Est Magazine Issue #25 The Retrospect Issue

ISSUE #25 2017

The Retrospect Issue

est GLOBAL LIVING WITH AN AUSTRALIAN TWIST

EDITOR IN CHIEF SIAN MACPHERSON sian@estliving.com

MANAGING EDITOR MELIA RAYNER melia@estliving.com

GRAPHIC DESIGNER GEORGIE MCKENZIE production@estliving.com

COMMERCIAL DIRECTOR MIFFY COADY miffy@estliving.com

CONTRIBUTORS PHOTOGRAPHY Thomas De Bruyne, Robyn Lea, Tara Pearce, Hotze Eisma, Greg Cox, Kat Lu, Brooke Holm, Warren Heath WORDS Yvette Caprioglio, Robyn Lea, Chauntelle Roelandts, Laura Twiggs, Dominique Herman STYLING Marsha Golemac PRODUCTION Rianne Landstra, Sven Alberding, Tribe Studio Architects

ON THE COVER

PHOTOGRAPHY Tara Pearce LOCATION Caulfield, Melbourne

ENQUIRIES

EDITORIAL editorial@estliving.com PRODUCTION production@estliving.com ADVERTISING advertising@estliving.com CONNECT

Contents

14 FASHION

16 DESIGN INTERVENTION

34 THE CURATOR

Cult of Classics

18th Century in the Hamptons

Hawksburn Boutique Style

44 POETRY IN MOTION

54 GREY ANATOMY

66 SIMPLE GEOMETRY

A Home Inspired by Felt

Monastic Living in South Africa

Design for Profit in Double Bay

76 EXECUTIVE STYLE

90 COLLECTING BEAUTY

104 BELGIAN BARN

An Edwardian in Melbourne

Cape Town Pied-Ã -Terre

A Contemporary Renovation

est ISSUE #25 2017

Editor’s Letter To celebrate the past 25 issues of est magazine published in the last six years we’ve been trawling through the archives to find homes that are both relevant in their design and timeless in their appeal. Armed with a mission to pay homage to the longevity of good design we have chosen eight homes that all show hallmarks of careful and considered curation over time - reinforcing our belief that a well designed home takes time to settle into its skin.

As I now move into a new role as Editor at Large at est living I look forward to overseeing these pages grow and evolve in both design and style over the coming years and to meeting you at some of our upcoming reader events very soon...

Sian MacPherson EDITOR IN CHIEF

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DESIGN INTERVENTION Lunch at James Huniford’s Hamptons home is much like the feel of the home itself - inviting, made by hand, thoughtful and heartwarming.

PHOTOGRAPHY & WORDS Robyn Lea — FROM THE ARCHIVES ISSUE #3

Although one of Architectural Digest’s top 100 designers, James Huniford (or Ford as he is known) is entirely self-taught. With an impressive list of clients including some of America’s most well-known personalities, Ford helps his clients create homes with enduring appeal and authenticity that feel both inspiring and livable.

As a designer Ford is known for his signature palette of tertiary colours which compliment the earthy tones of re-purposed objects in varying stages of renewal or demise. Bluish grey hues bring light and softness to rooms which help to make his American based spaces feel more in tune with the Swedish Gustavian style of the late 18th century.

During his childhood in upstate New York, Ford was drawn to the surrounding landscapes of rugged terrain, rock quarries and open fields, as well as farmyard barns and machinery, forming the basis of his fascination with industrial objects and furniture with character.

The desginer combines rough and worn patinas with the softest of Belgian Linens and velvets and commissioned fabrics designed to his specifications. Ford also sells his own line of furniture and creates one-off pieces for specific projects using leather, wood, metal and stone.

The designer waited for years before finding his Bridgehampton home. “This house was meant to come to me. Houses speak to people about where the next chapter in their lives is going to be.” It’s why artists have been coming out [to the Hamptons] for years; it is because of the light,” explains Ford.

His seaside sanctuary in the hamlet of Bridgehampton was built in 1865, an example of the classic saltbox style with shingled exterior walls. Ford bought the house in 2006 and worked hard to make it his own.

A modernist at heart, Ford enjoys the appeal of older houses in the country without wanting to recreate an historic interior.

After reconfiguring the house almost entirely and extending the footprint to the rear, a master bedroom was added upstairs with its own generous verandah. Downstairs a bedroom was converted into a second sitting room with the attic crawl space above opened up to expose a cathedral ceiling.

The home’s interior was designed around two art works. The first is an installation of seven wooden hoops titled ‘Circulate’ by American artist Jennifer Andrews; a series of eight small drawings by American minimalist painter Agnes Martin was the second source of inspiration.

In the main living room Ford positions two enormous Robert Rauschenberg lithographs alongside elements of little monetary value.

The rooms of the home reflect a restrained approach and each artifact maps Ford’s travels and adventures. A rusted truck siding hangs over 10 feet long as art work above the dining table and an oversized wooden chain found on a sailing ship in the San Yuan Archipelago have pride of place in the master bedroom alongside collected and re-purposed object that few people would recognize as treasure.

The master bedroom opens onto the wooden deck with views of the grounds and pool in the distance. Ford brings the outside in with an 18th Century tree trunk split in half and hung as though holding up one of the bedroom walls.

The four-poster bed is placed in the centre of the room with French doors out to the view.

The office doubles as an arrival and departure point for Ford’s signature furniture pieces, before they are shipped to the client. A metallic blue velvet sofa sits behind a glass vintage open sided terrarium filled with antlers and a William IV Style wingback chair takes its place near a long wooden coffee table.

The designer’s work affords him a reason to continually evolve, discover, travel and create.

He is engaged in a continual learning curve and his enthusiasm is boundless. As one of his friends in Amagansett said, “When Ford comes for dinner he starts rearranging furniture, he can’t help it. And it always looks better than before he arrived.”

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THE CURATOR “Throughout my university years, I spent weekends working at a beautiful homewares store. My intentions were good: I’d earn the money I needed to sustain my social life. The reality was different: I spent my entire wage on the beautiful design pieces I’d see in the shop.” Hilary Gwillim PHOTOGRAPHY Tara Pearce | STYLING Sian MacPherson WORDS Chauntelle Roelandts — FROM THE ARCHIVES ISSUE #9

Talking to Manon Bis owner Hilary Gwillim, I marvel how she maintains control. “I tend to not have one of everything like I did it at the beginning but I do occasionally order an extra one of something for myself,” she admits with a smile. At her Hawksburn shop, customers always get the opportunity to purchase her latest international collection of fashion, accessories, homewares and fragrances first. But it’s not always easy. “I saw this cashmere coat and I thought ‘Yes, I’ll have it!’ But then I said ‘No, no, it’s for my customers’.” On the odd occasion clients don’t take to particular piece, it ends up in Gwillim’s home, surrounded by her eclectic private collection. Which raises the question: how do you decide what other people will like?

Choosing a birthday present can leave you pulling your hair out even when it’s for someone you know.

The backdrop to Gwillim’s 15-year career in advertising spanned Melbourne to London, and all points in between. While away, homewares and textiles that she hadn’t previously seen in Australia were catching her eye and she began importing from Asia and Europe. Glassware ceramics from Italy and Indian artisan textiles – and this was 30 years ago. Gwillim was doing it before it was cool.

The first Manon store opened in 2000 in South Melbourne – showcasing the homewares, fashion and antiques that Gwillim loves, presented in her own inimitable style. “I have no true design background, it’s anything I like that I think my customers will like.” In a big retail market, she sees her task is to fish out those rare, unique products. She doesn’t spend countless hours researching, the fact is it’s “still my ‘eye’. Things that catch my eye and capture my imagination”.

Travel is the fuse that sparks her creativity.

A couple of times a year, when overseas she makes a side trip to a new city – last time it was Antwerp – for a breath of fresh air, and new visual cues from the local buildings, gardens, people and cafes. “It triggers the seed of a thought, a thought you’re not even conscious of a lot of the time,” she says. Her private collection is punctuated with European pieces.

A child’s chair from the Swedish Gustavian-era was found at an antique market in France. The hanging poster of French vegetables was a bigger challenge to acquire. “It took me a while to purchase that from the antique dealer. I saw it for over two years in his house and wanted to buy it but he kept saying ‘not at the moment’. Eventually he relented. I like simple pieces that fit together well.”

The hanging lamp in her bedroom is from a French collection she sells at her store, which is now based in Hawksburn. The shade is simple and elegant and “lovely” against the natural oak of the base, and the natural timbers of her own home. She says the earthiness of the place was not a conscious thing, but she’s always been happy wearing blues and greens and they appear in the pieces she’s collected by happenstance.

In terms of decorating a space, Gwillim says to choose the colours that suit your personality then add pieces you love. “Don’t try to fill it straight away. Find what you love, live with the pieces and move them around. For me, that’s the easiest way.” We’re all about easy living.

“A very relaxed environment is, subconsciously, what I’ve created – nothing minimal or designed – just a comfortable house for two mad dogs and friends and easy living.”

POETRY IN MOTION “This house has calming effect on people”, Dutch felt artist Paula Leen calls out from her kitchen, where the sweet scent of homemade herbal tea fills the space.

“Guests instantly feel the stillness here. And that’s exactly the environment that I need for my art.”

PHOTOGRAPHY Hotze Eisma | Taverne Agency PRODUCTION Rianne Landstra — FROM THE ARCHIVES ISSUE #10

Paula Leen is a new face in the art and interior design industry. Using mainly felt, she creates unique and individual pillows, throws, rugs, lamps, vases and other accessories for the home. Describing her style as raw, soft, masculine and fragile, Paula is a firm believer in the law of ‘opposites attract’. Her work has a Nordic soberness and her pieces are effective in warming up a modern interior or updating a traditional house. The colour palette Paula works with is mostly neutral and for the most part only natural materials are used.

“I am not yet fully eco, but I am getting there.

The wool I use comes from sheep farmers in the area, and I get most of the contrasting fabrics from thrift stores or antique markets. I thrive to be 100% organic, then I can call my art perfect.”

Surprisingly Paula has never attended art school or taken a design course, claiming the skill and the vision come naturally to her. “I love being an autodidact. I am not conflicted by art theory or rules in design. Each piece is so very me.”

Stumbling upon the work of Claudy Jongstra, Paula discovered an instant connection with the artists felt pieces and as a result realised a compulsion to go on and discover her own style with this exciting material she had discovered.

Reclaimed wood and steel in natural colors bring the outside in. Sunlight fills the living room finished in these reclaimed materials while the glass sliding doors lead out onto the balcony that overlooks northern Holland’s farmland.

As she watches the sheep graze in the distance, Paula tries to explain to us the meaning of her art: “The English word ‘poetry’ means so much more than words and rhymes on a piece of paper. It means to evoke feelings through art, and that’s exactly what I try to do in my work. I try to reach people, make myself heard and have people understand me through my art.” A table cloth made from antique French lace, combined with rough dark sheep wool is the very definition of the contrast that Paula is so enamoured by.

“I like contrasts. Not only in the materials I use, but also in life. Take this house for example. I built my dream home in a tiny little town, but I am so not a village girl. I love the city, but I need nature and the outdoors for inspiration.

If you look at my art, you see neutral colors, but intricate textures, that come from natural sources. It’s calming, but intriguing.”

“A aspect of my work that excites me is combining materials interestingly,” says Paula as she stops at is an over sized felt vase. “I made this for designer Piet Boon”, she gestures proudly. “He got in touch with me through one of his stylists.

I couldn’t believe it when I got her phone call.”

In the corner of Paula’s studio lay the beginnings of her latest project. “I am working on a large rug, made of raw sheep wool, an old Danish curtain and a piece of soft silk.” She lingers and touches the textiles, then she walks back upstairs and puts the empty teacups in the sink. “Work is calling”, she smiles. And after a wave and a warm goodbye, she disappears into her studio.

GREY ANATOMY Like a great work of art, this Victorian semi in Cape Town, South Africa ignores all modern day conventions and trends while exerting a silent, captivating power over those who live here.

PRODUCTION Sven Alberding | WORDS Laura Twiggs PHOTOGRAPHY Greg Cox — FROM THE ARCHIVES ISSUE #17

Makeup artist, Algria Ferreira-Watling’s semidetached Victorian home in one of Cape Town’s most historical suburbs is the very antithesis of mainstream. As one of the glossy magazine world’s most sought after makeup artists having worked with the likes of Solange Knowles and Charlize Theron, Alegria’s home is a contradiction to the world in which she works. It is neither ‘hipster’ nor ‘cutting edge’, but rather, if anything, positively monastic.

Bare walls and floors are washed with white and grey cement, cretestone and beach sand. The original wooden features (such as floors and doorways) are bleached and sanded down to a smooth, matte finish. Indoors and out, there is not one distracting splash of colour to jar the committedly monochromatic palette. Everything, from storage containers to personal effects and even books, is muted.

Looking around the home she shares with her husband, Derek, son, Dax and adorably complicated dog, Snowy, Algria explains the provenance of her own honed style.

“I come from a poor background and while there may not have been many material possessions, there was a lot of love,” she says. “I’ve never needed ‘things’. I never dreamed of living in a palace. My dream was always to live in a little house with the peaceful feel of a monastery.”

That dream has been realised beyond doubt.

The masterstroke is that the effect is far from bleak. It may be monastic, but it’s incongruously rich. This home is absolutely not about ‘what’s hot, right now’. What seeps through every inch of the home, from its ramshackle eaves and watermarked walls all the way through to the smallest detail of décor, is an unspeakably melancholic and serene beauty.

“I love curtains that look and feel like too-long skirts, old and very worn. I love living with things that have meaning and that I’ve had for a long time – like the cement cross in the fireplace that my mother made for me before she passed away.

As I child I made silk crosses with silkworms.

She gave them on birthdays. She couldn’t afford cards.”

SIMPLE GEOMETRY A contemporary twist to a traditionally conservative harbour-side suburb.

PHOTOGRAPHY Kat Lu | PRODUCTION Tribe Studio Architects — FROM THE ARCHIVES ISSUE #25

Sitting proudly in the middle of an archetypal quiet and conservative street in Sydney’s eastern suburbs, this newly built home has certainly staked its claim as the ‘cool kid on the block’ surrounded by mock-Georgian McMansions and a row of tiny Victorian cottages.

Commissioned with a brief that required Tribe Studio Architects to construct a loose -fit portrait of the kind of person who would buy a modern, contemporary home in traditionally conservative Double Bay, Hannah Tribe and team set about designing a home to on sell.

“Unlike private residential projects, where clients will ‘love-spend’ on impulse, this project was commissioned as a beautiful home designed to sell at a profit,” explains Tribe.

The seemingly simplified yet rigorous geometry used in the homes design and construction is tempered by the warm and engaging interiors while also maintaining a streamlined and modern aesthetic.

Planned around the sun and its light, the relatively tight budget allocation for the build enforced a judicious allowance to be spent on finishes throughout the home with the marble island in the kitchen and tiled window reveals chosen as key areas to splurge on.

Without the benefit of responding to the tastes, aspirations, interests and personalities of the homes future owners, the Tribe team have created a home that could just as easily appeal to a young family as it could to ‘empty nesters’.

This clever, well thought out design paired with the strong cross appeal surely holds the secret to its success in how to design for profit.

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EXECUTIVE STYLE As a first time renovator, the owner of this once dark and dated Victorian terrace knew right from the beginning that he needed the help of a professional. The decision on which designer to approach to take on the project was seemingly an easy one to make, as it turns out, after first laying eyes on the country side retreat, Finnon Glen, designed by Fiona Lynch.

PHOTOGRAPHY Brooke Holm | STYLING Marsha Golemac — FROM THE ARCHIVES ISSUE #19

Situated across the road from Melbourne’s botanical gardens in South Yarra, Lynch was issued with a brief that called for a redesign of the existing layout in order to create a home befitting a busy executive lifestyle. With virtually a clean slate to begin with in terms of both the home and the existing furniture (there was none) Lynch both sourced and designed furniture for the entire house while also designing new schemes for the finishes and reconfiguring the floorplan.

Transforming the tired, dated interior from the pre existing 80’s style renovation to the modern Australian aesthetic that the home exudes today involved stripping back the rooms to their bare bones and adding blackbutt timber cabinetry in the kitchen and living areas. Raw materials of copper and marble have been used in the kitchen and in finishings throughout as a reference to the Victorian heritage of the two storey terrace.

Facing the eastern sun, the back room has been divided up to house both kitchen and dining with an armchair for one to catch the morning sun. Combining two different marbles in the kitchen benchtop design with the polished brass clad cabinetry reflecting the leafy back garden effectively adds a sense of opulence to the inner city home.

Photographic artwork by Chris Pennings hangs above the marble fireplace in the living room while a custom-made bench seat designed by Lynch makes clever use of space in the casual dining area off the kitchen. Here an old 80’s style skylight was opened up and squared off to allow greater access to natural light, a rare commodity in traditional Victorian houses. The existing three bedrooms were redesigned and reduced in size to allow for the addition of an ensuite as well as a laundry.

Designed as the consummate ‘lock up and leave’ executive home, Fiona Lynch has successfully created an interior here that also acts as a warm welcome each time the owner returns from being away.

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COLLECTING BEAUTY Interior designer and events planner Otto De Jager’s Cape Town pied-à-terre is brimming with an enviable assortment of what he dubs ‘artisanal antiques.’

PHOTOGRAPHY Warren Heath | PRODUCTION Sven Alberding WORDS Dominique Herman — FROM THE ARCHIVES ISSUE #20

“Every house should have a cabinet of curiosities,” says Otto De Jager, smoothing his hands over an old leather wallet embossed with his initials that belonged to his father and grandfather.

Surrounded by family photographs and memoribilia, the Johanesburg based interior designer and events planner describes his Victorian duplex in Cape Town, as a part investment, part lifestyle property purchase he made 13 years ago – after midnight, while drunk.

“Friends told me the house was for sale. We were drinking down the alley. We walked over at about one o’clock in the morning, drunk. We walked into the kitchen, we had another bottle of wine and then about 2, 3 o’clock in the morning the owner says to me, you want to buy my house? and I said yes and I said how much and he said so much and I said, your house is sold. I didn’t even have a look at how many bedrooms the house had.”

Otto then embarked on what he describes as a ‘helluva renovation’. The 103 year-old cottage was stripped, walls were knocked down and windows were installed for better views. “It had over a hundred years of paint on. We spent three months taking about 20 different layers of paint off the balustrade of the staircase. The bathrooms were a mess. I had a bathroom in the kitchen, which I hated. It was a dump, but a good dump.”

The ‘dump’ is now white, light and bright, with soaring ceilings and back-to-back original fireplaces (with original Victorian tiles). The kitchen is clad in stainless steel juxtaposed with old, bullnosed columns, marble countertops and reading lights on the wall. “A lot of what we did is to bring a Victorian semi into a modern era. It’s really about throwing things together, bringing it into the new but, really, the integrity had to remain.”

“There are no modern appliances; there are no microwaves, dishwashers, TVs – and there’s a very good reason for that. I wanted people to read and to talk in the space and to do menial tasks together.

It’s amazing how serious conversation and big a catch-up time it can be when friends or lovers or parents and children do dishes together,’ he says. “I wanted to bring it back into a certain era. We can listen to music, we can read. Let’s get to bed early, let’s cook together, let’s bake together, let’s have tea together. It’s a place of nostalgia and calming down and spending time with people.”

The stategic quiet is aided by the religious paraphernalia all over which Otto says was completely unintentional, attributing it to a phase he ‘must have been going through’.

There are Catholic statues, Christian crosses, the Star of David on a lot of his silverware and a Hindu granite marble slab in the entranceway.

And the theme extends to the white dove in the oversized photograph on the living room wall and the biblical olive trees in the courtyard next to the kitchen – a spot where Otto takes outdoor showers.

On the upstairs landing is the ‘gallery of instant ancestors’: another charmingly named decorative motif in the house. “In photography, in art and in collecting, I love a good portrait,” he says. These oil painted portraits were collected separately across South Africa and sit beneath a skylight that provides the sort of dazzling reverence reserved for a Rembrandt retrospective.

In his coastal home, amid the narrow streets of Green Point village, there’s an old flower press on the wooden kitchen table from the British Museum. In the one living room is an English grandfather clock that used to live in his grandparents’ home. Otto recalls waking up as a child in the middle of the night to its chimes.

In the smaller guestroom, a stack of books on the dresser are also from his late father’s practice, and form a complete encyclopedic edition of medicine published prior to 1914.

“The fact that a lot here is collected, is who I am.

I love collecting beauty – of nothing in particular.

It’s not about being planned. It’s about having an eye and realising that something will work.”

“I hate kitchens that read as kitchens. Traditionally they become dumping grounds of anything messy.�

A CONTEMPORARY CONVERSION After purchasing an old barn in the Kortrijk region of Belgium, interior architects Frederic Kielemoes and Vanessa Cauwe collaborated with CAAN architects in a mission to convert the one time flax mill into a modern, contemporary home for their family.

PHOTOGRAPHY Thomas De Bruyne | Cafeine — FROM THE ARCHIVES ISSUE #21

The collaboration between the two design studios has resulted in a harmonious union between the old and the new, thanks to the addition of a timber and glass clad pavilion designed to extend the buildings original footprint. Framing the view of the garden and surrounding fields, the pavilion reflects both the indoor and the outside landscape, offering picturesque vistas at every turn.

In their home, Kielemoes and Cauwe have created a luxe rustic charm to what could be an otherwise austere interior. Polished concrete floors and raw cement walls have been softened by the use of pale oak cabinetry throughout and floor to ceiling windows draped in rich, jewel toned velvet. The design duos modern adaptation to their home highlights the sheer power of restraint when it comes to designing and styling a contemporary home.

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