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GREAT ESCAPES

AUSTRALIA

AUCKLAND

KUALA LUMPUR

LONDON

SINGAPORE

SHANGHAI

VANCOUVER

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Showroom 4/24 Young St Neutral Bay, NSW 2089 02 9949 9466 Trade accounts now available to architects and interior designers

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Contents

Upfront

P HOTO G RAP H E R: T HO MAS DE BR UY NE

22 24 26 29

CONTRIBUTORS ONLINE NOW vogueliving.com.au EDITOR’S LETTER VL VIEW With the world opening up, ‘New year, new you’ takes on a fresh spin for Michelle Ogundehin as she looks at homes nurturing us in a way no other space can

VLoves 34 BACK IN TIME Among the recent new designs and reissues launched by Italy’s top creatives are pieces that embody and deﬁne ‘classic’. Here are the picks of the designer crop

42 THE VL EDIT A curated hit list of new feature pieces and accessories that have caught our eye

102

The main entrance of a holiday home in Ibiza designed by Framework Studio.

VLife 58 AMERICAN BEAUTY The land of the free and the home of the brave is experiencing a resurgence in bold, spirited design with this chic collective of forward-thinking creatives

66 PROFILE: PAUL MILINSKI The Melbourne-based creative has made a name for himself in one of the art world’s hottest mediums. And with a new major project in the works, the best is yet to come

68 ICONIC STYLE: JOHN STEFANIDIS An island-hopping tour of Greece turned into a life-long love for the magic of Patmos for the London-based designer

70 FASHION HOUSE Asnières-sur-Seine became the home of a global purveyor of luxury style. Now a sixth-generation member of the Louis Vuitton family is continuing the legacy Jan/Feb 2022

ROUGE HERMÈS,, SHADE 64 - ROUGE CASAQUE

118

VLiving 92 WESTERN FRONTIER With clean lines, a cool palette and tactile pieces, Decus Interiors brings natural lightness to this multi-generational retreat in Margaret River

102 FEEL IT STILL Framework Studio’s Thomas Geerlings has called upon craftspeople from across Europe to help create a new contemporary home cloaked in a traditional Balearic exterior on the holiday isle of Ibiza

110 ABOVE THE CLOUDS At the summit of this Sydney icon, a penthouse embodying YSG’s signature colourful and tactile variety squares off with a modernist framework

118 NATURAL EASE A brief for the ‘feel of a holiday house’ translates as an evocative deep dive into lighting, texture and neutral tones in this Melbourne home by designer Fiona Lynch

128 PRIME VIEW A random phone call led designer Nina Maya to a dream commission — to revitalise the interiors of the former Sydney home of Australia’s longest-serving Labor prime minister

A couple have thrown open their heritage-listed 1930s Sydney bungalow to local design, Danish modernism and Italian elegance to harness a reﬁned retreat all of their own

150 PARADISE REALISED Designer Maximilian Eicke has used his dream home in Bali to conceive everything from the feature lighting and modernist furniture, down to the plates and cutlery 16

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P HOTO G RAP H E R: DAV E KU LE SZ A

140 STATE OF MIND

Contents

110

VList

Services

162 NEW IN TOWN

86 SUBSCRIBE TO VL

From the most-hyped hotel to hit Sydney in a decade to a waterfront heritage classic in Hobart and a luxurious taste of Paris in Adelaide, these new Australian hotels are escapes worth waiting for

Join up to our exclusive print and digital subscription for only $65 and become a Vogue VIP for event invitations and special insider access

164 THE VL EDIT

Contact details for the products, people and retailers featured in this issue

A curated hit list of reﬁned accessories for those who travel in style, from top to toe

GREAT ESCAPES Summer inspiration to kickstart the new year

168 LOUIS THE GREAT Philippe Starck’s polycarbonate chair makes big steps towards sustainable style vogueliving.com.au

The formal living area of a Northbridge home, previously owned by former prime minister, the late Bob Hawke. Photographer: Felix Forest. Stylist: Joseph Gardner. Story: page 128. Subscribe to Vogue Living: page 86. Be part of the conversation: #VogueLiving #loveVL

165 SOURCES

VLast look

On the cover

AMERICAN BEAUT Y

STYLISH STAYCATIONS

P HOTO G RAP H E R: PR U E RU SCO E . DR I N K S F RO M N AT IV E DRO P S, N AT I VE D RO P S.CO M.AU

In a view of the dining area of this Sydney home, custom drinks trolley designed by YSG in American white ash and blue granite, produced by Maiden Co; Casa glazed handmade tiles in White from Onsite Supply and Design; glass stand by Maison Balzac.

PUBLISHED BY CONDÉ NAST

Rebecca Caratti EDITOR editor@vogueliving.com.au ACTING EDITOR Jake Millar DEPUTY EDITOR Verity Magdalino STYLE EDITOR Joseph Gardner ACTING CHIEF COPY EDITOR Virginia Jen MELBOURNE EDITOR & FEATURES WRITER Annemarie Kiely DIGITAL DIRECTOR OF DIGITAL STRATEGY AND E-COMMERCE Francesca Wallace HEAD OF DIGITAL CONTENT AND GROWTH Mahalia Chang HEAD OF BRAND Yeong Sassall ACTING HEAD OF BRAND Anna Lavdaras CONTRIBUTORS CONTRIBUTING EDITORS Fiona McCarthy (London), Freya Herring, Jason Mowen IMAGES Christophe Coënon, Thomas De Bruyne, Felix Forest, Dave Kulesza, Tommaso Riva, Prue Ruscoe, Anson Smart, Dave Wheeler WORDS Amy Campbell, Matthew Evans, Christine McCabe, Michelle Ogundehin ART DIRECTORS Rebecca Burrell, Chi Lam DIGITAL ASSETS & RIGHTS MANAGER Trudy Biernat COMMERCIAL FINANCE MANAGER Roshni Walder COMMERCIAL – ADVERTISING GENERAL MANAGER, PRODUCT INTEGRATION Nicole Waudby GROUP PRODUCT INTEGRATION DIRECTOR Amanda Spackman COMMERCIAL CREATIVE DIRECTOR Adelina Cessario SENIOR PRODUCT INTEGRATION MANAGER Elise De Santo PRODUCT INTEGRATION MANAGERS Alex Wilson, Izabela Gower, Thomas Hancock, Nadine Peach HEAD OF PRODUCT AND PARTNERSHIPS Sumit Chakravarty PRODUCT IMPLEMENTATION MANAGERS Mollie Dixon, Morgan Zhang GROUP SALES DIRECTOR, PRESTIGE Hannah David Wright PRESTIGE SALES MANAGERS Cheyne Hall, Kate Corbett, Jennifer Chan COMMERCIAL SALES EXECUTIVE Brigette Roberts ADVERTISING — CREATIVE HEAD OF CREATIVE Richard McAuliffe HEAD OF CREATIVE OPERATIONS Eva Chown HEAD OF ART Karen Ng HEAD OF CONTENT Brooke Lewis SENIOR ART DIRECTORS Elen Le Glanic, Nicole Vonwiller SENIOR CONTENT WRITERS Rosie Double, Julian Hartley, Tiffany Pilcher, Colin Sevitt CREATIVE PRODUCERS Louise Davids, Sarah Mury, Kristie Walden PRODUCTION MANAGER Michelle O'Brien IMAGING AND RETOUCHING SERVICES, PRESTIGE Michael Sykes INTERACTIVE EDITION PRODUCTION MANAGER Stuart McDowell GENERAL MANAGER, B2B REVENUE Ben Keating HEAD OF RETAIL MARKETING, RETAIL SALES & MARKETING Rohan Smith SUBSCRIPTIONS RETENTION MANAGER Crystal Ewins COMMERCIAL FINANCE MANAGER CIRCULATION, COMMERCIAL FINANCE Cindy Ourawattanphan GENERAL MANAGER, DIGITAL Stuart Fagg HEAD OF PRODUCT DESIGN Alex Fawdray DIGITAL DESIGNER Yeara Chaham DIGITAL PRODUCT MANAGER Benjamin Langford EVENTS & EXPERIENCES GENERAL MANAGER, EVENTS & EXPERIENCES Diana Kay CAMPAIGN MARKETING MANAGER Rachel Christian PROGRAM & CUSTOMER EXPERIENCE MANAGER Natalie Headland SENIOR EVENTS MANAGER Dorothy Reynolds CAMPAIGN MARKETING EXECUTIVE Sophie Mac Smith PRESTIGE MARKETING GENERAL MANAGER, CONSUMER Alice Bradbury HEAD OF MARKETING Jarrah Petzold MARKETING MANAGER Annie Kelly HEAD OF PLANNING, PERFORMANCE & ENGAGEMENT Alan Sims MARKETING EXECUTIVE, ENGAGEMENT Magdalena Zajac PUBLISHER, NEWS PRESTIGE NETWORK Nicholas Gray EDITORIAL DIRECTOR, CONDÉ NAST TITLES Edwina McCann MANAGING EDITOR, CONDÉ NAST TITLES Louise Bryant DIRECTOR OF COMMUNICATIONS Sharyn Whitten HEAD OF FINANCE Jacob Shadwick CHIEF TECHNOLOGY OFFICER, DATA AND DIGITAL Julian Delany VOGUE LIVING is published by NewsLifeMedia Pty Ltd, ACN 088 923 906. NewsLifeMedia Pty Ltd is a wholly owned subsidiary of News Limited (ACN 007 871 178). Copyright 2021/2022 by NewsLifeMedia Pty Ltd. All rights reserved. ISSN 0042-8035. 2 Holt Street, Surry Hills, NSW 2010. Tel: (02) 9288 3000. Email: mail@vogueliving.com.au. Website: vogueliving.com.au Postal address: Vogue Living, NewsLifeMedia, Level 1, Locked Bag 5030, Alexandria, NSW 2015. Melbourne: Level 9, 40 City Road Southbank. Tel (03) 9292 3208. Brisbane: 41 Campbell Street, Bowen Hills, Qld 4006. Tel: (07) 3666 6910. Fax: (07) 3666 6911.

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THE CASSINA PERSPECTIVE

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Contributors Dave Kulesza P H OTOG R A P HER Having emerged from the most recent lockdown in Melbourne, Polish-born photographer Dave Kulesza says he’s simply inspired by the pleasure of being able to work. “Just being back on the tools is so refreshing,” he says. Describing his career path as “conventional… i.e. study photography, years of assisting and then shooting,” Kulesza savoured the chance to lens the latest project by designer Fiona Lynch, a revived ’70s beach house on Victoria’s Mornington Peninsula (page 118). “The vast majority of my workﬂow is about working with natural light,” he says. “I ﬁnd the images that inspire me the most are usually the ones that happen unexpectedly.” Kulesza is set to launch a book and series from a passion project, DPRK: North Korea in Colour, while also working on Boris Bombay, an 8-bit-inspired architectural series. @davekulesza

Prue Ruscoe

PHOTOG RA PH ER A regular contributor to the pages of Vogue Living, Ruscoe says that despite her respected standing as one of Australia’s leading interior photographers, she ﬁnds shooting homes constantly challenging. “There’s so many decisions on angles, light, trying to break down a space to tell the story, and such a responsibility to capture the designers’ and homeowners’ vision,” she details. For this issue, Ruscoe shot a Sydney penthouse apartment designed by the inimitable YSG Studio (page 110). “This apartment is everything you could possibly want in a Sydney home — light and views on all sides and a truly original interior transformation,” she says. “I am so blessed to work with YSG — they use colour like no one else.” A native Sydneysider, Ruscoe says she continues to be inspired by the city’s beauty and creativity. “But after the craziness of the last two years, and not being able to travel, I am looking forward to getting back to Italy in a few months for an extended stay — and hopefully shoot some amazing stories while I am there in the European spring.” @prueruscoe

Thomas De Bruyne P HOTO G RA P HE R For this issue, Belgian photographer Thomas De Bruyne captured the breezy feel of a stunning retreat in Ibiza (page 102) designed by Framework Studio. “Realising this project was ours for two whole days was a highlight,” says De Bruyne. “And being able to play with the spaces during several lighting conditions — cloudy, sunny and sunset.” De Bruyne was working in advertising and taking photographs as a hobby before he turned image making into a career. Now working under the name Cafeine, he shoots for some of the industry’s big names including Vincent Van Duysen and Lionel Jadot. “I am always balancing between graphics and photography, which helps me understand how to capture architecture and interiors.” @cafeine

P HOTOG R AP HER Italian Tommaso Riva worked in hedge funds between Dublin and New York before discovering photography. He started out shooting late-night New York jazz clubs and soon quit his day job to return to Milan, where he perfected his craft capturing the energy backstage at fashion shows. A commission to photograph Dimorestudio’s Milan apartment sparked a deep infatuation with interiors. “When I saw the home, I was so excited,” says Riva. “I didn’t expect that. I had the opportunity to just go around undisturbed and portray this incredible piece of art. It was like love at ﬁrst sight.” For our escape-themed issue, Riva — who now lives in Bali — shot the Bali residence of designer Maximilian Eicke (page 150). “I like to make people imagine and really guide their vision through an image. I like the idea that interiors can be moody.” @tommasorivaphotography 22

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E DI T E D BY V E RI T Y MAGA DAL I N O

Tommaso Riva

A BEACH HOUSE RE-IMAGINED

PERTH’S LUXURY HOME BUILDER FOR 40 YEARS | WBHOMES.COM.AU BC5409

Editor’s letter

In the walkway outside Maximilian Eicke’s parents’ bedroom in his Bali retreat (page 150), hand-carved reclaimed teak sphere sculpture by Maximilian Eicke; ﬂoor tiles from Niro Granite. Details, last pages.

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PHOTO G RA PH ER S: G EO RG E S A N TON I (P ORTRA IT ), TOM A SS O R IVA ( HOM E )

take back anything I’ve ever said about flying. All the complaints about leg room, the misery of check-in procedures or in-flight meals — I’m ready to recant. After being grounded for the best part of two years — much of that spent within the same four walls — I’m happy to admit that Joni Mitchell was right: you don’t know what you’ve got till it’s gone. I’d give anything to wake up with that familiar pang of neck pain that only comes from a sleepless night spent somewhere south of row 34. I’m joking, of course. But only a bit. Because as borders timidly creak open once again, the prospect of international travel is finally on the cards. It’s great news for everyone: for families who can reunite at last, for businesses starved of tourist dollars, or for people like me who just want to go somewhere, anywhere, that isn’t in Australia for a change. It’s part of the reason why we themed this issue around the concept of escape. But we’re not just talking about easing restrictions or stepping foot on a plane. It’s also about a state of mind. And in a way, that’s what connects many of the homes in this issue: an approach to design that transports you somewhere else. There are some that do it literally, like the airy Framework Studio property in Ibiza (page 102) or the modernist Maximilian Eicke sanctuary in Bali (page 150). But that same energy is alive in our local projects, too. Like the colourful YSG-designed apartment (page 110) that’s smack-bang in the middle of Sydney but could be anywhere else on earth. Or the coastal holiday home in Western Australia’s Margaret River (page 92) that makes you feel more relaxed just by looking at it — BYO glass of shiraz. Then there’s the iconic Sydney waterfront residence (page 128). It’s no secret the property was once home to our nation’s longestserving Labor prime minister, the late Bob Hawke, and it’s probably fitting that it appears on our cover. If nothing else, he was a man who lived life to the full. And for an issue that is dedicated to the idea of escape, of the power that design has to let you forget your everyday worries and live in the moment, I’d like to think that a small part of that spirit is alive in these pages, too. Enjoy the issue — and here i 2022

Our rugs lie lightly on this earth.

A R M A D I LLO - C O.C O M

FURNITURE & HOMEWARES . INTERIOR DESIGN . PROPERTY STYLING

SYDNEY . MELBOURNE . BRISBANE . GOLD COAST . PERTH . CANBERRA . AUCKLAND WWW.COCOREPUBLIC.COM.AU

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P HOTO GR AP HE R : A N SO N SMART. STY L I ST: C LA I RE D ELM AR . ARTWOR K : L I N E S O F CO N FLU E N C E ( 2) BY J U DI T H WRI GHT, FR OM SO P HI E G AN NO N GAL L ERY

Open invitation With the world opening up, ‘New year, new you’ takes on a fresh spin for Michelle Ogundehin as she looks at homes nurturing us in a way no other space can.

‘Y

ou can’t cancel spring’ became something of a rallying cry for many of us here in the UK, as we collectively emerged from wintering through difficult times. Certainly, the increasing warmth of the sun, and watching bare earth and branches give way to shoots, leaves, then bounteous blooms is intrinsically uplifting. It is our annual reminder that light always follows dark, and optimism is a powerful panacea against many ills. The passing of the seasons also teaches us that nature never hurries. Rather, it is quietly responsive. Flowers turn slowly towards the sun, respond enthusiastically to rain, and conserve energy when it’s cold. We cannot coerce them to grow faster than they will. They wait for the right moment. Then they make the most of it. We have a lot to learn from nature. And perhaps after such an extended period

of enforced curtailment and confinement, both nationally and internationally, we’ve finally had time to ponder our true place in the world. In other words, to see the human race not as self-appointed controller-in-chief, but more as temporarily permitted guardian. In the same way, finally, could there now be a deeper understanding of the power of home? No more the delusion that it exists merely as a place to race out of in the morning and slump back to exhausted in the evening. Instead, surely, we all comprehend its purpose as our place of solace and support, recuperation and revitalisation. In short, that home can be your superpower! Indeed, it is my passionate belief that home is the third pillar of wellbeing, as important to your health and happiness as good food and exercise. However, and here comes the caveat, only if you harness its power correctly. To fully embrace the hope and possibility that is home is to be able to exhale on entering it. To feel your shoulders drop on reflex ›› Jan/Feb 2022

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‹‹ because you know you are safe and protected. But over and above the physicality of being wrapped in its comforting embrace will be the knowledge that your home is an active partner in your wellbeing. In other words, interiors that actively participate in the health, if not rehabilitation and healing, of their inhabitants. But this new wave of intrinsic home health goes beyond the already popular biophilic design — the direct integration of nature with natural forms and materials into an environment. The new frontier of home health is more aligned with environmental psychology, a field that focuses on the dynamic interplay between people and their surroundings. Certainly, at the most basic level, the materiality of a space is still paramount. In pursuit of ‘Ambient Wellbeing’, as I shall call it, we’ll see the increased use of naturally antimicrobial surfaces like copper and cork. Equally a rise in woods like Western Red cedar, which is naturally resistant to rot and pests; clay-based plaster, which prevents mould by maintaining optimum humidity levels; and silver thread-lined EMF-shielding curtains, which block potentially harmful electromagnetic radiation. It’s exciting too to see the wealth of emerging biomaterial innovation: alternatives to masonry made from hemp, ‘leather’ from pineapple leaves and cacti, hypoallergenic sheets spun from eucalyptus wood fibres, and paints that actively suck pollution from the atmosphere. But it’s more than just healthier materials. Studies have shown the very real impact of ceiling height on an individual’s notion of freedom or constriction with people proven to be happier, more focused and creative in rooms with higher ceilings. It is our subconscious response to free space above the head for thinking. There is also what I’ll call ‘Persuasive Design’, the deliberate manipulation of wellbeing through an acute understanding of placement and orientation. For example, ensuring bedrooms are oriented towards the direction the sun rises to assist natural waking and support biorhythms. In a world adapting to living with pandemics, the home of the future must not be allowed to become a sterile fortress against all foes, or an antiseptic bunker designed to defensively shield. If anything, our response must be the opposite. We must embrace what we intuitively seek in a holiday home or do naturally in the warmer months — our homes must become more open, not closed. They must enable the free flow of air, with windows that connect us to views, whether garden, distant trees or communal park. Rooms need to be 30

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simple and free from clutter as mess creates stress. We should add art that inspires and uplifts, regardless if it hails from a professional or our children. Texture must be abundant, from underfoot to writ large across each and every surface, connecting us by touch to our essential humanity. And we must no longer be afraid of colour and pattern, as these are the fast track to positive emotional states. Ultimately, we must be mindful of everything that we introduce into our homes, from the materials used to build and decorate them to the provenance and composition of everything contained within them. They must also represent every facet of our being, who we are as a whole, from our work to our play. In this way, the global move towards increased working from home capacities could actually be seen as enabling a more honest representation of our public selves in our private spaces. Such authenticity can only be good for us in the long term, even if it causes some short-term reorganisational pain! In the UK, where I am, we’re preparing for winter as fears abound of a Covid resurgence. The days are already shorter and the evenings frequently blustery, cold and wet. But my home is still my place of warmth, refuge and joy. It is the centre of my life, thus honoured, respected and cherished accordingly. We, my home and I, are ready to hunker down. The windows have been repainted, the 200-year-old wooden frames lovingly restored to pristine condition. The roof has been checked, loose tiles and leading repaired. Gutters cleared and the garden bedded down, too. We shall be snug, secure in the knowledge that spring and light anew are waiting for us, too. VL

P HOTO G RAP H E R: ANSO N SMART. STY L I ST: C L AI R E D E L MAR

“We must embrace what we intuitively seek in a holiday home or the warmer months — our homes must become more open, not closed”

P HOTO G RAP H E R: C H RI STO P H E CO ËN ON . ST Y L IST: SARA H D E B E AUM ON T

shop style

VLoves

T HI S PAG E , FR O M L E FT Edra On The Rocks sofa by Francesco Binfaré, POA, from Space Furniture. Minotti César side tables by Rodolfo Dordoni, from $1870 each, and Solid coffee table by Rodolfo Dordoni, from $3675, from Dedece. Steel tray by Gio Ponti, POA, enquiries to 1stDibs. Flos 1969 reissue Chiara ﬂoor lamp by Mario Bellini, $4267, from Living Edge. On curtain, a view of the cemetery of San Cataldo, Modena, by Aldo Rossi, photographed by Romain Courtemanche. Turn the page for the full story.

Jan/Feb 2022

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Back IN

time

Among the recent new designs and reissues launched by ITALY’S TOP CREATIVES are pieces that embody and define ‘classic’. Here are the picks of the designer crop. Photographed by Christophe Coënon Styled by Sarah de Beaumont T H I S PAGE, FR O M L EF T Fritz Hansen 1959 reissue Carimate armchairs by Vico Magistretti, $2020 each, from Cult. Molteni & C 1955 reissue MHC.1 chest of drawers by Werner Blaser, $15,050, from Hub Furniture. Pewter vase and Murano glass and pewter stand by Ettore Sottsass, POA, enquiries to 1stDibs. On main curtain, the Staircase of Knowledge by Gio Ponti in the apartment of the rector of the University of Padua, photographed by Jeff Boudreau. Details, last pages.

Jan/Feb 2022

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Poltrona Frau 1974 reissue Kyoto coffee table by Gianfranco Frattini, from $13,500, from Mobilia. B&B Italia 1970 reissue Camaleonda sofa unit by Mario Bellini, from $7295, from Space Furniture. Giobagnara Ossicle tray by Francesco Balzano, from $1008, from The Invisible Collection. On curtains, San Cataldo cemetery, Modena, by Aldo Rossi, photographed by Romain Courtemanche. TH I S PAGE, F R OM L EF T

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Flexform Tessa armchair by Antonio Citterio, from $6550, from Fanuli. Arﬂex Goya table, $5520, from Space Furniture. Vase by Michele De Lucchi, POA, enquiries to 1stDibs. On curtains, the footbridge at Banca Popolare di Verona by Carlo Scarpa, photographed by Jonathan Frantini, and the Graduation Room by Gio Ponti of the University of Padua, photographed by Jeff Boudreau.

T HI S PAG E, FRO M L E FT

VLoves TH IS PAG E, FRO M L EFT Karakter 1978 reissue Lari lamp by Angelo Mangiarotti, $1860, from Cult. Cassina 1919 reissue Elling buffet by Gerrit Thomas Rietveld, $43,888, from Mobilia. Baxter Greta Special-edition Printed armchair by Draga & Aurel, $9825, from Space Furniture. On curtains, the church of Gibellina in Sicily, photographed by Julien Oppenheim, and the footbridge at Banca Popolare di Verona by Carlo Scarpa, photographed by Jonathan Frantini.

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T H IS PAGE Armani Casa Pascal armchair, POA, from Giorgio Armani. Fendi Casa Eclipse coffee table, $12,800, from Fendi. Karakter Sferico glasses by Joe Colombo, $49 each, from Cult. On curtains, the corridor of Villa Necchi in Milan by Piero Portaluppi, photographed by Philippe Garcia. Details, last pages.

BAKING MIXES by

On sale exclusively at Woolworths WATCH HOW TO TAKE THEM TO THE NEXT LEVEL AT DELICIOUS.COM.AU/BAKINGRANGE OR SCAN THE CODE:

VLoves Sarah Ellison x ADesignStudio Alchemy T1 table lamp, $1773, from ADesignStudio; adesignstudio.com.au H Casaque blanket, $2395, from Hermès; hermes.com/au

SHOP

P HOTO G RAP H E R: DAV E WHE E L E R (S ARA H E LL I SO N )

The VL edit

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VLoves

MD House Legri bed, from $9590, from Fanuli; fanuli.com.au

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Ligne Roset Togo large settee by Michel Ducaroy, from $6250, from Domo; domo.com.au

P HOTO G RAP H E RS: N I C K TSI N D OS (D I N OS AU R DE SI GN S), R O SS H ON E Y SE T T ( DE D E C E )

Serax x Ottolenghi Feast stoneware serving plate, $141, from Matchesfashion; matchesfashion.com

SAVOURING SUMMER ®

SIP ON A SPRITZ

A DV E R T I S E M E N T

D I S C OV E R THE RECIPE AT H N .C O M . AU/ RECIPES

REFRESHING SUMMER COOLERS Feel the balmy breeze on your face while sipping on an icy fruit frappé. It’s the perfect way to kick off a long, lazy lunch. Take advantage of all the delicious fruits that are in season – mango, rockmelon, papaya, pineapple, peaches, passionfruit and strawberries. Pop them in the bluicer with some ice. Pure summer bliss.

BLEND JUICE CRUSH

SPACE-SAVING DESIGN FOR STYLISH KITCHENS Delicious summer cocktails, frappés and smoothies are a breeze with this high-performance blender juicer. With its Kinetix® contoured blade, an extra wide chute, Cold Spin Technology ®, five one-touch programs and 10 precision-speed controls, you can blend, juice or ‘bluice’ straight into a high-capacity, 1.5-litre blender jug. Perfect for staying cool through the warmer months.

Breville the 3X Bluicer Pro, BJB815BSS, $699.

CREATE DELICIOUS FRESH FRAPPÉS, SMOOTHIES, COCKTAILS AND MORE WITH THIS POWERFUL BLENDER JUICER.

A DV E R T I S E M E N T

D I S C OV E R THE RECIPE AT H N .C O M . AU/ RECIPES

SLICE, DICE, GRATE, CHOP, BLEND, JUICE AND WEIGH CONVENIENTLY. ALL YOUR KITCHEN NEEDS CATERED FOR WITH ONE FOOD PROCESSOR.

CRISPY-SKINNED SALMON WITH GREEN VEGETABLES AND PESTO DRESSING Keep it simple as well as sensational. Place fresh salmon fillets in a pan, and sear them until the skin is nice and crispy. Serve with baby chat potatoes and lightly steamed asparagus, zucchini and snow peas, then drizzle with homemade pesto. Enjoy on a warm, summer evening under the moon and stars.

CHOP GR ATE SLICE

ATTACHMENTS FOR EVERY PURPOSE Free your imagination with this ingenious multi-purpose food processor. Whatever you dream of cooking for your family or guests, you can be confident you’ve got all the right tools. Attachments include: 1.5L ThermoResist™ glass blender, glass mill, citrus juicer, knife blade, two slicing/grating discs, extra fine grating disc, dual metal whisk, dough tool, weighing tray and a SmartStore™ bag to keep them all in one place. Kenwood MultiPro Express Weigh+ Food Processor, FDM71970SS, $449.

A DV E R T I S E M E N T

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HOMEMADE SPAGHETTI ALLE VONGOLE WITH CHORIZO AND CHILLI Soak up the summer rays as you savour the subtle, sea-salty flavour of baby clams combined with the smokiness of pork chorizo in this traditional Spanish dish. Use fresh, homemade pasta to take it to a new level. Pair with a chilled pinot grigio and you’ll be on your way to heaven.

ROLL STRIP CUT

MADE TO PERFORM AND BUILT TO LAST Mix ingredients like a pro with KitchenAid’s original planetary mixing action. The beater rotates around the bowl, giving incredible bowl coverage for fast and complete mixing. With more than 10 attachments available (some sold separately), this stand mixer easily whips up everything from pasta to ice-cream and more.

KitchenAid Artisan Stand Mixer – Pistachio, 5KSM160PSAPT, $949. KitchenAid 3-piece Pasta Roller Attachment, KSMPR A , $289.

INNOVATIVE ATTACHMENTS TRANSFORM THE MIXER INTO A PASTA MAKER, FOOD GRINDER, VEGETABLE SLICER, AND EVEN A SAUSAGE MAKER.

A DV E R T I S E M E N T

D I S C OV E R THE RECIPE AT H N .C O M . AU/ RECIPES

POWERFUL MIXING, VARIABLE SPEED SETTINGS AND HANDY ATTACHMENTS FOR KEEN HOME CHEFS AND BUSY KITCHENS.

MINI LEMON CURD AND MERINGUE TARTS Top off your summer feast with this classic pastry – a tantalising mix of flavours and textures. The biscuit crust is rich and buttery. The creamy lemon filling is tart and zesty with just a touch of sweetness to soften the punch. And the little dollops of meringue topping add light, fluffy finishing touches to this special treat.

MIX WHIP KNEAD

ORIGINAL PLANETARY MIXING ACTION If you love baking, this versatile appliance really rises to the occasion. The powerful Breville the Bakery Chef™ Hub Stand Mixer features a 1000W motor, full metal gears and a planetary mixing motion for 360-degree full bowl coverage. It’s the first Breville mixer to include an attachment hub, turning it into a handy kitchen helper with optional attachments.

Breville the Bakery Chef™ Hub – Sea Salt,

LEM750SST2JAN1, $499.

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A DV E R T I S E M E N T

D I S C OV E R THE RECIPE AT H N .C O M . AU/ RECIPES

BERRY, VANILLA AND ESPRESSO CHEESECAKE LOAF Cool down while refreshing your palate with this dreamy dessert. This decadent summer loaf features three layers of creamy cheesecake, infused with raspberries, vanilla and espressostyle cold brew coffee resting on a biscuit crumb base. Top with whipped cream, berries and edible flowers. If summer has a taste, this could well be it.

GRIND EXTR ACT POUR

WORLD-FIRST HOT AND COLD AUTOMATIC COFFEE MACHINE Now you can prepare barista-style cold brews and iced coffees, as well as the full spectrum of hot coffees, at the touch of a button. The new Jura Z10 features a revolutionary Cold Extraction Process that pulses cold water under high pressure through the coffee granules.

Jura Z10 Automatic Coffee Machine – Aluminium White, Z10ALUWHITE, $4150.

PREPARE CAPPUCCINOS, COLD BREWS, ESPRESSOS, LATTES AND LONG BLACKS AT THE TOUCH OF A BUTTON.

Subscriber exclusive offers Subscribers to Vogue Living gain access to our exclusive rewards program Vogue VIP. Activate your membership now at vogue.com.au/activate HERE’S A TASTE OF OUR OFFERS

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A LG 55-INCH

A DOUBLE PASS TO

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50’S-STYLE

& GALLERY

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STAND MIXER,

STAND

AT THE NGV

WORTH $599

Explore these exclusive offers and more at voguevip.com.au *Offer 1: Entries open at 9am AEDT on November 1, 2021 and close 11:59pm AEDT on January 31, 2022. Australian residents 18 years and over only. Limited to one entry per eligible member. Winner drawn on February 1, 2022 at 4pm AEDT at News Life Media Pty Ltd, 2 Holt Street, Surry Hills, NSW 2010. Winner is drawn from entrants who are eligible Vogue VIP members. Winner’s name to be published within 7 days after the final draw date on the Vogue VIP website. There is one prize to be won. Prize consists of a LG 55-inch G1 Gallery OLED TV, valued at $4,319 and a Gallery Stand, valued at $499. Total prize pool valued at $4,818. Prize does not include any installation services. ACT Permit TP 21/01770. Full terms and conditions available at voguevip.com.au. Offer 2: Entries open 9am AEDT on November 1, 2021 and close 11.59pm AEDT on January 16, 2022. Australian residents aged 18 years and over only. Limited to one entry per eligible member. Winners drawn at 4pm AEDT on January 17, 2022 at News Life Media Pty Ltd, 2 Holt Street, Surry Hills, NSW 2010. Winners are drawn from entrants who are eligible Vogue VIP members. Winners' name to be published within 7 days after the final draw date on the Vogue VIP website. There are 15 prizes to be won. Prize is a double pass that will admit up to 2 adults to attend the Gabrielle Chanel. Fashion Manifesto exhibition at the NGV, valued at $60. Ticket terms and conditions apply. Tickets not redeemable for cash and not transferable. Total prize pool valued at $900. If exhibition is cancelled due to government restrictions and/or due to COVID-19, there will be no substitute tickets awarded. Attending the event is at your own discretion in relation to COVID-19. Full terms and conditions available at voguevip.com.au. Offer 3: Entries open at 9am AEDT on November 1, 2021 and close 11:59pm AEDT on January 31, 2022. Australian residents 18 years and over only. Limited to one entry per eligible member. Winner drawn on February 1, 2022 at 4pm AEDT at News Life Media Pty Ltd, 2 Holt Street, Surry Hills, NSW 2010. Winner is drawn from entrants who are eligible Vogue VIP members. Winner’s name to be published within 7 days after the final draw date on the Vogue VIP website. There is one prize to be won. Prize is a Smeg retro 50’s-style stand mixer in Black, valued at $599. Total prize pool valued at $599. Full terms and conditions available at voguevip.com.au.

P HOTO G RAP H E R: O R I H ARPAZ

art design people

VLife

designer Arati Rao of Tantuvi, a rug company based in Brooklyn, New York, that brings together traditional Indian weaving and a sense of community. Turn the page for the full story. T HI S PAG E

Jan/Feb 2022

AMERICAN BEAUTY By Freya Herring Research by Jenny Nguyen

VLife

P HOTO GR AP HE R : P I A R I VE RO LA ( ESTU D IO P E R SO N A P O RTRAI T )

Recessions are bad — that’s a given. But the GFC may well have borne an American design renaissance. “The crisis meant a lot of people were laid off, many designers went out on their own,” says Jean Lee of Ladies and Gentlemen Studio. “Lots of trade shows became free, to bring in new energy, highlighting independent designers, and that progressed to collective design trade shows and designers connecting more with the art collector world.” Today, 13 tumultuous years on, having trudged through the Trump era, empowerment movements like Black Lives Matter and Me Too, not to mention a global pandemic, sights have turned away from the calming Scandi-led, mid-century modern look onto something that seems to say ‘new start’. It’s altogether more vibrant, outwardly conﬁdent and even, at times, breathlessly optimistic. It’s arguably the kind of design that American culture was established to create.

Estudio Persona

essie Young and Emiliana Gonzalez worked in ﬁlm in their native Uruguay but upon moving to Los Angeles, both shifted to a career in design. The pair’s lighting and furniture — geometric and graphic with ﬂowing forms set against hard lines — come out of collaborative thought. “Our practice is formed usually from a very visual point, playing with shapes,” says Gonzalez. “We get a lot of inspiration from art and architecture.” “It’s always about form — how this connects with this, how this has a tension with that,” Young continues. Sustainability is paramount and so Estudio Persona objects are made locally with local

TH IS PAG E, FR O M L EFT

Bow ﬂoor lamp. The Luz table and Aire stools from Estudio Persona’s latest collection. H chair. Block chair. O PPO S ITE PAG E Emiliana Gonzalez and Jessie Young of Estudio Persona, with a stack of Arrow tables. Jan/Feb 2022

ounded in 2012 by Gabriel Hendifar and Jeremy Anderson, Apparatus is perhaps the most well established of the new wave of American design. Now helmed solely by Hendifar, the New York-based studio’s charmingly rambunctious aesthetic is most recently expressed in its Act Four collection. “Act Four is inspired by a 1960s view of the future in which man-made ingenuity and technology elicited delight,” says Hendifar. “I wanted to capture a sense of optimism and wonder, a sense of humour, where chairs feel like friendly robots that might say ‘beep boop’ when you sit on them. The collection negotiates the delicate balance between machine perfection and the human hand.” Act Four includes three lighting series, as well as Apparatus’s first range of seating and rugs. The Reprise lights showcase illuminated orbs cupped by suede strapping, while the Episode chairs play with material expectation. “I find the resolution of the button detail, which is actually the absence or memory of a button, to be particularly beautiful,” he says. Newly renovated New York showrooms are due to open again at the end of January, arguably the best place to experience the awe-inspiring power of this new collection. “What has become more and more clear to me in the last 10 years is that my process starts first with imagining a full world — its mood, its attitude, its references,” says Hendifar. “From that point of departure, the pieces I design become the tangible artefacts of that world.” @apparatusstudio

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P HOTO G RAP H E RS: MAT TH E W P L AC E K ( AP PA RAT U S P RO D U CTS) . WI C H MA N N + BE N DT SE N (AP PAR AT U S P O RTR AI T). JON AT H AN HÖ KK LO (LA DI E S & G E N TL E MAN STU DI O P O RT RAI T ), MAX BU R K HALTE R ( MC KA PR O JE CT), E ST HE R C HO I (DA SH MA R SHALL P RO JE CT )

Apparatus

VLife Ladies & Gentleman Studio

uriosity is what drives the multidisciplinary practice of Ladies and Gentlemen Studio — cofounded by Jean Lee and Dylan Davis — producing lighting, sculptures, furniture, home accessories and jewellery between Seattle and Brooklyn. “We want to explore different modalities of design, whether it’s through community, materials or context,” says Lee. “The guiding value for us is keeping it open, allowing us to be curious and discover new things and new channels.” Inspiration could come from the tiniest of sources. “It could be a little sample of material that’s been sitting on our shelf for years,” says

TH IS PAG E, F R O M B E LO W

the Myrna pendant light in Dash Marshall’s Tambor Loft project. Dylan Davis and Jean Lee of Ladies & Gentleman Studio. Folded utensils. The Myrna pendant light in MCKA’s Carnegie Hill Apartment project. LE FT

“How can you manipulate a thin piece of material in a minimal way to give it a beautiful form? Everything we make is in this lineage of curiosity” DYLAN DAVIS

T H IS PAGE , C LO C K WI S E F RO M

Agate Iris rug (on ﬂoor) and Claystone Coral rug (on wall), both from the Travertine collection. Quartz Citrine rug in repurposed silk. Designer and founder Arati Rao of Tantuvi.

Tantuvi

ike many designers straight out of university, once Arati Rao entered the workplace, disillusionment set in. “I studied fashion, then I worked for larger companies where everything was very automated, and you don’t know where your fabric is made,” she says. “I felt disconnected from the work I was doing, and I knew there was a better way to do it.” Having grown up in the States, Rao regularly holidayed with family in India and on visiting weaving communities there in 2010, the seeds of Tantuvi were sown, launching ﬁve years later. Working from Brooklyn, New York, Rao designs both with or without artist Adam Sipe, compositions often springing out of her collages, or photographs of textures or shadows she’s taken on the road. The rugs — crafted from silk, cotton and hemp — are “very graphic,” she says. “We never want perfect symmetry.” Each is woven in India by families at home on a loom from communities Rao has familiarised herself with. She intends on launching her latest collection — a range of outdoor furniture sustainably made from recycled plastic transformed into yarn — in the American spring, with new tabletop runners due for release in February. @tantuvi

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P HOTO G RAP H E RS: O R I H AR PAZ (AR ATI RAO P O RT RAI T ), N ARE G TA I MO O RI AN ( TAN TU VI STU DI O ) , ISA BE L A SHA P EN Z L I E N (TANT U VI P RO D U CTS), C LÉ ME NT PAS CAL ( IN CO MMO N WI TH PR O DU CTS ), JU ST IN J WE E ( I N CO M MO N WI T H P O RT R AI T)

TO P L EF T

VLife

T HI S PAG E , F R O M TO P

In Common With cofounders Nick Ozemba and Felicia Hung. The Dome table lamp in White Clay and Oxide Red.

VLife “As much as I love my culture, I was raised in Chicago, so it doesn’t feel genuine to use Iranian motifs — I integrate that through the messaging of the pieces rather than the physical design”

Kouros Maghsoudi

T HI S PAG E, C LO C KWI SE F ROM TOP LEF T

Behsheen chairs and Doodool mirror. Designer Kouros Maghsoudi with Bugs the cat. Taarof table. 64

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P HOTO G RAP H E RS: DAN NY R OC HE ( KO U R

ew York-based designer Kouros Maghsoudi’s furniture feels, and is, inspired by fashion but is also informed by his Iranian-American identity. “All of my pieces are inspired by Iranian culture and traditions,” he says. “As much as I love my culture, I was raised in the suburbs of Chicago, so it doesn’t feel genuine to use Iranian motifs, shapes and silhouettes — I integrate that through the messaging of the pieces rather than the physical design.” Take his Taarof table, a bulbous Michelin Man of an object reminiscent of New York Jeff Koons nostalgia. “Taarof is this thing that Iranians do where we are over-generous, over-serving, over-polite,” says Maghsoudi. “With my table you’re really able to taarof — there’s an ice bucket if you want to serve your guests champagne or wine, and there’s a fruit bowl and an ashtray. When you look at it, it doesn’t look Iranian but in the messaging and idea, it really allows you to fulﬁl that tradition.” His latest work — turn it one way and it’s a vase, ﬂip it over and it’s a bowl — retains the glossedup, postmodern aesthetic Maghsoudi has brought to the design scene, but with even more of a playful kick. @kourosmaghsoudi

Mark Grattan

he way Mark Grattan — who runs VIDIVIXI with Adam Caplowe from Mexico City and New York — talks about his work, it’s clear he possesses the collective soul of a designer, artist and ﬁlmmaker. He describes the 2018 collection — which includes Vivien’s dinner table, a darkly dyed oak and bronze glass piece — as “the storyline of a tumultuous family, about a husband and his mistress and a wife who had found out”. For him, “there has to be drama, production, provocation, mystery — all of these things feed my practice.” Currently, Grattan is collaborating with singersongwriter and creative Solange Knowles to develop a line of furniture for her multidisciplinary Saint Heron brand, slated for release in February. He describes his latest piece, a bench released at Cristina Grajales Gallery in Tribeca last November, as “quite tribal — wood stretched and skinned in green leather suede”. Everything Grattan does is intensely personal and deeply expressive: “My work is a way for me to communicate.” @vidivixistudio

T H IS PAGE , FRO M FA R LEFT

the main bedroom of Mark Grattan’s apartment in Mexico City, with a custom VIDIVIXI bed. The living area with a VIDIVIXI sofa. Designer Mark Grattan with a VIDIVIXI brass side table. Another view of the living area.

drama, ocation, mystery — all of these things feed my practice” MARK GRATTAN

VLife PROFILE

Paul Milinski The Melbourne-based creative has made a name for himself in one of the art world’s hottest mediums. And with a new major project in the works, the best is yet to come. By Jake Millar

TH I S PAG E, C LOC K W I SE F R O M A B OVE artist Paul Milinski. Pier by Paul Milinski. The Airdeck Bar by Paul Milinski.

vogueliving.com.au

I MAGE S CO U RTE SY O F PAUL MI LI N SKI

veryone’s career path is different. But for Paul Milinski, the prospect of becoming one of Australia’s most exciting digital artists once looked unlikely. “I didn’t really have a traditional entry into art and design,” he says. “I left school very early and I laboured and worked in factories.” But art was always on his mind. And in between labouring on building sites, digging trenches, or working in factories packing machinery parts into boxes, Milinski would spend his spare time sketching and drawing — something those around him started to notice. “I had friends who said, ‘You need to go off and do your artwork,’” he says. “So I started to put a portfolio together.” He landed a job at a small graphics company and, inspired by video games and Pixar, he began to develop the 3D aesthetic that has come to define the art he makes today. But when asked how he’d describe his work, Milinski hesitates. “That is the hardest question!” he says, laughing. “I’m always evolving. But conceptually, the artwork is about taking a glimpse at what I think the future should look like.” In truth, Milinski doesn’t just create digital art or 3D images. He conjures whole worlds — surreal landscapes and environments in vibrant hues that look at once real and entirely otherworldly. Vistas overlooking azure oceans or snowy mountain tops, forests, beaches and rock formations, as well as interior spaces complete with furniture, lighting and the very finest in imaginary fixtures. “Essentially, you’re able to play God. So you can create whatever world you want to be in — spaces, environments, rooms — which, for me, is really liberating.” But in spite of the level of detail in his work, Milinski says the most difficult aspect of his process begins before he has started rendering a single element. “The hardest part is conceptualising it,” he says, describing developing complete scenes in his mind, and then racing to bring his ideas to life using computer graphics — almost as though tracing the image from his imagination right onto the screen. “Once I have a clear picture in my mind, it’s all over from there. But that can take two weeks, it can take half an hour, it can come at random times. Then once I’ve got that idea, I’ll jump over to the iPad and I’ll start sketching.” If Milinski’s path into the art world once looked somewhat unlikely, it was perhaps even less probable that the former labourer would find himself catching

the eye of Cartier, with the prestige brand looking for an artist to work on a concept for its upcoming Sydney store. Not being intimately acquainted with luxury jewellery, Milinski ran the approach past his sister. “She said, ‘It’s a big deal, Paul. You better reply!’” he says. “So Cartier organised a meeting at the CBD boutique and it was a great experience. We worked on a smaller project earlier, a high jewellery presentation in Singapore, which went really well. And now we are continuing that story, with a much bigger project.” And it is bigger in every sense of the word. Milinski has teamed up with Cartier to create a series of dynamic landscapes that will cover the maison’s new flagship location, on the corner of George and King streets in Sydney. Entitled Australian Dreamscapes, the artworks are a journey through the beauty of our natural environment, wrapping around the boutique’s glass-walled facade. And if that weren’t enough, Australian Dreamscapes will also evolve quarterly, in the lead-up to the flagship opening in spring 2022. Cartier is not the only reason digital artists have been making headlines lately, thanks to the development of NFTs or non-fungible tokens. This system essentially allows for digital art — or any objects at all, in fact — to be granted verified digital proof of ownership, even if it doesn’t physically exist. It means that digital art can be bought and sold, like any other. And we’re talking eye-watering money: in March 2021, Christie’s held its first-of-its-kind digital art auction that saw one piece by US artist Beeple sell for more than $90 million. “NFTs are a solution to a problem that has been around since the internet,” says Milinski, who has released some of his own work as NFTs. “I don’t think there’s any difference between someone making artwork on a canvas and someone creating artwork digitally. So NFTs are here to stay, 100 per cent — and I think it’s great!” It’s a brave new world. Whether selling NFTs or wrapping boutiques, digital art is making its mark. But none of this surprises Milinski, of course — imagining the future is what he does best. It’s also clear his own prospects are looking pretty bright, too. VL Paul Milinski’s works are featured on the site of the new Sydney Cartier flagship. @paul_milinski cartier.com.au

THI S PAGE , CLOCK WIS E FR OM TOP The Grand Lobby Entrance by Paul Milinski. The Coastal Cliffs – Australian Dreamscapes by Paul Milinski for Cartier. The Peninsula, part of the Reverie collection, by Paul Milinski.

ICONIC STYLE

John Stefanidis An island-hopping tour of Greece turned into a life-long love for the magic of Patmos for the London-based designer. By Jason Mowen Photographed by Fritz von der Schulenburg

ome years ago, the Londonbased interior designer John Stefanidis was interviewed for BBC Radio’s Desert Island Discs. Recounting a series of storied life moments, he described his ideal castaway scenario in between fragments of the music he would take with him, from Maria Callas and Egyptian legend Umm Kulthum to Italian pop artist Ornella Vanoni. He spoke with some authority as, in a way, he’d already done the deserted-island thing. “I took a trip to the Greek Islands with an Italian friend in the summer of 1963,” he recalls over the phone. “We were on somebody’s beautiful yacht but we were so bored, we sent ourselves a telegram to say that there was an emergency and we had to leave.” A plan was hatched to meet their artist friend Teddy Millington-Drake on Mykonos, after which Stefanidis and Millington-Drake island-hopped their way to Rhodes and then, following an 18-hour journey on an old boat laden with animals, landed on Patmos. While the hilltop town of Chora has been a UNESCO World Heritage Site since 1999, on the day Stefanidis and MillingtonDrake set out from the harbour in search of food and lodgings, its labyrinth of streets and crumbling houses were still largely abandoned. Seeing only potential — Stefanidis would later describe Chora as possessing the beauty of a de Chirico painting — by the end of that ﬁrst summer on Patmos, the pair were negotiating to buy a 17th-century farmhouse terracing down the hill, just below the ramparts of St John’s monastery. While it seems only natural that someone with such a Greeksounding surname should buy a house in Greece, Stefanidis was actually born in Egypt. “I’m what’s called an Alexandrine Greek, as my family came from Alexandria,” he says. “It’s quite different. In those days Alexandria was a truly Mediterranean city, very cosmopolitan. Racism was completely alien — it was taken for granted that people were of different backgrounds.” Born in Cairo in 1937, Stefanidis lived for a time with his parents in Eritrea. At eight, he was sent back to the Egyptian capital to live with his aunt and uncle and attend school. “They were extremely affectionate and very cultivated,” says Stefanidis. “I remember wanting to go to the movies but my uncle would instead drag me to the Cairo Museum. I did enjoy those visits but there was no alternative, if you see what I mean.” He was soon enthralled by the history and culture of the city and what he would later describe as “the transformative power of light” — a seminal experience in his development as an aesthete. In 1955, he moved to England to attend Oxford, graduating with a degree in modern

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T H E S E PAGE S, C LOC KW IS E FR O M L E FT designer John Stefandis. The Buttress Terrace of his home in Patmos. The many seating options in the White Room. The view from the White Room. Malcontenta chairs by John Stefanidis around a table on the breakfast terrace. On the upper-ﬂoor terrace. Kilim rug and Rothschild chairs by John Stefanidis and a watercolour (on side table) by Teddy MillingtonDrake in The Parlour.

VLife languages. “I then worked in advertising for five years in Milan,” says Stefanidis. “I knew after three years that it wasn’t for me.” Which brings us back to Patmos. Stefanidis returned to the island over the winter to commence restoration of the farmhouse in Chora, working with Thomas Ypsilantis, “the one good builder on the island”. Cascading down over three levels, the house had been derelict for 25 years but its bones were essentially good, with carved doors, bleached wooden floors and a double-vaulted private chapel dedicated to St George and St Eustace at the bottom of the garden. Buttressed walls were patched and whitewashed, a storeroom was given a window and a local stonemason used pebbles from a nearby beach to craft a sea serpent mosaic in the floor of what is now the Lemon Terrace. Inside, furniture and architectural mouldings were painted cerulean blue. (Another outdoor room came to be known as the Freya Stark Terrace, named after the scholar and travel writer who would work on the terrace each morning before heading to the beach for a swim.) Other additions and improvements were carried out over the years. A house was purchased to create guest quarters in 1966, and additional land to extend the garden, now filled with cypress, olive and citrus trees. The home’s vernacular structure, though, has not been altered. “My philosophy for houses is that they must keep their integrity,” says Stefanidis. “Most of it is 17th century. I wanted to make it comfortable but change as little as possible.” The summer of 1964 was the first spent under the newly restored roof. Captivated by the “clarity of Greece” much as he’d been by the ancient wonder of Egypt years before, Stefanidis quit Milan for Athens soon afterwards. The renovation had unleashed his flair for crafting beautiful homes and in 1967, he established his architecture and interior design practice in London. Clients have included the Bank of England, Claridges, and the Duke and Duchess of Westminster, not to mention a dozen or so other houses for friends and clients on Patmos. There has also been the design of furniture, such as the Malcontenta chair, found in cerulean in the sitting room and around a table on the breakfast terrace in Pompeii red. More recently his fabrics were used to decorate the exclusive London club, 5 Hertford Street. Friend Susanna Moore co-authored Stefanidis’ 2010 book, An Island Sanctuary, which is dedicated to his house in Greece. “I never want to be with anyone but John,” she says, “and never any place but in his house in Chora.” It would certainly be difficult to find a home more emblematic of the Mediterranean and all the cross-cultural wonder it represents. The same, of course, can be said about the cosmopolitan Stefanidis. VL Jan/Feb 2022

VLife

DESIGN

Asnières-sur-Seine is a small village north-west of Paris that became the home of a global purveyor of luxury style. Now a sixth-generation member of the Louis Vuitton family is continuing the legacy. By Jake Millar

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I MAGE S CO U RTE SY O F LO U I S VU I TTO N

Fashion house

VLife

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LOUIS VUITTON: THE LEGACY

1821 Born in Anchay, France, near Switzerland.

1837 Arrives in Paris.

1854 Opens his ﬁrst store, near Place Vendome.

1859 Moves to Asnières Sur-Seine and establishes a large atelier.

1886 Georges Vuitton develops an ‘unpickable’ lock for keeping luggage valuables safe.

1892 Louis Vuitton passes away, and the company is handed to son Georges Vuitton.

1896 Georges Vuitton creates the iconic Monogram.

1914 The Louis Vuitton ﬂagship store opens on Paris’ Champs-Élysées.

1930 The company expands beyond luggage, with the launch of bags.

1987 The company merges with Moët Hennessy to form LVMH.

1996 Louis Vuitton celebrates 100 years of the iconic Monogram.

2013 Nicolas Ghesquière becomes artistic director of womenswear.

2018 Virgil Abloh is appointed artistic director of menswear.

2021 Benoit-Louis Vuitton is named corporate director, Art, Culture and Patrimony.

I M AGE S COU RT E SY O F LO U I S V U I TTO N . © LOU I S VU I T TO N MA LLE TI E R /A N TOI N E JA RR I E R , © N ATI O N A L I N STI T U TE O F IN D U ST R IAL P RO P E RT Y

t’s often said that Paris is the home of fashion. And there’s plenty of truth to that, as the thousands of fashionistas who clamour to see the runways in the French capital each season — pandemic permitting — can no doubt attest. But if you’re looking for a location that punches above its weight when it comes to its place in fashion history, you'll need look slightly further afield. Specifically eight kilometres further afield, to a village called Asnières-sur-Seine. It was here in 1859 that a budding designer named Louis Vuitton founded a workshop specialising in handcrafting rectangular trunks that would eventually transform his company from a luggage maker to a fully fledged fashion house — and ultimately into the global luxury giant it is today. And the Asnières workshop is still there, still continuing the traditions established by the brand’s founder. The village was not just the home of Louis Vuitton the company, but also the man himself. When he created his atelier, he reserved the top floor as a home for his wife, Clemence-Emilie Parriaux, and their young son, Georges-Ferréol Vuitton. More than 160 years later, the Vuitton connection to Asnières is going strong. Vogue Living recently joined Benoit-Louis Vuitton, a sixth-generation Vuitton, for a virtual tour of the property that continues to hold a special place in the hearts and history of his family. Now the company’s corporate director, Art, Culture and Patrimony, Benoit-Louis grew up near the family home in Asnières. He would often join his brother peering through the stained-glass windows in the main living room. “This is a family house, it’s not a museum,” he says over video call. “It was built a little bit after the workshop, and we are in one of the most beautiful rooms of the house. The ceilings, the paintings and the stained-glass windows are just wonderfully unique. I don’t live in this type of house now, but I still like that mix of old and new.” As he makes his way through the various rooms, around him are scattered clues to the home’s heritage and hallowed place in the maison’s history. Among the high ceilings, fireplace and antiques are photos of the Vuitton family, as well as examples of the brand’s iconic trunks. “The reason he started this business and why he was innovative was with a very simple concept, which was a flat trunk,” explains Benoit-Louis. “All the trunks at the time had a curve on them to be water repellent. So his concept was to create a flat trunk that you could stack when you travel, so you could pile all your trunks together.” It may seem like a relatively minor update but for many people unaccustomed to packing light on their holidays, it was a game changer. The only issue was that unlike trunks with a domed lid, Vuitton’s flat-topped version did not allow water to run off. “There was the problem of water resistancy,” says Benoit-Louis of his ever-innovative great-great-great-great grandfather, “so he created this water-resistant canvas.” Louis Vuitton covered his trunks in canvas cloth that was then coated in oil-based paint, which offered a light but durable waterproofing solution. But the designer soon saw an opportunity for this exterior to be more than practical; it could give his trunks a visual signature, too. The good news was that his trunks were quickly building a following — not least of all among royalty, including Alfonso XII, the King of Spain, and Empress Eugénie de Montijo, wife of Napoleon III, who appointed Louis Vuitton as her official trunk maker. But the bad news was that their popularity meant they were starting to be copied by competitors. This led Vuitton to change his trunks from a grey cloth to something more unique. “He created a striped trunk,” says Benoit-Louis, “but that was counterfeited, too, so they created a Damier canvas with the Louis Vuitton name written on it.” The Louis Vuitton Damier — or checked — design is one that is still recognisable on many current products. But when Vuitton passed away in 1892, his son Georges took over the family business and created the Monogram, a more intricate design that incorporated the brand’s initials and four-petal flower motifs, which has also become a beloved signature adorning crafted goods today. “Here we are in the woodwork shop on the first floor of the original atelier,” continues Benoit-Louis, moving through the onsite workshop as artisans carefully measure out ››

the four historical canvases: Monogram canvas (1896), Damier canvas (1888), striped canvas (1872) and Grey Trianon canvas (1864). Benoit-Louis Vuitton, the company’s corporate director, Art, Culture and Patrimony. Changing to a ﬂat design allowed travellers to stack trunks more easily.

THIS PAG E, FR OM TO P L EF T

delivery trucks parked in front of the Louis Vuitton factory in Asnières. A Louis Vuitton advertisement in a catalogue for the 1889 Exposition Universelle. The certiﬁcate of renewal for the Monogram canvas registration in October 1908. Inside the living room of the family home in Asnières.

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VLife

TH IS PAG E , CLOC K W IS E FR O M TOP L E FT a craftsperson ﬁxes the protective metal trims to a Louis Vuitton case. The collectable Maison Vivienne. Louis Vuitton depicted by artist Yan Pei-Ming. A section of Time Capsule, an exhibition of the maison’s heritage at the Galerie in Asnières. A craftsperson applies the Monogram canvas to a trunk.

‹‹ materials and assemble the frames that will become Louis Vuitton trunks around him. “Everything takes shape here. Only a few craftspeople are able to make the trunks, so it’s really interesting because it’s a craftsmanship that only a few people are able to master.” Benoit-Louis is not simply an ambassador for his ancestors’ legacy. He is also very much keeping the spirit of Louis Vuitton alive. True to the brand’s identity, he is an avid traveller and a couple of weeks after our interview, he would head to Rwanda in Africa — one of his favourite destinations — to spend time surrounded by gorillas and other incredible wildlife. “It’s really powerful,” he says of the country’s appeal. “It takes you out of your everyday life. We have a lot of privilege so it’s nice to reset and see the world differently from time to time and see that you’re just a small piece of a much bigger planet.” 74

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Benoit-Louis is also a keen watch collector, having previously spent a decade heading up the company’s timepiece division, but also has an appreciation for its fashion collections. He is a big fan of the elevated streetwear aesthetic created by menswear artistic director Virgil Abloh, as well as his womenswear counterpart Nicolas Ghesquière. Like his father and his ancestors, Benoit-Louis shares a profound regard for design and the craftspeople who bring the maison’s products to life. Asked whether he has ever considered turning his own hand to design, he demurs. “We cannot be everything, everywhere at once,” he says. “My father was a great designer and as a product manager for watches, I used to be involved in the design. But honestly I think it’s way more exciting to see what Nicolas and Virgil are doing, and I’m not pretentious enough to think that I would do a better job. So I’m more than happy to leave it to the masters.” VL au.louisvuitton.com

I MAGE S CO U RTE SY O F LO U I S VU I TTO N

“Everything takes shape here. Only a few craftspeople are able to make the trunks, so it’s really interesting because it’s a craftsmanship that only a few people are able to master”

Eden 3-Piece Outdoor Chat Setting, $1,199; Retro Stripe Outdoor Cushion, $35; Salt & Pepper Piano Highball Glasses, Set of 4, $39; Walda Cement Pot in Natural, Large, $89; Potted Kentia Palm, 210cm, $399; coasters, stylist’s own.

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Customise your cushions

SHOW YOUR TRUE COLOURS Coordinate your cushions or mix and match designs using outdoor fabrics to effortlessly transform any outdoor living space into your personalised paradise. Australian-owned Warwick Fabrics has been supporting local workers and delivering the highest quality fabrics and world-class designs for 50 years. Warwick’s SunDec Outdoor fabric range is specially designed to withstand the harsh Australian climate, and is built to last season after season, using ultraviolet-resistant fabric to protect your cushions against damage from the sun. The fabric is also stain-resistant, water-repellent and easy to clean, so it’s your perfect outdoor entertaining or poolside accessory.

MAIN IMAGE: Maris Outdoor Armchair in Terracotta, $699; Maris 4-Piece Outdoor Lounge Setting in Grey (includes 2.5-seater lounge, 2 armchairs, coffee table), $2,999; Southport Outdoor Cushion Range: Mallacoota Lumbar in Ocean, $119 each; Tulum Lumbar in Ocean, $119; Mykonos 60cm with Plain Edge in Cascade, $139; Ash White Planter, Large, $229; Salt & Pepper Kennedy Metallic Bar Wine Cooler in Black, $69; Salt & Pepper Champagne Flutes, Set of 6, $49; olive bowl, stylist’s own. INSET clockwise from top left: Southport Outdoor Cushion Range: Mallacoota 50cm with Plain Edge in Ocean, $129; Tulum 60cm with Plain Edge in Palm, $139; Mombasa 60cm with Plain Edge in Melon, $149; Tulum Lumbar in Ocean, $119; Yasawa 60cm with Plain Edge in Hibiscus, $149; Mykonos 50cm with Plain Edge in Cascade, $129; Mombasa 50cm with Plain Edge in Sunshine, $139; Mauritius 60cm with Plain Edge in Sand, $149; Nanuya Lumbar in Marine, $129.

Add a touch of timber Chelsea 4-Piece Lounge Setting (includes 3-seater lounge, 2 armchairs, 5 bolster cushions (not shown) and coffee table) $3,499; Tropicana Outdoor Rug in Green, $279; Cushions from left: Set Outdoor Cushion in Navy, $59; Limoncello Outdoor Cushion in Yellow, $35; Windsor Outdoor Cushions in Blue and Sand, $49 each; Accessories on table: Salt & Pepper Winston Wine Glasses, Set of 4, $29; Succulent 17cm in Cement Pot, $24; books, stylist’s own.

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Bring style to the table Chelsea 9-Piece Outdoor Dining Setting (includes 8 chairs, 1 table), $2,999; Hamptons Indoor/Outdoor Rug in Silver, 200x290cm, $1,399; Cordyline Outdoor Multi-Coloured Cushion, $44; Table accessories, from left: Jarron Dune Forest Round Vase, $19; Diamond Chai Vase, Large, $44; Salt & Pepper Piano Highball Glasses, Set of 4, $39; all other accessories, stylist’s own.

VISIT DOMAYNE.COM.AU TO BROWSE OUR FULL RANGE OF FURNITURE, BEDDING AND HOMEWARES

Lounge around poolside Bree Outdoor Side Tables in White, $299 each; Kirra Outdoor Single Sun Lounge in Grey, $1,799; Kirra Outdoor Double Sun Lounge in Grey, $2,999; Accessories from left: Salt & Pepper Piano Tumblers, Set of 4, $39; Tropicana Outdoor Cushion in Black, $44; Palma Outdoor Cushion in Walnut, $44; Outdoor Cushion in Navy, Piped, $49; Effy Rattan Lantern in White, Small, $89; Effy Rattan Lantern in White, Large, $109; all other items, stylist’s own.

Entertain new ideas

CHILL ‘N’ GRILL Sleek and modern, the Retreat Outdoor Angled Leg Dining Table is long-lunch ready. With a generous slatted top that’s supported by U-shaped legs, it’s the perfect size for outdoor entertaining – all that’s left to do is invite your friends over for a barbeque. Pair it with the Retreat Outdoor Dining Chair for a modern, clean and, most importantly, comfortable choice. The powder-coated aluminium and a breezy slatted back make this an extra comfortable perch for afternoons and evenings spent dining alfresco. Keep the party going outside with the Retreat Outdoor Bar Table. Deﬁned by a seamless waterfall edge, the crisp white-ﬁnished aluminium frame welcomes you to pull up a chair and sit back. Retreat Outdoor Bar Table, $1,999; Retreat Outdoor Waterfall Bar Chairs, $399 each; Salt & Pepper Piano Highball Tumblers, Set of 4, $39; Sally White Vase, Medium, $89; Melamine Bowl in White, Small, $5.40; all other items, stylist’s own.

VISIT DOMAYNE.COM.AU TO BROWSE OUR FULL RANGE OF FURNITURE, BEDDING AND HOMEWARES

Retreat Outdoor Angled Leg Dining Table, 270cm, $1,999; Retreat Outdoor Dining Chairs, $399 each; Albany Outdoor Kitchen, $9,999; Accessories from left: Salt & Pepper Harding Tumbler Glasses, Set of 4, $39; Base Bowl, Small, $1.80; Salt & Pepper Harding Highball Glasses, Set of 4, $39; Salt & Pepper Masonry Noodle Bowls in Granite, Strata and Volcanic Rock, $11 each; Salt & Pepper Salut White Wine Glasses, Set of 6, $49; Salt & Pepper Round Paddle in Wood and Black, $99; Tang Natural Glass Vase with Cane Weave, Large, $69; Paloma Planter in White, Small, $119; Raphis Palm Tree, 100cm, $309; all other items, stylist’s own. Domayne stores are operated by independent franchisees. Advertised prices valid at New South Wales stores only. Prices may vary between states due to additional freight costs. Accessories shown are not included. Promotion valid until 02/02/2022, or while stocks last.

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“STYLE IS BEING CONFIDENT IN THE CHOICES YOU MAKE. IT’S KNOWING WHO YOU ARE. IT’S THE CARE YOU BRING TO EVERY LITTLE THING YOU DO” ELEANOR PENDLETON

s founder and editor-in-chief of Gritty Pretty, Australia’s first interactive online beauty magazine, Eleanor Pendleton is one of the country’s most respected arbiters of taste and style. When it comes to entertaining, she has some strong personal preferences and trend predictions for 2022. “I’m really into organic ceramics in whites, creams and greys or soft, muted pastels,” Pendleton says. “For napery, I always lean towards natural fabrics, such as heavy cotton or French linen, for that authentic cafe feel. I like earthy, rustic colours — oatmeal, sage or turmeric — to add texture and warmth.” After the events of the past year, Pendleton believes there’s a growing desire to let loose and be bold. “I’ve noticed a move to brighter colours in glassware — simple, classic shapes in deep oranges and soft yellows and greens. I like to play with these ideas and incorporate them into my own personal style,” she says. “And of course,

CHIC CAFE-STYLE COFFEE From left: cappuccino made with Nespresso’s Altissio capsule; the Nespresso Vertuo Next coffee machine with the Vertuo Next Carafe designed by Konstantin Grcic.

there’s the quality of the food and produce. Good cafes and restaurants are cooking with fresh, sustainably sourced ingredients. That’s what I love to do. I like sharing everything from the entrees to the desserts, even the coffee. I’m loving pour-over coffee, which is becoming a bit of a trend. And it’s so easy to emulate that experience at home with Nespresso’s Vertuo Next Carafe.” True style is also something that goes beyond the latest trends, according to Pendleton. “For me, it’s all about elegance,” she says. “It’s restrained, it’s curated, it’s refined. Style is being confident in the choices you make. It’s knowing who you are. It’s the love and care you bring to every little thing you do.”

Find out more at nespresso.com

Take it easy SMART DESIGN AND INNOVATIVE FEATURES MAKE INTOUCH MASSAGE CHAIRS THE ULTIMATE FURNITURE INVESTMENT FOR THOSE WHO ARE SERIOUS ABOUT REST AND RELAXATION. SIT BACK AND ENJOY

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“OUR MASSAGE CHAIRS ARE A CUT ABOVE IN STYLE, FUNCTION AND FEELING. MASSAGE IS ALL ABOUT FEELING, WHICH IS WHY WE ARE LEADING THE WAY”

For more details, visit intouchmassagechairs.com.au

P HOTO G RAP H E R: AN SON SM ART. STY L IST: C LAI R E D E L MAR

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VLiving

Jan/Feb 2022

WESTERN FRONTIER By Jake Millar Photographed by Dave Wheeler

With clean lines, a cool palette and tactile pieces, Decus Interiors brings natural lightness to this multi-generational retreat in Margaret River.

Details, last pages.

Jan/Feb 2022

in the main hallway, wall in Torrone Ceppo Di Gris stone from Worldstone; benches designed by Decus Interiors; artworks by Louise Olsen from Olsen Gallery. O PPOS IT E PAG E in the main living area, Marechiaro sofa by Mario Marenco for Arﬂex from Space Furniture; console designed by Decus Interiors; Aida lamp by Angelo Mangiarotti for Karakter from Cult; Viabizzuno Roy ﬂoor lamp from VBO Australia. TH IS PAG E

ention Margaret River and a few things probably spring to mind. A glass of the region’s famous cabernet sauvignon or shiraz, for one. But also the West Australian landscape in its many varied, vibrant hues; the clear, cloudless sky and glistening water; the sense of space and solitude; and the fact that you might be just three hours southwest of Perth but feel like you’re a million miles from anywhere at all. In other words, Margaret River is the perfect escape. So perhaps it is little surprise that the region has long become a magnet for those looking to get away from it all, and a destination for people who are in the market for a home away from home. People like the owners of the sprawling House on the Bay, designed by Sydney-based Decus Interiors. “We were contacted by the clients who explained that they had purchased a site by the beach on Margaret River and they were building a house that was essentially three houses in one,” explains Alexandra Donohoe Church, the founder and managing director of Decus Interiors. “And when we enquired as to what that actually meant, it turned out they were building a multi-generational house for themselves and for their two children and their families.” The idea was to create a home practical enough for their primary clients — a couple who are looking to eventually relocate to Margaret River — while being spacious enough to accommodate the couple’s two adult daughters and their own families when they stay. “It was an interesting brief in that we had three projects under the same banner and they’re very contemporary and quite clean and modern, but at the same time they’re all aesthetically quite different,” says Donohoe Church. “So we really were able to have a bit of fun in each of the spaces in a different way — a little more sophisticated in the primary residence, and more colourful and playful in the other residences.” The generous property comprises six bedrooms and seven bathrooms, as well as three separate kitchens, living areas and laundries, allowing the three families to effectively live under one roof without being in each other’s pockets. The site itself was a new build, courtesy of Perth-based building company Zorzi, which gave Donohoe Church and her team a fresh canvas on which to create an entirely new vision for the home — from ﬁnishes, materials and furniture, “down to the napkins and cutlery”. ›› Jan/Feb 2022

‹‹ The light, airy home makes the most of the area’s natural elements, but also manages to achieve a sleek, contemporary design, without feeling stark or uninviting. Think custom joinery, understated stone surfaces, dining tables and chairs from Cult’s handcrafted Nau collection, with large-scale windows that frame the landscape and ocean. These restrained design choices are offset by eclectic tiling and lighting, such as the pendant that Donohoe Church found in Italy back in 2019. “I saw it in Milan and I somehow managed to get it into their primary bathroom,” she says. “And that’s probably my favourite piece in the whole house.” Compared to many of the projects that Decus Interiors typically works on, Donohoe Church says that creating a holiday home offers a particular sense of freedom. “You get to relax a little on the really practical stuff,” she says. “We work more or less exclusively with families with children and so some of the biggest decisions are around how they live every single day: Coming home from school, where do you decant? Where is the home for that piece of equipment or sporting bag? Those things drive a lot of decisions. With this, our biggest decisions were around how things would weather, being so close to the ocean.” The project took around three-and-a-half years to complete, with finishing touches put on in August last year. But it was a project, as with so many projects over the last 18 months, that was complicated by Covid — and WA’s stringent border restrictions. “Usually if we’re going to WA, we will take a team of six or seven,” says Donohoe Church, “but this one was a bit of an emotional roller-coaster!” After a couple of false starts, with flights being cancelled and entry exemptions granted — only to be rescinded at the last minute — eventually a team of three made it into the state on their fourth attempt. And after two weeks spent in quarantine at a property that the clients helpfully owned nearby, the Decus trio got down to work, finishing the project in around five days. The result is a triumph of form and function. A space that can cater for as many as nine people — adults, children, grandparents — with all their contrasting tastes and needs, while still feeling harmonious. In other words, it is a place to get away from the worries of everyday life. A home that invites you to sit back, soak in the view, and know that the hardest decision you’ll have to make that morning is whether it is a beach day or a winery day. The answer, of course, is that it is probably both. VL decus.com.au 96

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“It was an interesting brief in that we had three projects under the same banner and they’re very contemporary and quite clean and modern, but at the same time they’re all aesthetically quite different” ALEXANDRA DONOHOE CHURCH

T H ES E PAG E S, C LOC K W I SE

in the main bedroom, bedhead, cushions, settee and dresser, all designed by Decus Interiors; Sul Sole Va pendant lights by Neri&Hu for Viabizzuno from VBO Australia; Phillip Jeffries Extra Fine Arrowroot wallpaper from The Textile Company; rug from Whitecliffe Imports; Hillside Nocturne III (2021) artwork by Tim Summerton from Olsen Gallery. In the staircase landing, Pacha lounge chair by Pierre Paulin for Gubi from Cult; Ferm Living Insert side table from Designstuff; Viabizzuno Royal Parete wall light by David Chipperﬁeld from VBO Australia. In the main powder room, vanity sink in Silver stone from Granite and Marble Works; Brodware Yokato tapware from Sea of White; Casa handmade tiles in Agate from Onsite Supply and Design. F R O M LE F T

Jan/Feb 2022

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in the main guest bedroom, Aran beds by Adam Goodrum for Nau from Cult; Turn Tall side table from Bludot; Society Limonta bed linen from Ondene; cushions designed by Decus Interiors; Hanging N2 lamp by Muller van Severen for Valerie Objects from Spence & Lyda. In the main ensuite, vanity and mirror designed by Decus Interiors; tapware from Vola; Casa Charcoal Brick wall tiles from Onsite Supply and Design; Blue Moon granite ﬂoor tiles from Granite and Marble Works; Viabizzuno Sempre Mia pendant light from VBO Australia. Details, last pages. 100

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By Freya Herring Photographed by Thomas De Bruyne

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T HIS PAG E in the pool area of this home in Ibiza, String lounge chairs by Allan Gould; side table from Summit. O PPO SIT E PAGE an exterior entrance. Details, last pages.

ven though Can Brut is brand-spanking new, it emerges as if it has always been here, part of the Ibiza landscape in which it is nestled. “The owners didn’t want to have a Miami Vice house in the Balearics,” says Thomas Geerlings of Framework Studio, who designed the building and interior for a Dutch-Belgian couple. “They wanted the feeling of a traditional house, with a modern twist.” His team achieved this externally by wrapping the building in Flintstonian hunks of local Caliza stone, and utilising the skills of Balearic craftspeople throughout the four-year build. A seemingly humble steel handrail is an example of the level of artisanal skill throughout the home. “The handrail is such a simple thing but they made it locally, it’s hand beaten,” says Geerlings. “I like that kind of really small detailing. It looks effortless but it’s not.” Elm wood was crafted to form doors, and the sinuous ceilings of the interior echo the Balearic vernacular. “Normally they were made out of bricks, which were plastered, or from wood and cement,” says Geerlings. “But we made it out of moulded concrete, then plastered it. The shape is typically Balearic.” The result is a

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ceiling that ﬂows, rather than jars, connecting spaces together and linking to the wooden beams of the terrace, where Framework Studio’s trusted craftspeople brought their own touch. “On the beams outside we used a really old, almost forgotten Dutch technique to get this chopped-wood effect,” says Geerlings. The four-bed, six-bath house showcases Framework’s pared-back, elegant and inventive vision, incorporating the owners’ love of vintage furnishing — “they are quite the collectors” — but creating something far from a bohemian, thrift-store vibe. An oversized cloud of a sofa by Wiener Werkstätten in the main living area dates from 1970, its soft folds overlooked by a block-led sculpture by Giuseppe Nerone and Gianni Patuzzi. The dining table — in heavy-set timber by Brazilian maestro José Zanine Caldas — is ﬂanked by Pierre Jeanneret’s Chandigarh chairs, found in a Dutch gallery, designed in the 1950s for use in his cousin Le Corbusier’s utopian Indian city. In order to show off these elements, and allow the spectacular vista outside its moment too, a sense of stillness elsewhere became key. “Because of the collection of furniture we thought it was appropriate to give that a platform in a neutral environment,” says Geerlings. “There’s a natural vibe in the house.” ››

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“We gave the furniture a platform in a neutral environment” THOMAS GEERLINGS

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‹‹ The pale stonework in Can Brut may not make itself immediately manifest — such is Framework Studio’s deification of the sublimely subtle — but such skill has gone into its creation, it’s hard to imagine it wouldn’t elicit longstanding joy whilst spending time here. The floors are adorned in buttery, mottled Travertino Romano stone from Italy. “We used a lot of local craftsmen but we also have our craftsmen all over mainland Europe, so we threw them in, too,” says Geerlings. “We had Italian marble workers do the travertine. The detailing in this flooring is amazing. They are really masters in what they do.” And the standout stonework doesn’t feature in just the interior. Encircling the pool outside, the sandiness of limestone contrasts against the pool’s luxurious cavity, which is lined entirely in the aquamarine swathes of Nordic Verde Lapponia granite, creating inviting, painterly movement beneath the water. This, for Geerlings, is his favourite spot, and where he would spend most of his days, if this were his house to inhabit. “I would be outside on the George Nakashima deck chair the whole day,” he says. “From here, you overlook the house — during the day, all the doors to the kitchen are open, and then the house changes when the big facades are closed at night and the light comes in, and you overlook the sea and the pool. It’s an amazing place to experience nature, and the house in nature.” Indeed, it was the natural environment that dictated the building’s very form. “The house is positioned on a mountain,” says Geerlings, “and one of the requirements from the local ››

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‹‹ government is that you have to follow the shape of the mountain in your house.” It means that Can Brut has various levels both outside and in — a cinema room, replete with an oversize bespoke Framework Studio sofa, is up a level from the living area while the main bedroom is split down the middle, to accommodate the supporting hill. Undeterred, Geerlings used this rule to his advantage. “In the main bedroom, you have this drop halfway to follow the landscaping, so we repositioned the bed against it — it makes it feel really playful.” Ibiza, he says, “has everything you want from a holiday island — it has all the beautiful sports and beaches and small, idyllic restaurants but it also has a completely outrageous party scene.” The house’s name — “it’s like ‘Brutalism’, or ‘brutal’, or ‘brut from Champagne’” — ﬁts into the culture, but also belies how comfortable this house feels. “If you build a really good house, then people beneﬁt from your design by having a nicer environment in which to invite guests, or to have intimate moments,” says Geerlings. “Or to hold those completely outrageous parties — it should accommodate it all.” VL framework.eu

“It’s an amazing place to experience nature, and the house in nature” THOMAS GEERLINGS

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clouds

At the summit of this Sydney icon, a penthouse embodying YSG’s signature colourful and tactile variety squares off with a modernist framework.

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love to create little moments that feel a bit… James Bond,” says Yasmine Ghoniem, the founder and principal of her eponymous design studio YSG. “I call them ‘conversation starters’. They are these wacky moments that make for entertaining stories to tell your guests.” Sitting pretty on the 16th ﬂoor of Altair Apartments — a modernist Sydney architectural icon in Rushcutters Bay that was named the best residential block in the world by the World Architectural Awards in 2001, the year after it was completed — is Ghoniem’s latest conversation starter. The penthouse apartment is home to a couple who recently became empty-nesters. Seeking to downsize on space while dialling up on artistic expression, the pair gave the in-demand designer, who had outﬁtted their family home several years ago, a call. “It’s ultimately a playhouse for the folks,” explains Ghoniem. Standing at the entrance, in front of a door that’s embedded with a tinted glass panel the colour of orange marmalade, she presses a button and it zips open. She wasn’t kidding about the 007 moments. Before Ghoniem got her hands on it, the interior of this penthouse was ultra sleek and minimalist, with cool, metallic surfaces like glass and stainless steel throughout. It was a version of ‘modern’, but the designer was interested in playing with that dominant notion of modernity and putting her studio’s own, inimitable spin on the space through custom furnishings, intelligent pops of colour and, of course, cuts of otherworldly stone. “I’ve never really worked within such a strong architectural frame, so I was excited about reinterpreting that sense of modernism, and I think that’s where the futuristic ideas came from,” she details. The designer points to the apartment’s unique proportions — the ceilings aren’t particularly high, and furniture pieces that are wider than they are tall have been carefully selected to create an unconventional sense of balance and contrast. “There’s this sense of grandeur, with the low heights in the furniture selections,” muses Ghoniem. “I think it’s quite reminiscent of great architects like Mies van der Rohe, Le Corbusier — they have this really great sense of grandeur, but also simplicity.” Colour and texture play starring roles in every YSG project, and here, these elements were realised in an armchair and ottoman purchased from Alm at the very beginning of the renovation — it unexpectedly came to steer the direction of both. The chair, which rests in the middle of the living area, is upholstered in vintage surplus army material that’s been hand-dyed in a rich spectrum of plum, aubergine and olive tones. Each little square has been stitched together like patchwork, which intuitively sparked another theme that reveals itself in vignettes throughout the apartment. In the kitchen, this tapestry effect is captured in the stone island benchtop. This wasn’t entirely intentional though. The original slab of blue granite was too large to be carried into the apartment, so Ghoniem and her team got creative — they chopped it up into squares. “We spun each tile around to transform its grain into different directions, so it

became an artwork itself, almost like a quilt. And it also allowed us to bring it up in the lift,” adds the designer with a chuckle. “What was really great about breaking up that slab like that, I could pick and choose which areas of the stone I really loved, and then we brought them all together for a much punchier outcome.” The directional kitchen is the multifaceted jewel in this penthouse’s crown. It’s outﬁtted with so many unique, custommade talking points, dinner parties couldn’t possibly grow boring. Hovering on a pylon beside the island is a petal-shaped cheeseboard, also in blue granite, that rotates 360 degrees. “You can put cheese on there, cut it up, prepare it and serve it just by swinging that disc around,” says Ghoniem, swivelling it around to give us a demo. Nearby, a custom YSG bar trolley begs the question: ‘Where did you get that from?!?’ “I’ve always wanted to do a drinks trolley but it’s actually quite hard, because there are so many different things it needs to do,” says Ghoniem. She presented the clients with upwards of 10 ready-made options before they insisted she just make her own. “I was like, ‘I thought you’d never ask!’” says the designer. In the afternoon, the pearly white tiles of the gallery wall behind the trolley host a spectacular light show. “It dances. It’s like this ball of amber bounces across that wall as the sun goes down. It’s so reﬂective. That’s why we did that along that wall, to capture that afternoon glow.” With panoramic views that stretch right across Sydney Harbour, it’s safe to assume this apartment will see its fair share of New Year’s Eve parties — outside, clever landscaping by Dangar Barin Smith has transformed the balcony into an arid jungle, suspended high in the sky. But for Ghoniem and her team, it’s the fun, interactive quirks — like that rotating cheeseboard — that lend this penthouse its intrigue, and that inspired the project’s name: Dream Weaver. “I’m obsessed with anything magical,” says the designer. “And the fact the property is located in the penthouse, in the sky — that’s where dreams are created.” VL ysg.studio

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T H E S E PAGES in the dining area of this Sorrento home, Iva Foschia Prince dining table from Grazia&co; MR side chairs by Ludwig Mies Van Der Rohe for Knoll from Dedece; Metamorphosis candelabra by Marlo Lyda; Aqua Creations Stand By pendant light from Enlightened Living; Phillip Jeffries Island Raffia wallpaper from The Textile Company; bronze cladding from Astor Metal Finishes; custom cane panel produced by Camberwell Cane; curtains in Design Of The Time Helki linen from James Dunlop Textiles. Details, last pages.

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ravel, of recent times, has been a relentless journey into ‘self’; a discovery of all the intolerances that come from being cooped up in the same spaces, with the same faces, all struggling to sustain other lives. The very best of buildings and familial bonds came unstuck as Covid caused a global rethink on house planning and propping and regionally precipitated the hyper-inflation of real estate; record hikes in property purchasing and price being powered by pent-up spending power, shifting priorities and the desperate need to escape. The phenomena, and its follow-on remit to rework architecture for a brave new world, makes this 1970s beach house on Victoria’s Mornington Peninsula an interesting case study. Recently renovated by Melbourne designer Fiona Lynch, it was purchased on the cusp of Covid, in late 2019, and designed and delivered as the contagion shut down the world. “It was gruelling,” says Lynch, some two years after taking the commission to re-jig the house in coastal Sorrento. “It was so frustrating not having physical access to my team, but the pause has had its benefits — I wasn’t being rushed and I now have possibly the best clients I’ve ever had.” She qualifies “best” with the observation that patrons who might once have been diffident to ‘difficult’ art and design seemed willing to do “the deep dive into culture” during the enforced pause — researching and discovering wild riches on the web and cultivating the will to express their identity more with idiosyncratic art, furniture, lighting and colour. “It could be a function of people travelling less and having time to learn more, but there’s definitely a greater sense of value in considered, crafted things, especially those from a less fraught past,” Lynch adds, with reference to the two-storey Merchant Builders house that is emblematic of an era when architecture sought an honest expression of Australia. “This house has great bones, but it was butchered about five years ago and buried under warehouse-style.” Counting out the featureless white walls and cast concrete details — “already in disrepair” — that amounted to a bemusing cliché of city living at the beach, Lynch recalls the abstract client brief that asked for the “feel of a holiday house”. It’s an illusory subjectivity that without the specifics could deliver disappointment, but Lynch assures a good grasp on her clients’ aesthetic affections after fitting out their urban family home — a formal construct of glass and concrete with judicious accents of intense colour. “He is an entrepreneurial Italian who loves to renovate and project manage,” she says of one client half’s heritage and approach. ›› Jan/Feb 2022

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“This is probably the most neutral job we have done, and the most tactile. By dint of the pandemic, I think we will all want to see materials treated more honestly” FIONA LYNCH

T H IS PAG E in the entry, Wall Stack Down wall light from Volker Haug; wall in polished plaster finish from Bishop Master Finishes. O PPO S IT E PAG E in another view of the dining area with the living area beyond, Stuv 21 fireplace from Oblica; fireplace surround in polished plaster finish from Bishop Master Finishes, with details in Tundra Grey honed limestone from CDK Stone. In the living area, Nonn Reed sofa from District; DGA In&Out ceiling lights from Est Lighting; Lavo rug in 0014 from Kvadrat Maharam; baskets (on wall) from Pan After.

‹‹ “The couple have two young kids and wanted a house that tilted towards the warm with a down-to-earth palette that put you in the mindset of escape.” Accordingly, Lynch’s mood boards riffed on the bleached pastels of Positano, the weathered marbles of Venetian facades, furnishing selects from Milan’s Salone de Mobile and spoke to the pop culture and tumultuous politics that gave the ’70s house its shape. But before abstracting that rich amalgam of past and present, near and far, Lynch was at pains to purge the recently added industrialism and restore the project housing’s textured humility and planning efficiencies. She started at the front door, enlarging the “impoverished” entry foyer with the borrow of space from a flanking guest bedroom that ultimately reprogrammed into a home office. The gesture created a cranked corridor with a potentially sharp corner but Lynch leaned into naturalism with an organic curve, casting the re-plastered passageway in a green-tinted pearlescent sheen suggestive of nacre. She continued this elemental contouring and colouring into bedrooms, selectively lining walls with seagrass papers and simulating refined seaside caves in stone bathrooms. Even the balustrade linking existing stair to upper-level bar and informal living area was rendered organic with the replacement of a loom-like floor-to-ceiling frame for the weave of cane by master craftsperson Angelo Rusak of Camberwell Cane. From the adjacent dining area, where an amorphous dining table now insinuates the smooth irregularity of driftwood, this wickerwork wall makes a shadow play of movement up and down the stair, softening light down its well. “This is probably the most neutral job we have done, and the most tactile,” says Lynch in forecast of design’s future reduction of stuff and self-consciousness as ornamentation dissolves into a more mindful minimalism that both sustains and spotlights nature. “By dint of the pandemic, I think we will all want to see materials treated more honestly.” Point in case is the kitchen’s monolith island — “a chunky travertine tribute to Italian rationalism” — and perhaps the patinaladen marbles of the floating landmass of Venice. “It’s nice to do something so strong and bold,” she says. “Without all the mitred joints, brass angles and fussy details, it just has to deliver food and seat the kids for their morning cereal.” Bemoaning social media’s tendency to narrow the field of design vision down to presumed ‘likes’, Lynch declared herself positive about the re-direction of culture to a more considered style. “Living in real life will be the new luxury,” she says with conviction that from Sorrento sands to city, from retail to restaurant, design will seek to nurture more physical connections and have a deeper relevance to the world we find ourselves in. “This is my hope.” VL fionalynch.com.au 124

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T H E SE PAG ES in the informal lounge, Sunny sofa from Jardan; Togo Fireside chair by Michel Ducaroy for Ligne Roset from Domo; Original Ptolomeo bookshelf by Bruno Rainaldi for Opinion Ciatti from Space Furniture; Resident Offset coffee table from District; custom rug from Armadillo; Artemide Tolomeo Mega ﬂoor lamp, enquiries to Ornare Lighting; shelving in Tundra Grey honed limestone from CDK Stone; timber sculpture (on shelf ) by Jo Wilson; glass sculptures by Mark Douglass.

T HI S PAGE in the integrated fireplace and bar unit, shelving in Tundra Grey honed limestone from CDK Stone; 2pac lacquered quarter-cut American oak veneer drawer in Porter’s Paints Triple Newport Blue with satin finish; timber sculptures by Jo Wilson; burnt timber vessel by Makiko Ryujin; Untitled artwork by Jake Walker from Station Gallery. OP P O S I TE PAG E in the retreat, Settle bench by IIse Crawford for De La Espada from Haus; Pumpkin chair by Pierre Paulin for Ligne Roset from Domo; Gubi Cobra floor lamp, enquiries to Cult. Details, last pages.

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in the formal living area of this Northbridge home, sofa and armchairs designed by Nina Maya Interiors, produced by Atelier Furniture; coffee table designed by Nina Maya Interiors with Oliver Tanner Art & Design; Jade glass stool and Agatha 3 Tops coffee table from Draga & Aurel; rug designed by Nina Maya Interiors, produced by Robyn Cosgrove; Certain Uncertainties (2020) artwork by Marisa Purcell from Olsen Gallery; vase from Becker Minty; Studio Floris Wubben vase (on bench) from Alm; green vase from Planet. Details, last pages. T HES E PAG ES

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Prime view A random phone call led designer Nina Maya to a dream commission — to revitalise the interiors of the former Sydney home of Australia’s longest-serving Labor prime minister.

BY ANNEMARIE KIELY PHOTOGRAPHED BY FELIX FOREST STYLED BY JOSEPH GARDNER

designer Nina Maya in the formal living area; fireplace produced by Bellevarde and Choice Interiors; fireplace surround in Grey Scape marble and limestone from Worldstone. In the formal dining room, Michaël Verheyden leather bowl (on table), from Ondene; ceramic beaker and cup from Planet; wall sconce designed by Nina Maya Interiors with Oliver Tanner Art & Design; Upon Waking (2021) artwork by Marisa Purcell from Olsen Gallery. O PP O SI TE PAGE in another view of the formal dining area, table and dining chairs designed by Nina Maya Interiors, produced by Contempo & Co.; Covenant pendant light from Lost Profile; Studio Floris Wubben vase from Alm.

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n an era when sharp political discourse has dulled down to sanitised sound bites and cancel culture keeps the party room gagged, who doesn’t long for some of the intellectual larrikinism of the late Bob Hawke, the longest-serving Australian Labor prime minister who unapologetically lived out loud. ‘Hawkey’ blared his iconoclasm with a unifying bravura that convinced all Australians of their unassailable right to equal opportunity, be it in his shaping of historic workplace accords or the building of his Northbridge home — a five-storey ‘edifice complex’ in glass and steel towering over the sparkling waters of Sydney’s Sugarloaf Bay. Testifying to the rise of a lowly ACTU research officer to the leader of federal government, the archly contemporary architecture completed in 1993 was, for Australia’s 23rd PM, both a figurative and formal watershed; albeit one fitted with a private jetty, a gentlemen’s club, five palatial bedrooms and a pro-standard rooftop putting green. The house post-dated Hawke’s deposition as prime minister by his deputy Paul Keating (1991), platformed his very public split from first wife Hazel (1995) and back-dropped his “Yes, it was marriage to writer Blanche d’Alpuget one of the (1995), who, more than two decades more unusual later, would speak of his last breath situations … exhaling in the main bedroom (2019). For Nina Maya, the former fashion But isn’t it company founder turned designer, always the who was tapped to tender for the random calls building’s refurbishment by the new in life that owners after Hawke and d’Alpuget bought into a smaller harbourside reward?” apartment, the weight of legacy NINA MAYA must have been leaden. “Yes, it was one of the more unusual situations,” understates Maya of fielding Hawkey’s ghost in a “gift” commission that ensued from an “out-of-the-blue” request to meet with architect Ian Traill — a designer she didn’t know, working for a client couple she’d never met. “But isn’t it always the random calls in life that reward?” She remembers Traill’s scouting visit to her home — a Tardis magicked from the tiny footprint of a pushed-over Paddington bungalow — and his enthusiastic approval of its spatial trickery and textured minimalism. She believes his walk-through won her the project and vindication over parental cautions that she was crazy to buy the site. “But then colouring my teenage bedroom beige was my parent’s definition of madness,” she adds, with the laughing share ›› Jan/Feb 2022

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in the pool area, Swisspearl Dune Left and Dune Right chairs from Robert Plumb. In the casual dining area, cabinetry produced by Choice Interiors; benchtop in Grey Scape marble from Worldstone; table and stools designed by Nina Maya Interiors, produced by Contempo & Co.; marble bowl (on table) from Greg Natale; Collection Particulière bowl from Ondene; ceramic bowl (on bench) from The DEA Store; Louise Roe Balloon ceramic bowl from Spence & Lyda; Gem Branch chandelier from Giopato & Coombes; LZF Lola lamp from Ke-zu; White Nuances III (2020) artwork by Danica Firulovic from Galerie Pompom; sculpture by Scott McNeil from Curatorial+Co.

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T HI S PAGE , F R O M TO P in the study, re-edition Office Chair V Leg chair by Pierre Jeanneret from Tigmi Trading; bowl (on top shelf, from left) from Dinosaur Designs; ceramic bowl from Planet; ceramic vessels by Karlien van Rooyen from Curatorial+Co.; Zephyr bowl from Jardan (on second shelf, from left); sculpture by Scott McNeil from Curatorial+Co.; sculpture by Erez Ben-Or from Planet; brass bowl and pebble vessel (on desk) from Dinosaur Designs; Tripod lamp by Serge Mouille from Cult; Serax Inku glass from Spence & Lyda; Studio Floris Wubben vase from Alm; Tom Dixon Rock tealight holders from Living Edge; artwork by Sanné Mestrom from Sullivan+Strumpf. In the rumpus room, sofa designed by Nina Maya Interiors, produced by Atelier Furniture; side tables from Alm; Bzippy vase from Jardan; paper sculptures from Alm; ceramic vessel by Natalie Rosin from Curatorial+Co.; India Mahdavi Bishop stool and Smoking/No Smoking ashtrays from Alm; Invokation (2020) artwork by Marisa Purcell from Olsen Gallery. O P PO S IT E PAGE in the entry, re-edition upholstered easy armchairs by Pierre Jeanneret from Tigmi Trading; Studio Floris Wubben Tiny table from Alm; Eve (2019) artwork by Jordan Azcune from N.Smith Gallery.

‹‹ that her wildly artistic mother had painted every wall of the family home a different vivid hue. “I remember her, crying, ‘What is wrong with you?’” Rebellion against prevailing norms reveals as a repeat motif for Maya, who tells of founding a fashion company in Italy at the age of 20 with nought but naïve dreams and a design degree. “Again, with the ‘You’ve got to be crazy,’” she says of ignoring advice and diving straight in. “I joined forces with a family-run business in Bologna and produced my ﬁrst sample range, which David Jones picked up. We were straight out of the blocks and running.” The no-fear narrative continues with the designer describing six years of health-compromising stress until one customer, then a Sydney correspondent for The New York Times, invited her to translate her fashion sensibilities into the ﬁt-out of a small Potts Point apartment. “She just handed me the keys and left on assignment,” The client couple Maya says, with the shoulder-shrug ask of how much harder could it be were keen on the fashion. “I just phoned my sort of ‘Maya look’ than painter uncle for the number of a they’d gleaned good plumber, who gave me the in magazines — name of an excellent joiner.” Referrals greased the cogs of a nascent design a pure white machine as Maya rounded up a crack page, scored team of contractors, grew a client with deep luxury base, and ditched the fashion shingle, lines, allowing all of which answers to the question of parrying with ‘national’ legacy in the inhabitants new living rooms. “Don’t overthink to write their it, just do it.” own story And do it she did, after being served a loose brief by a client couple who were keen to sail the seven seas and simply return to the sort of ‘Maya look’ they’d gleaned in magazines — a pure white page, scored with deep luxury lines, allowing the inhabitants to write their own story. All with a prologue by Hawkey of course. She recalls the new clients’ wish to keep the man-cave mood of the ‘club’ room with their auction purchase of Hawke’s original pool table and a trilogy of photographic portraits by Richard Freeman depicting the former PM puffing on a cigar. Ironically, Hawke’s taste for leaf-wrapped tobacco was reportedly denied all in-house indulgence by the body corporate of his future home, causing the ex-PM to protest that he would leave Northbridge in a box and d’Alpuget to later concede that “he got his own way”. Maya remembers “Blanche’s kind offer” of a pre-settlement house tour and her remonstration about any alteration to it. “Well, I can’t ›› Jan/Feb 2022

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TH ES E PAGES , F RO M L EF T in the main bedroom, bedhead and ottoman by Nina Maya Interiors, produced by Atelier Furniture; Society Limonta bed linen from Ondene; linen cushions from Lucy Montgomery; bedside tables designed by Nina Maya Interiors, produced by Contempo & Co.; ﬂuted upholstered wall from Jade Customs; Ceto Double wall lights from Ross Gardam; Aerin crystal vase from Becker Minty; Fferrone glass and carafe from Hub Furniture; ceramic dish from Planet. In the main ensuite, mirrors designed by Nina Maya Interiors, produced by Choice Interiors; vanity in Arabescato marble, produced by Stone Gallery. Collection Particulière Roi stool from Ondene; travertine bowl from Greg Natale; sculpture by Carol Crawford; White Square with Two Borders I (2017) artwork by Danica Firulovic from Galerie Pompom.

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in the guest bedroom, bedhead designed by Nina Maya Interiors, produced by Atelier Furniture; Society Limonta pillowcase and blanket from Ondene; linen cushion from Lucy Montgomery; bedside table designed by Nina Maya Interiors, produced by Contempo & Co.; Celeste wall sconces from Daniel Boddam; artwork by Sanné Mestrom from Sullivan+Strumpf; ceramic bowl from Planet. In the powder room, mirror and wall sconces designed by Nina Maya Interiors with Oliver Tanner Art & Design; Collection Particulière Kafa stool from Ondene; ceramic bowl and vase from Planet. O P P O SIT E PAGE in the main bedroom, Tacchini Julep sofa from 1stDibs, (enquiries to Stylecraft for reissue) reupholstered by Atelier Furniture; Christophe Delcourt Oko side table from Ondene; India Mahdavi Trèﬂe mirror from Alm; bamboo ﬂoor lamp from The Vault Sydney. Details, last pages. T HI S PAGE

‹‹ imagine what you’d want to change”, she says, invoking d’Alpuget’s forthright tone. “Obviously nothing major.” The designer laughs and drops into her own hesitant voice, “Oh, no, no, just a few little tweaks here and there”. Little tweaks? “OK, big tweaks,” she concedes of Traill’s major relocation of the pool and “rationalisation of the rabbit warren of rooms” that confounded orientation and the ingress of light. “As much as possible we reinstated scale, removed walls, heightened ceilings, floated stairs across five levels, clarified circulation routes and installed full-height glazing on every level,” she says. “Ian masterfully massaged the whole thing, gave us the clean slate and clear sight lines to sparkling waters, boats and lush greenery.” They replaced the flooring, formerly a colourful patchworking “As much as of carpet and rugs, with a housepossible we wide continuum of large-format white porcelain tiles, indoors and reinstated scale, out, to both merge dedicated spaces removed walls, and mess with the perception of heightened ceilings, their limits. “We kept it completely floated stairs across minimal, then customised lighting, curtains and upholstery,” Maya says five levels, clarified of her shades-of-white tactility. circulation routes “Nearly all the furniture specified and installed was by European designers, but full-height glazing just as the pandemic hit, pricing and freight blew the budget out on every level” by almost double. The client called NINA MAYA it madness to be paying so much more than the value of the goods, so we had almost everything custom-made here in Australia.” Calling on the crafted conceptualism of such multidisciplinary Sydney creatives as Ollie Tanner and Ashley Corbett-Smith, who hand-forged lights, fashioned tables and cast installations with a Noguchi-like regard for organic form and soothing psychic energy, Maya pushed uncertainty and materiality to the edge. One of the concessions to off-shore making came with the modelling of the main ensuite into a graphic mountain-scape of Arabescato marble; one more pragmatically shaped and shipped in from Italy. Surely, the former PM would approve of such holistic Australian structure and substance? Maya hopes there is enough balance between gravitas, levity and maverick design to serve the memory of Hawke who, as the current governor of Western Australia Kim Beazley eulogised, “whether you agreed or not, your happiness was his motive.” VL ninamayainteriors.com @iantrailldesign

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A couple have thrown open the doors of their heritage-listed 1930s Sydney bungalow to local design, Danish modernism and Italian elegance to harness a reﬁned retreat all of their own.

STATE OF MIND

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T H IS PAG E in the kitchen, splashback and benchtop in Liberty Grey honed dolomite stone from SNB Stone; walnut timber veneer cabinetry produced by JP Finsbury; vases and vessels from The DEA Store. O P P O S I TE PAG E in the dining room, De La Espada Elliot dining table from Spence & Lyda; terracotta vase from Tania Rollond; black vase from Dinosaur Designs; Surface wall sconce by Studio Henry Wilson; walls in Proyalbi plaster ﬁnish; Hazel engineered timber ﬂooring from Made By Storey.

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h, the galling irony of discussing ‘Great Escapes’ with Sydneysiders on their so-called ‘Freedom Day’ when you’re languishing in locked-down Melbourne, the world’s most Covid-incarcerated city. But that was the context, when talking up the line to architect Jeremy Bull about his ﬁrm’s alterations and additions to this interwar brick bungalow on Sydney’s North Shore. Bull had just released from 107 days of lockdown in Alexander House, the four-level Bondi compound that is both home to his 20-person practice Alexander & Co, and his brood of four young boys who, when we speak, have escaped homeschooling by Bull’s partner and marketing brain Tess Glasson, to re-enter the wider world. He admits to some anxiety about “going back to the old life,” describing the preceding months as a “magic time of connection to his boys” and a necessary adaptation to different “maybe more efficient protocols” in communication with remote staff, clients, contractors and councils. “But Tess might have a different view on all of that,” he adds with appreciative concession to her carry of the ‘mother-load’. “In all, it was a pretty special time.” Deconstructing ‘special’ to an immersion in the immediate locale — “daily swims at Bondi with the boys,” — Bull says they all felt the healing power of nature. The Great Escape, he says, circling back to the subject du jour, isn’t always about running away to a resort, but maybe liberating from old ways — “with wellness not as a function of narcissism, but of sustainability — if I can sustain myself, I can sustain another.” Intrinsic to this ideation of escape was the client, who Bull described as a former property professional with an open-door attitude towards friends and extended family. “She is a really impressive human being, a very intellectually and emotionally capable person with loads of curiosity who wanted a place of ‘abundance’ for her and her partner’s perpetuity,” he says, with the add that her UK-born husband travelled for business, so entrusted the renovation to her. “One of the core precepts of the project was that she wanted to ‘enjoy’ the process. She chose the team based on what and who would give her a high level of involvement. She wanted it to be unhurried and very careful. She wanted to understand not just the what, but the why — that is pretty uncommon.” Later asked about this atypical desire to embroil and engage, the client declares that after 30 years in commercial property, she knew that “the real magic” happens when everyone gets in the trenches. “This project was gold from that perspective,” she says of Bull and his baton-passing design team of Charlene Cong, Madison Fay and Rachel Wan. “We all got on so well, in a trusting and respectful collaboration with Cumberland Building.” Such insistence on the right people and process eked the building period out, but for the property-savvy client, who underwrote ‘the ‘why’ of it all with an online Cambridge University course in sustainability, time was not an issue ››

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“One of the core precepts of the project was that the client wanted to ‘enjoy’ the process… She wanted to understand not just the what, but the why — that is pretty uncommon” JEREMY BULL TH ESE PAGE S in the living area, Miller sofa from Jardan; Prime Time easy chair and footstool and Asplund Luc console, all from Great Dane; custom upholstered Cappellini Newood Relax Light chair from Cult; Tobi-Ishi coffee table by Barber Osgerby for B&B Italia from Space Furniture; ceramic bowls and sculptural bowl (on ﬁreplace bench), all from Becker Minty; black vase from Tania Rollond; tall vase from Damon Moon; small ceramic vessel from The DEA Store; Handvark Studio ﬂoor light from Fred International; rug from Armadillo; Huon River, Tasmania (2017) artwork by Andrew McIlroy from Nanda\Hobbs.

TH I S PAG E in a view of the dining and kitchen area from the living area, custom American black walnut dining table by Oishi Furniture & Homewares; Molloy chairs by Adam Goodrum for Nau from Cult; small bowl from Tania Rollond; vases and bowl, all from The DEA Store; water jug from Becker Minty. OPPO S ITE PAG E in a view of the powder room from the dining room, Stand basin with black legs from Studio Bagno; Issy Z1 round mirror from Reece; hand towel from Oliver Thom; Cole & Son Ardmore Khulu Vases wallpaper from Porter’s Paints. In the dining room, black and white vessels, all from Dinosaur Designs; artwork by Christopher McVinish from Maunsell Wickes.

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in the bathroom, Victoria + Albert York bath from Candana; upholstered WNG chair by Magnus Læssøe Stephensen for Mazo from Fred International; vintage armchair; hand towel from Polite Society; Chambord Grey honed limestone tiles from SNB Stone. OP P OS I TE PAG E in the main bedroom, custom Sunny bed from Jardan; Jon Goulder Innate 40 Night side table and Shaker dining chair by Neri & Hu for De La Espada from Spence & Lyda; glass from Becker Minty; Duomo Original wall sconce from Nightworks Studio; bed sheets from Bedouin Societe; pillowcases from Mamapapa. Details, last pages. T HI S PAGE

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‹‹ but the climate science was. Delays were incurred by the installation of such eco-smarts as heat-pump climate control. “Computer says no,” bemoans Bull of the hiatus further caused by heritage controls and the “craziness” of planning codes insisting that any addition to a “mean” 1930s structure with no architectural merit be imperceptible from the street. “I get value and preservation, but they [old and new] are put in competitive tension where one has to win and one has to lose. Both are valuable. Why can’t we see the energy, care and compassion that creates contemporary architecture — it all stays so belligerently binary.” Instead of whip-cracking the contractor or complaining to council, the client decided to bake. “It was insane how much food she cooked for the builders,” Bull says, likening her subtle leadership strategy to that of Ted Lasso — the small-time coach who wins big-boss support with baked biscuits on the eponymous comedy drama series. “A little gift, some generosity and then the relational commitment.” The gesture was a small measure of the client’s concept of abundance; a generosity of spirit and space that ultimately redressed the bungalow into guest accommodation for the constant flow of visitors and shaped the new rear addition into two commodious levels of public and private sanctuary. Commenting on the inherent paradox in designing for abundance in a parsimonious 1930s structure, Bull believes the big challenge for architects now is to mediate the polarities within the tight parameters set by risk-averse codes. “Clients want complete privacy and the panoramic view,” he says, referencing the sliding glass wall that divides the living area from the landscape while leveraging its spectacle and space. Bull brokered détente between the different materials, levels and meanings of ‘modern’ in the rear facade with a sky-reaching chimney; a sculpted funnel suggestive of forms by Le Corbusier — the Swiss-French architect at large when the bungalow was built. The diplomacy continued inside with a quiet palette of grey marble, black steel and stained oak; a blank canvas on which the client could layer personal resonances and new comforts that nodded to no set look or period. There’s a little homegrown Henry Wilson, a hint of Danish modernism, some quiet Italian elegance and New York illumination in Apparatus fittings. “We are here to make memories and were deeply conscious about feeling the things that would be with us for the next 20 years, no, let’s give ourselves another 25,” the client says with a laugh and the share that her dad drove the same Mercedes “with a million kilometres on it” until he passed. “He respected it. I wonder what we’d be if our personalities were matched to a car. I’m sure my husband would idealise us as an Aston Martin, but I think we are more a vintage Aston; not too flashy, understated with a timeless appeal and character.” The Great Escape in her field of reference is a retreat from the rigours of life — “the freedom to throw the doors open or be very private; to connect to the spotted gum in the garden or the resident birdlife,” including popcorn connoisseur and kitchen fly-in Colin the Kookaburra. “It is the freedom to be exactly who we are.” VL alexanderand.co

“We are here to make memories and were deeply conscious about feeling the things that would be with us for the next 20, 25 years” THE HOMEOWNER

PARADISE

realised

Furniture and product designer Maximilian Eicke has used the opportunity of creating his DREAM HOME in Bali to experiment and conceive everything from the feature lighting and modernist furniture, down to the plates and cutlery. By Verity Magdalino Photographed by Tommaso Riva

T H E SE PAGE S in the central courtyard of this ﬁve-building home in Bali, with a view of the main bedroom wing, a 75-year-old Bodhi tree (in foreground) relocated from another property; graduated steps in local volcanic quarry stone and topped with Japanese grass; hand-crafted ironwood shingle roof.

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TH IS PAG E in a view of the pool house dining area, glass-topped reclaimed teak dining table and chairs from Max ID NY; Andesite volcanic stone ﬂooring. O P POS I TE PAG E homeowner and designer Maximilian Eicke in the pool house.

y parents would drag us to literally every gallery, event and party,” says designer Maximilian Eicke of his early introduction to the worlds of art and design. Born in Dusseldorf to an art and antiques dealer father and a fashion editor mother, Eicke spent his childhood being shuttled between fashion shoots in Germany and client meetings and dinner parties with art collectors in the UK. “If we started getting tired, they just let us fall asleep under the table,” he says. “That’s how I became fully immersed in the design world — I had no choice. But it was great.” By the time he was nine, Eicke’s mother had joined forces with his father in what he describes as the “more family-friendly” business of art and antiques. They moved to Long Island, New York, after his father fell in love with the township of Sag Harbor where he’d been invited to one of his many client soirees. “Mum was in Germany with us and Dad called and said, ‘I think I found our future home.’ They discovered a house with a store attached to it and that was how we ended up in New York.” Eicke’s nomadic upbringing now informs his adult life. He spends half of the year in New York and the other half in the home he has built for himself and his family in the sublime lush tropical surrounds of Tanah Lot, an hour’s drive north-west of the Bali capital of Denpasar. It’s here, in Bali — where Eicke found himself on an unexpected detour while backpacking around South-East Asia and Australia — that all the designer’s creative dreams were made reality. After studying interior design in Dublin and trying unsuccessfully to ﬁnd manufacturers in the US for his ﬁrst furniture concepts, he “felt a little lost” and so at 19, he set off on the proverbial post-college trip. On the return journey, Eicke’s parents suggested he visit a family friend who’d just moved to Bali and happened to have manufacturing contacts there. “So, of course, I jumped on a plane — and ended up staying for two weeks,” says the entrepreneur. “Those two weeks changed everything.” Meetings with an Italian factory owner — his son Wayan Lam later became Eicke’s best friend on the island — and a British manufacturer Chris Ball, who has since become a mentor, resulted in the production of Eicke’s debut furniture collection; a sculptural line of side tables and smaller pieces for apartments, which he launched back home in New York in 2010. The proceeds of the sales funded a return trip and a second collection — and so began a peripatetic cycle. Fast forward a few years, multiple collections and return trips to Bali later, Eicke found himself spending increasing time on the

island. “The house started because I was spending five to six months in Bali — and I was spending a lot of money in hotels and Airbnbs.” His initial idea was to find 200 square metres of land and “maybe build a one- or two-bedroom place for me to experiment and have this little home”. But when the designer discovered a 5000 squaremetre property near the village of Tanah Lot, surrounded by rice fields with a river and a picturesque water temple nearby, it didn’t take long to expand on his dream. “It was the exact recipe I was looking for but it was ten times the amount of land I had initially thought I could afford,” he recalls. “But I fell in love with it. Then I showed it to my mentor and he said, ‘You have to get this.’ “Now I had this land, I felt like a kid in a candy shop,” says Eicke who set about transforming the property into his own design experiment. The five individually unique buildings that make up the sanctuary he has named Dukuh Haus all face, Roman-style, onto a central courtyard and pool area, encouraging visitors to come together in the heart of the property. From the tent-like structure of the main house where Eicke has built a wing for himself and one for his parents, to the minimalist Mies van der Roheinspired concrete aesthetic of the guesthouse, and a pool pavilion created from the tall roof of a traditional Javanese joglo, Eicke’s home–away-from-home is a medley of styles made harmonious through his choice of materials including marble, steel and locally sourced teak. Inspiration for the minimalist interiors of what Eicke calls “his house of prototypes” is grounded in the work of masters such as Frank Lloyd Wright. “I used the interiors as an excuse to try and create every item in the house that I possibly could,” he says. “I wanted to design something completely new for every piece.” Cue handcrafted dinnerware, which mixes porcelain with Balinese sand to mimic the stone used in the house; furniture, lighting, cutlery and a sublime collection of colourful, faceted glassware. Eicke produces all in small runs to sell back in New York under his Max ID NY label. Indeed these ‘prototypes’ have become so successful that Dukuh Haus now produces an income. “The glassware in particular has taken on a life of its own,” says Eicke of the range of crystal-like vessels. “So we’re using this experience to launch a lighting collection and upholstered furniture.” And it doesn’t stop there. Next up, Eicke is planning the build of yet another structure on the property — this time using huge beams of reclaimed ironwood to create what he calls “an actual laboratory”. Artist studios, a fashion workshop (for Eicke’s clothing-obsessed wife Irina) and guestrooms for friends to visit and use the creative zones are among just some of the ideas to fill the new space. “It’s going to be a fun project,” says the designer. “And I feel like it’s only the beginning of what we could do.” VL maxidnystore.com Jan/Feb 2022

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TH E SE PAG E S in the living area of the main house, sunken sofa upholstered in outdoor fabric, cantilevered island in reclaimed teak with ebonised ﬁnish and white Carrara marble benchtop, dovetailed teak room divider, storage cabinets behind Carrara and Nero Marquina marble slabs, and pyramid cast acrylic and cast brass pendant lights, all by Maximilian Eicke.

T H IS PAG E in the pool house bar area, reclaimed teak bar with black granite benchtops and structural brass details by Maximilian Eicke; acrylic pendant lights by Maximilian Eicke (the pool house has a total of 35 pendants, designed to replicate a New York City skyline at night); brass candle holder from Max ID NY; carved teak detail (towards top), part of an antique joglo. O P P OS I T E PAGE in the dining area of the main house, reclaimed teak dining table and white oak and high-gloss lacquer chairs by Maximilian Eicke; stone mask sculptures in homage to temple masks of Sumba; custom pyramid, cast acrylic and cast brass chandelier by Maximilian Eicke; reclaimed ironwood tongue-and-groove ﬂooring with satin ﬁnish.

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in Maximilian’s bedroom, blackened teak bed with waxed teak detail, marble side tables and ﬁbreglass pendant lights, all by Maximilian Eicke. O PPO SITE PAGE on the pool deck, reclaimed teak and polished steel pool chairs from Max ID NY. Details, last pages. TH IS PAG E

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MAXIMILIAN EICKE

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VList

Brooke Street Pier at Sullivans Cove, part of the River Derwent, just moments from The Tasman. Turn the page for the full story.

T H I S PAG E

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VList T HI S PAGE a Large Room at the Ace Hotel Sydney. OPP OS I TE PAGE , FR OM L E FT Peppina, The Tasman’s restaurant by Massimo Mele. A Deluxe Room in the Soﬁtel Adelaide.

New

intown

From the most-hyped hotel to hit Sydney this decade to a waterfront heritage classic in and a luxurious taste of Paris in , these n are escapes worth waiting for.

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Ace Hotel Sydney The arrival of the Southern Hemisphere’s first five-star Ace Hotel in Sydney comes with a high level of interest. Who: With outposts in some of the coolest corners of the globe — from New York to Kyoto — the Ace hotel brand is so well known, it’s even name-checked in a Bon Iver song. What: The 264-room accommodation is housed in the former Tyne House brick factory. With Melbourne-based design firm Flack Studio on the building’s interiors, which include a groundfloor restaurant, bar and cafe, as well as a rooftop bar and restaurant, the result is true to the Ace brand’s ethos: singular yet entirely at one with the environment and personality of each locale. Led by David Flack, the design direction of Ace Hotel Sydney takes a typically Australian approach, weaving in colours and textures intrinsic to our local mindset. “The landscape, heritage architecture and surroundings of Surry Hills have all played an integral part in our materiality throughout the hotel,” says Flack. “[There’s] ultimately a feeling of not just Sydney, but Australia.” Where: The 18-storey hotel is in inner-city Surry Hills, renowned for its world-class coffee, buzzy restaurants and intimate bars. When: Ace Hotel Sydney is set to open in May 2022, with reservations now open. acehotel.com/sydney

Sofitel Adelaide

WRI T E RS: YE O N G SASSA LL (AC E H OT E L SY DN E Y ), MAT T HE W E VAN S ( THE TASM AN) , C HRI STI N E Mc CABE (SO FI TE L AD E L AI D E ). P HOTO G RAP H E RS: AN SO N SM ART (ACE H OT E L SY DN EY ), ADA M GI BS ON (T HE TA SM AN ), LE WI S POTT ER ( SOFI T E L AD E L AID E)

The just-opened five-star Sofitel Adelaide delivers French flair to the city’s West End. Who: Bangkok-based, Adelaide-born designer Carl Almeida of P49 Design has taken several Adelaide tropes — the arts, wine and church architecture — and overlaid them with contemporary French design motifs. What: From the leather-padded lifts to the shapely bathtubs, every detail of the 24-floor hotel is bespoke. Sofitel’s trademark French poise informs each of the 251 guestrooms and suites with gleaming red candelabrastyle lights, pale wall panelling and marble bathrooms, as well as shower walls decorated with a beautiful, mosaic rendering of a prominent cathedral window. Hand-selected marble is featured everywhere, from the lobby to the stunning indoor pool to the restaurant. On level nine is the hotel’s glamorous brasserie Garcon Bleu. Stunning, tiled floors This may be the swankiest accommodation to open in Hobart in years. and shimmering gold pillars Who: Located on the site of the one-time St Mary’s Hospital — opening in 1847 by Dr Edward Samuel are set about with high Pickard Bedford to service the ‘labouring classes’ — this magnificent sandstone building is now home to tables and cosy tables pour The Tasman, a very posh Marriott-run Luxury Collection group hotel. deux with pale-blue velvet What: The new 152-room luxury stay is almost three hotels in one. In the former sandstone hospital, rooms chairs, all overseen by chef are spacious and airy, with a more Downton Abbey theme. In the converted Art Deco-style council building de Cuisine Gianni Delogu. from 1937, the rooms make a nod to the architecture that made the era famous, with round bedside tables and On offer are an oyster bar, buttoned stools. The new Pavilion building offers more modest yet decadently appointed standard rooms. French dishes tweaked for a modern Australian palate, The hotel’s bar Mary Mary has comfortable nooks and a dark, moody feel from the leather and stone and engaging skyline views. interiors while Peppina, The Tasman’s flagship restaurant led by chef Massimo Mele, with its glass ceiling Where: Entry is via a and pale blue upholstery, is wide open. The yin to Mary Mary’s yang. laneway off Currie Street Where: Down near the Hobart waterfront behind Parliament House, The Tasman is well situated for in the heart of the CBD. strolls around the city or Salamanca, with galleries, museums, bars and a whole lot more on offer. When: Sofitel Adelaide When: Opened December 2021, The Tasman feels truly Tasmanian, despite its international standing. opened in November 2021. For those looking for quality, for the good things from the linen to the location, from the pillows to the sofiteladelaide.com.au paccheri pasta, The Tasman offers something for everyone. marriott.com.au

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Travel + Luxury

SHOP

COM P I LE D BY H ARR I E T C R AWFO RD

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Sources

P HOTO G RAP H E R: FE L I X FO R E ST. ST Y L IST: JO SEP H GAR DN E R

THI S PAG E in the guest bedroom of this Northbridge home, Rio rocking chaise by Oscar Niemeyer for Etel from Mama Casa. Turn to page 128 for the full story.

1stDibs 1stdibs.com Abode Living abodeliving.com Ajar ajar.com.au Allied Maker alliedmaker.com Alm studioalm.com Armadillo armadillo-co.com Arno Declercq arnodeclercq.com Ashley Corbett-Smith ac-s.co Astor Metal Finishes astormetalfinishes.com Atelier Furniture atelier-furniture.com Becker Minty beckerminty.com Bedouin Societe bedouinsociete. com Bellevarde bellevarde.com Benchmark benchmarkfurniture.com Bishop Master Finishes bishopmasterfinishes.com.au Bludot bludot.com.au Broached Commissions broachedcommissions.com Brodware brodware.com CDK Stone cdkstone.com.au Camberwell Cane camberwellcane.com.au Candana candana.com.au Carol Crawford carolcrawford sculpture.net Charles Tassin @charlestassin Choice Interiors choiceinteriors.com.au Contempo & Co. contempoco.com.au Cosh Living coshliving.com.au Cult cultdesign.com.au Cumberland Building cumberland building.com.au Curatorial+Co. curatorialandco.com Damon Moon damonmoon.com Dangar Barin Smith dangarbarin smith.com.au Daniel Boddam danielboddam.com Dedece dedece.com Denis Castaing deniscastaing.com Designstuff designstuff. com.au Dinosaur Designs dinosaurdesigns.com.au District district.com.au Domo domo.com.au Draga & Aurel draga-aurel.com Enlightened Living enlightened-living.com.au Est Lighting estlighting.com.au Ethnicraft ethnicraft.com Euro Marble euromarble. com.au Fanuli fanuli.com.au Fendi fendi.com/au Fisher & Paykel fisher paykel.com Fred International fredinternational.com.au Galerie May galerie-may.fr Galerie Pompom galeriepompom.com Gaya Ceramic gayaceramic.com Giopato & Coombes giopatocoombes. com Giorgio Armani armani.com Granite and Marble Works granitemarbleworks.com.au Grazia&co graziaandco.com.au Great Dane greatdanefurniture.com Greg Natale gregnatale.com Haus hauslondon.com Hub Furniture hubfurniture.com.au Ikea ikea.com.au JP Finsbury jpfinsbury. com.au Jade Customs jadecustoms.com.au James Dunlop Textiles jamesdunloptextiles.com Jardan jardan.com.au Jo Wilson jowilson.net Karman karmanitalia.it Ke-zu kezu.com.au Koskela koskela.com.au Kvadrat kvadrat.dk Kvadrat Maharam kvadratmaharam.com Laminex laminex.com.au Leucos leucos.com Living Edge livingedge.com.au Lost Profile lostprofile.net Lucy Montgomery lucymontgomery.com Mackenzie & Keim mckenzieandkeim. com Made By Storey madebystorey.co Maison Balzac maisonbalzac.com Maisonjaune Studio maisonjaunestudio.com Mama Casa mamacasa.com.au Mamapapa mamapapa.com.au Marisa Purcell marisapurcell.com Mark Douglass markdouglassdesign.com Marlo Lyda marlolyda.me Marlow & Finch marlowandfinch.com.au Maunsell Wickes maunsellwickes.com Mediterranean Marble medmarble.com.au Mobilia mobilia.com.au Moebel moebel.com.au Mud Australia mudaustralia.com N.Smith Gallery nsmithgallery.com Nanda\ Hobbs nandahobbs.com Natalie Rosin natalie-rosin.com Nefiko nefiko.com Nightworks Studio nightworksstudio.com Niro Granite nirogranite.com Oblica oblica.com.au Oishi Furniture & Homewares oishi.com.au Oliver Tanner Art & Design olivertanner.com.au Oliver Thom oliverthom.com.au Olsen Gallery olsengallery.com Ondene ondene.com Onsite Supply and Design onsitesd.com.au

Ornare Lighting @ornarelighting PSLab pslab.lighting Pan After panafter. com.au Piermarq piermarq.com.au Planet planetfurniture.com.au Polite Society polite-society.com.au Porter’s Paints porterspaints.com Poterie Ravel poterie-ravel.com Proyalbi proyalbi.com.au Rakumba rakumba. com.au Reece reece.com.au Rematerialised @rematerialised Robert Plumb robertplumb.com.au Robyn Cosgrove robyncosgrove.com Ross Gardam rossgardam.com.au Rudi Rocket @rudirocket SNB Stone snb-stone.com Saint Cloche saintcloche.com Sea of White seaofwhite.com.au Simple Studio simplestudio.com.au South Pacific Fabrics southpacificfabrics.com Space Furniture spacefurniture.com Spence & Lyda spenceandlyda.com.au Station Gallery stationgallery.com.au Stone Gallery stonegallery.com.au Studio Bagno studiobagno.com.au Studio Henry Wilson store.henrywilson. com.au Stylecraft stylecraft.com.au Sullivan+Strumpf sullivanstrumpf.com Summit summitfurniture.com Tait madebytait.com.au Tania Rolland tania rollond.com Tappeti tappeti.com.au The DEA Store thedeastore.com The Invisible Collection theinvisiblecollection.com The Textile Company textilecompany.com.au The Vault Sydney thevaultsydney.com Tigmi Trading tigmitrading.com Tongue N Groove tngflooring.com.au VBO Australia vboaustralia.com Vincenzo de Cotiis decotiis.it Vola en.vola.com Volker Haug volkerhaug.com Whitecliffe Imports whitecliffe.com.au Winchester Interiors winchesterinteriors.com.au Winning Appliances winningappliances. com.au Worldstone worldstone.com.au Zia Tile ziatile.com Zorzi zorzi.com.au

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BENI KESH

A bespoke Australian retailer of artisan rugs and home decor, both vintage and new. Bazaaar’s products are sourced both locally and globally and fully support ethical production and sustainable shopping.

Shop our travel inspired luxury Artisanal rugs, homewares, prints & furniture. Beni Kesh sources the charmingly rare & old, as well as contemporary made to order pieces for your home. All rugs receive free Interior Design styling advice & free shipping. Use code VOGUELIVING15 and receive 15% off.

Bazaaar is dedicated to bringing the textures, colours and patterns of various cultures, direct to the homes of its Australian customers. @bazaaar_au

@beni_kesh

bazaaar.com.au

benikesh.com

SUM OF BL ANC To make cleaning enjoyable, the scent is important. To make the mind blank while cleaning, the scent is CRUCIAL! Clean, nature, back to basic are the principles behind the creation. Cleaning should be effortless, and blended with inherently tempting, rare experiences. Sum of Blanc is customized to to sooth our soul and mind.

EVERGREEN COLLECTIVE

@sumof blanc

@_evergreencollective

sumofblanc.com

evergreencollectivemelbourne.com

Handmade Earrings in Melbourne. Curated gift boxes or build your own gift box gift box. Australian brands, slow made and from local makers.

NONTRE.CO Get your skin summer ready with nontre.co’s Natural Bath Salts and our Miracle Glow Body Milk and Scrub. These tubs of goodness are packed with essential oils to smooth and hydrate your body whilst detoxifying and buffing away dry, dull skin. Say hello to glow and unveil your best self with nontre.co

@nontre.co

nontre.co

T O A D V E R T I S E C O N TA C T 13 0 0 139 3 0 5 O R V O G U E L I V I N G @ N E W S L I F E M E D I A . C O M . A U

VLcollection

BA ZA A AR

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

POSTSCRIPT From the kitchen to the bedroom, update your home in style with these must-haves.

RAISE YOUR GLASS Find the perfect home for your favourite bottle of vino with the LG SIGNATURE Wine Cellar. It’s a smart storage solution for every wine lover. Humidity control and UV light protection provide the ideal conditions to preserve your collection. And you can keep an eye on things with the InstaView panel without opening the door to maintain optimal conditions. For more, visit lg.com/au/lg-signature

COASTAL COOL As refreshing as a dip in the ocean, The Cabin by Webb & Brown-Neaves draws inspiration from the beachside suburbs of Western Australia to challenge the conventions of coastal home design. Charcoal weatherboard cladding and Italian aged brick come together to offer fresh, bold and sophisticated appeal. Explore the possibilities at wbhomes.com.au

CAFE CULTURE Start the day the right way with Nespresso’s chic Vertuo Next coffee machine. Double espressos and long blacks beckon, and pair it with the Aeroccino3 milk frother to make cafe-quality cappuccinos. This sleek, energy-efficient machine is easy to use, meaning satisfying a caffeine fix is a breeze. For more details and kitted-out accessories, visit nespresso.com.au

KEEN ENTERTAINER Handle even the most challenging culinary assignments with the Ilve Majestic freestanding oven. This statement entertaining essential doesn’t forget the importance of modern functionality. The smooth touch controls are easy to handle and the Steam Valve lets you adjust the humidity as needed. Cooking has never been so sophisticated. See more at ilve.com.au

LOUNGING AROUND The Janus et Cie Anatra collection by renowned designer Patricia Urquiola is a celebration of texture. Characterised by its aluminium frame and woven rope finish, the Anatra Chaise Lounge is everything you want in a piece of outdoor furniture – sophisticated, intricate, lightweight and durable. For more information, visit janusetcie.com

TAKE A SEAT The Flexform Joyce Dining Chair brings an aesthetic to the table that’s simple yet distinctive, with allusions to tradition in every line. Flexible, durable and full of character, it’s a chair that looks at home in any modern dining room. To find out more, visit fanuli.com.au

VLast look SHOP

TH IS PAG E Kartell Louis Ghost chair by Philippe Starck, $620, from Space Furniture; spacefurniture.com

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