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ST YLE SUPERNOVAS

EL SA PERET TI

A TRIP TO ITALY

Inspiration from the epicentre of design

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Contents

VLoves

The living room, with a view of the entrance foyer, of designer Tamsin Johnson’s Sydney home.

This September, Salone del Mobile returns to unveil the latest creations from the world’s leading names in design. Here is our preview of highlights from Milan and beyond

34 LIGHTS, CAMERA, MILAN IN ACTION

P HOTO GR AP HE R : AN SO N SMART

VLife Upfront 24 26 28 30

CONTRIBUTORS ONLINE NOW vogueliving.com.au EDITOR’S LETTER VL VIEW 2021 sees the world’s premier design event Salone del Mobile make its mark with a renewed focus

house. Brand curator Lucia Boscaini details the luxury maison’s mission to invest in the future via a program of heritage works

59 PROFILE: LINDSEY ADELMAN The New York-based lighting designer will take over the decaying yet captivating romance of a former convent in Milan for the launch of her illuminating creations

44 THE ITALIAN EYE

63 PROFILE: PAUL HECKER

Generous washes of warm colour, rich materials, the patina of vintage furniture… A generation of designers from Italy is recapturing the cinematographic vision reminiscent of a nation that inspired La Dolce Vita, L’Avventura and The Leopard

One of Australia’s design leaders invites us into his own sanctuary, an unsurprisingly reﬁned world of striking drama and perennial style

54 ETERNAL MUSE Rome is at the very heart of Bulgari and continues to inspire the Italian ﬁne jewellery

70 ICONIC STYLE: ELSA PERETTI A muse to some of fashion’s creative best, Elsa Peretti was a trailblazing designer in her own right and her legacy lives on in her extraordinary pieces for Tiffany & Co. Sept/Oct 2021

VLiving 86

102

122

136

110

P HOTO GR AP HE R : STE FAN GI FT TH ALE R . STY LI ST: SARA H D E B E AUM O NT

The main bedroom, featuring a custom bed and desk, in a Florence apartment designed by Massimo Adario.

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Contents

110 Work by Sergio Fiorentino outside his home, a former 18th-century Cistercian monastery in Noto, Sicily.

151 AT FIRST BLUSH A brief for a simple black kitchen expanded in scope, colour and vision to encompass an entire refresh of this Sydney terrace

158 NATURAL ART Honest, raw materials and a holiday mood informed the style agenda for Tina Arena’s new Melbourne home

160 NEXT LEVEL Designer Fiona Lynch goes graphic to amp up the classic palette of this bathroom 20

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162 PARIS, JE T’AIME That special French je ne sais quoi elevates a Perth cooking zone

Services 40 SUBSCRIBE TO VL 164 SOURCES

On the cover The studio of artist Sergio Fiorentino’s home in Noto, Sicily. Photographer: Filippo Bamberghi. Story: page 110. Subscribe to Vogue Living: page 40. Be part of the conversation: #VogueLiving #loveVL

ST YLE SUPERNOVAS

VLast look 168 FUTURE VISION Italian design juggernaut Cassina stays ahead of the curve with Patricia Urquiola’s help

EL SA PERET TI

A TRIP TO ITALY

Inspiration from the epicentre of design

P HOTO GR AP HE R : FI L I P P O B AMBE R G HI

Kitchens & Bathrooms

AD Beatrice Rossetti - Photo Federico Cedrone

PUBLISHED BY CONDÉ NAST

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Contributors

Francesca Sironi J OUR N A LIST AND P RO DU C E R “Architecture has always been my ﬁrst love,” says Francesca Sironi, a graduate of Politecnico di Milano who says she’s always on the lookout for inspiration and new locations to shoot. “Architecture, nature and genius loci [a guardian or character of a place] in particular inspire my research of projects to be shot.” For this Italian-inﬂuenced issue, Sironi, who lives in Giussano Brianza just outside of Milan, discovered the apartment of architect Francesco Librizzi (page 102). “The amazing panorama of Milan — like a postcard — seen from the living room is such a highlight,” she says. “The view is straight across to two iconic pieces of architecture by Gio Ponti: the Pirelli Tower, which is the symbol of the city, and Palazzo Montedoria, whose green facade is evoked in the tiles of an internal wall inside the apartment.” @lafrensix

Francesco Dolfo

Shannon McGrath PH OTOGR A P HER Shannon McGrath discovered her love of interiors while training as a ceramicist. “The subject matter was spatial relationships with objects and I was drawn to architecture,” she says. “And what better medium to be among the world of design than to capture it through photography.” Twenty years later, McGrath is still excited about design. “It’s a thrill to spend full days within a space to capture its best elements through composition and light,” she says. This issue, McGrath shot the home of designer Paul Hecker (page 63). “The highlight was deﬁnitely the little moments in moody spaces,” she says. “In this environment the beautiful play of subtle light is enhanced and works so well within the images.” @shannonmcgrath7

Maxime Galati-Fourcade and Laura Fantacuzzi

P HOTO G RA P HERS The opportunity to capture — for the ﬁrst time ever — the apartment of Barnaba Fornasetti (page 136), the artistic director for the legendary house of Fornasetti, was a career highlight for lensing duo, Maxime Galati-Fourcade and Laura Fantacuzzi. Both were working as photography assistants when French-Italian Galati-Fourcade and Italian Fantacuzzi became good friends. After initially forging individual paths they joined forces in 2013 with the aim of focusing on interiors. “We established our own way of working and shooting together, which came very naturally,” says Fantacuzzi. “It’s really important to constantly improve our own vision and also be adaptable in any situation.” cortiliphoto.com 24

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E D I TE D BY VE R I TY M AGDAL I N O

PHOTOG RAP HER For Milan-based creative Francesco Dolfo, photography has been a part of life since childhood. “It was handed down to me by my grandfather through my father and uncle,” says Dolfo. Born in north-east Italy during a notorious earthquake which, he says, “probably explains my restless and dynamic nature”, Dolfo was a member of Italy’s national kayak team before studying photography at the Istituto Europeo di Design. He shot the colourful home of Francesco Risso, creative director of Italian fashion house Marni (page 122), for this issue. “My aim was to capture the feeling of the house, which is a work of art,” Dolfo says. “I wanted to portray the atmosphere I experienced upon entering… the idea of a dreamy, surreal scenographic environment that at the same time is very cultured, where art, colour and streetstyle culture clash and come together in a poetic synthesis.” Dolfo, whose work has graced such style bibles as Architectural Digest and Casa Brutus, is currently exhibiting an “artistic side project” titled Flow-ers on Saatchi Art and working on a book, as well as a new project dedicated to the unconventional interiors of Florence. @frankparrish

Future Is An Attitude

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Editor’s letter

In a corner of artist Sergio Fiorentino’s studio — featuring his work — in his home, a former 18th-century Cistercian monastery in Sicily (page 110).

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P HOTO G RA PHE RS: G EO R GE S A N TON I ( PO RT RA IT ) , FI LI PPO B A MB ERG H I (ST UD IO )

here’s just something about Italy. When I started telling people this issue would be dedicated to Italian design, they all had pretty much the same reaction. “Ah,” they said, their eyes growing distant as their minds turned to thoughts of sightseeing in Rome, shopping in Milan, reclining in Positano, or eating gelato anywhere at all. “I love Italy!” We all do. The food, the culture, the history, the language and, perhaps more than anything else, the design. The country has long been a vibrant hub of creativity and style. And rarely is this more true than during Salone del Mobile, the mammoth design fair that for the last six decades has drawn artists, architects, furniture designers, fashion houses and more to Milan. Well, usually. Following the cancellation of last year’s event, there have been high hopes and plenty of speculation about what we might expect in 2021. Would Salone as we know it be back again? Or would it transform into something else entirely? The answer, as you’ll see from our preview (page 34), is a little of both. But as significant as it is, the country’s design influence extends far beyond this single event. Just look at the creatives in this issue, from the stunning Milan apartment bearing the hallmarks of Gio Ponti’s singular vision (page 102), the character-filled Casa Fornasetti (page 136), or the quirky interior style of Marni creative director Francesco Risso (page 122). And the impact is also there in Sydney designer Tamsin Johnson’s home (page 86), with artworks salvaged from Florence and a stacked kitchen island in Calacatta Gioia marble. Sometimes what you want from a magazine is a sense of familiarity and comfort. But other times, it’s pure fantasy, a chance to escape your everyday life and transport yourself somewhere else entirely. Somewhere like Noto in Sicily, home to artist Sergio Fiorentino whose magnificent studio space appears on our cover (page 110). We might all be at home for a little while longer, but in my mind I’m already there on the Sicilian coast. The scent of lemon trees in the air, the sound of waves crashing gently against the shore. There’s wine, friends, food. Close your eyes and you can almost feel the warm Mediterranean sun on your face. Because while we might not be able to travel anywhere at the moment, we can all still dream. This issue, then, is an invitat

VLview

Return to form 2021 sees the world’s premier design event Salone del Mobile make its mark with a renewed focus. By Stephen Todd

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sculptor Pietro Consagra, who died in 2005. At the same time, she will present new work by 31-year-old Argentinian designer Andrés Reisinger who shot to notoriety in February when 10 pieces of his virtual furniture sold online for $611,000 as non-fungible tokens (NFTs), unleashing a post-human design aesthetic across the internet and now In Real Life. “The future does not exist without the past,” says Yashar, explaining the epicurean aspect of her line-up.

“THE FUTURE DOES NOT EXIST WITHOUT THE PAST” “The past pervades us, it talks about who we were and who we will be, it’s a sign of culture with the aesthetics of time, and it’s fun to mix the old and new together.” Milan, she insists, “has always been the centre of design… We never stopped working [during the pandemic] that is for sure! We had to face the situation and respond to it in the best way possible. At the end of the day, we are nourished by creativity and fabulous objects, and design showed its resilience in the past year. We’ll see new things in town, and we’ll move forward with passion as we have always done. Most of all, we’ll have fun meeting each other again after all this time.” Stephen Todd is the creative director of the Sydney Design Summit, from September 16-17. TH IS PAG E Matacubo (2003) sculpture by Pietro Consagra, part of Nilufar’s installation for Supersalone.

P HOTOG RA PH E R: MAT TI A LOT TI , PI E C E CO U RTE SY OF A RC H IVI O P E I TR O CO N SAGR A

or 60 years the Milan Furniture Fair has held firm as the centre of the design world. If 2020 was effectively a leap year — the Salone first postponed then cancelled outright — this month, it’s back with a vengeance as what organisers are calling Supersalone. But behind the braggadocio of the blockbuster title, fact is this year’s fair is a scaled-back affair with a reduced participant list and fewer international visitors. But is that such a bad thing? For nigh on a decade, designers and buyers alike have been bemoaning the hyper-commercialisation of Salone del Mobile, which has strayed from its founding principle of promoting and nurturing the Italian design industry to a bunfight of global mega-brands (cars! booze! sneakers!) wanting in on the action. British designer Jasper Morrison famously dismissed it a few years back as “Salone del Marketing”. This year though, after a forced hiatus and under the creative direction of architect and curator Stefano Boeri, the fair is conceived as “a small town” in which individual branded stands are foregone in favour of unified ‘streetscapes’ of curated pieces. But not only will some of the most cutting-edge design brands be present — a hat will be tipped to history with a retrospective of the Compasso d’Oro awards, the Oscars of the design world, which were instigated by Gio Ponti and Alberto Rosselli in 1954, seven years before the very first Salone. By anchoring the fair in Milan’s venerable past, organisers are underscoring its irrefutable bona fides. But they are also looking to its future: all installations are designed by Boeri and his team to be recycled or repurposed, and many brands will showcase new pieces or iterations of classics upgraded using sustainable processes and materials. Magis will celebrate Konstantin Grcic’s recycled polypropylene monobloc Bell chair (a world first); Cassina, under the art direction of Patricia Urquiola in her second term with the Italian powerhouse, will relaunch the iconic low-slung Soriana seating designed by Afra and Tobia Scarpa in 1969 (and awarded the Compasso d’Oro the following year) in new eco-friendly versions the company claims, “will make it more actual than ever”. Also forward-facing, the Supersalone team has organised the Lost Graduation Show featuring work from final-year design students around the world whose careers were interrupted by the global pandemic. In doing so, they provide a platform to reassess pressing issues and suggest where 21st-century design should be heading. Supersalone is “a whole galaxy of interesting propositions,” according to Boeri. “This year’s fair will indeed be a smaller version but we will treat it with the same passion, quality of content and enthusiasm as always,” posits Nina Yashar, founder and director of Milan’s Nilufar Gallery and Nilufar Depot, which showcase rare pieces by the likes of Ponti, Ettore Sottsass and Lina Bo Bardi, as well as new work by current-day trailblazers including Martino Gamper and Bethan Laura Wood. For Salone 2021, Yashar will unveil nine large-scale objects of a strikingly jaunty geometry by Sicilian

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P HOTO GR AP HE R : MATT IA B AL SAM I NI

shop style

VLoves

Sept/Oct 2021

VLoves

G AB R IE L S COT T

The ethereal glow of a luna halo informs the iridescent illumination of Montrealbased studio Gabriel Scott’s new customisable Luna Kaleido chandelier.

DESIGN

CAMERA MILAN IN ACTION MATERIAL MATTERS

Hermès Hermès’s latest collection explores texture with bold, organic furniture by Studio Mumbai, enamelled copper centrepieces (right), and a playful tea service titled Hippomobile (left and centre). Italian artist Gianpaolo Pagni took inspiration from the patterns of jockey silks and equine engravings in the Émile Hermès collection for these mix-and-match designs.

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F L E XFO R M

The Atlante daybed by Antonio Citterio is just one standout piece in Flexform’s expanding portfolio of outdoor furniture. Also new is Echoes Outdoor, a family of woven seating by Christophe Pillet. Enquiries to Fanuli.

STAR PERFORMERS

Giopato & Coombes Lighting designers Cristiana Giopato and Christopher Coombes (pictured with their Bolle Frosted pendants) are always a highlight on the Milan circuit. For 2021, the pair explore the outer reaches of sculptural illumination with Fragments of Inﬁnity, an installation of new work inspired by space and the balance between light and matter — as cleverly articulated in the Milky Way ﬂoor-to-ceiling column (far left). Enquiries to District.

KN O LL

Lissoni’s KN06 armchair with a column base is elevated design at its ﬁnest. Enquiries to Dedece.

ATE L IE R D E TRO UP E

ERI CO

FLO S

Phillippe Starck’s In Vitro Unplugged transforms the utilitarian quality of a portable outdoor light into an elegant and enchanting rechargeable lantern. Enquiries to Euroluce.

This September, Salone del Mobile is set to return to unveil the latest creations from the world’s leading names in design. Here is our preview of highlights from Milan — and beyond. Produced by Verity Magdalino

uch lauded as the greatest design show on earth, Salone del Mobile — which for 2021 flies under the banner of Supersalone — opens its doors for one highly anticipated week this September. While this long-awaited presentation and its surrounding events take over the city of Milan for six jam-packed days of exquisitely realised installations and fantastical new design innovation, this year’s Salone may be a much pared-back occasion. the original April timing having been postponed (thanks, Covid-19). Supersalone will be the first time many designers and powerhouse brands have been able to present new products in real life in well over a year. That said, border closures and competing events have meant not everyone has been able to travel to this Italian altar of creativity and style. And so, in celebration and support, here is Vogue Living’s edit of all things new and re-imagined from some of the pioneering, talented and visionary names in the global design community — many of whom have been lucky enough to travel to Milan and show at Salone, and many that may not be there in person this year, but like ourselves, are definitely there in spirit. Sept/Oct 2021

VLoves

DENMARK DELIVERS

Space Copenhagen Signe Bindslev Henriksen and Peter Bundgaard Rützou of Space Copenhagen reveal a holy trinity of new pieces for Gubi. There’s elegant storage and display furniture, lighting inspired by the industrial aesthetic of New York City, and the streamlined Unbound lamps (far left). The concept, based on an archetypal maritime lantern, creates a minimalist silhouette that the designers liken to a ship with a billowing sail. Enquiries to Cult. V I SIO N NAI RE

Shapely leaves light up in the LED-powered Aracea lamp by Gunilla Zamboni aka Gupica.

Gervasoni

LO U I S V U ITTO N

An experiment in woven leather with luxury handbaginspired details, Lanterns by Zanellato/Bortotto are the newest addition to the Objets Nomades collection.

Like a warm and gentle bear hug, Paola Navone’s Loll delivers a s and visual joins a c seats by t

A R MA N I CA SA

The limited-edition handcrafted Royal bar cabinet showcases subtle Japanese sensibility. A tatami-inspired woven exterior encapsulates back-lit golden panelling inside, embellished with a shimmering marble-like motif. 36

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P HOTO GR AP HE R S: I MAGE S CO U RTE SY O F GU BI (SPAC E COP E N HAG E N ), M AX Z AMBE L LI (GU P I CA)

SOFTLY DOES IT

VLoves

CC -TAPI S

The Paysage collection, a collaboration between Maison Matisse and Cristina Celestino produced by Cc-Tapis (right) is just one of many projects celebrating the rug-maker’s 10th anniversary. Enquiries to Mobilia.

PLASTIC FANTASTIC

Rossana Orlandi Milan gallerist Rossana Orlandi continues her push for innovative ways to reuse plastic and waste with her Waste is Value exhibition. Her list of collaborators who have created unique furniture and objet from reused or recycled materials now numbers 45 and includes the likes of Patricia Urquiola, Barnaba Fornasetti, Marcel Wanders and Massimiliano Locatelli (far right). MODULAR MOOD

P HOTO GR AP HE R: A NN I CA E C LU N D (R O SSA NA O RLA ND I )

Frag Inspired by seating from both the early 1900s and 1960s, Guatemalan designer Luis Arrivillaga’s Gast sofa for Frag has been developed into a modular version for 2021.

G U CCI

SI M O N B ARA ZIN

Let the sun shine on your next meal with Gucci Décor’s coloured tableware.

Tel Aviv-based architect Simon Barazin’s multireﬂective F04 design is also being released as an NFT.

PI ER RE CO D DEN S

P OLTRO N A F RAU

Poltrona Frau’s debut outdoor range calls on the talents of Kensaku Oshiro, Ludovica+Roberto Palomba and Roberto Lazzeroni (left) to explore the concept of boundlessness. Enquiries to Mobilia.

Otway Table & Armchairs by Kett. Image by Ben Hosking.

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VLife

P HOTO GR AP HE R : MO N I CA SP E Z I A

TH IS PAG E Laura Sartori Rimini and Roberto Peregalli of interior ﬁrm Studio Peregalli in their studio in Milan. Turn to page 52 for their story.

Sept/Oct 2021

THE ITALIAN EYE

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VLife Generous washes of warm colour, rich luxurious materials, the time-honoured patina of vintage furniture… A generation of designers from Italy is recapturing the distinctive cinematographic vision and creativity reminiscent of a nation that inspired La Dolce Vita, L’Avventura and The Leopard. By Oscar Duboÿ, Marie Farman and Marina Hemonet

UPDATING HISTORICAL REFERENCES

Massimo Adario, ROME After early training in Spain, Massimo Adario completed his studies at Sapienza University of Rome before founding his agency in 2007. Elegant, reﬁned and ultra-sophisticated, his interiors are punctuated with references to big Italian design names, proposing contemporary style solutions that nonetheless integrate multiple links to the past. Recently completed: All of these stylistic characteristics can be found in his most recent projects — the renovation of two Roman apartments, one in the Palazzo Sacchetti and another with a view of the city; the refurbishment of a villa in Sorrento and a wing of a Venetian palace; and in Florence the renovation of Villa Morrill and the development of a new concept for Cibrèo Caffè.

Sept/Oct 2021

VLife A TOUCH OF GLAMOUR

Cristina Celestino, MILAN

Star designer Cristina Celestino adopts a multidisciplinary approach: trained as an architect, with a degree from the IUAV University of Venice, she primarily creates objects and interiors. In addition to architecture, her sources of inspiration include fashion and the great maestros of Italian design, whose pieces she collects. Often described as glamorous, her sophisticated style blends h textural effects and light, powdery palettes. ed: In addition to her own offices, there’s the in Milan, the headquarters of Fornace Brioni orthern Italy, rooms and suites for the Palazzo ﬁ Coast, and an apartment in Udine.

TRANSCENDING TIME

Studio2046, Treviglio Founded in 2017 by Daniele Daminelli and Mauro Ongis, Studio2046 perpetuates the spirit of Italian elegance with a modern edge. The duo’s influences, including Asian cinema (the studio’s name is a nod to Wong Kar Wai’s film 2046), fashion, baroque art and iconic design are reflected in projects that blur the boundaries between past, present and future. The result: romantic, theatrical spaces charged with feeling. Recently completed: The studio’s showroom in an 18th-century palace in Treviglio, the Agape store in Bergamo, the Loop shop in Treviglio, and a country house near Milan. 46

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a living and dining area in a Milan home with interiors by Studio 2046 showcasing Superleggera chairs by Gio Ponti, table by Ignazio Gardella, wall library by Daniele Daminelli, and artworks by artist unknown found by the homeowner at a market. OP P OS I T E PAGE, F R O M L E F T designer Cristina Celestino. Interior designer and cofounder Daniele Daminelli of Studio 2046.

P HOTO GR AP HE R S: KARE L BA LAS (C RI STI N A C E LE ST I N O ), N ATHA LI E K R AG (ST UD I O 2 0 46 ). STY LI ST S : TAMI C HR I STI AN S EN ( DAN I E L E DAM I NE LL I P O RTRA I T), R O BE RTA B RA MB I LL A (ST UD I O 2 046 )

T H I S PAG E

Sept/Oct 2021

VLife THE HOLISTIC WAY

Studio Daminato, SINGAPORE GEOMETRIC FANTASIES

Elisa Ossino, Milan The Sicilian-born graduate of Politecnico di Milano is a veritable Renaissance woman, active in design, artistic direction, scenography, retail and interiors. Not surprisingly, her agency, founded in 2006, is kept busy with non-stop projects of all descriptions. Recently completed: An Hermès pop-up in Rome, a house in London and collaborations with De Padova and Salvatori were all opportunities for Ossino to express her taste for geometric lines — a signature element in her work — combined with an overall sense of fantasy that gives her interiors a distinctive abstract quality.

TH ES E PAG E S, F R O M LE F T

architect and interior designer Elisa Ossino. Creative director Albano Daminato of Studio Daminato. The living room in designer Hannes Peer’s home in Milan. Hannes Peer. Architect and interior designer Samuele Brianza.

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His Italian-Australian origins not withstanding, when Albano Daminato opened his multi-disciplinary practice in 2001 he decided to base his operations in Asia. Working mainly there and in Europe, he alternates between private and public projects for a clientele that includes the Aman Resorts group. He is an avowed admirer of the modernist, minimalist aesthetic developed by the great Japanese and Scandinavian architects and designers. Taking a holistic approach, he cultivates an exacting architectural vision in which every detail is ﬁnely crafted. Recently completed: A number of private homes in Asia, including a sprawling duplex in a Bangkok skyscraper, as well as the boutique bar Café Craft, also in the Thai capital. Daminato has also launched a new furniture and rug collection.

ECLECTIC CHIC

Hannes Peer, Milan

P HOTO GR AP HE R S: J ES SI CA SO FF I ATI (E L I SA O S SI N O ), PI C HA N SU JARI TSAT I T (A LB AN O DAMI NATO ), HE L E NI O BAR BE T TA (HAN N E S P E E R), STE FAN GI F TT HALE R ( SA MU E L E BR I AN ZA)

The work of Hannes Peer has become readily recognisable thanks to the eclectic touch that he brings to every project, mixing pieces by historic designers with custom furniture specially created for his clients. Recently completed: His participation in the 2019 edition of sister title AD France’s AD Intérieurs reaffirmed this approach, and marked a turning point for his agency, founded in 2009, leading to a number of residential commissions now underway in Paris. Last year, he completed an apartment in Milan and stores in the Middle East for the Italian fashion label No.21.

VINTAGE, SOMETHING NEW

Samuele Brianza, MILAN & NYC After studying architecture and interior design at Politecnico di Milano, Samuele Brianza began his career in the fashion world, specialising in store design for the likes of Giorgio Armani, Diane Von Furstenberg, Louis Vuitton and Bulgari. Since going freelance in 2018, he has branched out to residential interiors, mixing vintage and modern elements along with references to great Italian design. Recently completed: Several apartments in Milan and a duplex in New York, plus four Diane Von Furstenberg boutiques, one in Athens and the other three in China. Last October, Brianza launched his ﬁrst furniture collection, Primo, featuring modular pieces crafted from marble that slot together. Sept/Oct 2021

VLife

DECADENT DOMINANCE

An original use of colours and contrasts, combined with an ability to achieve an inimitable patina, has deﬁned the Dimorestudio style since the agency’s founding in 2003. Partners Emiliano Salci and Britt Moran have succeeded in cultivating a contemporary sense of glamour, at once brash and highly desirable, tempered with a comforting touch of the oldfashioned. Their furniture and fabric designs can be found in many of their interiors, judiciously mixed with the major signatures of Italian style, as illustrated in Salci’s own new apartment in Milan. Recently completed: The restaurant Langosteria Cucina in Milan, Villa Sheherezade in Dubrovnik, The Arts Club in Dubai and, in luxury retail, the Brook Street branch of Browns in London. 50

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T H IS PAG E, F R OM TO P

the Pavilion bar area of Villa Sheherezade, a luxury hotel on the Croatian Adriatic coast with interiors by Dimorestudio. Britt Moran (standing) and Emiliano Salci of Dimorestudio.

P HOTO GR AP HE R S: AN DR E A FE R RAR I ( VI L LA SH EH E RE ZA DE ), SI LVI A R I VO LTE L LA (D I MO RE STUD I O )

Dimorestudio, Milan

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PAST MEETS PRESENT

Giuliano Andrea dell’Uva, NAPLES T H IS PAGE , F R OM LE F T the main bedroom of Palazzo Luce, a seven-room museum-house in Leece, Italy, with interiors by Giuliano Andrea dell’Uva. Architect Giuliano Andrea dell’Uva.

After earning a degree in architecture from the University of Naples Federico II, Giuliano Andrea dell’Uva quickly drew attention for his distinctive approach to interiors, balancing a desire to preserve the origins of each space with a penchant for contemporary lines. Through striking furniture choices and the astute use of contrasts, dell’Uva has built a solid reputation that brings in steady commissions. d: Villas in Capri, Naples and Lake Como plus and Ischia, as well as an exceptional project: es of the Palazzo Luce in Lecce to house an ion.

CAPTURING THE SPIRIT

The interiors composed by Laura Sartori Rimini and Roberto Peregalli (pictured, on page 43) always bear the mark of time. An architect and philosopher respectively, the partners are masters of precision, seeking out the right patina, materials and atmosphere. Recently completed: In 2020, despite the pandemic, the duo completed a house with an exterior by Frank Lloyd Wright and an apartment in a London home by Robert Adam, for which they described their work as “archaeological”. They have completed a pied-à-terre, also in London, a townhouse in New York and, in Switzerland, a chalet in Gstaad and a house in the Engadin region. VL 52

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P HOTO GR AP HE R : HE L E N I O BA RB E TTA ( PAL AZ ZO LU C E )

Studio Peregalli, Milan

DESIGN

Eternal muse The city of Rome is at the very heart of Bulgari and continues to inspire the Italian ﬁne jewellery house. Verity Magdalino talks to Bulgari brand curator Lucia Boscaini about the capital’s inﬂuence and the luxury maison’s mission to invest in the future via an ongoing program of heritage works.

VLife TH E SE PAGE S, F R O M L EF T

the iconic Spanish Steps in Rome, Italy. The ruins of Area Sacra in Largo di Torre Argentina, Rome, dating back to fourth century BC.

ome’s historic Spanish Steps are famed as a meeting place for Audrey Hepburn and Gregory Peck in the 1953 classic Roman Holiday. They’ve been name-checked in songs by Bob Dylan and Van Morrison, in F Scott Fitzgerald’s 1933 novel, Tender is the Night and were a regular haunt of John Keats, the English Romantic poet who lived in a second-floor apartment nearby. The fabled Baroque stairway is also the original home of Rome’s most famous fine jewellery house, Bulgari — founder Sotirio Bulgari opened his first boutique at the top of the Spanish Steps in 1884. For Bulgari, the Eternal City and historic sites such as the Spanish Steps are intrinsic to its identity. So committed is the Italian luxury house to its home city that it not only sources inspiration for some of its most celebrated jewellery and watches from Rome’s ancient monuments, it also invests significantly in their upkeep. Back in 2014, as part of its 130th anniversary celebrations, Bulgari undertook an extensive multi-million dollar restoration of the storied staircase in what has become a series of ongoing works, which Roman-born brand curator Lucia Boscaini titles the “cultural patronage projects”. “I’m very proud of this part of my job,” she says. “The idea originated because the Spanish Steps are one of the jewels of the city of Rome and one of the places that everyone knows. But it was also the shortest route that Sotirio Bulgari could take travelling from his private apartment to the first Bulgari store — he would go back and forth many times a day. So we thought to celebrate the 130th anniversary, the perfect way to pay tribute to Sotirio was to restore the Spanish Steps, a monument that has a very strong image and represents the people of Rome.” When it comes to the Italian capital as muse, the inspiration, says Boscaini, is endless. “What I really like about Rome is just walking down the street — every time you see something new,” she says. “It can be a small detail or something like an ancient column hidden in the wall of a contemporary building. Rome is a chaotic place where everything is in harmony. I personally think this is the absolute spirit of Rome and it’s what Bulgari translates into creativity. The fact we have very different shapes [in our jewellery] and very opulent volumes, that the colour is unusual or the material combinations are not traditional — ›› Sept/Oct 2021

VLife

‹‹ it’s this eclecticism that can be connected to the spirit of Rome.” Cue Zaha Hadid’s special edition of the B.zero1 ring, a sculptural, wave like four-band creation inspired by the geometry of the Colosseum. Artist Anish Kapoor did his own interpretation, too, with double rings of sleek rose gold framing a concave centre of mirror-like steel. It’s been just a little over 20 years since the B.zero1’s debut and in that time it’s become one of Bulgari’s most emblematic designs, with more than two million rings sold. There’s also the multi-award-winning Octo Finissimo sports watch. First launched in 2014, its unique octagonal design takes its inspiration from the incredible ancient stonework in the Basilica of Maxentius and Constantine — the greatest of the basilicas in the Roman Forum completed in 313 AD. Diva’s Dream, a more recent collection made up of fine bracelets, earrings, necklaces and rings featuring a delicate fan motif, was inspired by the colours and shapes of the mosaic floors in the Baths of Caracalla, situated just south of the Colosseum. Indeed Caracalla’s mosaic floors followed the Spanish Steps as Bulgari’s next restoration project, completed in 2016. Since then there’s been investment in a new lighting system to illuminate the magnificent neoclassical ceiling of the Palazzo Braschi, home to the Museo di Roma; the restoration of 96 classical statues dating back to 16th-century Rome from the legendary Torlonia Collection; and the revival — due for completion in mid-2022 — of the fourth-century BC Area Sacra in Largo di Torre Argentina, home to the Theatre of Pompey and, allegedly, the site where Julius Caesar met his demise. Today, the ruins have been left in a state of disrepair and have also gained notoriety as home to a large population of stray cats. “When the site was discovered in the 1930s, a lot was done to bring it back to life,” says Boscaini. “But then everything was stopped and nobody did what was necessary to allow visitors into the site. So it was a treasure, visible but not accessible. The fact that, thanks to Bulgari, it could be opened up to international visitors was something that was very

“Rome is a chaotic place where everything is in harmony. I personally think this is the absolute spirit of Rome and it’s what Bulgari translates into creativity” LUCIA BOSCAINI

T HI S PAG E, C LO CK WI SE

a detail of the Baths of Caracalla’s mosaic ﬂoor. Diva’s Dream earrings from Bulgari. Area Sacra in Largo Argentina. Octo Finissimo watch from Bulgari. A detail of the Basilica of Maxentius and Constantine. B.zero1 gold bracelet from Bulgari. B.zero1 Design Legend necklace from Bulgari. F R OM TO P L EF T

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in tune with our spirit and philosophy… We think it’s important as it will be long-lasting and beneﬁt the current generation as well as future generations.” Bulgari’s commitment to the revival of the Eternal City’s unique heritage shows no signs of slowing down. Earlier this year, the luxury jewellery maison installed new lighting for the ninth-century BC Ara Pacis shrine, a superb marble altar depicting scenes from Roman legend. “Again, it’s another treasure that will be preserved for the future,” says Boscaini. “And, there’s more to come.” VL bulgari.com/en-au

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VLife PROFILE

Lindsey Adelman

The visionary New York-based lighting designer will take over the decaying yet captivating romance of a former illuminating creations du By Stephen Todd Pho

TH IS PAG L EFT the S Lighting d Lindsey A The Large pendant l

LINDSEY ADELMAN

VLife

indsey Adelman recalls her heart “leaping” when she flipped the switch and her very first Branching Bubble chandelier lit up. “I made it using industrial parts I’d sourced from various places and handblown glass bulbs a friend had made,” she says. “I remember a lot of wrestling with this thing that was so much bigger than me, and the thrill when it all came together. It just felt so right.” That was 2006, and a steady trail of “so right” lights have issued from her New York atelier ever since. There’s the Knotty Bubbles series of 2009, apparently haphazard masses of vintage brass fittings, rope, hand-blown transparent bulbs and coloured ‘barnacles’. The Clamp lamps, released in 2012, featured free-form glass globules suspended from industrial hardware, the wing nuts of which make for a precious tension. The Drop suspension lights and sconces from a few years ago — opaline spheres that appear to effervesce up metal rods — riff off Mondrian’s 1940s New York painting Broadway Boogie Woogie, summing up the insouciance of an era we now recognise as ‘pre-Covid’. “It’s always super clear in my mind what the end forms will look like,” says Adelman. “From my first sketches to the ultimate piece, there is very little lost in translation.” Which is even more impressive when you consider Adelman’s newest Paradise collection looks as if it has been spontaneously created — sur mesure — as free-form shapes floating in space. Composed of hand-blown glass baubles strung along robust brass chains, the pendants can be customised with fine gold chainettes or pierced with glimmering pins. Electrical flex is run through hand-crocheted gold cordons that drape from one light to the next. “I love working with really beautiful materials but sort of messing them up,” says the designer. “It’s about acknowledging tradition at the same time as moving it forward.” Tradition is assured by calling upon a new breed of American glassblowers trained by master artisans of Murano, Italy, to coax the bulbs into existence — their delicately fluted and dappled surfaces testimony to this transferred craft. The latest LED technology allows the light source to be subtly integrated into the glass itself, causing the spheres to emanate an ethereal glow. Paradise is viciously pretty, a kind of punky-glam proposition in which supplementary cones and rod shapes allude to the microscopic mechanics of vision itself. A logical corollary of a piece titled Paradise City launched at Design Miami in June 2019, the Paradise series includes a five-globe chandelier, single and double pendants or

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ag sconces. Customising is a definite option so that ners and private clients can have fun,” says Adelman. nline in mid-March, the lighting is set to get its first ling as part of the Alcova program at the Milan in what Adelman calls a “hauntingly dilapidated” convent in the Inganni district. “It’s been partly plants and preserved in a romantic state of semi” she says. Paradise found, then. s born and raised in New York, holds a degree in Kenyon College, Ohio, and started her work life as an ant of The Smithsonian in Washington, D.C. “That’s ered industrial design and began to wonder what life not sitting at a desk all day but standing up and .” And so, she enrolled in the Industrial Design prestigious Rhode Island School of Design (RISD) usly named city of Providence, just south of Boston. s her first love. “It just really seduced me. In fact, erested in designing anything that sits on the floor, not chairs or tables — none of that interests me at all. I absolutely loved just hanging things from the ceiling and the walls and playing. Being able to design and make every part of it, the plug, the light source, the way things connect to each other.” She made “a lot of weird shapes” while at school, and continued the aesthetic iconoclasms after graduation, initially in partnership with fellow New York lighting designer David Weeks on a brand they dubbed Butter. Their focus was innovative yet affordable lighting made from “mundane” materials selling around US$25. Business boomed until Adelman decided just before the birth of her first child in 2004 to take a couple of years off “to just be a mum”. Imagine her, this “just a mum”, beginning to tinker in the bedroom of her Brooklyn apartment, concocting early versions of the Branching Bubble (consider that name, the symbolism of its budding branches) that would rocket her nascent studio to fame when it launched, her son having just turned two. Despite the glamorous aggression inherent in many of Adelman’s designs, there’s an underlaying humanism to her practice, too. You sense it in the careful handcrafting of the work, all of which continues to be made in her Brooklyn studio by some 30 people. But you get an idea of it, too, in the ethos that runs through the atelier. She’s created dance videos with members of her team set to original techno tracks, provides weekly yoga classes and meditation training, and pays for staff to take annual week-long workshops. Despite a “healthy alumni network” of creatives who have worked for Adelman and moved on, she imposes no non-compete clauses in her staff’s contracts, allowing ideas to form a kind of diaspora of the mind. “As my studio began to grow I gave a lot of thought to the type of environment I would want to be an employee in,” she says. “I wanted to create a team that was mutually supportive but also forgiving. Which sounds more calculating than it actually is because, for better or worse, I don’t think strategically. For me it’s just that, since there’s so much energy going into each fixture we make, I really think the spirit of the studio comes out in the final product.” VL lindseyadelman.com; Stephen Todd will be in conversation with designer Lindsey Adelman as part of the Sydney Design Summit at Powerhouse Ultimo, from September 16-17.

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Paul Hecker

One of Australia’s design leaders invites us into his own sanctuary, an unsurprisingly reﬁned world of striking drama and perennial style. By Annemarie Kiely Photographed by Shannon McGrath

TH IS PAGE designer Paul Hecker, cofounder of Hecker Guthrie, in the sitting room of his Melbourne home, perched on an armchair found at auction and reupholstered by Martel Upholstery; vintage Australian, Korean and Danish ceramics found at auction: “I spend a lot of spare time viewing auction sites”, says Hecker — a few of his favourites include Leonard Joel, Gibson’s Auctions and Leski Auctions; ‘What Not’ display table, “a gift of a great friend painted to match the wall colour”; walls in Resene Quarter Karaka; artworks by Greg Wood. Details, last pages.

Sept/Oct 2021

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T HE S E PAGE S, F R O M LE F T

in the laundry/pantry, vintage artwork found at auction. In the living room, Sesann lounge by Gianfranco Frattini for Tacchini from Stylecraft; Artek Crinolette chair from Anibou; Ligne Roset Linden table from Domo; Bellhop lamp by Edward Barber and Jay Osgerby for Flos from Euroluce; rug from Halcyon Lake; artwork by artist unknown found at auction; walls in Haymes Paint Pale Mushroom 2; custom curtain from In Vogue Blinds. In the kitchen, appliances from Asko; splashbacks and benchtops in stone from Cerdomus; Ercol Quaker dining armchair from Temperature Design.

t is morning tea served with sticky cake and sardonic commentary in the cosy kitchen of designer Paul Hecker’s Melbourne home — a semi-detached Federation dwelling in which storm-dark walls draw eyes to a wealth of Wiener Werkstätte gems and jolly auction finds. The vibe is more Bavarian gamekeeper’s cottage circa 1910 than it is 21st-century bach pad on the edge of a busy city at the bottom of the globe, but Hecker, cofounder of multi-laurelled design firm Hecker Guthrie, has never played to the clichés that constitute an Australian lifestyle or look. Both he and his business partner Hamish Guthrie — the laconic design and dialogue counterpoint to Hecker’s hyperactivity — have traded for more than 20 years on siphoning a European sensibility through the filter of an isolated southern continent seeking to mediate its colonial past. Their work ripples with wit and the wisdom that history will inevitably repeat as testifies in a wall-hugging bank of kitchen cabinets: freestanding units detailed with a sobriety sourcing in disparate aesthetic movements and displaying like ceramics spanning four centuries. “I want to know that in one day all of this can be taken out — leaving walls intact — damaging as little as possible of the original architecture,” he says of the house-wide preservation of a period of Australian design that began the cord cut with Britain in 1910. It leads to a discussion about the evolution of a national identity in aesthetics and its right-now expression; one prompting Hecker to declare the debate going ‘off rails’ from the real issue of an endemic mediocrity. “Sure, there are some wonderful examples out there, but our average is pretty ordinary,” he shrills. “I swear to God, let me start with the junk…” It’s an A to Z spray over city skyline ending with the statement that the emperor presides over a profession that in part persists with the self-deception, conformity and obedience to authority “buggering Melbourne”.

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“When you go to Beaver Street in Malvern, it is full of stunning Edwardians done by different architects who followed the design templates of the time,” he says. “Put a crazy concept in the hands of a genius by all means, but give it to an average architect and you’ve got goddamn appalling. Caulﬁeld has been decimated, Toorak is in the throes of being decimated.” Identifying Scandinavia as the gold standard of a design holism that roots in education and an understanding of the region’s philosophical and geophysical threads, Hecker says the nations support their own and don’t shy away from an overt show of history. “They buy furniture made by their own and ﬁll their homes with it. They do not have the sense that there is something better out there. They are protective of what they have and they embrace it.” But, in classic cross-conversation with self, Hecker concedes that Australia is not a monoculture and has made the world’s most liveable city of Melbourne seven times in a row because of its youth, cultural diversity and kick-arse attitude. ››

Sept/Oct 2021

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TH IS PAG E in another view of the kitchen, solid European ash cabinetry designed by Paul Hecker and produced by Guy Phelan Cabinet Maker with handpainted enamel ﬁnish in Haymes Paint Distant Hills; splashbacks and benchtops in stone from Cerdomus; tap from Astra Walker; butler’s sink from Schots Home Emporium; Liebherr fridge from Andi-Co.

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TH IS PAG E in the kitchen dining zone, solid European ash cabinetry designed by Paul Hecker and produced by Guy Phelan Cabinet Maker; with handpainted enamel ﬁnish in Haymes Paint Deep Ash; De La Espada Together table by Studioilse from Criteria; Gubi A1965 pendant light from In Good Company; Ton chair no. 4 by Michael Thonet from James Richardson Furniture; walls in Haymes Paint Deep Ash.

Sept/Oct 2021

VLife ‹‹ “Suffice it to say, home is where I feel most me,” Hecker says in support of its overtly historicist vibe; one that leans towards late Jugendstil style — the early 20th-century German naturalism that neutered into Bauhaus. “I am very Germanic you know.” Hecker qualifies that he is drawn to the brooding, sensorial, psychosocial milieu that nurtured the virtuoso likes of Freud, Bach and Goethe. He recalls a Brothers Grimm-dark pictorial on the wall of his first-grade Catholic classroom in Adelaide — its Black Forest context inserted with a conflicting narrative on temptation. “There was a castle and a lightning bolt, and two children being led by an angel; his arms wrapped around them,” Hecker says. “There was this sense of protection in a world that is out to get you. Salvation and a rather alluring damnation.” While the Weimar Republic pre-World War I was light-years away from the City of Churches in 1970s Australia, Hecker draws the line between the like-dots of Lutheran churches, glowing with stain-coloured light on the edge of damp forests as seeped into South Australia’s Barossa Valley. They are the subliminal triggers of his style at home; one that greets with the glow of lamp light — a gesture that Hecker says he repeatedly enforces on residential projects after the experience of a winter evening stroll through the lamp-stippled streets of Stockholm. “It’s minus five degrees but not at all cold because human warmth lights the way,” he says in proud show of the leadlight lamp that casts his front parlour in wisteria purples. “It was made by the American company Handel and dates to the same period as the eponymous Tiffany lamp, though slightly more affordable.” It pools light over a tabletop installation of Dutch Gouda ware, distinctive for its matte glaze, abstract florals and bright tones. “Yes, it’s a little bit nana,” he notes of the room’s blend of linen-covered auction furniture, Royal Doulton Lambeth ware and vintage Georg Jensen. “I just have this vision of me getting older, sitting in front of the fire, with a spaniel by my side. “Everyone goes through that self-conscious thing of searching for self in style,” he adds, “but with experience you get over it and really start to hit your true stride — gotta move to the beat of your own drum.” While Hecker may move to T H I S PAG E , CLO CK W IS E F RO M TOP in the main his own rhythm, the designer’s bedroom, De La Espada Companion bed by ‘four to the floor’ — a personally Studioilse and DCW Editions table light N°201 from In Good Company; Gouda ware ceramics resonant mix of past, present found at auction. In the dressing room, Hecker’s and future flushed with voluble Acqua Di Parma collection; artwork by artist character — has the city swaying unknown found at auction. In the bathroom, to his singular groove. VL Agape Solid mirror and Vieques pedestal heckerguthrie.com basin from Artedomus. Details, last pages. 68

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VLife

ELSA PERETTI

A muse to some of fashion’s creative best, Elsa Peretti was a trailblazing designer in her own right and her legacy lives on in her extraordinary pieces for Tiffany & Co. By Jason Mowen

he year of 1968 marked a major turning point for Elsa Peretti. She moved to New York to further her modelling career and then with the money she scraped together, bought her ﬁrst home in the largely abandoned Catalan village of Sant Martí Vell. This pair of decisions determined the trajectory of her life. In New York, Peretti would meet Halston, and through him the top brass at Tiffany & Co., under whose banner she would create some of the most emblematic jewellery designs of all time. And in the dilapidated village just north of Barcelona, she forged a prize of a different kind: a home — which she restored one crumbling building at a time — where she passed away in March at the age of 80.

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“The private life of a model is always bad. It’s unnatural for a woman to have to look beautiful all the time”

P HOTO GR AP HE R : HO R ST P HO RST

ELSA PERETTI

Her glamorous and sometimes operatic tale is one of riches to rags and back to riches, dancing the night away at Studio 54 and making it through the ’70s on a diet of vodka, caviar and cocaine. Further forging the legend is the recent Netflix miniseries Halston, where Ewan McGregor plays the fashion designer with French actor and former model Rebecca Dayan as his friend and muse Peretti. Peretti arrived in New York sporting a black eye, a parting gift from a disgruntled lover. “I had nothing,” she said. “I was poor, but in a good way.” It was not always the case. Peretti was born in May 1940 — under the sign of Taurus, to which she would attribute many of her life’s machinations — into one of Italy’s wealthiest families after her father Ferdinando founded the oil company, Anonima Petroli Italiana (API). Craving independence, she fled the family palazzo in Rome in 1961 and eventually found herself in Barcelona, where, cut off financially by her parents, she fashioned a living through modelling. Once in New York, the sophisticated Italian beauty was soon walking for designers such as Issey Miyake, Giorgio di Sant’Angelo, Charles James and Halston, although modelling “terrified” her. “The private life of a model is always bad,” she said in 1969. “It’s unnatural for a woman to have to look beautiful all the time.” You’d never know it from the imagery. When her lover Helmut Newton photographed Peretti one morning in 1975, wearing her take on a Playboy bunny outfit with rips in her fishnets and a cigarette nonchalantly hanging from her lips, she seemed the Queen of Gotham. “I went to my closet and came out wearing this costume I’d worn to a party with Halston,” she said of the portrait. “Helmut was flabbergasted.” Peretti’s first design, a tiny sterling-silver bud vase pendant on a leather cord, caused a sensation after making its debut in a Giorgio di Sant’Angelo show in 1969. She was soon creating pieces for Halston and had the singular experience of wearing her own work on the runway. Legend has it that when Halston took Peretti to see Tiffany in 1974, she was hired on the spot. She sat silent as he negotiated on her behalf, a wise move that saw her retain ownership of her name and all of her designs. “After that,” Peretti said, “things went boom.” Her jewellery would come to account for around 10 per cent of the company’s multibillion-dollar net revenue. Striking in their simplicity, Peretti’s sculptural designs reflected the times, made for independent working women. As Tiffany’s president explained: “You don’t need a rich sugar daddy to afford Elsa’s jewellery.” ››

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VLife

Peretti at her work table in 1974, dressed in a Halston blouse and a Halston-designed leather work apron. Peretti in a Thea Porter dress in 1971. Peretti at Sant Martí Vell in 2011. Mesh Scarf necklace, Bone Cuff bracelet and Teardrop earrings, all by Elsa Peretti for Tiffany & Co.

“My mother had to send me back, time and time again, with a stolen bone in my purse. Things that are forbidden remain with you forever” ‹‹ She drew inspiration from found objects and the natural world. The Bottle pendant, for example, takes its shape from ancient vases while her Bean design is based on the seed, the origin of all life. Her magniﬁcent Bone Cuff graced the wrists of Sophia Loren, Liza Minnelli, Diana Vreeland and Grace Jones right through to the latest iteration of Wonder Woman, Gal Gadot, and ﬁnds its origin in Peretti’s childhood, when she would steal human bones decorating a 17th-century Capuchin church she’d visit with her nanny. “My mother had to send me back, time and time again, with a stolen bone in my little purse,” she said. “Things that are forbidden remain with you forever.” 72

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Peretti never married or had children, and was estranged from her own parents for years. But months before her father’s death in 1977, she and Ferdinando reconciled their differences. He bequeathed her 44.25 per cent of API’s shares, which was increased to 49 per cent after a four-year-long legal battle with her sister Mila in 1989. She then sold her shares to her family, leaving her with an estimated fortune of hundreds of millions of dollars. She used the money to establish a charitable foundation in her father’s name in 2000, championing wildlife conservation, human rights, health and education. She continued to design for Tiffany — a new 20-year contract finalised in 2012 included a one-off payment of US$47.3 million and the prospect of millions in annual royalties — although she became more reclusive as time went by. While Peretti maintained residences around the world, including the Renzo Mongiardino-designed jewel in Porto Ercole, her refuge was Sant Martí Vell, her home from the 1980s onwards. “Here I feel free,” she said of her retreat. “Fashion was my bread and butter, but I didn’t live it. I was never fashion-oriented. I was attracted to Sant Martí because it was contrary to everything in New York and my family. Here there was no sophistication. My first years, things were still in ruins, many of the houses didn’t have roofs, and I slept on a bench and washed myself on the stone floor.” A house of accumulated memories: earthy, raw and full of personality. Just like Elsa. VL tiffany.com.au

P HOTO GR AP HE R S: D UAN E MI C HAL S (P E RE TTI AT WO RK ) , JAC K RO BI NSO N (PE RE T TI I N DR E SS), E RI C BO MAN (P O RTRA I T)

T HI S PAGE , C LO CK W IS E FR OM TOP L EF T

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P HOTO GR AP HE R : AN SO N SMART

homes

VLiving

Sept/Oct 2021

THE

FRONTIER

This striking project is the one Sydney-based designer Tamsin Johnson holds closest to her heart — her own family home. By Amy Campbell Photographed by Anson Smart

Details, last pages.

“I love bringing in historical design moments, which to me ground my inclination towards contemporary concepts. I like to take a historical element and push it though a lens that makes it relatable today”

t’s a journey Tamsin Johnson has taken many a client through: sell the apartment, find a family home with rambling gardens and an open fireplace, and furnish it with an eclectic sprinkling of art, top-ofthe-line appliances and family heirlooms to the point where the four walls of every room begin to sing. But when the Sydney-based designer — whose work has graced the pages of this magazine on multiple occasions — along with her husband Patrick, of P. Johnson tailors, chose to embark on the journey themselves, the world was an unruly place. “We sold our Tamarama apartment at the height of Covid, and bought a few weeks later. We were like, ‘What are we doing?!?’” recalls Johnson. “I thought we’d never leave ‘Tama’ — it was very coastal, spacious, quite modern and low-maintenance.” But the couple’s two young kids Arthur and Bunny were growing and Johnson herself was looking for another challenge; something larger and slightly more left-of-field than the architecture she’d worked with before. So she and Patrick switched their beachside pad for a 1920s lodge-style home in Darling Point. “I think the heritage consultant described it as “’20s stockbroker brick”, which is hilarious,” she chuckles. Johnson had her work cut out for her. Inside, the house had undergone a series of refurbs, each one slightly too reflective of the decade in which it was completed — the ’60s-style linoleum flooring, for instance, was one of the first elements to go. But there was also a huge restoration aspect to the project, as many of the home’s original features have remained. “It was about preserving and complementing whatever hadn’t been touched, and then modernising anything that had been tampered with over time,” explains Johnson. Of course, when you’re sourcing finishings for a property of this unique vintage, the hunt becomes all-consuming. Even Johnson, whose little black book of antique restoration contacts is bulging with more names than most, found it difficult to unearth the elements she needed locally. “There was only one guy in the whole of Sydney who dealt with these kinds of leadlights, and only one guy who knew how to restore this specific type of timber,” she says. “But we found him, and he literally worked for three weeks’ straight with classical music blasting every night, just stripping back layer by layer of this varnish until he reached this beautiful, matte chocolate brown.” Trips to heritage reclaim yards to search for a specific style of tiles also ensued. “It was a real process,” says Johnson. “And it was about balancing older, more traditional spaces like the living room with the kitchen and bathrooms, which are quite contemporary because we totally redid them. You can tell there’s been a renovation today, but I didn’t want it to look like it was of a particular time.” In anyone else’s hands, this double-edged approach could’ve gone awfully wrong. But if anyone is capable of making a 19th-century French chandelier work alongside a photograph from Bill Henson’s Paris Opera Project series and an antique Spanish console table, it’s Johnson. “The minute I walked into the house, I pictured it all there,” says the designer of the aforementioned chandelier, artwork and furniture combo. “I’d literally decorated the entire home in my head the minute we bought it. I knew every single piece and where it was going. Patrick was like, ‘Are you sure we don’t need a list?’ And I was like, ‘Oh no, I’ve got it all sorted,’” she says, laughing. Johnson’s wonderfully eclectic touch can be felt in every room — a tessellation of old and new artworks she and Patrick have collected over the years hang over the stairwell — while in the kitchen, the whimsy of an old baker’s stand that belonged to her parents is offset by a luxe stacked island in Calacatta Gioia marble. “I know it’s an obvious thing to say — the old and the new,” muses Johnson, “but maybe another way of illustrating it is by saying there are pieces from different periods, but they go together because they share the same shine.” She points to a Curtis Jeré sculpture hanging above the sandstone fireplace in the living room, and then the ornate French chandelier that’s suspended nearby. You can practically hear them conversing. “It’s definitely a grown-up home, and it’s got a really lovely feel to it,” offers Johnson, when we ask how long she sees the Johnson clan here. “It had been in the previous owner’s family for something like 70 years, and after having created so many memories here, I think being able to pass it onto another family to do the same thing is pretty special.” Johnson has indeed imbued this treasured home with her special signature blend of old-world charm and modern refinement. She reveals yet another string to her designer bow, and one we’re only too excited to see hit the target time and again. VL tamsinjohnson.com Her first book Tamsin Johnson: Spaces for Living, published by Rizzoli, is out September 7.

vogueliving.com.au

T HI S PAG E in the kitchen designed by Tamsin Johnson, island in Calacatta Gioia marble; Perrin & Rowe tapware from The English Tapware Company; antique copper pots; pendant light by Gio Ponti; artwork by Colleen Ahern (on benchtop).

Sept/Oct 2021

in the powder room, antique Italian sink; custom splashback, shelf and copper piping designed by Tamsin Johnson; Perrin and Rowe tapware from The English Tapware Company; heritage-listed original 1927 tiles; 1930s French alabaster and silk cord pendant light. OP POS IT E PAGE in the dining room, antique Spanish dining table; Louis XIV dining chairs with custom C&C Milano linen covers with trim; French Art Deco baker stand (on left); 1950s French drinks trolley; antique Turkish Oushak rug.

T H IS PAGE

T H I S PAG E in the family bathroom, antique marble sink from Italy; custom marble drawer unit; Perrin & Rowe tapware from The English Tapware Company; Italian Elba stone tiles. O PP OS ITE PAG E in the informal sitting room, 1950s French sofa, upholstered in C&C Milano linen fabric from South Pacific Fabrics; 1940s Italian armchairs; 1930s French ebonised coffee table; 1930s brutalist chairs; 1920s Thonet occasional table; 1950s rattan floor lamp; Italian tumbled marble floor tiles from Aeria Country Floors; 1970s cactus Murano glass pendant light; balloon sculpture by Todd Robinson from Galerie Pompom. Details, last pages.

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PONTI

IN THE AIR

The spirit of iconic designer Gio Ponti informs every corner of architect Francesco Librizzi’s expansive apartment in Milan, from its emerald-tiled interior to its breathtaking vantage point that takes in some of the city’s most fabled landmarks. By Annemarie Kiely Photographed by Monica Spezia Produced by Francesca Sironi

T H ES E PAG E S in the living area of this Milan home, Pacha lounge chairs by Pierre Paulin for Gubi, enquiries to Cult; chairs (at window) by Francesco Librizzi; side tables by Osvaldo Borsani for Tecno; Feathers Round rug by Maarten De Ceulaer for Cc-tapis, enquiries to Mobilia. Details, last pages.

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in the kitchen with a view of the living area and study, maquette of Casa C staircase by Francesco Librizzi. O PPO SI TE PAGE in another view of the living area with the kitchen beyond, panel wall in tiles designed by Gio Ponti for Palazzo Montedoria; Julep sofa by Jonas Wagell for Tacchini, enquiries to Stylecraft; re-edition Re lamp by Bobo Piccoli from FontanaArte, enquiries to Gineico Lighting; concrete sculpture (on coffee table) by Sara Galli. In the kitchen, Dioscuri ceiling light by Michele De Lucchi for Artemide. T HI S PAG E

ll be better post-pandemic, rth-ﬂoor aerie near Milano his many clients and guest es that the world will give an ething,” he qualiﬁes. “Because who have grown up thinking oads with his status as brand ances — the stealth bombers tour through his home. quare metres of tiles used to ays, panning his smartphone ck-dropping his living area’s ide wedge-shaped structure tiles (restored by Teamwork her: here is the building, here ues, tracking along an angled make a montage of low-scale ries opening to civic squares, the modern city.” “two of the most important h century by the great master eaning this book-ended vista 50s block to eyeball a smaller nother apartment. “Ahhhh,” al deference to outer Milan. was my feeling of home.” But of his life stage at that point ast 10 years this city has been e says of real estate values ack of expatriates and their something you liked, you had ck to the agent tomorrow.” ecall of visiting “at least a the add that two-and-a-half e agent who alerts to the sale ame building. “I made sure s. “It was not very beautiful, not going to lose the dream oor on the family who were I told the agent to meet me e papers.” Librizzi started crystallising ” of being an architect with ndustrial design. He levelled n back to a pure pentagon ››

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TH IS PAG E, FR O M TO P in the bathroom, sink from Moab80; Bambù tapware from Bellosta; Parola pendant light by Gae Aulenti and Piero Castiglioni for FontanaArte, enquiries to Gineico Lighting. In the hallway with a view of the main bedroom beyond, Revolving cabinet by Shiro Kuramata for Cappellini, enquiries to Cult. In the main bedroom, custom wardrobe by Francesco Librizzi; bed linen from Society Limonta, enquiries to Ondene. O P PO S ITE PAGE in the custom kitchen designed by Francesco Librizzi and produced by Spazio RT, mirror splashback; StudioLine cooktop from Siemens; Box chairs by Enzo Mari for Driade; prototype Setareh table lamp (on benchtop) by Francesco Librizzi for FontanaArte, enquiries to Geneico Lighting. Details, last pages.

‹‹ in which he could simulate the fluid rhythms and built relics of immediate cityscape — one Ponti structure speaking to another across abstracted roadways regulated by discrete wayfinding systems. At the same time, Librizzi recalls, he was issued an invitation “as art director of FontanaArte” to visit the Italian Cultural Institute of Stockholm — a constructed speculation on cultural identity designed by Gio Ponti in 1958. “Suddenly, I find myself in this absurd Gio Ponti loop,” he says, laughing. “Working for a company whose art director was Ponti, sleeping in a room designed by Ponti, buying a home looking out at Ponti.” Pondering the preordainment of it all, he labels his design scheme “a short circuit between city and house”; one opening to a crossway lane bound by a wall of finely fluted aluminium — the sort favoured by Jean Prouvé in the 1950s and found by Librizzi’s friends and contemporaries at Spazio RT. This “street solution” as Librizzi terms it, leads at one end to the living space; at the other to a private studio displaying a prized maquette of the Casa G staircase. “Look at the floor,” he urges, emerging from the dark entry corridor and directing eyes down to slabs of marble laid with no regard for regularity. “It is terrazzo with a mix of stones that I placed one by one. They are echoes of the city. You see the green rebounding on the green, the pink rebounding on the pink, the white and grey bouncing off the street.” Swinging phone lens from floor to opposing street facade, to the Palazzo Montedoria back to the tribute Ponti wall partitioning kitchen from living area, over to an angled Macassar ebony “totem” treated as both a warm counterpoint “to the cold city” and a concealer of private space, Librizzi classifies his marble embeds as subliminal control points. “They signal when and where to stop and start, and direct the placement of furniture,” he says, stepping out stones to a blue-andwhite Cc-tapis Feathers rug that in the context of his urban concept reads as a fountain propped with pigeons and casts Bobo Piccoli’s re-edition Re lamp from FontanaArte as an opalescent traffic light. It signals the point of rest on a freeway loop that next parks in the pit-stop kitchen, another small civic street defined by a wall of aluminium-faced cabinets concealing Siemens StudioLine premium appliances. They nod to the flush facades of mid-ground city buildings and stripe with a band of pale gold mirror; a splashback that speaks to the reflective windows of retail below and bounces back views of Librizzi’s living area and a prototype Setareh — the family of lights he designed for FontanaArte. Eulogising its contradictory pursuit of symmetry and asymmetry, luminosity and opacity, Librizzi declares that he doesn’t “like an average, good situation, but prefers a complex system of functioning parts feeding from a strong supportive structure”. Like a backbone, the question asks, as conversation carries back to his ethereal stairs and their simplex elevation of body and mind. “Exactly, like a backbone.” VL francescolibrizzi.com

grande

bellezza Packed with his own original artworks and an assemblage of modernist designs, the storied surrounds of a former 18th-century Cistercian monastery in Sicily have been given a new chapter by collector-turned-artist Sergio Fiorentino.

By Annemarie Kiely Photographed by Filippo Bamberghi

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in the entrance porch of artist Sergio Fiorentino’s studio in his home in Noto, Sicily; 1960s Eros table by Angelo Mangiarotti; 1950s chair by Harry Bertoia; plants from Vivai Giannuso; brass ceiling lamps designed by Massimo Carnemolla; artworks of the two Madonnas, and Migration By Aguglie sculpture, all by Sergio Fiorentino. Details, last pages. THIS PAG E

THE S E PAG ES

he small city of Noto, found stepping up the sun-soaked coastline of the Syracuse province in Italy’s southern island Sicily, is an unspoiled jewel of the late baroque that savvy travellers dare not share for fear it be corrupted and commodified by the tourist hordes. UNESCO concurred with this protectionist view in 2002, slapping a World Heritage listing on the limestone city as a site of ‘outstanding universal value’; a cultural currency measured by its historical circumstance — Noto was levelled by the ‘great’ Sicilian earthquake of 1693 — and the unprecedented homogeneity of its rebuilt architecture. It is a masterpiece of Sicilian Baroque; a flamboyant blending of Italian, Spanish and French influences boiled down to a regional base flavour and poured into an innovative grid plan by the ‘starchitects’ of the day, Paolo Labisi, Vincenzo Sinatra and Rosario Gagliardi. Proud Noto resident and artist Sergio Fiorentino ponders the relevance of this place and its dramatic past to the works produced inside his studio-home — a restored refectory within a former Cistercian monastery designed by Gagliardi in 1713. “What moved me about Noto was not so much its baroque richness as its metaphysical dimension and its palette of white stone and blue sky,” says the late-40s artist who, after schooling in art, detoured into dealing in modernist design. “The beginning of my artistic activity takes place in Noto, exactly 11 years ago… After many years of researching and collecting design, I felt the need to start creating and painting — something that I had not done since [studying]. The stimulus to change my life was given to me by the beauty of Noto.” Presenting as a Dolce & Gabbana panorama of yellowing citrus groves, Sicilian blue skies — bouncing from sea to silent cloister — and blanched architecture alchemising into gold in the afternoon sun, Noto has an otherness that Fiorentino asserts “naturally selects very interesting creative personalities” from the farthest reaches of the planet. “This is what I try to transfer onto my canvases,” he says of a “magic realism” felt pulsing through its streets and people. “I speak of men; faces and bodies placed in a non-place, far from reality. I try to paint a model of classical beauty but [in] revealing it, I try to protect it.” Plucking his subjects from real life (including eight-year-old daughter Alice), Fiorentino submerges them in the anonymity of Noto blue — “the water in which my characters are born and breathe” — to rebirth them as diving dreamers, dividing twins and modern deities. They possess a defined physical reality in a super-shallow foreground that reminds of the art of Cimabue and Giotto. “You have captured a period that I love and that moves me deeply,” he says of the 13th- and 14th-century masters who radicalised spatial rendering in western art. “What I try to do is isolate my characters in an amniotic dimension and let them breathe inside my beloved ultramarine blue… there is never a reference to place or time, they could be people of today or yesterday.” Or, tomorrow, it suggests of the haloes that, when cast in the light of his living room’s Sputnik chandelier, assume the iconography of space helmets. Crediting his Belgian friend Giovannino with the discovery of the storied refectory, Fiorentino bemoans the found reality of an unsympathetic 1970s renovation. “An apartment had been created,” he says of its structural and stylistic erasure of history. “The false ceiling lowered the full height of the room, the arches and windows had been bricked up, and concrete covered the stone floors and plaster of the [original] time.” Thankfully, an early encounter and easy affinity with Noto architect Massimo Carnemolla, the founder of +CStudio Architetti — a firm that similarly feeds off the city’s limestone liminality —

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“The stimulus to change my life was given to me by the beauty of Noto” SERGIO FIORENTINO

homeowner and artist Sergio Fiorentino, in the studio, with his daughter Alice: “Alice is the subject of several paintings and they are the only ones I’ve never sold,” says Fiorentino. “They are part of her small collection.” 1950s velvet sofa by Federico Munari; Water artwork by Sergio Fiorentino.

OP P O SIT E PAG E

moved Fiorentino’s dream to the next-stage restoration and dismantling of 12 rooms. Within its new “positive suspended energy”, Carnemolla conceived Fiorentino’s home as a series of subtle inserts and overlays. The addition of a mezzanine floor within an arched alcove created a commodious sleeping loft for which Fiorentino designed finelegged, 1950s-inflected brass credenzas (doubling as balustrades) that echo the sensual simplicity of vintage wall sconces from Stilnovo. The architectural deference to monastic precedent extended to the denial of media. “No, I don’t like technology very much,” says Fiorentino of his concerted effort to enshrine sensory quiet. “At home there is no television and no wi-fi. I try not to get distracted.” Nesting under the loft is a compact bathroom and a galley-style kitchen conceived “as a sort of workbench with sliding brass countertops that close it off and hide the sink and burners”. It abuts a seating area surveyed by his works The Portrait of a Saint (2019) and The Dreamer (2019) — a sleeper whose auric atmosphere seemingly gilds another Fiorentino-designed cabinet called the Aguglie. “It is brass parallel-piped with silver needlefish inserts,” he explains of a materiality specific to 18th-century Sicily and a decorative arts school in the city of Trapani in the west. “Like furniture of the past, [it] has a sort of secret — in each of the nine pieces, the opening is a different needlefish; by moving the fish, within a system of balance and equilibrium, it opens.” Sitting in happy correspondence with Fiorentino’s collection of 20th-century designs and anthropomorphic Sicilian majolica from the mid-19th century to the 1930s, it speaks to the simple lines of a 1960s table now centred where the Cistercians monks once dined. “It could be the big table of the old refectory,” says the artist, imagining meals shared under the pious gaze of his Twins (2017) series — a diptych of one identity that the monks might have read as the dual face of divinity, but the modern diner could deem a critique on the narcissistic culture of the selfie. Such fluidity of time and translation delights Fiorentino, who says that both he and Carnemolla have never sought to force addition but rather a subtraction. “A digging, until you find the soul, the essence of things that, as the famous phrase [puts it], are ‘invisible to the eye’.” sergiofiorentino.it

THE SE PAG E S, F RO M LEF T a view of the bathroom, kitchen and loft, sliding brass benchtops; aluminium cabinets; custom stools designed by Sergio Fiorentino; artwork (2018) by Sergio Fiorentino; steel blade stairs; brass cabinets; 1950s Stilnovo Sputnik chandelier. In the dining area, table by Angelo Mangiarotti; chairs by Carlo Ratti; 18th-century Caltagirone turquoise lace ceramics (on table); olive wood head sculptures (on bookcase) by Paolo Gagliardi; 1950s ﬂoor lamp by Giuseppe Ostuni for Oluce; plaster draft sculpture of a 1930s athlete (seen behind window); existing cement tiles.

TH E SE PAGES

“I speak of men; faces and bodies placed in a nonplace, far from reality. I try to paint a model of classical beauty but [in] revealing it, I try to protect it” SERGIO FIORENTINO

THESE PAGES, FROM TO P LE F T in the bathroom, 1950s Sant’Ambrogio y de Berti mirror; 1950s Stilnovo lamp; early 1900s cement tiles. In the loft, 1950s Stilnovo wall lamps; 1950s Arredoluce lamp. In the studio work zone, Medea chair by Vittorio Nobili for Fratelli Tagliabue; 1960s side table; 1970s Riﬂessione lamp by Claudio Salocchi for Skipper; artworks in progress, all by Sergio Fiorentino. Details, last pages.

T HES E PAG E S in the living room of this Milan home, vintage De Sede sofa; coffee table by Martino Gamper; concrete vase (on table) by Mario Torre; glass vase (on plinth, right) by Hugh Findletar; vintage table lamp by Franco Albini; yellow-and-black fireplace floor element by Nanda Vigo; ceramic vase (above fireplace) by Hylton Nel; cactus from Flores; terracotta pot designed by Francesco Risso and produced by Flores; custom handpainted walls by Francesco Risso and Ludovica Saviane; handpainted Family rug by Francesco Risso; artwork (above fireplace) by Mat Collishaw. Details, last pages.

T H IS PAGE in the red studio homeowner Francesco Risso, creative director of Marni, sitting on a vintage armchair by Viggo Boesen; vintage ﬂoor lamp by Arne Jacobsen; custom handpainted walls by Francesco Risso and Ludovica Saviane; leather dog sculpture by Dimitri Omersa; artwork by Betsy Podlach. O PP OS I TE PAGE in another view of the red studio, vintage Jorgen Hoj sofa; custom sheepskin rug.

he home of Francesco Risso, creative director of Italian fashion house Marni, is in a handsome early-20th century Milan building located in the city’s centre. The facade is an elaborately embellished succession of decorative walls and columns, and once inside the impression is even wilder: a dizzying myriad references and images together with Palaeolithic paintings from the Lascaux caves, influences from the 1970s but also Art Deco, the Bronze Age palace of Knossos in Crete, Tibetan craftsmanship and Op Art. “I’ve been here since December 2019, and my home is constantly evolving,” says Risso, who completed renovations on the three-bedroom apartment this February. “There are rooms that I have repainted seven times. I let myself be guided by instinct, by the feeling that comes to you from the four walls around you.” Instinct also played a role in the choice of the apartment itself: “I liked its strange horseshoe layout, without the classic corridor leading from room to room,” says Risso. “It reminds me of houses in Genoa, my hometown, because it is rather delirious, with a classic imprint but full of irregularities. There’s a feeling of returning to my origins. I’m a big fan of Genoese houses. Even from the outside this is a fantastic building: well kept but with the patina of time.” The renovation began with the 1950s pastel blue, green and pink walls being the first to go. “When I put my cacti in the living room, I felt like I was in Santa Fe,” says Risso. “We did everything we could to remove that effect and achieve something a little more mysterious by creating a 1930s ambience with darker hues.” The highly decorative result was a collaborative production with the interior designer Ludovica Saviane and a mutual friend. At first, says Risso, Saviane was terrified of such a bold intervention as the house was of historical importance. “But I told her in every way, she had to go freehand. The recipe is just that, to warm up the spaces with natural instinct.” To tone down the original hues, Risso moved towards deeper shades of ochre, blue, deep red and vibrant greens — along with many patterns. “A flat-painted wall gives me sadness and anxiety,” he says. “I don’t like ‘perfection’. I like to humanise everything, even when it comes to clothing. Nothing should remain intact, finished. It’s the opposite of precision.” 126

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The refresh focused on certain details that then inspired further expansion: “First the curtains, then some of the walls. In the end, I just decided to repaint the entire house,” says Risso. The furnishings reflect the same train of thought, and are, once again, a matter of instinct. “Take the sofa in the living area: I began with the colour. I wanted black, so it would feel more like a squat than an elegant home in contrast with the pomp of the very high doors.” When it comes to design, Risso prefers to surround himself with works that bear history’s mark. “I’m open to anything, from prehistoric times to the 1970s,” he says. “I like to distort objects from the past, to take them and reassemble them anew. Among the contemporaries, I very much admire the work of Martino Gamper — he too likes to disrupt objects from the past.” For Risso, a home is a place to share — a personal vision, which was mirrored in the online presentation for Marni’s autumn/winter 2021 collection when the designer transformed a home interior into a dream-like garden full of musicians, models and performers. “It was thrilling for musicians who had not played in public before, but also thrilling for us,” he says. “It was a circus, a cabaret: all the furniture moved and in the kitchen, which we turned into a vegetable garden, there was a floor made of real grass… it was the dream of my kitchen. In the end it wasn’t that different from how I live in my own house every day and every night.” It’s this fantastical ideal of escapism and freedom that guided Risso in his choice of furniture and objects, many of which came from renowned Milan gallerist Nina Yashar — “a friend whose taste I have always admired,” says Risso. Other pieces like a chaise longue — an anthropomorphic, surrealist tartan creation made by set designer Mario Torre, which the creative director keeps in his bedroom — take the idea of escapism to a whole new level. When asked if he has any plans on how his home might evolve in the future, Risso says, “Who knows? When we can go out again, and start living the Roaring Twenties, I will probably have to clean everything up and turn it all to white.” VL @asliceof bambi marni.com TH I S PAG E in the dining room, custom handpainted walls by Francesco Risso and Ludovica Saviane. O PPO S ITE PAGE in another view of the living room, Mongolian rug (used as wall-hanging) and ottoman by Mario Torre; vintage Senior chairs by Marco Zanuso for Arflex.

in the hallway, 18th-century chairs reupholstered in Mongolian wool; mirror by Nanda Vigo; custom handpainted walls and rug by Francesco Risso and Ludovica Saviane. OPPO S ITE PAGE in a corner of the living room with a view of the dining room beyond.

T HIS PAGE

in another view of the red studio, desk by Gio Ponti; vintage Chiavari chair from Compasso; vintage lamps by Arne Jacobsen; 1960s vase; artwork (on left) by Kiki Smith; yellow-and-black pinboard by Nanda Vigo. OPP OS ITE PAGE in the kitchen, 1960s table and chairs by Anders Berglund and Hans Johansson for the HI-group; custom wall motif that reworks 1920s wallpaper elements; plants curated by Paola Fieschi and Marilena Capuzzi of Flores; terracotta pots designed by Francesco Risso and produced by Flores. T HI S PAG E

TH IS PAGE in the main bedroom, Divorgia chaise longue by Mario Torre; handpainted curtains by Risso’s landlord. O P P O SIT E PAGE in another view of the main bedroom, Francesco Risso in a bed by Gabriella Crespi; 1960s lamps; timber and concrete side tables by Mario Torre; custom handpainted walls by Francesco Risso and Ludovica Saviane. Details, last pages.

in Keeping The distinctive, surrealist Milan retreat of designer Barnaba Fornasetti is as nonconformist, experimental and audacious as the renowned interior style atelier that bears his name. By Freya Herring Photographed by Maxime Galati-Fourcade and Laura Fantacuzzi 136

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T HIS PAGE homeowner Barnaba Fornasetti in his bathroom in his Milan home, vintage Talco jar from Fornasetti; radiator featuring the Fornasetti Venere motif; Fornasetti Nuvolette wallpaper (on ceiling) from Cole & Son, enquiries to Radford. T H ESE PAG ES a corner of the garden as seen from the terrace, wrought-iron chairs, outdoor table and cushions, all by Piero Fornasetti. Details, last pages.

character

andering under the historic threshold of creative Barnaba Fornasetti’s home in Milan’s Città Studi quarter, you might be forgiven for thinking you are entering into the looking glass of Alice herself, such is the juxtaposition of normality outside and fantasy within. But then, what else would you expect from the home of one of the world’s most eminent artistic directors, inheritor of the throne in a dynastic designer family tree? Barnaba Fornasetti is the son of the late Piero Fornasetti, the proliﬁc Italian artist and designer known for his highly decorative, surrealistic and distinctive work spanning the mid-20th century. Casa Fornasetti was Piero’s home, and his father’s before him: like the Fornasetti brand, it too is a legacy. “The main building overlooking the street was built by my grandfather between the 19th and 20th centuries,” says Barnaba. “Then he added a couple of rooms for my father’s studio, and other ﬂoors and spaces for the family over the years.” Like Piero, Barnaba is both a designer and collector of design but the house looked very different when he was growing up. “A big difference is the presence of Fornasetti objects,” he explains. “My father did not have any of his pieces of furniture on show at home.” ››

in the entrance hall, vintage Architettura trumeau, Calendar plates (on wall) and Piede Romano ceramic umbrella stand, all from Fornasetti. OP P OSI TE PAGE in the kitchen, table and chairs featuring Fornasetti’s Ultime Notizie motif; Murano chandelier. THI S PAG E

“Casa Fornasetti represents my life: my work, my hobbies and interests, my philosophy... ”

BARNABA FORNASETTI

in the studio, Barnaba Fornasetti sitting in an armchair by Gio Ponti; desk by Gio Ponti; Foulards screen, ceramic cat ﬁgurine, sculpture (on cabinet) and custom Gerusalemme wallpaper, all from Fornasetti. OP P OSI TE PAGE in the meeting room, sketches by Piero Fornasetti on display within a table; Raggiera chair by Piero Fornasetti; shell chandelier made by Giulia Fornasetti; artworks by Piero Fornasetti and artists unknown. TH IS PAG E

‹‹ In contrast, Barnaba prefers a more elaborate aesthetic, resplendent with Fornasetti collections. “I kept a few corners of Casa Fornasetti as my father conceived them but in general my aesthetic is different from his, especially regarding the arrangement of objects and furniture in the spaces,” he says. “My father was quite rigorous, and I love to fill every corner of the house instead.” Today, barely any surfaces — be they tables, sofas, walls or floors — are left unadorned. Colour abounds — rooms are painted in luscious greens or pale sky blues or with expressive wallpaper depicting cloud formations or the labyrinth architectural structures of Jerusalemite rooftops. It’s as if every nook and cranny is a cabinet of curiosity. Bookshelves are packed to the nines. The New Yorker magazines are treated like objets d’art, mingling with Fornasetti suns and hanging crystal pendants. Works by Gio Ponti (with whom Piero famously collaborated) are given as much respect as bowls made from sardine cans found on trips to Africa. Fornasetti butterflies embellish the table, cabinetry, even the floor, of the lightdrenched kitchen. Plates, paintings and tools pepper the walls, and Piero’s famed Lina Cavalieri motif is not only featured throughout but dominates the monochromatic bathroom, such was his obsession with the face of the Roman soprano, actor and celebrated Italian beauty. “Casa Fornasetti represents my life: my work, my hobbies and interests, my philosophy, all in one,” says Barnaba. “All these elements combine inside the habitat that is my suit; my skin.” The phantasmagorical Fornasetti aesthetic continues inside a blood-red guestroom (there are four bedrooms, and some 20 rooms in total). Accessed through a bookcase, ornately framed, old-fashioned portraits clash gratifyingly against contemporary pieces, and a fish-eye mirror gleams from the wall, creating strange, fantastical shapes in its reflection. Whimsical interiors aside, Casa Fornasetti is perhaps best known in design circles as the location of the hotly ticketed party held here for the Salone del Mobile every year, where Barnaba is both DJ and host. Reached via a repurposed wardrobe, the music room — green pastel walls, pink tasselled love seat — is his most beloved space in the house. “It is here that I feel most comfortable; where I can express myself through my passion for music,” he says. “I have a DJ station where I mix music for my friends during parties at home.” Asked what he would save in a fire, he comes straight back to this space. “I would save my collection of records that I started when I was a child and still enrich today. Music is my great passion, second only to my creative work. To be honest I think that both my passions — music and decoration — have the same function: they can seem not strictly necessary but they are. They are food for the soul.” Outside, the horseshoe-shaped building envelops an enormous garden, lush with lilac-toned wisteria dripping into shadows and crevices. “The garden has changed a lot,” says Barnaba. “My grandfather conceived it as a vegetable garden with fruit trees. My father reinterpreted it as an Italian garden according to his style and taste. I chose to leave it ‘wilder’, full of plants and different flowers. For me it’s like a palette and it represents a way of creating very slowly, because nature’s rhythms are slower than ours.” Pondering whether he thinks his home could be considered maximalist, he ultimately shuns the attempt at categorisation. “I don’t like definitions in general, and maximalism and minimalism are definitions that I don’t share because they classify things,” he says. “If I am obliged to define Casa Fornasetti I will not define it as maximalist. It is decorative, highly stimulating — one of the characteristics of Fornasetti creations — and rich with objects. It is not a maximalist house, but a house full to the maximum.” VL fornasetti.com; Fornasetti’s latest mosaic tile collaboration is available from Bisazza Australia; bisazza-australia.com.au

in another view of Piero and Giulia Fornasetti’s former bedroom, antique gold cast-iron bed; vintage table and curtains by Piero Fornasetti; Biglietti de Visita desk and chair by Gio Ponti and Piero Fornasetti; Fornasetti Nuvole wallpaper from Cole & Son, enquiries to Radford. In a bathroom, walls and bath in tiles by Piero Fornasetti; curtains and vintage ceramic cat ﬁgurine by Piero Fornasetti. O PPOS IT E PAGE in another bathroom, custom furniture; Tema e Variazioni tiles, Mano rug and curtains, all from Fornasetti. Details, last pages. TH I S PAG E, FRO M TO P

A DV E R T I S I N G F E AT U R E

GROUNDED GIFTS FOR DAD Need a shot of inspiration this Father’s Day? Here, Vogue Australia and Vogue Living contributors share their perfect gift picks from Nespresso’s new Vertuo coffee range.

BUT FIRST, COFFEE Make Dad’s day – and subsequent days after – with the gift of café-quality coffee at home. Nespresso offers up something for every palate and proclivity, from the sleek Vertuo Next machine range, to the Aeroccino3 milk frother and an array of flavour varieties now with more coffee in each capsule*, including double-shot options. So whether your dad prefers a one-and-done quick morning espresso, or he likes to linger over a double-shot latte, you’re sure to find him the perfect gift that keeps on giving.

DOUBLE DOWN “Most Aussie cafés tend to serve their coffee on the stronger side, so if your dad wants to recreate that same intensity at home, the Nespresso Vertuo model can help him make his favourite coffee – no barista required – with double-espresso capsule options.” JAKE MILLAR Vogue Living Acting Editor

FROTH IT UP “The Aeroccino3 and the Barista Milk Frother are go-to gifts for the dad who craves a good cappuccino. You can froth silky, textured hot or cold milk with one simple touch, for creamy, smooth coffee.” VERITY MAGDALINO Vogue Living Deputy Editor

GO EASY “For the dad who loves a shortcut, the Vertuo Next automatically determines the perfect temperature and cup size for his favourite coffee in moments – just add milk. There’s no fuss, no mess, and no need to leave the house.” YEONG SASSALL Vogue Living Digital Head of Brand * Compared to Nespresso Original Line coffee capsules.

HOT TREND ALERT “Pour-over coffee is the latest craft trend to hit Aussie cafés, and now Nespresso is bringing it home with its Vertuo Carafe Pour-Over Style machine. Brewed by pouring hot water over coffee grounds that gently drip into the carafe, it’ll leave Dad with a full-flavoured but delicate drop.” REMY RIPPON Vogue Australia Senior Beauty Editor

GREEN BEANS “Nespresso’s sustainably sourced coffee has one of the lowest carbon footprints of any coffee style – the energy-efficient machines are partially made from recycled materials, plus the capsules are recyclable. Throw in a recycling canister for Dad to help him make a sustainable choice.”

HANDY ACCESSORIES “If your dad likes his coffee on the go, Nespresso’s sophisticated Nomad Travel Mug is the perfect present. It can keep coffee hot or cold and the best bit is it won’t leak in your bag!” ALICE BIRRELL Vogue Australia Fashion Features Director

JESSICA MONTAGUE Vogue Australia Deputy Editor

WHAT’S NEW ON THE MENU? Treat Dad to Nespresso’s top three Vertuo capsule blends, now packed with even more coffee*.

A blend of South and Central American robustas, this is delicious black or as a latte.

IL CAFFÈ If Dad likes his coffee black, this embodies the classic Italian espresso experience.

FLAVOUR SAVIOUR From one corner of the globe to another, Nespresso packages up bold coffee flavours like none other. Take a deep breath in, and you can just about imagine the perfumed, toasty aromas jumping off the page now. We’ll drink to that.

CARAMEL COOKIE With buttery biscuit notes, this indulgent coffee is best enjoyed with milk. For more gift ideas, visit nespresso.com.au

K&B

THI S PAGE in this Sydney kitchen, designed by Greg Natale, benchtops and ﬂoor in grey-with-white terrazzo from Terrazzo Australian Marble; Gaggenau 200 Series cooktop and oven from Winning Appliances; French Wash paint in Valkyrie with Victoriana base (on archway) from Porter’s Paints. Turn the page for the full story.

INSPIRED STYLE & DESIGN

Spirited luxury Hardworking and busy kitchens and bathrooms are often overlooked as soulful, inviting and relaxing spaces to gather or reﬂect. See how these considered projects prove these zones can meet more than just practical needs. Produced by Verity Magdalino

K&B

in the kitchen, island in terrazzo from Terrazzo Australian Marble; Bund bar chairs by Neri&Hu for Stellar Works from Living Edge; Matter Made Discus 2 pendant light from Criteria; Dante vase in Nero from Greg Natale (on island). T H IS PAG E

TH I S PAG E O P P O SI TE PAGE

K&B

T HES E PAGE S, FR OM L E FT

“The bathrooms are the best part of the home for me — and all the terrazzo. And I do love pink” GREG NATALE

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K&B GREG NATALE

Finer details F R OM TO P

T HI S PAG E

K&B PROJECT

Natural art

T HI S PAGE, C LOCK W ISE F RO M TO P

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Experience the difference of Australian made. Crisp lines, functional shapes and timeless finishes. Discover our award-winning, Australian designed and made tapware, showers and accessories – paired with the very best of Europe’s premium bathware design. Let our dedicated team guide you through your product selection today.

Pictured: Hawthorne House, QLD – Interiors by CG Design Studio

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K&B

CLOC K WIS E , F ROM TO P L EF T

THIS PAGE in another view of the bathroom, custom vanity, basin and floor in honed Elba marble from Artedomus; oak veneer vanity support and cabinet in two-pack polyurethane Dulux Terrace White finish; Lariana bath by Patricia Urquiola for Agape and Agape Sen shelf from Artedomus; Astra Walker Icon bath mixer from Mary Noall; towel ladder from Hydrotherm, painted in Dulux Manor Red; polished plaster wall finish custom-matched with Dulux Terrace White; Delta Light Spy Clip spotlights from Inlite; Sydney Opera House 2 photographic artwork by Vincent Rommelaere.

K&B TH IS PAG E

PROJECT

Paris, je t’aime

C LO C KW I SE , FRO M TO P L E FT

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Making it

ZERO Australia’s first carbon neutral tapware.

Sussex is now officially a member of the Climate Active network, one of the strictest carbon neutral certification bodies in the world. This is because we’re committed to making things right. Which means putting our future first – by using sustainable technologies, sourcing raw metals, designing and producing our tapware entirely in Australia. Every effort is essential, which is why we’ve installed solar panels to reduce emissions by 332 tonnes and are aiming to recycle 85% of our materials yearly. At the heart of it, we live to create beautiful tapware that will stand the test of time. So, when you choose Sussex, you’re investing in Australia, people and a more liveable tomorrow. Visit sussextaps.com.au to discover more

Sources

T H IS PAGE Gravity chandelier by Paul Cocksedge for Moooi, enquiries to Space Furniture. For more new releases and our Supersalone preview, turn to page 34.

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Leski Auctions leski.com.au Liebherr home.liebherr.com Living Edge livingedge. com.au Ludovica Saviane @ludoatwork Mario Torre mario torre.com Mark Douglass markdouglassdesign.com Martel Upholstery martelupholstery.com.au Martino Gamper martinogamper.com Mary Noall marynoall.com.au Mat Collishaw matcollishaw.com Misura misura.com.au Moab80 moab80.it Mobilia mobilia.com.au Mr Boards mrboards.com.au NRW Constructions nrwconstructions.com.au Nefiko Marble nefiko.com Ondene ondene.com Porter’s Paints porterspaints.com Radford radfordfurnishings.com.au Reece reece.com.au Reinhard Görner reinhardgoerner.de Resene resene.co.nz Rogerseller rogerseller.com.au Sarah Nedovic Gaunt sarahnedovicgaunt.com Schots Home Emporium schots.com.au Seytim seytim.com.au Siemens siemens-home.bsh-group. com.au Society Limonta societylimonta.com South Pacific Fabrics southpacificfabrics.com Space Furniture spacefurniture.com Spazio RT spaziort.com Stylecraft stylecraft.com.au Tacchini tacchini.it Temperature Design furniture.temperaturedesign.com.au Terrazzo Australian Marble terrazzo.net.au The English Tapware Company englishtapware.com.au The Maker Designer Kitchens themaker.com.au Todd Robinson toddrobinson.com.au Tom Mackie tommackie.net Vincent Rommelaere theworkofvincent.com Vitra vitra.com Vivai Giannuso vivaigiannuso.com Volantes Decorating Service volantesdecoratingservice. com.au Winning Appliances winningappliances.com.au Zanotta zanotta.it

VO GU E L I V I N G PROMOT I O N

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From the living room to the great outdoors, update your home in style with these must-haves.

SITTING PRETTY Look no further than the finely handcrafted Flexform Tessa armchair from Fanuli for a seat that blends comfort with timeless appeal. Made in Italy using Canaletto walnut and featuring delicate yet strong woven paper rush cord in the seat and backrest, this level of craftsmanship is in keeping with traditional methods. Optional cushions are available. Find out more at fanuli.com.au

THE HIGH LIFE From the deep-bronze façade to the rooftop garden, The Highline home design by Webb & Brown-Neaves epitomises urban living. Located in the leafy Perth suburb of Jolimont, The Highline successfully blends open contemporary spaces with a real connection to nature. Explore the elegant possibilities of smart residential design at wbhomes.com.au

LA DOLCE VITA Travelling abroad may be out of our reach right now but there is a way to bring those irresistible European summers to you — right into your home. Outside In.’s collection of original photographic prints inspire a special brand of wanderlust with works such as Positano Pinks, Spritz Spot (pictured), and Colours of Capri. Best of all, Outside In. commits to planting a tree for every print purchased. Visit outsidein-co.com

FEEL THE BEAT Enjoy stage-quality sound at home with the Audioengine A1 Bluetooth Wireless Speaker System for the ultimate at-home music experience. The premium yet compact two-speaker setup offers excellent music reproduction and connectivity to your turntable or via bluetooth to compatible devices for easy listening. Find out more at digidirect.com.au

TOP SHELF If you appreciate a fine drop and have a collection to prove it, the LG Signature Wine Cellar may be the perfect storage solution. To ensure flavour profiles are protected, each shelf provides the optimal conditions to suit each wine. The InstaView panel illuminates to display the contents while controlling the climate within. Visit lg.com/au/lg-signature

FULL STEAM AHEAD The power of steam combines with convenience in this 60cm Electric Built-In Combair Steam Oven from V-ZUG, exclusive to Winning Appliances. Versatile cooking functions include the BakeOmatic feature, which recognises the size of food to automatically adjust cooking time and temperature. Find out more at winningappliances.com.au

Our premium range of 1L Laundry Concentrates, Wool & Cashmere Shampoo and Fabric Fresheners have all been formulated with our signature scents including Blu Collection & Royal Blossom, as well as a hypoallergenic, Fragrance Free Baby Concentrate and Softener developed especially to care for your baby’s clothing and bedding.

INTERIOR DESIGN COURSE Learn from industry leaders. Self-paced course by distance learning. Postal and online options available. Call 1800 071 100

@nontre.co

nontre.co

TheInteriorDesign A cademy.com

ZAKKIA AMANDA THOMPSON Australian Abstract Artist Add a pop of colour to any space with these unique Tile Art Shadow Boxes from this leading artist’s new series. Available now for all designer stores, galleries and art collectors.

Designed in Australia by ZAKKIA. A timeless, beautiful, handmade collection. The speckles are a natural reaction from the heat in the kilning process which gives every product its own unique pattern. Made with functionality in mind, these items can be used for hot or cold foods, drinks, soup, stationary or even plants.

@artistamandathompson

artistamandathompson.com.au

zakkia.com

SELETTI Hybrid. One World, One Future celebrates the uniqueness of the various cultures giving each one of them the same importance. The styles of the different traditions come together and unite, giving life to new plates, bowls, cups and vases with an eclectic and cosmopolitan spirit. Hybrid. One World, One Future is the result of a meticulous research on the history of the different traditions of the world in order to celebrate the uniqueness of the various cultures and giving each one of them the same importance. This collection subverts the classic aesthetic of tableware, creating a harmonious visual short-circuit between shape and decoration. The styles of the different continents come together and unite, giving life to new plates, bowls, cups and vases with an eclectic and cosmopolitan spirit mixing decorations and graphic themes. @selettiXZnlmkZebZ 1300 730 244

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