the space habitable, which the couple achieved over the course of a swift 10 weeks.

‘We stripped it to the shell, removed stud walls, added insulation and installed oak floorboards with underfloor heating throughout,’ recalls Jeremy. ‘I treated it rather like I would a restoration job in the workshop, cutting out all the bad bits and creating a clean palette to build on.’

The office building, converted from a former cowshed in 1987, is in fact one of two barns the couple own, both clustered around a courtyard. It is an L-shaped building, one length of which – originally a warren of storage rooms, corridors and toilets – became three bedrooms and a bathroom, while the other now accommodates the pièce de résistance, a vast space containing the kitchen, dining area and sitting room. ‘We ripped the ceiling down to expose the beams, which gives this wonderful volume,’ says Jeremy.

Aiding this increased sense of space are cleverly positioned partial dividers that create intrigue as to what lies

DINING AREA The mahogany dining chairs were made by Jeremy’s workshop, copied from a c1810 original, to partner a 19th-century French walnut table. Framed prints of kings, rescued from an old damaged book, are arranged on the wall. KITCHEN Farrow & Ball’s ‘Shaded White’ on the walls and ceiling showcases sleek Ikea cabinets, on top of which taxidermy fish are displayed. The ‘Regency Decorated Dining Chair’ with a striped yellow seat is from Jeremy’s collection, inspired by a Regency Grecian design

The couple’s love of collecting underpins the space: walls in off whites and soft greys provide a calm backdrop for antique furniture, decorative arts and paintings

beyond. A couple of half-walls separating the drawing room from a study area provide ideal hanging areas for Jeremy’s collection of giltwood mirrors, many of which he has crafted himself. A bookcase, made 20 years ago for one of the couple’s previous homes, divides the study from the kitchen-dining area, while accommodating Jeremy’s huge library of reference books. Anna says that the streamlined Ikea kitchen, arranged as a bank of units and an island, was chosen as a ‘quick and straightforward’ option, but, in fact, it forms a pleasing contrast with the rest of the antique-laden space.

The wall colours – a series of whites and soft greys – were the starting point for the decoration. ‘Anna and I have always been fascinated by whites, because they’re never just white,’ says Jeremy, gesturing to the walls of the sitting room, painted in Farrow & Ball’s ‘Old White’, which can read as both green and grey. ‘I’m Danish, so I guess that’s why I go for these colours,’ Anna adds. But the soft tones also provide a calm backdrop for the couple’s collection of 17th-, 18th- and 19th-century furniture, decorative arts and paintings. ‘We both love William Kent, as well as the Regency period,’ says Jeremy, pointing out a late-Regency rosewood desk at the far end of the sitting room, which used to be his mother’s dressing table, and a pair of marble-topped mahogany tables on either side of the Jamb chimneypiece the couple had installed. The sofas, based on a Regency carved mahogany sofa at Chatsworth, were made bespoke for the space and now form part of Jeremy’s own furniture collection. The fourposter bed in the main bedroom, based on a design in Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director, was another custom piece made by Jeremy’s workshop.

The couple’s obvious love of collecting underpins the house, even the more utilitarian rooms. The bathroom, for instance, which they had panelled to bring in an ‘old feel’, is a showcase for an array of greyhound prints amassed over the years. What is remarkable is how seemingly formal pieces – from giltwood mirrors to ormolu clocks – create a wonderfully relaxed atmosphere. Take the vast painting of Jesus in the hall, partially concealed by a tallboy, which was picked up for a song from a West Country auction house 30 years ago, ‘Nothing here is of any great value, but I cherish all of it,’ says Jeremy, who shuffles pieces around every few weeks.

‘I like having it layered up – it’s almost as though we’re in a junk shop.’ That, the house most certainly is not. Perhaps the greatest accolade came from Nina Campbell, who visited recently: ‘If I lived in the country, this is the house I’d like to live in – exactly as it is now,’ she said. Praise indeed Jeremy Rothman: jeremyrothman.com

BATHROOM Panelling in Farrow & Ball’s ‘Old White’ creates a traditional, layered background ideal for displaying Jeremy’s collection of greyhound prints, amassed over many years.

The sinks were bought ‘off the shelf ’ from Bathroom Warehouse.

DAUGHTER’S BEDROOM Framed Vogue covers and antique butterfly specimens line walls in Farrow & Ball’s ‘Light Gray’.

MAIN BEDROOM The four-poster bed, made by Jeremy’s workshop and based on a Thomas Chippendale design, was the starting point for this room. Flanking an early 18th-century Italianate painting bought at an antique shop in Stockbridge are Jeremy’s giltwood ‘Adam Oval Ram’s Head Mirrors’. The cotton velvet cushions on the bed came from H&M Home, while the ottoman at its end has been cleverly upholstered in a leftover offcut 92 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

TEXT ELFREDA POWNALL PHOTOGRAPHS PAUL MASSEY LOCATIONS EDITOR DAVID NICHOLLS

Beyond Giving up a career as a lawyer for interior design was an instinctive choice for Brandon Schubert, whose sense of conviction is evident in all he does – as seen in his assured use of colour and craftsmanship in this London terrace

SITTING ROOM A ‘Newport’ sofa from Kingcome, covered in Ian Mankin’s ‘Atlantic Union’, and a pair of armchairs in Guy Goodfellow Collection’s ‘Fez Weave’ are arranged around an ottoman, in ‘Ripstop’ fabric from Howe at 36 Bourne Street, and on a rug from Tim Page Carpets. A tall blue ceramic lamp from Vaughan is paired with a shade in a Vanderhurd fabric

the law

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othing in his early life suggested that Texan Brandon Schubert was born to be an interior designer. ‘Growing up in Dallas, I had no idea such a job even existed,’ he says. After his postgraduate degree in law he went on to have a successful career as a lawyer in New York and then London. And so it might have continued, had he and his husband, William Carter, not bought a rundown garden flat in Belsize Park (featured in the November 2019 issue of House & Garden). Brandon realised then that nothing (certainly not the law) gave him greater pleasure than wrestling with lighting plans and reshaping spaces.

There followed a three-month course at the Inchbald School of Design – ‘my happiest learning experience’.

Then, over dinner with friends, the interior designer Ben Pentreath and his husband Charlie McCormick, Brandon was offered a very junior job in Ben’s design team. ‘I started off tidying the fabric boxes,’ he recalls.

Soon his natural talent and meticulous nature were rewarded and he spent three years assisting on projects.

When the owners of this south London terraced house approached Ben for a complete redecoration, he had to decline but suggested Brandon take on the task. ‘They were wonderful clients – I can’t praise or thank them enough for the trust they placed in me,’ says Brandon.

Inspired by the age of their house – it was built in the 1890s, when the Arts and Crafts movement was at its height – Brandon has emphasised that ideal of craftsmanship in the dining room. The panelling, a beautiful iteration with double beading that is painted a strong blue-grey, has a low and exaggerated cornice. There is even greater exaggeration in the tall mantelpiece, with its imposing carved supports.

Below this, a cast steel fire surround complements the metal of the hanging lamp over the dining table – a clever choice, as it marries the Arts and Crafts feel with the mid-century furniture in the room. ‘The owner was unsure about the lamp at first,’ explains Brandon, who says he was very sure. He shows me a swift ‘back of the envelope’ sketch he made in the early days of the project to give the owners an idea of how the room would look. It is exactly as it appears today, with a refectory table, a mid-century sideboard and dining chairs, the light and the lovely panelling.

In terraced houses of this era, the middle room often presents a problem. When they were built, this space

was a dining room and its glazed door to an alley behind brought in light and allowed access to the outside loo without people having to walk through the kitchen.

After the alley or side return is filled in – as it had been in this house – this middle room loses its purpose and its light. So Brandon decided to put the kitchen here.

‘You can light a kitchen so it looks brighter, but you don’t want lots of artificial light in a sitting room,’ he explains. He has complemented the owner’s choice of red kitchen units with grey-green tiles, copied from 1884 originals in Leeds Public Central Library.

The large former kitchen is now a handsome sitting room. Brandon solved the problem of its two ceiling heights by lining the walls of the glazed side return with teak and treating the room almost as two areas: the sitting space, facing a wall of blue bookshelves; and a study/storage space, with a Sixties Danish sideboard sitting under the sloping glass roof. A Thirties-style sofa, a Georgian table and a mix of Forties and Arts and Crafts lamps all sit happily together in a colourful and relaxing room, where the view is of the small, densely planted garden, also designed by Brandon.

Warm mid-century tones continue up the stairs and into the spacious main bedroom, where a mustard armchair brings zing to the otherwise restful feel. Brandon was so sure that the chimneypiece should be painted in a red faux-marble effect, which the owner ‘despised’, he offered to have it repainted at his own expense if she disliked it. Once it was finished, she loved it. The red tones extend to a glossy dressing area, where superb dark red joinery makes the Farrow & Ball ‘Setting Plaster’ pink bathroom beyond look even brighter and prettier. Here, a false wall was built to create space for a cupboard behind the mirrors above the basins.

One spare room has Morris & Co wallpaper with complementary paint colours, while another, at the top of the house, is lined with a handsome green grasscloth. Here, Brandon explains why a 14mm gap between the panes in a double-glazing unit is vital.

‘With a standard 25mm unit, all the geometry of the window – the glazing bars – changes. It doesn’t look real; it doesn’t look old,’ he says, with some emphasis.

The owners could not be happier: ‘Brandon listens and delivers – in spades.’ His meticulous approach, his sure feel for colour and design history, and his extensive knowledge of fabrics (sorting those boxes certainly helped) make Brandon a natural for the job that he did not even know existed Brandon Schubert: brandonschubert.com

SITTING ROOM Warm-toned teak panelling, with a sleek inset cupboard, lines the walls of this light-filled area. A Sixties Danish sideboard designed by Rastad & Relling is positioned under the sloping glazed roof, which has beams painted in Farrow & Ball’s ‘Railings’. The Dutch Art Deco oak desk has a glass top added by Brandon, its reverse painted blue ‘to counteract the woodiness of this corner’. The Sixties mahogany chair by Ole Wanscher is covered in a Jed Johnson Home fabric from Tissus d’Hélène

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DINING ROOM Panelling, designed by Brandon, in Farrow & Ball’s ‘Blue Gray’ frames a painting sourced from A.Prin and an Arts and Crafts steel grate with a fire surround in Mandale’s ‘Derbyshire Fossil Limestone’. Johannes Andersen chairs in a Pierre Frey fabric partner a Twenties Heal’s table from Miles Griffiths Antiques. KITCHEN Brandon’s cabinetry in Paint & Paper Library’s ‘Very Well Red’ showcases tiles by Craven Dunnill Jackfield

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SPARE ROOM ‘Arbutus’ wallpaper from Morris & Co is the backdrop for a headboard in Claremont’s ‘Matelas de Laine’.

MAIN BEDROOM A David Seyfried chair in a Pierre Frey fabric is set by a chimneypiece painted with a red faux-marble effect. MAIN BATHROOM Walls in Farrow & Ball’s ‘Setting Plaster’ soften the custom-made Carrara marble and nickel double vanity. SPARE ROOM Headboards in Claremont’s rich ‘Serge Antique’ contrast with walls in a green Phillip Jeffries grasscloth

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MAIN BEDROOM Curtains in a rust-coloured linen and a headboard in ‘Sibton’ velvet, both from Claremont, pick up on the colours of the antique Turkish kilims. A bedside lamp converted from a vintage vase found by Brandon on Ebay stands on a Swedish teak cabinet from the Sixties designed by Alf Svensson

EXTERIOR Built from local Cotswold stone, the farmhouse is at one with the landscape

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REMOTE POSSIBILITIES With a clear colour palette lifted by occasional pattern and an eclectic mix of furniture, interior designer Victoria Gray has created a Cotswold retreat for her family that marries rustic charm with minimalism, and transcends modern trends TEXT FIONA M C KENZIE JOHNSTON | PHOTOGRAPHS SIMON BROWN

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KITCHEN AND DINING AREA Cabinets by Stroud Furniture Makers are painted in Fired Earth’s ‘Wild Olive’, which provides a colourful contrast with the red Ikea trestles supporting a repurposed internal door to form the dining table. A bamboo bench from Olivine Design is covered in Madeaux by Richard Smith’s ‘New Ilona’ from Tissus d’Hélène, with bolsters in Edmond Petit’s ‘Ispahan’

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SITTING ROOM A sofa covered in Nina Campbell’s ‘Pachinko’ from her Jacquet collection for Osborne & Little and a suzanicovered ottoman, found at a Penny Morrison warehouse sale, are on a jute rug from The Conran Shop. A selection of paintings

by South African and Norwegian artists have off-white mounts to tone with the walls in Farrow & Ball’s ‘School House White’

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t can be difficult to marry the image of Laurie Lee’s Cotswolds, immortalised in his book Cider with Rosie as a rural idyll set apart from modern progress, with today’s upmarket scene.

But when you stand in the beautiful garden of Tom and Victoria Gray’s weekend retreat, a long, low Cotswold-stone farmhouse with a wide outlook across the sloping fields to the Painswick Valley – only a stone’s throw from where Lee grew up – it is as if time has stood still. ‘We see almost no one,’ Victoria confirms.

‘There are no other houses in sight. The farmer passes by occasionally, but that is all.’

When it came to the search for their second home, seclusion was a prerequisite, along with a reasonable travelling time to London (the family lives in Fulham, where their two children, Jemima, 12, and Lucas, 10, are at school) and a sense of ease. ‘We wanted somewhere we could turn up, spend a weekend with friends and leave again, feeling calm.’ Of that last requirement, the house offered only vague promise when they bought it in 2019. A converted 17thcentury barn that had been enlarged at least twice – most recently in the early 20th century – the house had a ground floor comprising small rooms with smaller windows, no view to speak of and low beams that Tom had to duck to avoid.

Happily, Victoria, who is of South African and Norwegian descent, had the vision and know-how to execute a transformation. A consummate collector, she is also one half of interior design studio Olivine Design (winner of House & Garden’s 2021 The List Award for Design Excellence), which she co-founded with Taline Findlater back in 2012, having spent three years as a senior designer at Nina Campbell.

Taline is of Armenian heritage, and is a textiles and print specialist. With their diverse projects – among current endeavours are a Grade II-listed house in Oxfordshire and a modern house on the Cheltenham escarpment – Victoria describes the Olivine ethos as having ‘a focus on architectural detail, proportion and natural light, combined with a classical design approach and a contemporary finish, fed by our different cultural backgrounds’.

Working with Brinkman Building, who are local to the area ‘and so knew the challenges’ of this type of house, Victoria had the ground floor dropped by 30cm and internal walls removed to create one large, open space. Reclaimed Crittall doors were fitted into the existing valley-facing extension, allowing light to flood in from three sides. ‘There’s always a bit of compromise. We lost the flagstones underfoot and

a fireplace, but we gained underfloor heating and a view,’ explains Victoria. The calm that was so desired is communicated through an expanse of Farrow & Ball ‘School House White’ on the walls, toning with pale oak floors and curtains in warm cream wool hung on the simplest poles.

Stroud Furniture Makers installed a single run of kitchen cabinets, their functionality partly masked by brass accessories and a Corian worktop. A pair of armchairs in front of the fire ensures company for whoever is cooking. A butcher’s block, which Victoria bought at Lots Road Auctions in the excitement at having a farmhouse kitchen – ‘before I realised that what I actually wanted was a huge farmhouse sitting room with a kitchen in it’ – has become a bar. Ideal for family life and entertaining, this open-plan space is able to host two or three conversations simultaneously, while keeping the party together.

The original staircase leads upstairs to more house than you might imagine; the 20th-century extension goes sideways as well as up. On a half level, there is a playroom for the children that keeps toys and clutter away from the downstairs. ‘Open plan would not work otherwise,’ remarks Victoria. Two further floors hold four bedrooms and three bathrooms, painted in deeper hues than downstairs. Victoria and Tom’s own bedroom is under the rafters, a window in every wall providing a veritable luxury of light.

Throughout the house, there are well-placed touches of decorative pattern. ‘It’s 10 years since I did up our house in London; in the intervening years, I’d built up quite a checklist of favourite textiles,’ says Victoria. The sofa in the sitting room is covered in a Nina Campbell print, the children’s bedroom blind is a fabric by Rose de Borman for Virginia White, twin bedheads in the spare room feature Susan Deliss’s ‘Imani’ and a bathroom curtain is in Robert Kime’s ‘Field Poppy’ muslin. Lampshades have been trimmed by Victoria using leftover fragments of passementerie. Adding to the mix are cushions and rugs picked up on her travels. And yet the overall effect is clean and uncluttered; Victoria’s eye for eclecticism exists in perfect harmony with a seeming inherent sense of simplicity.

The world has changed since 2019, with lockdowns having led the way to a more flexible way of working.

‘We can be here more now,’ says Victoria. ‘Not just at weekends, but during school holidays and any other time we get. We love it.’ And no wonder – it is now a charming and comfortable house from which to watch the seasons change, and to retreat into during the bone-chilling winters that Laurie Lee chronicled. Of the two Cotswolds, modern and traditional, Victoria and Tom – through clever design – have achieved the best of both Olivine Design: olivinedesign.com

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CHILDREN’S ROOM Walls in ‘Bancha’ provide a backdrop for beds in ‘Hay’, both from Farrow & Ball. SPARE ROOM The headboard is in Sibyl Colefax & John Fowler’s ‘Squiggle’ linen. BATHROOM A CP Hart bath in Paint & Paper Library’s ‘Beetlenut’ stands on ‘Ecru Zellige’ tiles from Otto Tiles. MAIN BEDROOM Walls in ‘Setting Plaster’ and a rug from Rebecca’s Aix Home create a restful palette

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MAIN BATHROOM Curtains in ‘Ete Moscovite’ from Décors Barbares draw the eye to the window, with views of the garden, while a CP Hart bath painted in ‘Hague Blue’ from Farrow & Ball nestles under the beams – which look different in this newer part of the house. A rug picked up in Istanbul and a chair from Robert Langford, with a cushion also from Istanbul, complete the scheme

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DINING ROOM The cobalt-lacquered ceiling and wall of mirrors lend a theatrical air, as does Gracie’s majestic ‘Waves’ wallpaper.

The walnut and bronze mohair chairs are by Colette’s studio, CVDT. HALL Behind Colette, in the drawing room, is a bespoke folding screen with an encaustic wax finish that mimics bronze; it is etched with totems for each of the owners’ family members, including their dog

UPON REFLECTION TEXT BRONWYN COSGRAVE | PHOTOGRAPHS ALEX LUKEY

With lacquered surfaces, large-scale mirrors and enticing hints of gold and silver, this Toronto house has been given a dramatic look by Colette van den Thillart that is both glamorous and easy to live with

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DRAWING ROOM Art from the owners’ extensive collection hangs on the walls: above the white sofa – with velvet and Kuba cloth cushions by CVDT – is a large work on paper by Jason McLean. The Pierre Paulin-inspired swivelling chairs are covered in a Kelly Wearstler velvet. KITCHEN Completed during a previous renovation, it has a Carrara marble and maple island. GARDEN ROOM A Knoll chair is paired with a vintage light from Decorum

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GARDEN ROOM Colette was inspired by Villa Necchi Campiglio in Milan when overseeing this rear extension by Elevation Architects.

The Murano glass light was custom made, as were the built-in shelves, displaying an artful arrangement of objects and books, and accessed by an antique, velvet-wrapped ladder

by Maison Jansen from Brownrigg Interiors.

B&B Italia’s ‘Tufty-Time’ sofa and an ottoman

by Nestor Perkal for Oscar Maschera stand on encaustic cement floor tiles from Clé

MAIN BEDROOM Contrasting with walls in a custom soft blue paint by Benjamin Moore, a bespoke headboard inspired by the work of Italian architect Piero Portaluppi is covered in gold Venetian silk velvet from Schumacher. Beside the blue velvet chair by CVDT is a wooden table by Bunny Williams.

BATHROOM The walls were hand-painted by artist Kari Serrao. HALL Colette sourced the Verner Panton light; the sofa is a Le Corbusier design

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hen Colette van den Thillart finished her master’s degree in decorative arts at the University of Buckingham and The Wallace Collection, she landed a job with Nicky Haslam and went on to serve as the creative director of his studio for 13 years. But, in 2011, she relocated to Toronto, her home city in Canada, with her husband and their two children. Colette describes Nicky as her ‘soulmate’ and continues to collaborate with him, but she has also established her own thriving practice. A flair for contemporising historical design and decoration is a skill that she honed by his side, and she has successfully managed to apply it to her projects across North America, including this family home in Toronto.

The house is in Rosedale, one of Toronto’s oldest and finest neighbourhoods, where the Duke and Duchess of Sussex were said to be house-hunting when they left Britain. Jane Halverson, an art therapist and collector, lives there with her husband Dr Bruno Vendittelli and their two teenage sons – along with rambunctious goldendoodle Rocco. Initially, Jane had enlisted Colette to convert the family’s two-car garage into a ‘garden room’. Bruno’s Italian heritage proved the inspirational springboard, prompting Colette to look to the winter garden at Milan’s Villa Necchi Campiglio for structural references for an extension.

The resulting structure has a grand gabled, black steel window – reminiscent of the villa’s glazed verandah – that frames the back garden’s greenery. Colette designed a bold limestone chimneypiece for the room, conceived to resemble the rectangular pattern framing the entryway at Nancy Lancaster’s legendary Oxfordshire residence, Ditchley Park. And from her own vintage textile collection, Colette unearthed a chintz fabric she turned into cushions, complementing the Victorian-style patterned tiles on the floor (which is heated to stave off Toronto’s winter cold). A plump, curvaceous B&B Italia ‘Tufty-Time’ modular sofa unifies the room, helping to harmonise the various influences within it.

After the success of this space, Jane asked Colette to move on to the rest of the house, where the designer was led by her clients’ sartorial preferences to devise a soothing colour scheme. Bruno has a penchant for earthy tones and Jane’s style relies on aquatic hues, accented by touches of silver and gold. ‘I always consider what my clients wear and what is in their wardrobe,’ explains Colette. Of the rose-coloured shades and hints of peach in the drawing room, she says, with a smile, that she sold them to Bruno as ‘Italian pink’. In any case, the striking palette allowed her to pull off some impressive visual tricks. In the dining room, for instance, the cobalt-lacquered ceiling intensifies the theatricality of the hand-painted wallpaper from Gracie evoking Katsushika Hokusai’s Great Wave off Kanagawa woodblock print. ‘The ceiling was originally white, which was wrong,’ says Colette. ‘This colour was a way to lift and lend atmosphere to the room.’

Similarly, her use of various mirrors round the house has altered the scale and mood of its rooms. In the drawing room, two floor-to-ceiling mirrors flank another extraordinary chimneypiece. This one is made from plaster, its flame design recalling the inferno-motif hearth that Robert Winthrop Chanler crafted for the Manhattan art studio of his fellow American artist Gertrude Vanderbilt Whitney in the early Twenties. The mirrors frame the structure and maximise the natural light.

Upstairs, the bathroom mirror serves a practical purpose but, combined with chrome fixtures, it also makes the silver-leaf walls adorned with hand-painted poppies totally showstopping.

(The flowers are a nod to ‘Anemones in Light’, the wallpaper produced by de Gournay in collaboration with Kate Moss.) Colette

EXTERIOR The façade of the house, which was built in 1912 and is situated in Toronto’s North Rosedale Heritage Conservation District, was painted in custom taupe and iron ore shades by Sherwin-Williams during a light restoration a number of years ago

admits that reflective surfaces are something of a signature of her work, citing the illusions conjured by Sir John Soane using convex mirrors in his London house as her influence. ‘Mirrors magnify space,’ she explains. ‘I like how they disappear and almost become voids, as opposed to taking up space. The mirrors by the fireplace allow the flame sculpture to sing.’

Also lending dynamism to the drawing room are the swivelling chairs stationed by the chimneypiece, which reference Pierre Paulin’s ‘Ribbon’ design from the late Sixties. Their flexibility – in contrast to the formality of the Knoll armchairs Colette has placed in the garden room – encourages conversation. The patterned sofa cushions fashioned from Central African Kuba cloth and a diagrammatically woven Kate Thornley-Hall rug lend more energy to the drawing room, which, Jane admits, was barely used until it was enlivened by Colette’s touch.

Texture, curvaceous forms and accents of cognac and bronze conjure calm and warmth in the main bedroom. The looped wool broadloom carpet somehow feels like a cosy sweater underfoot.

Jane says that custom pieces designed by Colette – including a silk velvet headboard and a Murano chandelier – make bedtime completely irresistible. As Rocco bounds in, leaps onto the Kuba cloth bedspread and reclines on the bed, it is clear that he agrees.

Nicky Haslam describes his protégée as able to ‘make the outrageous look simple’ and ‘put things together in a way that would never be apparent to anybody else’. And it is this, combined with Jane’s scholarly knowledge of art, that has made this space both intoxicatingly glamorous and ultra comfortable Colette van den Thillart: colettevandenthillart.com HOUSEANDGARDEN.CO.UK FEBRUARY 2022 115

HISTORY IN In this extract from their book Winter Gardens, CLARE FOSTER and the photographer ANDREW MONTGOMERY explore the gardens at Mapperton in Dorset, where the interplay of architecture and formal topiary is brought into relief by colder weather

The historic sandstone manor house is perched above ornate terraces laid out in the Italianate style with elaborate topiary, a central pool, and stone pergolas and statuary

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THE SHAPING

BELOW With its eye-catching array of distinctive yew topiary and octagonal fountain centrepiece, the fountain court at Mapperton was laid out in the Twenties in memory of the husband of Ethel Labouchere, who owned the property from 1919 to 1955

ABOVE The valley runs directly south down towards the Dorset coast, with the formal garden finally giving way to an arboretum.

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BELOW This stone and wood pergola, which is in the fountain court area of the garden, dates from the Twenties. A lichenspeckled, reconstituted stone bird from Ethel Labouchere’s cherished collection of animal statues stands sentry at one end

ABOVE One of two formal, rectangular stone pools shown on a tithe map of 1821, which predate the rest of the garden’s construction in the Twenties. The summerhouse is framed by lines of tall, shaped yew forms along both sides HOUSEANDGARDEN.CO.UK FEBRUARY 2022 119

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uried deep in the beautiful Dorset countryside, the idyllic garden at Mapperton is one of the most atmospheric and delightful in Britain, laid out in a picturesque, steep-sided combe that wends its way into the surrounding landscape.

Steeped in history – indeed, it was named Historic Houses Garden of the Year in 2020 – it has been created over many years. Its first design was in the 17th century, when the Tudor manor on the site was remodelled. Not much of the original garden remains, but the grass terracing that steps down into the valley from the house is thought to date back to this time, as is a stone summerhouse in the middle of the formal garden – and the intriguing traces of a historic parterre are just about visible on the croquet lawn in summer when the weather is very dry. The valley runs from north to south, with formal topiary petering out into a leafy arboretum, where a path invites you onwards to mingle with a mix of interesting trees, shrubs and spring bulbs.

The entrance into this garden is all part of the drama.

Through an intimate courtyard at the front of the house, visitors emerge onto the large grassy plateau of the croquet lawn. It is not until they reach the other side of the house that the main expanse is revealed, stretched out in an elaborate linear motif down the valley. The bird’s-eye view from above is spectacular, but when you reach the valley floor, you understand the scale of some of the topiary. Looking back up, the prospect is equally impressive, the stone manor house sitting squarely on the top terrace, commanding the scene. The interplay of landscape, garden and architecture is perfectly balanced, and a sense of permanence and indomitability pervades the place.

The elaborate fountain court at the northern end of the valley was designed in the Twenties by Ethel Labouchere, who bought the house in 1919 from the Compton family.

Created in memory of her husband, the garden was laid out in the Italianate style popularised by the designer Harold Peto, with elaborate topiary, a central pool, stone pergolas and local Blue Lias stone paving that contrasts with the honey-coloured Hamstone walls.

Ethel clearly enjoyed making and using the gardens.

She commissioned two grottoes to be built into the banks of the valley through retaining walls, added a fireplace and chimney in the 17th-century summerhouse, and tended vegetable beds on either side of the existing pools in the lower garden, which was thought to have been created before the turn of the century. She also had a passion for bird and animal statuary, acquiring a collection that is still dotted through the grounds, now covered with a patina of moss and lichen. Most of the statues are made from cast concrete or reconstituted stone, which in the Twenties was the latest innovation in statuary and all the rage.

Like many properties, during the Second World War, Mapperton went into decline and, by the time Ethel died in 1955, the gardens were also sliding into decay. After her death, Mapperton was bought by Victor Montagu, then

Viscount Hinchingbrooke and later Earl of Sandwich, who brought his own ideas and sensibilities. In 1968, he added an orangery perched at the top of the fountain court, offering another wonderful view down the length of the garden. Built from Minster reconstituted stone, the orangery now looks authentically weathered and at one with its surroundings (so much so that many are fooled into thinking it is an original 17th-century feature). He also planted more yews in the lower area along the furthest pool. Clipped into simple rounded shapes, the yews are less formal here than in the fountain court, easing the transition into the arboretum beyond.

Mapperton passed to the current Earl and Countess of Sandwich, John and Caroline Montagu, in 1995, and more recently their son Luke and daughter-in-law Julie have taken over the main house. John and Caroline now reside in the Old Rectory on the estate, but Caroline is still very much involved in the garden and has brought her own knowledge, energy and enthusiasm to its continued development. ‘The garden was my father-in-law’s pride and joy,’ she says. ‘He planted a huge number of important trees and shrubs in the arboretum – the tulip tree, for example, a handkerchief tree and several metasequoias.

We have the notebooks in which he recorded all his planting, so I try to remain loyal to his schemes.’

With head gardener Steve Lannin, she is working on the planting at Mapperton, adding interesting herbaceous elements to the borders, in particular late-summer and autumn perennials to extend the season. ‘We are five miles from the sea and rarely get a frost early in the autumn, so it seems worth growing late salvias and dahlias that might be over elsewhere by this time,’ she says. Bright colours in the borders are almost a necessity, according to Steve, who has had to fight his natural urge for pastel tastefulness.

‘Because the gardens are viewed from above, the borders need strong colours to draw the eye,’ he says. Caroline adds, ‘I take a Fauve view. I get excited by the diversity of colour – it almost doesn’t matter what the colours are.’

But it is in winter that this theatrical garden comes into its own. With the house glowing in the low winter sun and the tops of the topiary lit up like beacons, the garden comes alive. Frost skims the flat surfaces of the yew hedges, highlighting their shapes, and the grassy slopes turn icy pale, making the topiary stand out even more prominently. ‘People love the strong architectural feel of the place,’ says Caroline. ‘They come once and then want to see it in a different season.’ Mapperton does indeed seduce its visitors. It is a garden that makes you feel comfortable, excited and intrigued all at once, and its proportions are not so grand as to appear overwhelming. On the contrary, entering Mapperton feels like stepping into a much-loved private family garden, in which you are left to explore and imagine the layers of history that have shaped it Mapperton, Beaminster, Dorset DT8 3NR, is currently closed for the winter, but will reopen to visitors on March 1: mapperton.com | ‘Winter Gardens’ by Clare Foster and Andrew Montgomery (Montgomery Press, £45) is available to buy from montgomerypress.co.uk

OPPOSITE With the land dropping away into the arboretum at one end, the Italianate garden is flanked by imposing rows of slightly irregular yew domes. The upper pool is used for swimming by the Montagu family, who happily share it with the local frogs 120 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

Frost skims the surface of the yew hedges, highlighting their shapes, and the grassy slopes turn icy pale

Part N0.2 WINTER AND EARLY SPRING FLOWERS

COLD COMFORT

In the second part of our series, CLARE FOSTER meets nurseryman Chris Lane, whose passion for witch hazels was ignited by the brilliant colour and fragrance that their flowers offer in an otherwise dormant garden PHOTOGRAPHS sabina Rüber

A

t their zenith during the bleakest point of the year, witch hazels bring subtle colour and spicy scent to the garden when you need it most. Those post-Christmas weeks can feel long and dark, and to have something to remind you that spring is around the corner can be a lifeline. These hardy shrubs are built for cold climates, their spidery flowers emerging from bare branches in January, furling back into themselves when the temperature dips below freezing.

It was this curious and almost animalistic behaviour that first convinced nurseryman Chris Lane to start a collection in 1979.

‘I was teaching at Hadlow College in Kent at the time and there was a specimen of ‘Ruby Glow’ in the nursery,’ he says. ‘There were two consecutive nights when it got down to -18°C and, in the morning, the plant looked as if it had succumbed as its flowers were brown and crumpled. But by lunchtime the temperature had risen to just below freezing and the flowers had unfurled and popped open, completely unaffected by the frosts. That was the moment I decided I had to grow more of them.’

Chris bought 15 specimens for the Hadlow nursery – and so began a passion that would span more than four decades. Today, he has the largest National Collection of hamamelis in the UK, with around 150 cultivars and all four known species: H. virginiana and H. vernalis from North America, H. japonica from Japan and H. mollis from China.

While H. virginiana is used in cosmetic witch hazel products, it is the two Asian species that have been hybridised to produce the range of cultivars that we grow in temperate climate gardens.

Known as H. x intermedia, they flower for around six weeks between December and early March, growing into medium-sized, multi-stemmed shrubs that have distinctive clusters of flowers with narrow, ribbon-like petals.

In 1995, Chris left Hadlow and set up his own nursery, with his beloved witch hazels at the core of his stock. Many of his cultivars come from the renowned Kalmthout Arboretum in Belgium, at that time run by the late Jelena de Belder (featured in the February 2020 issue of House & Garden), including ‘Jelena’, ‘Frederic’ and ‘Ruby Glow’ – the cultivar that first sent Chris on his lifelong quest.

‘When I went to visit Jelena, she grabbed my hands and told me I was welcome to take any propagation material,’ Chris remembers with fondness. ‘I think I brought back about 40 varieties from that visit. There was one that I spotted as we walked round and

I commented that it was the colour of gingerbread – later I was very pleased to see she had given it the name ‘Gingerbread’ when her next list appeared.’ There is also a cultivar called ‘Chris’ that Jelena’s son Daniel named after him, a beautiful, floriferous cultivar with golden yellow flowers suffused with red.

The best hamamelis for scent, says Chris, is ‘Aurora’, which has a rich, sweet and spicy scent. It also has larger-than-average flowers with a striking bicoloured effect of pale yellow and rusty red. ‘Rubin’ and ‘Foxy Lady’ are two deep red cultivars that Chris recommends, and he advises planting them where the winter sun can reach them. ‘Never plant them against a dark background, otherwise they will get lost,’ he says. ‘Barmstedt Gold’ is another favourite. ‘It’s a vigorous plant in a really good, golden yellow and it stands out in the landscape well,’ he explains. Over the years, Chris has selected his own cultivars from seedlings, which requires patience and dedication, as it can take up to 20 years to produce enough stock to introduce them commercially. ‘Foxy Lady’ is one of his introductions, as is ‘Burning Desire’. The latter, not often found for sale, is vigorous with sweetly scented orange flowers.

The length of time taken to propagate and grow these plants is one of the reasons why they are so expensive to buy. They have to be grafted onto H. virginiana rootstock as rooting cuttings or layering is not commercially viable. This can explain the strange appearance of autumn-flowering stems suddenly appearing in the middle of the plant. ‘These suckers must be pulled or cut out right at the base, otherwise they will start to take over,’ says Chris.

Witch hazels are easy to grow in most soils, but they will not thrive in shallow chalk or heavy clay. ‘They like moisture in summer, but need to be able to drain freely in winter,’ says Chris. ‘Any waterlogging at this time of year will lead to root death, so good soil preparation is vital. Most people assume that witch hazels are best planted in a woodland situation, but they grow quite happily in the open and will actually flower better in full sun.’ They thrive when planted fairly shallowly, as they are surface-rooting, so dig a hole the size of the container and do not add organic matter, as the roots need to ‘search out into the soil’. Feeding the plant from above with a mulch of garden compost is preferable, advises Chris.

Visiting the collection in January and February is an uplifting experience. Rows of blooming shrubs give a subtle glow to their field setting, and the scent draws you in: citrus-sharp for yellow cultivars; richer and spicier for darker-flowered ones. Whether you have room for a whole grove of witch hazels or just a single one, they are guaranteed to bring cheer to the darkest winter months For details of open days at Chris’s nursery, visit witchhazelnursery.com

OPPOSITE TOP ROW FROM LEFT H. x intermedia ‘Anne’ has fragrant yellow-to-red flowers. ‘Burning Desire’ was introduced by Chris. ‘Frederic’ was among the cultivars he brought back from Belgium. MIDDLE ROW ‘Rubin’ has deep red blooms. Chris at his nursery. ‘Aurora’ is one of the best for scent.

BOTTOM ROW The colour of ‘Gingerbread’ is reminiscent of the sweet treat. ‘Barmstedt Gold’ is a particularly vigorous grower. His namesake, ‘Chris’ 122 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

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Recipes | Taste Notes | Romania

FOOD & TRAVEL

FOOD STYLING: JULIA AZZARELLO. PROP STYLING: ZOE REGOCZY

FOOD & DRINKS EDITOR BLANCHE VAUGHAN | PHOTOGRAPHS ANDREW MONTGOMERY

Recipes by Rachel Roddy

When not in Rome...

The British food writer, who lives in the Italian capital, has created a menu of classic flavours, including richly satisfying dishes with added zing to brighten up cold winter nights at home

HOUSEANDGARDEN.CO.UK FEBRUARY 2022 125

FOOD & TRAVEL recipes What does one eat in Rome at this time of year? For me, it is a bright and brilliant Sicilian-inspired salad of fennel, orange, watercress and olives. Or pasta e ceci, one of Rome’s iconic dishes, with a history almost as long as the city itself. This thick and comforting soup is ideal for a family supper or for a crowd, as the main elements can be doubled and made in advance. Another suggestion is what Italians often refer to as ‘hunter style’ chicken. My recipe is one of the most elemental of this popular dish, a eureka cooking moment and the answer to the question of what shall we eat, especially on a cold night; as are the herb and lemon roast potatoes to serve alongside it.

More winter nourishment comes in greens and white beans, a soft, creamy tangle of a meal. Then, to finish, torta della nonna – grandma’s tart – originally from Florence but now well travelled and found all over Italy. A menu for February joy. All recipes serve 6

GREEN AND WHITE BEANS ROMAN STYLE Romans often serve beans simply with olive oil, while greens are enjoyed wilted down with garlic, chilli and olive oil. The two ways are combined here for a smooth, comforting dish. It is important that the beans are cooked until soft and creamy, and do season generously.

X 2 garlic cloves 350g dried X 1 small onion cannellini beans X 2 bay leaves X 1 stick celery X 500g greens, such as X 6-8tbsp olive oil X 1 small dried chilli, Swiss chard, spinach finely chopped or savoy cabbage X

FENNEL, ORANGE, WATERCRESS AND OLIVE SALAD Inspired by classic Sicilian flavour combination, this winter salad recipe also includes watercress, bringing brilliant peppery succulence. You could even leave the peel on the orange – it is full flavoured, acerbic and infused with volatile oils.

2 large or 4 small bulbs of fennel X 1 bunch watercress X 2 large oranges X 6tbsp extra-virgin olive oil X 1tbsp red wine vinegar or lemon juice X Handful black olives X

1 Trim the fennel, saving the tougher outer layers and fingerlike stalks to make vegetable stock, and setting aside the frilly fronds. Slice the trimmed bulb in half, then slice each half thinly.

Wash the watercress, dry and tear into bite-sized pieces.

2 Cut the oranges in half, place cut-side down and slice into thin half-moons. If you want to remove the peel, trim the base so they sit flat, then pare away the skin and pith before slicing.

3 In a bowl, whisk together the olive oil, vinegar or lemon juice and a pinch of salt. Add the fennel slices and watercress. Toss well, then add the orange slices, olives and reserved fennel fronds, and toss again gently. Serve on a platter or individual plates.

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1 Soak the beans in 2 litres of water for at least 6 hours. Drain and put in a heavybased pan, and cover with at least 6cm of water. Add the bay leaves and some salt.

Bring slowly to a simmer, then cook over a low heat for 1½-2 hours, or until tender.

Allow them to cool in their cooking broth.

2 Meanwhile, wash the greens, stripping the tougher stems from the leaves; chop smaller stems into matchstick lengths and roughly chop the leaves. Peel and dice the onion and garlic (or leave the garlic cloves whole if you want to pull them out later) and dice the celery.

3 In a large, deep frying pan, warm the olive oil over a low heat and then fry the garlic, onion, celery and chilli until soft and fragrant. Increase the heat before adding the greens a handful at a time, each with a tiny pinch of salt, once the previous handful has wilted a little.

4 Cover the pan and then cook for around 5 minutes, until the greens have collapsed completely. Remove the lid, cook for a further 2 minutes, then stir in the beans and a cup of their cooking broth, and cook uncovered for about 5 minutes. How dense or brothy you want the dish is up to you.

FOOD & TRAVEL recipes POLLO ALLA CACCIATORA This is chicken prepared ‘hunter style’. The sauce here is reduced down until the meat is surrounded by just a little rich gravy. The addition of red wine vinegar at the end is optional, but it sharpens the flavour, which I find welcome.

5tbsp extravirgin olive oil X 2kg chicken, jointed into 12 pieces (or a mixture of skin-on legs and thighs) X 2 sprigs rosemary X 2 garlic cloves X 1 small fresh red chilli or pinch dried red chilli flakes X Small sprig sage X 400ml dry white wine, plus extra if needed X 1-2tbsp red wine vinegar (optional) X Handful pitted black olives X

1 In a large and deep sauté pan with a lid, warm the olive oil over a medium-low heat.

Working in batches, add the chicken, skinside down, and cook until a golden crust forms – don’t rush. Turn the chicken pieces and cook the other sides in the same way.

Lift on to a plate and repeat until all the chicken pieces are golden and crisp.

2 Meanwhile, chop the leaves from 1 sprig of rosemary and finely chop the garlic and fresh chilli. Once the meat has browned, return all the pieces to the pan and sprinkle over the chopped rosemary, garlic and chilli (or dried chilli flakes). Add the remaining whole rosemary sprig and the sage, and season with salt and freshly ground black pepper. Pour over the wine, stir, cover the pan and reduce the heat to low.

3 Allow the chicken to simmer, turning the pieces from time to time, until the thighs feel tender when prodded with a fork and everything is surrounded by a dense gravy.

This takes around 45-65 minutes, depending on the chicken. If at any point the pan seems a little dry, add more wine.

4 Remove the lid for the last 5 minutes of cooking, add the red wine vinegar (if using) and the olives, stir, taste and adjust the seasoning if necessary, then serve.

serve with HERB AND LEMON ROAST POTATOES These should be crisp with a fragrant coating of rosemary and oregano, so don’t skimp on the herbs or the oil – or the lemon, which becomes chewy and delicious. You might be able to shake your baking tray to turn the potatoes, but I tend to lift and toss using a fish slice, so they cook evenly and turn golden all over.

1.2kg potatoes X 8tbsp olive oil X 1 pinch dried red chilli flakes X 1 garlic clove, peeled and minced X 1tbsp finely chopped rosemary X 1tsp finely chopped sage X 4 slices lemon X 1tbsp dried oregano X

1 Heat the oven to 200°C/fan oven 180°C/ mark 6. Peel and chop the potatoes into 3cm cubes, then tip them into a bowl and add the oil, chilli flakes, garlic, rosemary, sage, lemon slices, half the oregano and some salt, and use your hands to toss thoroughly.

2 Tip onto a baking tray and spread evenly.

Bake for 30-40 minutes, shaking or turning the potatoes at least three times and adding the remaining oregano in the last 5 minutes. By the end of the cooking time, the potatoes should be golden with crisp edges. Serve while still piping hot.

PASTA E CECI This pasta and chickpea soup is generous and satisfying. It invites improvisation, so there are as many versions as there are cooks.

320g dried chickpeas or 2 x 400g tin chickpeas X 1 clove garlic X 2 sprigs rosemary X 1 onion X 1 stick celery X 1 carrot X 6tbsp extra-virgin olive oil, plus extra for drizzling X 1 small potato (optional) X 2tsp tomato purée X Small pinch dried red chilli flakes (optional) X 1 parmesan rind (optional) X 250g small dried tubular pasta, such as ditalini, or 300g fresh egg lasagna sheets, cut into squares X

1 If using dried chickpeas, soak in cold water for 12 hours. Drain, cover with 2 litres fresh water, add the garlic clove and 1 sprig rosemary. Bring to the boil over a medium heat and simmer for 1½ hours, or until the chickpeas are tender. Start tasting after 1 hour and add more salt if needed. You will need to reserve at least 1.6 litres of liquid for the soup, so add more water if necessary. When cooked, drain, reserving the liquid. If using tinned chickpeas, drain and rinse.

2 Finely dice the onion, celery and carrot.

In a large heavy-based pan, warm the olive oil, then add the diced vegetables and cook gently until soft and fragrant.

3 Peel and cut the potato into chunks (if using) and add to the pan, then add the remaining rosemary sprig, the tomato purée and chilli flakes (if using). Stir and cook for 1 minute before adding the chickpeas.

4 Add 1.6 litres of reserved cooking liquid, or hot water from the kettle if you are using tinned chickpeas. Add a pinch of salt and the parmesan rind (if using). Bring to the boil, reduce to a simmer and cook for 20 minutes.

5 Remove the cheese rind, then remove half of the soup from the pan and pass it through a food mill – or use a stick blender – until it is smooth in texture, then return to the pan.

6 Taste and add more salt if needed. Bring to a steady but moderate boil, add the pasta and – stirring attentively to avoid sticking – cook until tender, adding a little more water if necessary. Check the seasoning, then serve drizzled with olive oil.

HOUSEANDGARDEN.CO.UK FEBRUARY 2022 129

FOOD & TRAVEL recipes

For the pastry X 300g plain flour, plus extra for dusting X 150g cold butter, diced X 80g icing sugar X 2 eggs For the custard X 5 egg yolks X 6tbsp sugar X 1tbsp heaped plain flour X 800ml whole milk, warmed in a pan with a strip of lemon zest X 1 unwaxed lemon, zest X 50g pine nuts or flaked almonds, soaked for 10 minutes in water, drained and patted dry

TORTA DELLA NONNA There is no blind baking required for this, so a preheated baking tray is essential to ensure that the pastry cooks through properly. You will need a 24cm tart tin.

1 For the pastry, rub the flour and butter together until it resembles breadcrumbs. Add a pinch of salt, the icing sugar and eggs, and bring everything together into a ball of dough. Wrap and rest in the fridge for 1 hour.

2 Working on a lightly floured surface, or a sheet of baking parchment, roll the dough into a circle a little larger than your tart tin and lift into the tin. Press into the corners and trim, then set aside. (Save any leftover pastry for jam tarts.)

3 Heat the oven to 180°C/fan oven 160°C/mark 4 and place a baking sheet in the middle. For the custard, whisk the egg yolks and sugar in a heavy-based pan off the heat. Once the mixture is pale and thick, whisk

130 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

in the flour. Put the pan on a low heat and, little by little always whisking, add the warmed milk, having removed the strip of lemon, and add the lemon zest. Continue whisking over a low heat until the custard is smooth and thick enough to coat the back of a spoon.

4 Lift the tart tin onto the preheated baking sheet.

Pour the custard directly into the tart case, smooth the top, then scatter over the pine nuts or flaked almonds.

5 Bake for 15 minutes, then reduce the heat to 160°C/ fan oven 140°C/mark 3 and bake for 40 minutes, or until the custard is set and the pine nuts or almonds are golden. Allow the tart to cool a little in the tin before serving it warm rather than hot

FOOD & TRAVEL news

TASTE NOTES BLANCHE VAUGHAN shares her news and tips for food lovers

seasonal recipe MUSSELS WITH MISO

A steaming bowl of mussels is just what one feels like at this time of year. Adding miso and ginger gives a greater depth of flavour.

For a more substantial meal, you could serve this with soba noodles on the side, to add to the liquid left in the bowl. Serves 2 1kg mussels light oil, like groundnut or sunflower X 5cm piece ginger, peeled and chopped X 1 clove garlic, chopped X 1 red chilli, finely chopped X 2 spring onions, finely chopped X 1½tbsp white miso paste X 3tbsp rice wine X 20g coriander, chopped X Seaweed sprinkle, like furikake or shredded nori X

X 2tbsp

ANDREW MONTGOMERY; PAUL GREGORY

[1] Wash the mussels and then remove any ‘beards’ attached to the shells. Discard all shells that are broken or open.

[2] Heat the oil in a large pot with a lid and add the ginger, garlic, chilli and spring onions. Fry for a few minutes.

[3] In a bowl, whisk the miso and rice wine to combine, then add 3-4tbsp water.

[4] Add the miso mixture to the pot and turn up the heat, stirring well before adding the prepared mussels. Cover with the lid and cook for 5-10 minutes, or until the shells have opened.

[5] Serve with the coriander and seaweed sprinkle scattered on top.

LAND OF PLENTY

PLUMP FOR PLUM

Compiled by Jenny Jefferies, For the Love of the Land (Meze Publishing, £22) celebrates British farmers, their stories, the food they produce and their recipes. Focusing on the unsung heroes of the UK’s small farms, it bridges the gap between them and the food on our plates. These farms all share the same intention: to work in harmony with nature and provide the best ingredients. As much about personal stories as recipes, this book is a valuable, entertaining insight into what we should choose to eat.

For an interesting aperitif or mixer, try Umeshuya’s ‘Miyoshino No Sakura Umeshu’ plum wine, made by infusing nishoyoshino plums with sake, shochu and cherry blossom syrup. Its sweet, elegant flavour with subtle fruity notes makes it a good alternative to pudding wine. Or try it in a cocktail with lime juice and vodka; £35 for 720ml. umeshuya.co.uk

Specialising in high-quality Japanese ingredients, THE WASABI COMPANY sells fresh yuzu fruit, finger limes and wasabi plants, as well as full kits to make miso soup, sushi rolls and wasabi Bloody Marys. It also stocks Japanese condiments, including ponzu sauces, white sesame oil and the best miso paste. wasabicompany.co.uk HOUSEANDGARDEN.CO.UK FEBRUARY 2022 131

FOOD & TRAVEL Romania

Recapturing the castle

The architectural heritage of the Transylvanian village of Cris is being carefully preserved as its abandoned buildings are transformed into charming guest accommodation by Count Miklos of Bethlen, whose ancestral family seat is the imposing castle that crowns the hill above it, writes STANLEY STEWART PHOTOGRAPHS PHILIP VILE

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OPPOSITE Informal outdoor dining on the Bethlen estate.

THIS PAGE CLOCKWISE FROM ABOVE One of the castle’s distinctive towers. The hall and a bedroom in the Caretaker’s House, which has been restored to provide smart accommodation.

Traditional buildings in the countryside around Cris. The exterior of the Caretaker’s House. The Count’s widow, Gladys

FOOD & TRAVEL Romania

S

ome time in the late Sixties, Count Miklos of Bethlen arrived in the village of Cris in Transylvania, shadowed closely by the secret police.

For some years, he had lived in exile in Austria and his return visits to Romania were always a concern to a paranoid Ceausescu regime. They need not have worried. The Count was simply making a nostalgic trip home. He had grown up in the castle above the village, part of his family’s estates before they were confiscated by the communist government after the Second World War. On the steep, winding stairs of the towers, he had played as a boy. In the courtyard, the family had sung around the Christmas tree. The grand, abandoned rooms held memories of his parents.

I imagined his visit was on a day like today – autumnal, clear skies, the scent of woodsmoke from the houses of the village.

Nostalgia seems to filter down like dust through the trees, even for those who are here, like me, for the first time. A gust of wind brings a shower of golden leaves into the courtyard. Children run past, disappearing through a crumbling gate to pick chestnuts in the woods beyond the walls. I think of the Count standing here, all those years ago, tears on his cheeks, as he recalled a lost world.

The castle, one of the largest in Transylvania, has not changed a great deal since the Count and his family were forced into exile over 70 years ago. It is still a ghost, the rooms empty, the old towers vacant. In the courtyard, under the Renaissance loggia, I met the archaeologist who had been working in the grounds.

He led me excitedly outside to show me the line of burnt ash that they had recently uncovered in one of the excavation trenches.

It marked the invasion of the Mongol Hordes under one of Genghis Khan’s sons in 1241, a crucial moment in medieval history made palpable in a line of earth.

There are moments when you feel Transylvania has had rather too much history. In these hills, littered with crumbling castles and ancient manor houses, it seems as if there was never a quiet moment. The centuries brim with wars, purges and revolutions, with invasions, assassinations and migrations, with feudalism, communism and predatory capitalism. It is a mark of the turbulence of this region that even its churches are fortresses.

History may be turbulent in Transylvania but the geography seems to slumber. This is a region of rolling meadows and deciduous forest, of sylvan lanes and old Saxon villages, a vision of central Europe that might have emerged from the pages of Grimms’ Fairy Tales. Cattle stand knee-deep in streams. Woodsmoke rises from chimneys. Horse-drawn wagons rattle along dust lanes. Old women in headscarves chat by village wells. Shepherds tend flocks of sheep carrying long crooks of cornelian cherry wood – the dense wood that the ancient Greeks used for their javelins.

Much of Europe looked like this two centuries ago. In the forests, bears, wild boar and wolves still thrive. In the pastures, you can walk for hours without encountering a fence. The flora here enjoys a diversity now almost unknown in the rest of Europe with roadside verges rich in medicinal herbs unused since the 18th century – elecampane, marsh mallow, stinking goosefoot. Through three seasons, the meadowlands are cloaked with wild flowers – violet sage, yellow pheasant’s eye, white narcissus, meadow saffron.

It is no wonder that Prince Charles was so smitten with the place when he first came here in 1998. It was not just that he likes to trace his ancestry back to Vlad Tepes, aka Vlad the Impaler, supposedly

134 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

WAYS AND MEANS Stanley Stewart was a guest of Bethlen Estates (bethlenestates.com); from €1,200 a night, B&B, based on eight sharing in the Caretaker’s House; from €500 a night, B&B, based on four sharing in Depner House; rooms from €250, B&B, in the Corner Barn. Wizz Air has flights from London Luton to Transylvania, from £60 (wizzair.com).

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OPPOSITE CLOCKWISE FROM TOP LEFT The Kitchen Barn offers a locally sourced seasonal menu in an atmospheric setting.

Depner House’s open-plan sitting area. Restored buildings have been given a new lease of life. Depner House is a stone’s throw from the Kitchen Barn. The kitchen of the Caretaker’s House

the model for the fictional Dracula. Transylvania contained many of his campaigning passions – vernacular architecture, organic agriculture, ancient crafts and a biodiversity not yet undermined by pesticides. He has lent his support to various local conservation efforts and, in 2006, he bought a village house here.

As for the noble families of Transylvania, like the Bethlens, their pedigrees go back – in the words of Patrick Leigh Fermor, who travelled through the region in the Thirties – to a time ‘when God was a boy’. But with the end of the Second World War and the arrival of communism, the Transylvanian aristocracy were scattered to the four winds. Some ended up in Russian internment camps; some fled to Hungary or Austria; and some lived in reduced circumstances in the basements of their own castles.

The Countess Gemma Teleki famously sold flowers at the gate of the cemetery in Tirgu Mures. Count Bethlen escaped to Hungary, where he worked initially as an electrician.

Inevitably, history has taken yet another turn here. Communism has evaporated, the old estates are no longer collective farms and, in Cris, the Bethlen family has returned to their ancestral home.

The Count himself is no longer alive, but his widow, the glamorous Gladys, and their son, also Miklos, have launched a project to preserve the village’s architectural heritage and to develop tourism to support a way of life in the face of a dwindling population. Slowly, Miklos is buying and restoring the empty Saxon houses of Cris and transforming them into smart guest accommodations. The Caretaker’s House and Depner House (for exclusive use only) are complete, as is the central restaurant. The Corner Barn opens in March (available by the room), with plans afoot for a fourth house.

With shelves of books and old photographs, and bootjacks and walking sticks in the hall, they feel like homes in a way that hotels never can. The architecture is quirky and marvellous, with roof beams, white walls and pale pine floorboards; the bedrooms have a 19th-century romance. A sumptuous kitchen anchors the Caretaker’s House, with french windows opening to the gardens.

From the formal dining room and the parlour with its deep sofas and open fire, tall windows overlook the village. As I strolled downhill to dinner each night, where the chef Robert Tordai conjured magic from an array of local ingredients, I felt a sense of peace.

That perhaps is the irony of Transylvania. For a place with so much turbulent history, there are moments and places where it seems as if there is none at all. In these old Saxon villages, with their horse-drawn wagons and their shepherds, it is as if the modern world has left the region behind, as if history in this corner of Europe had stopped in the time of our great grandparents. This is the kind of sweet nostalgia that all of us can savour

FOOD & TRAVEL compass

Guests can enjoy spectacular sunsets from the Grace Hotel by Auberge Resorts Collection on Santorini

SEASON IN THE SUN

S

antorini is usually sunny in May and June, when the island is not as busy as in peak season. Perched on the clifftop on a private plot in the pretty village of Imerovigli, the 21-room Grace Hotel by Auberge Resorts Collection has some of the best views on the island – particularly at sunset. Guests can dine on refined Mediterranean cuisine at Santoro, relax by the 22-metre pool or enjoy boat trips, walking tours and wine tastings. Rooms are spacious, light and airy, and the 400-square-metre two-bedroom villa has a private pool, large split-level terrace and hammam steam bath. Elegant Resorts offers seven nights in a Deluxe Room, from £3,135, B&B, including flights, transfers and lounge passes.* 01244 897514; elegantresorts.co.uk

Rustic charm

Tu casa

Turkish delight

Discreet, charming and authentic are the words that spring to mind as you walk through the doors of Can Ferrereta, one of Mallorca’s most hotly anticipated openings of last year.

The converted 17th-century mansion with original architectural features is enhanced by fabrics in natural tones and minimalist furniture. All of this reflects the laidback vibe of Santanyí, the hidden gem of a town on the island’s south east coast – just a few minutes’ drive from the harbour, beaches and restaurants.

The 32 rooms and suites are set in oasis-like gardens, as is the spa, pool and two restaurants.

Rooms from €315, B&B. hotelcanferrereta.com

Finding the right property for a group can often be tricky, but Shantivillas in Portugal’s Algarve makes things gloriously simple with its extensive range of country and coastal retreats, including houses for up to 16 guests. Seen here is Casa Sky 1, which sleeps six and is decorated in a traditional blue and white palette, in a nod to Portugal’s famed ceramics. Its dedicated children’s pool and a games room mean that adults can steal a quiet moment, while the large terrace is ideal for family barbecues. Or the Shantivillas team can recommend the best local restaurants. Casa Sky 1 costs from €2,809 for seven nights**. shantivillas-algarve.com

Perfect for a family holiday at May half term, Maxx Royal Kemer Resort on the Turkish Riviera is just a four-hour hop from Gatwick to Antalya. In a stunning setting overlooking the turquoise coast, with three beaches and a large pool, the resort has 291 rooms, which provide options for families of all sizes. Via Whatsapp, your Maxx Assistant can book activities for you, such as abseiling, volleyball or a trip to the on-site waterpark. Dine in seven restaurants with the all-inclusive plan and enjoy the benefits of child-friendly staff and a babysitting service.

From £450 per person per night in a Suite Land, all inclusive. maxxroyal.com

136 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

PHOTOGRAPHS: SERGE DETALLE; ARTURO+LAUREN; PEDRO QUEIROGA. *BASED ON A MAY 14, 2022 DEPARTURE. **BASED ON A BOOKING FOR MAY 2022

LAURA NORMANTON recommends exceptional hotels and villas ideal for a late-spring getaway

H&G partnership

THE BEST OF BELFAST

Discover the attractions of Northern Ireland on a staycation with a difference at the luxurious five-star Culloden Estate & Spa

JACK HARDY; CHRISTOPHER HEANEY

C

ombining the convenience of a staycation with the newfound pleasure of being able to board a short flight and watch the mainland disappear below the clouds, Northern Ireland makes a great destination for a relaxing break – and where better to stay than its most prestigious hotel, the Culloden Estate & Spa. Once the official palace of the Bishops of Down, the estate is now home to a luxurious five-star hotel set in 12 acres of beautiful grounds.

Recently refurbished, it offers a range of attractive accommodation, including four suites set within the historic towers, with glorious views over the surrounding woodland and Belfast Lough. Enjoy pampering ESPA skincare products and treatments in the newly renovated spa, as well as a state-of-the-art steam room and a vitality pool. Spending a lazy afternoon there with the forested slopes visible through floorto-ceiling windows is a great way to relax and unwind.

With a stunning coastline, countryside and cities packed into a pocket-sized area, you are never too far from anything in Northern Ireland but the Culloden Estate & Spa is particularly well placed.

Stroll or cycle around the grounds, explore the Ards Peninsula, or play a round at nearby Holywood Golf Club – Rory McIlroy’s home turf.

Just six miles from Belfast’s centre, the resort is the ideal spot for those who like to dip in and out of the city buzz. Foodies can take advantage of the dining scene, or enjoy fine cuisine on their doorstep with delicious modern dishes served in a traditional interior at Vespers restaurant on the hotel’s top floor. As dusk turns to night, continue your evening at on-site pub, the Cultra Inn, for a velvetblack Guinness. You are in Northern Ireland, after all. For more information, call 02890 471066 or visit cullodenestateandspa.com

ABOVE LEFT CLOCKWISE FROM TOP The Culloden’s light-filled, airy pool. A detail of the hotel’s beautiful original stained-glass windows. The grand fireplace in Culloden’s atmospheric lounge.

The luxurious Dufferin Suite has wonderful views. ABOVE FROM TOP Belfast city centre offers visitors an appealing mix of history and contemporary culture. The imposing exterior of the Culloden, which has a glorious setting overlooking the waters of Belfast Lough

Stockists

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Go to thelist.houseandgarden.com to see their complete profiles ARIEL OKIN | COLLIER WEBB | COMMONROOM | CP HART DAVID SEYFRIED | DEIDRE DYSON | DRUMMONDS FORBES & LOMAX | HOWE AT 36 BOURNE STREET | JAMB KINGCOME SOFAS | KIT KEMP | OLIVINE DESIGN PORTA ROMANA | PORTER BATHROOM | RICHARD SMITH ROBERT KIME | SCHUMACHER | SIBYL COLEFAX & JOHN FOWLER THE SOHO LIGHTING COMPANY | STROUD FURNITURE MAKERS SUSAN DELISS | TATE & DARBY | VANDERHURD | VAUGHAN

138 FEBRUARY 2022 HOUSEANDGARDEN.CO.UK

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A | ALAN HORGAN STUDIO alanhorganstudio.com ANNA + NINA anna-nina.nl ANYA HINDMARCH 020 7501 0168; anyahindmarch.com ATELIER LK atelier-lk.com b | BÉTON BRUT 020 7018 1890; betonbrut.co.uk BONADEA 020 8088 2009; bonadea.com BRICOLAGE QUILTS bricolagequilts-2.my shopify.com c | CARAVANE caravane.co.uk CEADOGÁN RUGMAKERS 00 35 351 561349; ceadogan.ie CHOOSING KEEPING 020 7613 3842; choosingkeeping.com CHRISTOPHER FARR CLOTH 020 7349 0888; christopherfarrcloth.com CLAIRE DOOLEY CERAMICS clairedooley.com COLOURTREND 00 35 316 288224; colourtrend.ie THE CONRAN SHOP 0844 848 4000; conranshop.co.uk COUVERTURE & THE GARBSTORE 020 7229 2178; couverture andthegarbstore.com d | DESIGNERS GUILD 020 7893 7400; designersguild.com DOLLY ROCKET dollyrocket.london e | EDMOND BYRNE edmondbyrne.com EJR BARNES ejrbarnes.com ETSY etsy.com f | FARROW & BALL 01202 876141; farrow-ball.com FLOOR STORY 020 7871 3013; floorstory.co.uk

B R I TA I N | P R O P E R T Y

IN IT FOR THE LONG HAUL From the Caribbean to the Seychelles, sunseekers can have their pick of properties in the world’s most luxurious resorts, whether it’s a traditional villa or a tailor-made newbuild

AURORA, BARBADOS

Positioned on one of the highest points on the exclusive Sandy Lane Estate, this sevenbedroom villa is surrounded by mature tropical gardens that offer remarkable privacy. Covered terraces provide shady spots that overlook the pool, while a gazebo creates a perfect spot for outdoor dining. $5.95 million.

Savills: 020 7016 3744

T

here’s nothing like the gloom of a British winter to make you want to escape to warmer climes. For those who are serious about spending more time in the sun, there are plenty of idyllic boltholes on the market, where fantastic weather is to be found almost all year round.

Sandy Lane resort in Barbados has long been a favourite of the jet set – the five-star resort first opened its doors in 1961 and has been one of

the Caribbean’s top destinations ever since. With three golf courses – two of them 18-hole championship courses – and a 47,000-square-foot luxury spa, there’s plenty to keep visitors amused, not forgetting its beautiful sandy beaches, and numerous bars and restaurants. There are also a number of private properties on this exclusive estate, including Aurora, a spacious, traditional-style villa for sale via Savills, which is set on a large plot of two acres.

The elevated site provides spectacular views, and the extensive grounds have been landscaped to create a verdant tropical paradise. There’s an outdoor pool and terrace, a gazebo for dining

al fresco, and a tennis court. Inside, the generous open-plan living areas lead to seven bedrooms, all en suite, with air conditioning throughout. Furthermore, the property is one of the few on the estate that come with a private cabana at the Sandy Lane Beach Club.

Also in the Caribbean is a major new project currently underway in Saint Lucia. Occupying a breathtakingly pretty peninsula on the island’s northern tip, Cabot Saint Lucia is set to be one of the region’s most exciting new resorts when it launches this autumn. Alongside an 18-hole golf course and extensive wellness facilities, the development will also include 40 guest suites, as well as

SAMUJANA, THAILAND

Villa 27 is one of a collection of properties at the Samujana resort on the island of Koh Samui. Occupying one of the highest points on the estate, the fourbedroom house has wonderful sea views, perhaps best IRNS]IH JVSQ XLI MR½RMX] TSSP QMPPMSR Sphere Estates: 07891 595205

VILLA BAAN SANG, THAILAND

Also in Koh Samui is this substantial newbuild, which spans 13,573 square feet and makes the most of its spectacular setting, overlooking the sea. The fourFIHVSSQ ZMPPE LEW FIIR ½RMWLIH to a high standard, with Thai teak, granite walls and hand-cast bronze details. $4,764,557.

Christie’s International Real Estate: 00 66 2030 0060

CABOT SAINT LUCIA, SAINT LUCIA

Spanning 375 acres, this brandnew resort is set to make waves when it launches this autumn. A limited number of plots for private residences are still available, offering buyers the chance to be part of an exciting new community in one of the island’s prettiest spots. From $2 million for a custom lot. cabotsaintlucia.com

private villas and the option for buyers to purchase lots if they would like to design their own home.

In Thailand, there are currently several captivating properties for sale on Koh Samui, a popular resort island known for its sandy, palmfringed beaches. Just 10 minutes from Koh Samui’s international airport lies Samujana, which has a collection of elegant modern villas overlooking a pristine bay. Two of these are currently available to buy, including Villa 27 (pictured top), which features a large infinity-edge swimming pool.

Meanwhile, on the western coast is Villa Baan Sang, which is listed with

MANDARIN ORIENTAL BEVERLY HILLS, US

If you prefer city living, then how about escaping to the sunny climes of Beverly Hills? Mandarin Oriental is offering 54 residences at 9200 Wilshire Boulevard – the apartments combine the comforts of a private home with the luxury hotel group’s top-notch service and facilities. POA. mo-residencesbeverlyhills.com

SIX SENSES ZIL PASYON, SEYCHELLES

8LI 7M\ 7IRWIW VIWSVX SR XLI MWPERH SJ *qPMGMXq [MPP MRGPYHI TVMZEXI VIWMHIRGIW VERKMRK JVSQ XLVII XS ½ZI FIHVSSQW with owners having access to all the hotel’s amenities. With a dramatic hilltop setting, the properties can be individually designed to create a completely bespoke getaway. From €4.862 million.

Sphere Estates: 020 3617 1360

SOUTHBEACH WELIGAMA, SRI LANKA

Overlooking the Indian Ocean and designed with sustainability in mind, Southbeach Weligama is a new residential development of one-, two- and four-bedroom apartments with a wealth of shared facilities, including a restaurant, an art gallery and a poolside bar.

Due for completion in 2023. From $150,000. southbeachweligama.com

OCEANUS, SAINT VINCENT AND THE GRENADINES

Christie’s International Real Estate.

Situated in a bucolic spot amid wooded hills and swaying palm trees, it’s notable for its remarkable sea views. As part of the Five Islands Estate, this property is one of only two villas in this exclusive, low-density development, which makes the most of its tranquil setting.

In the Seychelles, you can find Six Senses Zil Pasyon on the 652-acre private island of Félicité. The island is known for its dramatic granite rock formations, and the striking design of the resort’s 28 private residences, currently under construction, was inspired by these natural features. Each property will occupy a spacious plot, and owners will be able to work with the developers, if desired, to create something entirely bespoke – allowing design-conscious buyers to bring their fantasy home to life.

Set in the hills of Mustique, this remarkable property has six bedroom suites, including a master suite with its own private plunge pool. There are X[S JYVXLIV SYXHSSV TSSPW MRGPYHMRK ER MR½RMX] TSSP [MXL WTIGXEGYPEV ZMI[W – the perfect spot for hosting a party. $16 million.

Knight Frank: 020 7861 1553

DAINFERN VALLEY, SOUTH AFRICA

Located in the secure environs of the Dainfern Valley estate near .SLERRIWFYVK XLMW ½ZI FIHVSSQ LSYWI LEW EMV] STIR TPER PMZMRK EVIEW ERH ZMI[W of the nearby river. Other amenities include a library and cinema room and staff accommodation. £1.415 million.

Engel & Völkers: 00 27 11 465 0410

Established with the sole intention of providing

a personalised property service for clients when considering selling or buying.

ST GEORGE’S HILL, WEYBRIDGE, SURREY

£12,000,000

Central London: 20 miles | Heathrow Airport: 17 miles

Freehold

An unique and a very exceptional opportunity to acquire a substantial and imposing new mansion home situated within the sought-after St George’s Hill private estate.

Undoubtedly one of the most iconic luxury homes to be built within this exclusive residential estate.

This magnificent property has been completed and detailed externally in a most stunning mixture of Limestone and Chinese marble, creating a weatherproof and secure shell. Internally the proposed accommodation is to be arranged over three floors, which are in situ with formed lift shafts and staircases. The layout and design of the significant internal space, of approximately 27,000 sq. ft now requires completion by an incoming purchaser. This stunning part-completed mansion home has been constructed utilising quality materials throughout. The gardens extend to approximately 1.64 acres (0.661 ha) and there are distant views from the first-floor roof terrace. The property also features an impressive driveway and turning forecourt with access to substantial garaging. (illustrations are computer-generated images of the property)

For further details in the first instance please contact Tim Garbett.

Tim Garbett: tim@garbett.partners +44 7831 576616 Sam Panteli: sam@garbett.partners +44 7979 876380 Garbett & Partners LLP, 2 Allen Street, London W8 6BH

www.garbett.partners

timgarbettgp

PROPERTY | PROMOTION

Clockwise, corner living room; exterior of No.1 Grosvenor Square; dining room with hand-painted wallpaper; the Oval Room

IN THE HEART OF MAYFAIR Magnificent apartments, exceptional services: in No.1 Grosvenor Square, Lodha has created the most desirable address in London

P

rivate homes do not come in more prestigious locations than No.1 Grosvenor Square. Occupying a west-facing corner of the garden square that has, since the 1720s, been the most desirable place for influential figures to establish their London presence, this elegant building has a unique history that culminates today in the most exquisite of 21st-century residential developments.

Reconstructed brick by brick, the listed facade discreetly encapsulates 44 of London’s finest apartments, designed with higher proportions for a modern lifestyle. Each unit can be purchased fully decorated by an in-house design team or as a skeleton property ready to be dressed in a resident’s unique style.

The building would have been visited by a young JFK when his father Joseph P. Kennedy was US ambassador to the UK in the 1930s.

This seat of global power was also a wartime embassy – with its own Oval Office – and the

Canadian High Commission. Today, it stands as a unique opportunity to live in sumptuous comfort in the centre of the sophisticated world of Mayfair restaurants (Scott’s, Hakkasan, George), exclusive members’ clubs (Mark’s Club, Annabel’s) and casinos – not to mention the boutiques of Bond Street, Mount Street and Savile Row, and the world-respected gallery scene.

Residents enjoy access to a private boardroom, cinema and games room. Health benefits are emphasised in the sanctuary of the 10,000sqft wellness zone, which features a 25m swimming pool, female-only and mixed sauna and steam rooms, vitality pool and a gym overseen by personal trainers. The sense of a personal oasis is enhanced by embassy-level security services, a Bond-style automated parking system and the warm and attentive 24/7 Saint Amand concierge – a multi-lingual team of 30, overseen by General Manager and world-renowned hotelier Simon Hirst.

The stunning show apartment (pictured), designed by Blandine de Navacelle, emphasises the ease of entertaining within a home of joyful colour furnished with antique silk rugs and furniture selected to enhance the proportions whilst creating a family feel. For five-star hospitality, as well as housekeeping, health and fitness, and private office requirements, the concierge is truly second to none. They can also arrange private shopping, gallery visits and reservations at the best restaurants. “Our vision and goal for No.1 Grosvenor Square residents is to provide a personal, private and secure sense of place, home and community with extraordinary service,” says Hirst.

For more information, please visit 1gsq.com or contact enquiries@1gsq.com

B R I TA I N | P R O P E R T Y

NOTEBOOK Superlative services and luxurious properties, at home and abroad

ESSENTIAL ADVICE

CARIBBEAN DREAMING

Occupying a breathtaking spot on the unspoilt island of Dominica, Secret Bay is one of the Caribbean’s top resorts. A collection of private residences allows buyers to make the most of this fantastic setting – the architectural, treehouse-style villas are perched high on the cliffs, [MXL I\XVESVHMREV] ZMI[W EGVSWW XLI [EZIW &YMPX MR ER IRZMVSRQIRXEPP] conscious manner, using sustainable materials, the properties feel GSRXIQTSVEV] ERH PY\YVMSYW ;MXL EGGIWW XS XLI VIWSVX´W I\GIPPIRX WIVZMGI and amenities, The Residences at Secret Bay provide the perfect getaway.

From $1.49 million.

For more information, visit secretbay.dm

Whether you’re looking to buy a dream proper ty in the Home Counties or central London - or if you’d like help with discreetly selling one then Garbett & Par tners are able to help. ‘Never before have we ever had such focused purchasers and vendors seeking genuine proper ty advice and direction, in what was undoubtedly a turbulent and rollercoaster year,’ says the company’s founder, Tim Garbett (pictured). With the market in such a changeable state, engaging the assistance of a proper ty-advisory service can be invaluable in navigating the ins and outs of buying or selling a house.

For more information, visit garbett.partners

LIVING THE HIGH LIFE

Prominently positioned in London’s historic Square Mile, One Bishopsgate Plaza offers prime apartments in the heart of the City. Residents can enjoy the comfort and security of their own home, while also enjoying the ½VWX VEXI WIVZMGI SJ )YVSTI´W ½VWX 4ER 4EGM½G ,SXIP 7IX SR XLI FYMPHMRK´W YTTIV ¾SSVW HMVIGXP] EFSZI XLI LSXIP XLMW GSPPIGXMSR SJ TVMZEXI ETEVXQIRXW TVSZMHIW I\GITXMSREP ZMI[W SJ 0SRHSR´W QSWX VIGSKRMWEFPI PERHQEVOW *EGMPMXMIW I\GPYWMZIP] VIWIVZIH JSV VIWMHIRXW MRGPYHI E PMFVEV] bar, and business suite, while homeowners will also have access to the I\XIRWMZI LSXIP EQIRMXMIW WYGL EW XLI MR½RMX] TSSP XLEX SZIVPSSOW XLI plaza. From £1.3 million.

For more information, visit onebgp.com

PHOTOGRAPH: JULIAN ABRAMS

STYLE WITH SUSTAINABILITY

At the London-based interior-design company Studio Suss, the focus MW ½VQP] SR GVIEXMRK WTEGIW XLEX EVI FSXL PY\YVMSYW ERH WYWXEMREFPI Founded by Simone Suss in 2013, the company employs cuttingedge industry practices and uses natural materials wherever possible.

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LAST WORD

Sophie

Dahl I

mean, even my dressing room at the studio has candles and cushions and cashmere rugs and things.’ So said the actress Joan Collins on a predilection for bringing her own brand of interior glamour to wherever she laid her hat.

Joan – then a doe-eyed ingénue, now a British institution – is a woman after my own heart.

When I was 10, my boarding school’s bed space was equivalent to a monk’s cell, but I still managed to have a sheepskin rug, a quilt and Judy Blume novels in it.

By the fifth year, I had discovered Rachel Ashwell’s Shabby Chic faded linens in Santa Monica, on a trip to California. My dorm was vastly improved by these, as well as illegal incense sticks from Kensington Market, and cushions with vintage covers from an antique clothes and textiles shop on Great Missenden High Street called Fumbles, which was owned by a heavenly lady named Winifred, who died in August at the age of 98.

Pillows came into being as the antithesis of comfort.

They were – in ancient Mesopotamian, Egyptian and Greek civilisations – made of stone, reeds or wood, and later porcelain, and they held the heads of noble types upright as they slept. In Japan, geishas lay upon blocks that would ensure the longevity of elaborate hairstyles.

The Chinese believed that sleeping on a soft surface would soften the intellect, so to support and hone the slumbering brain, artisans carved pillows out of jade.

The Victoria & Albert Museum has a ceramic pillow in its collection from the Ming dynasty. The symbolism it represents spans life and death. As a woman, you entered marriage with pillows, and their auspicious carvings, as part of your dowry; in death, they cradled the head in its final resting place, as the soul journeyed on.

Cushions, rather than pillows, became popular in Europe during the medieval period. I’m guessing it was after the Crusades, when the Europeans would have witnessed the Ottomans comfortably lolling. Later, that great moral arbiter Henry VIII viewed them as a terrible extravagance that would encourage slovenly behaviour and banned them for all but pregnant women.

Cushions are one of those decorative whimsies that

people are either for or against. As per the history above, they are clearly divisive. Both my grandmothers, of whom I have written fondly in this column, were procushion. The American one had a weakness for a slogan, tapestry or ruched bolster cushion. The British granny liked them in miniature and scented, and the drawers of her Art Deco house in Sussex were full of them. My mum was an Osborne & Little floral sofa cushion aficionado.

I am also unabashedly pro. I’ve been a closeted cushion lover for years, but in middle age have embraced it, much to the amusement of those around me. In the early days of our marriage, my husband would watch as I scuttled out of the car, trying to hide a bulging bag of sale-time Chelsea Textiles crewel-work cushions, to add to a sofa so ripe with existing ones that it was hard to find space for a body. The dog put paid to them, after rolling in fox shit; plunging like a synchronised swimming Rank starlet into their midst. I tried to take this as a sign and the sofa is streamlined once again.

I remember parental beds of long ago often having bedheads, bedspreads, cushions and a matching bolster.

It felt quaint. First, I had a bed skirt made, like I was a Victorian spinster. Emboldened, I asked for a matching bolster cushion. It is huge. My husband affectionately calls it ‘The husband repeller’. However I use it not to repel him, but to section the bed off from various warring animals. The dog cannot lie peaceably with the cat; the dog must be as near my head as is physically possible, while smugly watching the cat at the foot of the bed, as if to say, ‘I win.’ I don’t want the dog’s bum on my pillow. It offends me. I repel her with the bolster. Success.

After the bolster/bed skirt/cushion introduction, an old girlfriend came to visit. On sight of the bed, with its soft, inviting cushions, she gave a low moan: ‘Oh, it’s like the best kind of parents’ bed. Do you know what I mean? I need to bring my mum here and show her.’

A few weeks later, my friend’s mother Bonnie came over for the big bed reveal. She walked into my bedroom and sighed happily: ‘Oh, it’s just like our beds were in the Eighties. The cushions... I love it.’ Which brings us neatly back to Joan Collins. She knows

MATT EASTON

ON CUSHIONS

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