*Architecture � Design � Art � Travel � Entertaining � Beauty & Grooming � Transport � Technology � Fashion � Watches & Jewellery
july 2021
DESIGN DIRECTORY Forward-facing furniture for 2021
Mark Bradford’s epic new show at Hauser & Wirth Menorca
Studio Mumbai and Mino Soil get to work with Japanese clay
Sensational kitchens + breathtaking bathrooms
JULY JACKET, £1,980; DRESS, £2,600, BOTH BY VALENTINO. SUNGLASSES, £260, BY BOTTEGA VENETA, SEE PAGE 132
DESIGN DIRECTORY
075 Room-by-room edit
Our pick of inspiring new furniture for indoors and out, plus outstanding kitchens and bathrooms
ARCHITECTURE
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DESIGN
068 Hover craft
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Clay of the land Studio Mumbai digs deep to unlock the creative potential of soil in Japan
FASHION
In the pink A sinuous, Senegalese hospital extension by Manuel Herz embraces its location and community
ART
Off the charts Mark Bradford’s epic, inaugural show at Hauser & Wirth Menorca
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Michele De Lucchi and Stellar Works create an uplifting new sofa
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Shorts stories Vilebrequin swimwear makes a splash to celebrate its half-century Trail blazer Zenith unveils its ‘Defy Extreme’, a watch for all terrains ∑
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JULY
A PERFORATED FAÇADE OF LOCALLY CRAFTED BRICKS IS A DISTINCTIVE BRISE SOLEIL AT THE NEW TAMBACOUNDA HOSPITAL EXTENSION IN RURAL SENEGAL, SEE PAGE 064
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Hot spots We’re dotty for leopard print and 1950s silhouettes
FOOD
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Picky Nicky’s need-to-know guide to travel in testing times
MEDIA
099 WallpaperSTORE*
Artist’s palate Peter Blake’s beans on toast
FRONT OF BOOK
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Newspaper Fendi’s Plexiglas ‘Baguette’; Le Corbusier on a plate; tunics that are long on style; a smart tracker for your belongings; and architect-designed beauty accoutrements
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060 The Vinson View
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EDITORIAL Editor-in-Chief Sarah Douglas Digital Editor Elly Parsons
Editor TF Chan Fashion Director Jason Hughes
Photography Director Holly Hay
Design Editor Rosa Bertoli
Architecture Editor Ellie Stathaki
Transport & Technology Editor Jonathan Bell Group Art Director David Graham
Fashion Features Editor Laura Hawkins
Head of Interiors Olly Mason
Watches & Jewellery Editor Hannah Silver
Designer Ben Rimmer
Executive Editor Bridget Downing
Arts Editor Harriet Lloyd-Smith
Assistant Photography Editor Sophie Gladstone
Producer Tracy Gilbert
Beauty & Grooming Editor Mary Cleary
Entertaining Director Melina Keays Production Editor Anne Soward
Sub Editor Léa Teuscher
Contributing Editors Nick Compton, Deyan Sudjic, Ekow Eshun, Marco Sammicheli, Tilly Macalister-Smith, Nick Vinson, Emma O’Kelly, Hugo Macdonald, Bodil Blain, Alice Morby, Henrietta Thompson, Suzanne Trocmé US Editor Michael Reynolds • New York Editor Pei-Ru Keh • Milan Editor Maria Cristina Didero • Paris Editor Amy Serafin • Germany Editor Sophie Lovell Madrid Editor Maria Sobrino • Japan Editor Jens H Jensen • China Editor Yoko Choy • Singapore Editor Daven Wu • Australia Editor Elias Redstone Latin America Editor Pablo León de la Barra • Buenos Aires Editor Mariana Rapoport
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CONTRIBUTORS MAX FARAGO Photographer Los Angeles-based photographer Farago is known for his portraits of family and friends, but also of art luminaries such as Richard Serra and Jeff Koons. We tasked him with capturing celebrated Californian artist Mark Bradford in his vast studio in Compton (page 126). ‘It was wonderful visiting Mark in his studio and seeing beautiful works in progress,’ says Farago, who recently published a monograph and is working on a short film made during the run-up to the 2020 US presidential election. CRISTINA KIRAN PIOTTI Writer
DAL CHODHA Writer
Milan- and Mumbai-based journalist Kiran Piotti quizzes Michele De Lucchi on his sofa collaboration with Stellar Works (page 068). She was surprised by the Italian architect’s interest in her furniture during the Zoom interview: ‘He was so engaging. At one point, he started using my own furniture to explain a concept,’ she says. ‘I felt I was welcoming a renowned designer into my home, and I loved the personal touch he tried to give to our conversation.’
London-based writer Chodha is ‘quite taken with Zoom and how it yanks us so viscerally into other people’s lives’. His interview with Roland Herlory, CEO of swimwear brand Vilebrequin (page 062), transported him across the ocean: ‘Roland, fittingly, was on an island in the Caribbean, while I faced a view of an unseasonal spring in London,’ he says. An associate lecturer at Central Saint Martins, Chodha is editor of ‘niche and nerdy’ fashion journal Archivist Addendum. OLLY MASON Head of Interiors Mason joined Wallpaper* in 2015, and has styled no end of brilliant interiors stories. Most recently, she has swapped the logistical challenges of photo shoots to work with illustrators, collagists and digital artists. ‘Our stories with Studio Likeness [page 101] and Studio Rotolo [page 077], for example, show our efforts to operate in a more eco-conscious manner. Rather than send products across borders, we’ve transported readers to stunning 3D roomscapes,’ she says.
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PETER BLAKE Artist
STEFANO GIACOMELLO Artist
Blake is Britain’s foremost pop artist, pioneering a combination of pop culture and fine art in the late 1950s that has proven prescient. ‘I believe that you can be diverse and serious at the same time,’ he says. Now 88, he has recently published a monograph of his collage works, with a foreword by David Hockney, and has a solo exhibition at London’s Waddington Custot gallery from 18 June. For our Artist’s Palate series (page 146), Blake selected beans on toast, a dish as accessible and unimprovable as his artwork.
A former art director and set designer, Giacomello is a self-taught 3D artist who initially dipped into rendering as a hobby, to ‘materialise’ his set ideas. After demand in digital art soared in the past year, he decided to pursue this interest full-time and founded Studio Rotolo. For us, the Genevaborn, Montreal-based artist has produced the Design Directory vignettes (page 077). ‘I love 3D and it has created amazing opportunities,’ he says, ‘but I do miss working on “real” physical projects.’
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WRITER: LÉA TEUSCHER
EDITOR’S LETTER
Fresh canvas
Clockwise from centre, ‘Lemni’ armchair, from €3,113, by Marco Lavit, for Living Divani. ‘Giro’ side tables, price on request, by Vincent Van Duysen, for Kettal. Virgil Abloh Wandanlage hi-fi audio wall unit, price on request, by Virgil Abloh, for Braun Audio. ‘Divide IT’, from €1,377, by Pitsou Kedem, for MDF Italia. ‘Pao’ lamp, £389, by Naoto Fukasawa, for Hay. See our Design Directory, from page 075, for more
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Tambacounda Hospital in rural Senegal, the product of extensive collaboration with the local community and now the subject of an installation at the Venice Architecture Biennale. We preview Michele De Lucchi’s first sofa design for Shanghai-based Stellar Works, with an invisible ‘floating’ inner structure; and discover a photography exhibition curated by Studio Mumbai and David Glaettli, ahead of the 2022 launch of Japanese ceramics brand Mino Soil. Finally, we are honoured to have Mark Bradford take over our limitededition cover with his painting The Price of Disaster, measuring a monumental 213cm � 274cm (one of our largest cover artworks yet) and evoking cosmic imagery of an expanding universe. The cover coincides with his major solo exhibition ‘Masses and Movements’ at Hauser & Wirth’s new Menorca arts centre, opening in mid-July. We dispatched art critic Hunter Drohojowska-Philp and photographer Max Farago to Bradford’s Los Angeles studio earlier this year to discuss his new body of work, inspired by a 1507 world map that was the first record of the word ‘America’. Bringing together abstract expressionist painting and collage, cartographic inspiration and contemporary concerns, these powerful and significant artworks resonate on many levels. I hope you enjoy the issue! Sarah Douglas, Editor-in-Chief
Limited-edition cover by Mark Bradford Bradford’s The Price of Disaster, 2021, mixed media on canvas, 213cm x 274cm, features sweeping movements of gestural abstraction in various colours swirling around an undefined point near the centre of the canvas. The painting evokes cosmic imagery of an expanding universe or the tearing apart of the space-time continuum at the edge of a black hole. See our interview with the artist, pictured top with a work-in-progress of his cover artwork, photographed by Max Farago, on page 126 Limited-edition covers are available to subscribers, see wallpaper.com/sub21
Limited-edition cover photography: Joshua White/JWPictures, © Mark Bradford, courtesy the artist and Hauser & Wirth
Newsstand cover Artwork: Studio Likeness Interiors: Olly Mason
Welcome to our annual Design Directory issue, where we have scoured the globe virtually to bring you the most exciting new design for every room of your home. Our selection is reassuringly formidable and inspiring, with honourable mentions including: Marco Lavit’s geometric ‘Lemni’ armchair for Living Divani; Tobia Scarpa’s ‘Soriana’ armchair for Cassina; Naoto Fukasawa’s ‘Pao’ table lamp for Hay; Mathias Hahn’s ‘Akira’ bureau for Schönbuch; Vincent Van Duysen’s ‘Giro’ tables for Kettal; USM’s timely ‘World of Plants’ sideboard, an update to its classic ‘USM Haller’ modular system, enabling you to create a vertical herb garden and naturalise your work space; Stephen Burks’ ‘Kida’ hanging outdoor lounge chair for Dedon; and the ‘Wireline’ suspension lamp by Wallpaper* Designers of the Year Formafantasma, which creates delightfully sculptural lines out of its requisite power cables. Meanwhile, our annual Kitchen & Bathroom Digest features Max Lamb’s ‘Working Tile’ coffee table for Tajimi Custom Tiles; Ludovica + Roberto Palomba’s ‘Sound-Rack’ shelving system for Kartell by Laufen; Andrea Parisio and Giuseppe Pezzano’s ‘Tino’ washbasin for Ceramica Cielo; John Pawson’s elegantly simple ‘JP 37’ shower for Cocoon; and the ‘Vipp 2’ kitchen, in limestone, dark oak and reeded glass. Elsewhere, we take a tour of architect Manuel Herz’s extension for the
Newspaper* Wallpaper’s hot pick of the latest global goings-on
Model: Patrick Rom at Elite London. Hair: Chris Sweeney at One Represents. Make-up: Martina Lattanzi. Retouching: RGBerlin
Taking inspiration from how the French carry bread under their arm, Fendi’s luxurious take on its classic ‘Baguette’ bag sees it rigidly reimagined in Plexiglas with a pristine pearlescence. As well as being slotted under the arm, it can also be carried hands-free with a cross shoulder strap. We think this style has something of the luxurious lunchbox about it. But before you close its metal ‘FF’ logo clasp, just make sure your snacks are firmly wrapped in clingfilm.
Fendi has used its loaf for a new take on a classic bag
Bread winner
Jacket, £1,750; trousers, £490; hat, £390; earring, £190; necklace, £430; bag, £3,650, all by Fendi For stockists throughout, see page 145
PHOTOGRAPHY: JOSH DAVID PAYNE FASHION: JASON HUGHES WRITER: LAURA HAWKINS
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Newspaper ‘Oyster Perpetual Explorer’ in Oystersteel and yellow gold, £8,700, by Rolex
Rolex’s latest timepiece is designed for life’s explorers
Pioneer spirit
PHOTOGRAPHY: MILO REID WRITER: HANNAH SILVER
Rolex’s history of creating tool watches can be traced back to the 1930s when the timepieces it provided to explorers became an integral part of an expedition’s kit. In 1953, when Edmund Hillary and Tenzing Norgay reached the summit of Mount Everest, it was with white ‘Oyster Perpetual’ watches on their wrists. Building on this success, Rolex released the first ‘Explorer’ watch later the same year. The toughened case and clear design codes are still present in today’s ‘Oyster Perpetual Explorer’, with the three, six and nine numerals making for quick and easy legibility. The ‘Explorer’ has been bulked up over time, but this year’s model, equipped with calibre 3230, cuts
a neater silhouette, returning to its original 1953 case size of a restrained 36mm. Its smaller proportions are drawn in yellow Rolesor (a blend of 18ct yellow gold and Oystersteel, Rolex’s own corrosion-proof brand of strong steel), which has been a recurring feature of the brand’s designs since it was first patented in 1933. The juxtaposition of soft warm gold against the cool solidity of steel makes an effective foil for a glossy black lacquered dial. Markers and hands, coated in a luminescent material that emits a vivid blue glow in the darkness and promises to last for an impressive eight hours, will be hard to miss for adventurers in both urban and extreme settings.
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Newspaper
Two new collections serve up the genius of Le Corbusier on a plate
Sharp relief Two new tableware collections from Cassina, made in collaboration with Ginori 1735, pay homage to the purist style of Le Corbusier. The first, a set of three platters in white unglazed porcelain, take inspiration from some of the symbolic bas-relief designs that appear at Chandigarh, the modernist Indian city designed by the architect in the 1950s. The three platters feature a fish (round), a sun (rectangular) and an open hand, symbolising peace (square). The second, featuring an interlocking hands motif, was originally created in 1961 for the
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Prunier restaurant in London’s St James’s, and has been reissued, remaining as true to the original design as possible. To complement these minimalist gems, we have used them to serve up a cornucopia of cicchetti (Venetian bar snacks similar in concept to Spanish tapas), including eggs with anchovies, and a selection of crostini topped with salami; bresaola and artichoke; mortadella and radicchio; ricotta, garlic and herbs, with endive; and pecorino and grilled courgette, alongside a chilled glass of vino bianco and a Campari and soda on ice.
INTERIORS: OLLY MASON ENTERTAINING DIRECTOR: MELINA KEAYS WRITER: ANNE SOWARD
Photography: Neil Godwin at Future Studios for Wallpaper*
‘Chandigarh’ platters, £227 each; ‘Service Prunier’ salad plate, £86 for two; espresso cup and saucer, £124 for two, all by Le Corbusier, for Cassina x Ginori 1735. Glass, £60; cup, £55; pitcher, £195, all by Michael Ruh, from The New Craftsmen. ‘Chateau Baccarat’ wine glass, £185 for two; ‘Perfection’ tumblers, £140 for two, all by Baccarat. ‘Fiftyshades’ fabric in Giallo (napkins), £79 per m, by Rubelli. ‘Sahara III’ fabric in Serandite, £32 per m, by Kirkby Design
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ow we will dress post-pandemic has been the subject of much debate. Will we usher in a new era of drama and decadence, or will the low-key leanings of the past year be here to stay? We recommend riffing between the two mindsets, and modulating between the elegant and the easy. A surefire way to succeed? Sporting a knee-length tunic dress over trousers. The tunic-over-trousers trick is a smart yet insouciant move for those not quite ready to don a dress. For those with a more minimalist mindset, Hermès’ pared-back take features a dress with a built-in scarf, and nods to the purist fashion mood of the 1990s, when elemental design was a winner. At Boss, dress silhouettes sport sleekly
seductive cut-out back details, a look well balanced out when worn with androgynous tailored trousers, while at Fendi, the nonchalant tunic and trouser combination is reflected in the brand’s equally insouciant window pane print, a daydreamy motif on a gauzy sheath dress. Elsewhere, Jil Sander’s intricately constructed leather design reflects creative directors Lucie and Luke Meier’s focus on visual textures. ‘The emphasis on garments and accessories to get you through the day felt right,’ say the duo of the relaxed silhouettes in the brand’s collection, which revelled in voluminous cuts and fluid lengths. Remember, you can still dress up while dressing down.
This page, clockwise from top, tunic, £1,980; top, £460; trousers, £980, all by Fendi. Dress, £3,850; trousers, £1,140; shoes, £515, all by Jil Sander by Lucie and Luke Meier. Necklace, £1,150, by Alighieri. Dress, £799; trousers, £279, both by Boss. Earring, £2,850, by Sophie Bille Brahe Opposite, dress, £8,600; jumpsuit, £2,150, both by Hermès. Shoes, as above
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PHOTOGRAPHY: ALICE FISHER FASHION: JASON HUGHES WRITER: LAURA HAWKINS
Newspaper
Model: Becky at Established Models. Photography assistant: Sami Weller
Match points
Pair tunic dresses with trousers for an all-round winning look
Newspaper
Photography: Neil Godwin at Future Studios for Wallpaper*
Chanel No.5 parfum, £180 for 15ml, by Chanel
We salute the sweet smell of scent success at Chanel
High five
WRITER: MARY CLEARY
The world’s most iconic perfume, Chanel No.5, celebrates its 100th anniversary this year. Like all of Coco Chanel’s memorable creations, No.5 broke with the traditions of the time to create a new norm. In 1921, ‘soliflores’ perfumes, or fragrances that smell like a single flower, were the industry standard. Chanel wanted to stretch the boundaries of perfumery and create a scent that could not be attributed to any one thing in nature. As she told her perfumer, Ernest Beaux, No.5 should be ‘an artificial fragrance like a dress, something crafted’. The result was a revolution in perfumery that
blended more than 80 scents, including jasmine, ylang-ylang, sandalwood and May rose, with an unprecedented amount of aldehydes, the organic compounds that amplify a fragrance’s olfactory profile. The minimal, square bottle, with a clean graphic label, was also starkly different from the more flamboyant perfume phials of the period. The timelessness of the bottle design is evidenced by how little it has changed since 1921, altering just four times, each with only slight adjustments to cap size or label font. Its enduring appeal is yet another testament to the genius of Coco Chanel.
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Newspaper
A new bag by Givenchy incorporates visual links and aural clinks
Connect four
Medium ‘4G’ bag, €1,690, by Givenchy
The fashion logo has always been big business, but it gained even more cultural cachet for S/S21 when a number of brands looked back into their archives to bring new life to idiosyncratic motifs. Among them was Givenchy with its new creative director Matthew M Williams, the designer behind cult streetwear-centric brand 1017 Alyx 9SM, who took on the role last year. When Williams was considering the codes synonymous with the illustrious French maison, he too honed in on the brand’s emblem. Givenchy’s new ‘4G’ bag features a central hardware fastening composed of a signature geometric motif, formed from a pattern of four sans serif ‘G’s, the
PHOTOGRAPHY: GEORGE HARVEY WRITER: LAURA HAWKINS
striking jewellery-like closure reflecting Williams’ fascination with industrial hardware. If a logo sparks meaningful brand associations, then the ‘4G’ – a name with mobile phone connotations – sends out singular style signals. The bag, elemental in its pared-back rectangular form, is available in a number of colourways and textures, from cappuccino to red, and from patent to exotic leather. And the ‘4G’ isn’t only synonymous with its logocentric hardware and optional chunky ‘G’ logo chain strap – it also closes with a satisfying metallic clink. The brand doesn’t just have a visual hardware hallmark, but a sound one, too – one with a closure that denotes connection.
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Newspaper
A new show reflects on the cultural connections of a forgotten Saarinen masterpiece
Blue horizons
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Above, rendering of the ghost theatre in the Burnet Gallery for Rayyane Tabet’s exhibition at the Walker Art Center
Image courtesy of the artist and Walker Art Center
history to tell wider stories about cultural moments and their connections to the present. His show at the Walker begins in the Cargill Lounge, where the 60ft-long glass wall will be covered in blue film to simulate the original IBM Rochester façade. Within the Burnet Gallery is a ‘ghost theatre’ – 110 tubular bases of the ‘DSX’ chair (original to IBM Rochester), suspended from the ceiling in auditorium configuration. Only six of these carry moulded plastic seats in ochre, and each features the IBM stickers that first inspired Tabet to embark on the project. Here, stage lights cycle through the blue colour spectrum that designer Paul Rand had devised for IBM in the late 1950s, while an audio track plays in the background. The voice appears to be Tabet’s own, but is, in fact, a computer-generated imitation, nodding to IBM’s recent transformation from hardware manufacturer to digital security and AI expert. Thus the show becomes not just an elegant paean to the past, but also a meditation on the company’s material legacy and how histories are written. ‘Rayyane Tabet: Deep Blues’ is on 12 June-24 October at Walker Art Center, walkerart.org
WRITER: TF CHAN
CREDITS
Credits
Two years ago, Rayyane Tabet noticed a tag on the underside of his moulded plastic Eames ‘DSX’ chair that read ‘IBM Rochester’. It was an intriguing discovery for the San Francisco-based Lebanese artist, who had just been invited to create an exhibition for the Walker Art Center in Minneapolis. Latching onto the fact that Minneapolis and Rochester were both part of the state of Minnesota, Tabet set himself on a mission to research IBM’s midcentury heyday. IBM Rochester was a mixed-use campus designed by Eero Saarinen in 1956. Clad in a distinctive glass membrane (larger panels of electric blue interspersed with narrower strips of light blue) and with a floor plan resembling a computer chip, the building was revolutionary for its combination of manufacturing plant and corporate offices, linked together by a cafeteria where blue- and white-collar workers would meet. IBM Rochester transformed the logic of corporate architecture, but because of its remote location and poor preservation, it has often been relegated to a footnote in monographs of its architect. This was perfect subject material for Tabet, who is known for uncovering fragments of architectural
Newspaper From left, Vialume serum, £150; lotion, £120; cream, £220, all by Suqqu. Purifying active marine mask, £75; Nourishing silk cocoon face cream, £140; Purifying auric cleanse bath salts, £85, all by Aman. Obsidian face roller, £230, by Susanne Kaufmann
Designing a new landscape in the world of beauty packaging
Photography: Neil Godwin at Future Studios for Wallpaper*
Structured approach A recent trend has seen architects venturing into the world of beauty and grooming, applying their knowledge of structure and form to everything from skincare packaging to facial rollers. Ever the innovator, Japanese architect Kengo Kuma made a bold statement in 2018 with his packaging design for Aman Resorts’ first skincare line. The design reflected Kuma’s mastery of natural materials and organic shapes, creating structures that integrated themselves into their environment rather than imposing themselves upon it. His packaging for Aman is made out of a veined, black material that echoes burnt timber or black marble, and is rendered in curved,
WRITER: MARY CLEARY
voluminous forms, a break from the linear lines of most beauty containers. Like Kuma, Austrian architect Oskar Leo Kaufmann channelled his preference for natural materials into the black obsidian face roller he made for his sister, skincare maven Susanne Kaufmann. Susanne’s signature line of serums and body oils are made from Alpine botanical ingredients and composed in a small production facility in the Bregenz Forest, where she and Oskar grew up. To create the roller, Oskar sourced obsidian from nearby South Tyrol – the stone is said to help relieve muscle inflammation, strengthen connective tissue, and aid the body to better absorb vitamins
C and D. Oskar then added a wood handle with a steel mount designed by expert blacksmith and metal specialist Felder, in Andelsbuch, creating a fitting tribute to the craftsmanship and natural materials of the region. Meanwhile, Tokujin Yoshioka’s packaging designs are more evocative of modern cityscapes. Yoshioka designed monochromatic, sculptural vessels for the Vialume skincare line, one of the latest creations from luxury Japanese cosmetic brand Suqqu. The packaging’s tall, elegant forms and highly reflective, ultra-black surfaces, reminiscent of lacquer, make them instantly eye-catching, like a miniature skyline on your bathroom shelf.
Newspaper
Don’t lose sight of the things you love with Vodafone’s new Smart tracker
Finding peace According to a survey of 3,000 adults conducted by British insurance firm Esure back in 2014, the average person mislays nine items daily – nearly 3,300 items per year. Over an average 60 years of adult life, that adds up to almost 200,000 items going astray, with around 3,680 hours wasted trying to find them again. In Chicago alone, 120,000 phones are lost yearly, just in the back of taxi cabs. Constantly replacing stuff is wasteful, massively inconvenient and environmentally disrespectful, while the loss of personal possessions can be painful, upsetting
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and expensive. So Vodafone’s Curve, a Smart GPS tracker device that can be attached to valuables and can even help people keep in touch with children and dogs, could prove to be a sound investment. Connected by the brand’s Smart SIM and managed via its Smart App, the Curve differs from more standard Bluetooth-only devices by employing four different location technologies (GPS, Wi-Fi, cellular and Bluetooth) to provide a more reliable connection and tracking process. A new tracking device, designed specifically for bicycles, will be launched by
Vodafone later this year. To explore the concept of positive materialism, the dislocating emotions connected with loss and the unalloyed joy of rediscovery, Vodafone and Wallpaper* have teamed up to produce a new podcast series, Found: Objects with Meaning. Hosted by Wallpaper* technology editor Jonathan Bell, the series includes conversations with designers Yves Behar and Nipa Doshi, fashion designer Roksanda Ilincic, musician Nile Rodgers, ex-pro cyclist David Millar, and artist Polly Morgan. Find the series at Wallpaper.com ∏
ARTWORK: DOMINIKA LIPNIEWSKA WRITER: SIMON MILLS
Newspaper
the vinson view
Quality maniac Nick Vinson on the who, what, when, where and why
PICKY NICKY’S TIPS FOR PANDEMIC TRAVELLING Always carry a pen for filling in documents; no one wants to share pens anymore. Keep your phone battery well charged; you may be asked to provide a confirmation, receipt or email. Be ready with your mask. Mine is from Sébline, in double poplin with space for a medicalgrade filter. Some airlines insist on medicalgrade masks. Try one with a KN95 respirator, in espresso, maroon or dove grey, from Kaze. Spritz some Perfumer H Cucumber or Orange Flower Mask First-Aid to help make this new necessity much more pleasurable.
Clockwise from above, ‘Braigo’ cashmere dog blanket, £500, by Connolly, connollyengland.com. Cucumber Mask First-Aid, £40 for 50ml, by Perfumer H, perfumerh.com. Calf leather holdall, £1,295, by Álvaro, alvaro.ag. Masks, €25 each, by Sébline, info@sebline.fr
Carry a small blanket. The dog blanket from Connolly (way too good for a dog) is just 125 x 80cm, small enough for your bag (I’m very partial to one from Álvaro), large enough to protect yourself from air conditioning.
Turbulence ahead Fasten your seatbelts as travelling becomes a bumpy ride As travel restrictions are relaxed this summer, those who have not travelled for a while are in for some testing times. Preparations for international trips have got a lot more complicated, and you should expect endless paperwork and last-minute rule changes. The numerous tests required and quarantine rules may deter many from even considering the undertaking, and judging by the number of calls I am receiving from very seasoned travellers, taking off is a serious source of anxiety. In May last year, I had to travel for work – to Italy to shoot a portfolio of images for Armani Casa (W*257). That involved flying from London to Milan, via Frankfurt, and a costly three-anda-half-hour chauffeur drive on to Florence, due to train travel restrictions, followed by 14 days’ quarantine before I could start the shoot. My preparations included gleaning intel from a Sotheby’s staffer who had recently returned to Italy for essential work purposes, practice runs with all the forms, and
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a folder of letters, emails, storyboards and location confirmations related to the purpose of my visit to present to the Italian authorities – in the end, rather too much for the airport official I encountered, who was trained only to check passports. The enforced transit through Germany (due to the absence of direct flights to Italy) only added to the stress. Guidelines for transit through the country, unless you were returning to your country of residence, were unclear. After six calls to various official departments and as many to Lufthansa, it was still touch and go at check-in. I was asked to email border control with my dossier of documents an hour before my flight was scheduled to take off. Trips now, whether for work or holiday, require specialist knowledge of the restrictions in both your destination country and your country of origin. Green, amber or red, or A to E, the status of countries changes regularly as do the conditions of travel. At the time
of writing, the UK, which had banned non-essential travel again in autumn 2020, had just placed 12 destinations on its ‘green list’, deeming them safe to visit, with quarantine-free re-entry to the UK. However, three on that list weren’t allowing UK visitors; among the others, most required quarantine on arrival or had other restrictions. You will need to factor in testing. In March, returning to the UK from Italy required four tests, one predeparture, and three post-arrival, at a cost of more than a flight; in contrast, testing on arrival at Milan Linate was fast, flawless and free of charge. Most of us are used to social distancing by now, so entering a plane full of people might be a shock to the system. If there ever was a time to fly business class, it’s now – or you may find yourself uncomfortably close to a whole lot of strangers for the first time in many months as schedules are reduced to the minimum and airlines aim to fill every seat.
Clockwise from top left, ‘1996’, ‘2020’, ‘1984’, ‘1978’ and ‘2007’ swim shorts, from £215, all part of the limited-edition 50th anniversary collection, by Vilebrequin, vilebrequin.com
Short stories
French swimwear brand Vilebrequin celebrates 50 years of bold strokes
PHOTOGRAPHY: CHARLY GOSP SET DESIGN: NICHOLAS WHITE WRITER: DAL CHODHA
A typical summer’s day in Saint-Tropez circa 1971 was a party fuelled by possibility. Brigitte Bardot sunbathed on the beach, Alain Delon and Romy Schneider jangled ice cubes. Serge Gainsbourg and Jane Birkin dragged on Gitanes. It was in this Eden of glamour and good times that Fred and Yvette Prysquel founded the luxury swimwear brand Vilebrequin, opening a store on rue Sibille. Post-1968, the French Riviera was host to a generation hell-bent on inventing a freer world. Vilebrequin’s CEO Roland Herlory remembers holidaying there as a child. ‘It was about savouring life. It was colourful. There was no fear about your future. Freedom of expression, of your body – can you imagine?’ In preparation for the brand’s 50th anniversary this year, Herlory and his team looked at photographs from the period, ‘and you could just feel the joy’, he says.
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The resulting collection of limited-edition shorts is a testimony to swim fashion’s panache. ‘We are one of the oldest swimwear brands in the world and so we reissued one print from each year. If you look at the whole collection you can see the history of our society.’ Op Art-inspired fish nod to the 1970s’ penchant for Pucci prints. A graphic swirl repeat pattern from the 1980s draws inspiration from the Memphis Group and a hand-drawn Hawaiian leaf in indigo has all the groove of 1990s California. This bonhomie is a welcome tonic after a year of uncertainty. ‘The pandemic is the start of something else, a complete change of paradigm. It will change the way we look at life, the way we look at our responsibilities, our way of consuming,’ Herlory says. ‘Each time we do something, we question ourselves. It’s a virtuous circle; politics will never change the world, but citizens can.’
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The company is committed to furthering research into more sustainable and responsible practices that better respect the planet. Today, 62 per cent of the anniversary collection uses recycled fabrics and 50 per cent of the brand’s total collections use materials made from garbage and nets collected in the oceans by fishermen. Herlory’s aim is to get this to 80 per cent by 2024. ‘We didn’t move into this direction because of Covid, it is a project we started four years ago. The reality is that we do not have the resources to continue as we are doing now, so we all need to find new solutions. It is our duty.’ The iconic Vilebrequin sea turtle logo has been given festive neopsychedelic ‘50’-shaped shells. It is symbolic of the brand’s partnership with Te mana o te moana, a Polynesian association which rescues marine species, providing them with care before releasing them back
into the wild. ‘More and more I believe luxury business will be ecoresponsible, or will not be anymore. For me, luxury is about a level of quality, which means durability, which means consuming differently. If you buy something of good quality, you keep it,’ Herlory says. Through the brand’s mending service, a second, third or fourth life is given to decades-old swim shorts, as inner briefs, lost drawstrings and zamac tips are replaced by the ateliers. The special-edition pieces each come with a one-time complimentary repair should they start to show any signs of ageing after years of sun, sea and frolic. ‘We resonate as a brand of pleasure and good times, family time, the best time of the year. My secret wish is that you glance at a pair of ten-year-old shorts in your drawer and you remember your holidays,’ concludes Herlory. ‘Our shorts carry memories. Good memories.’ ∂
Architecture
In the pink A healthy dose of collaboration helps a hospital extension in rural Senegal get into shape PHOTOGRAPHY: IWAN BAAN WRITER: JONATHAN BELL
This new extension to the Tambacounda Hospital in Senegal is ostensibly by the Switzerland-based architect Manuel Herz. Yet such is the depth of the building’s roots in the local community – from labour to process to the functions of the building – that it can only really be called a collaboration. That said, the project is a natural continuation of the 52-year-old architect’s career to date. After studying in Aachen and London, Herz taught widely, including spells at the Bartlett and the Harvard Graduate School of Design. Now assistant professor of architectural and urban design at the University of Basel, he continues to combine practice with research, working between Basel and Cologne. Recent projects include a series of in-depth studies on refugee camps, and on the influence of modernism on Africa’s newly independent countries in the 1960s and 1970s. Through his deep familiarity with Ghana, Côte d’Ivoire, Kenya, Zambia and Senegal, he came to the attention of the Josef & Anni Albers Foundation and Le Korsa, an NGO set up in 2005 by the foundation’s director, Nicholas Fox Weber, to improve access to culture, education and health in rural Senegal. ‘I received an invitation from Le Korsa to take part in the competition for a new maternity and paediatric unit at Tambacounda Hospital,’ explains Herz. ‘I put a lot of thought into it and responded that the best approach was not to create a so-called architectural design “solution”. Instead, our entry took the form of a proposal embedded in research and collaboration; not a building, but a suggestion of how to approach the project.’ Herz’s considered thinking won the competition. ‘This said a lot about the client’s openness to new suggestions,’ he adds. ‘We started by sitting down with the doctors and assessing what they actually needed – not just them but the staff, director and patients, as well as the craftsmen and constructors. Only after this initial research did I make the first design proposal.’ This design went through another rigorous community interrogation, with the regional governor ensuring that every possible stakeholder had their say. ‘It took around two hours, and it was a real acknowledgement of his authority and responsibility, as well as a commitment to broad democracy. I think everyone in that room had agency, ensuring it became a true collaboration,’ Herz recalls. »
Tambacounda Hospital’s new maternity and paediatric unit is a two-storey construction with a curvilinear shape that accommodates a series of shaded communal courtyards
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Architecture Left, the new S-shaped wing snakes around the hospital’s original circular buildings, built in the 1960s and 1970s Below, a corridor runs the length of the extension, its curved brick wall acting as a brise soleil and creating cross-ventilation
‘With every building I design I like to try out new things, but these are not experiments at other people’s cost’ The design is defined by the striking bricks that make up the main façade. ‘I undertook a lot of research into the region for my book, African Modernism, the architect explains. ‘I also looked at elements like brise soleils, which became quite prevalent in the 1960s and 1970s.’ The porous veil of bricks is a relatively common façade treatment in the east of Senegal. ‘What I brought to the project was the specific shape and geometry of the bricks,’ Herz says. ‘With every building I design I try to learn something new and try out new things.’ And while he might be pushing his own boundaries, these are not ‘experiments at other people’s cost’. ‘In principle, producing bricks on site is extremely familiar; I just gave it an additional quality,’ Herz says. ‘Of course, we tested them with the contractor, Magueye Ba, but rather than build a test façade, he used the method to build a school in a nearby village. It wasn’t about imposing a ready-made solution and the school became a hybrid product which we learnt from.’ The new clinic is S-shaped, snaking around and embracing the existing hospital buildings, designed in the 1960s by an unknown architect. A corridor runs the length of the building, with the perforated brick
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façade creating essential cross-ventilation. ‘It is its own little climate machine,’ says Herz. ‘There’s always a combination of sun and shade due to the shape of the curve. This creates temperature changes, which in turn generate air movement and a microclimate.’ The design is also intended to evolve: ‘This shape could easily be used to extend the hospital campus further if needed.’ All the financing for the new unit came from funds raised by Le Korsa. One of the foundation’s ambitions was to keep investment within the region; builders are all from the local area. ‘It was important that the project shouldn’t be reduced to just a building – it’s part of other interactions that we’re continuing to do,’ says Herz. ‘As well as the school, my wife and I have founded a small playground, the first in the city. All these interventions create a connected ecosystem.’ The project has validated Herz’s cautious, researchled approach. ‘I learned a huge amount through this project,’ he concludes. ‘I see so many absurdities in our Western way of doing things, especially when I see how efficient we can be on a project like this – where every single person involved performs a very vital task.’ ∂ manuelherz.com; aflk.org
Hover craft
Michele De Lucchi and Stellar Works float a multi-layered and uplifting take on the sofa WRITER: CRISTINA KIRAN PIOTTI
‘An object’s worth is not just based on its function, but also on its intrinsic meaning and on the value it can impart on the surrounding environment. The Memphis movement emerged from this idea – that design is not solely about functionality but also witnessing the moment an object is designed.’ So says Italian designer and architect Michele De Lucchi, a key member of Ettore Sottsass’ creative collective, with the likes of Nathalie Du Pasquier, Martine Bedin, Matteo Thun and Andrea Branzi. It’s an idea De Lucchi has continued to explore and it’s there in his latest design, a sofa he has tagged ‘Float’ – a debut collaboration with Asian design brand Stellar Works. The name, says De Lucchi, ‘gives the perception of something not firmly rooted to the ground, like your mind wandering when relaxing’.
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Yuichiro Hori, the Japanese founder and CEO of Stellar Works, knows that signing up De Lucchi was something of a coup: ‘I knew that, over the last few years, when asked to design furniture, Michele politely turned some brands down. This is why I never dared to propose any projects to him. One day, while having dinner in Shanghai, he suddenly showed me some drafts, proposing we work together on them. I felt incredibly honoured.’ Established in 2012 and devoted to Asian sensibilities and timeless handcraft, Shanghai-based Stellar Works operates under the creative direction of Neri & Hu. Its in-house production facilities ensure traditional craftsmanship throughout the manufacturing process. Hori and De Lucchi first met six years ago during Salone del Mobile in Milan, and the pair now refer to each other as
friends. De Lucchi has been visiting Japan since the first Memphis exhibition in Tokyo in the early 1980s, and feels a particular affinity towards Japanese culture. ‘Italians and Japanese share what I call empathy of hands,’ he says. ‘We love craftsmanship, we appreciate woodworking, we understand the meanings an object acquires when handcrafted, when born in a specific moment, in a specific context.’ When establishing Stellar Works, rather than turn to machines to limit costs, Hori went to China to search for a skilled but affordable workforce that could produce quality handmade furniture. ‘His vision and long-term commitment deserved attention. How could I not be interested?’ says De Lucchi. ‘It almost seemed like an experiment – to prove that handmade objects can evolve in different cultural
Design
‘We need to design for the human environment as a whole… every moment of life’
contexts, combining different craftsmanship backgrounds to create a global culture.’ The ‘Float’ collection, comprising a sofa in three sizes (from one to three seats), as well as an L-shaped option, is an ode to transformation. Its various components can be combined in multiple configurations, while a range of accessories – including a backseat, headrest and a series of pillows, along with optional built-in wooden side tables – can be arranged to accommodate distinctive layouts and functions. You can personalise the colour of the cushions, and layer them as you like. ‘Modular sofas can look cheap, or lack aesthetic appeal,’ concedes Hori. ‘But we solve this, ensuring it looks luxuriously comfortable. To guarantee the visual effect of a floating sofa, and avoid it looking bulky, we used an invisible inner structure.’
The feet stand outside of the sofa’s padded form, creating a suspended effect, while the generous cushioning, supported by a metallic sheet, provides both comfort and strength. It was quite challenging, De Lucchi admits: ‘Have you ever heard the old Irish expression about throwing your hat over the wall? If you don’t know how to climb over a wall, throw your hat on the other side and you’ll surely find a solution. In this particular case, the floating effect and the thin structure were my hat waiting on the other side,’ he says, rubbing his beard. ‘When I work on a new project, I need to find ways Living up to its name, the ‘Float’ sofa appears suspended, opposite and in De Lucchi’s sketches, above. The series can be adapted with accessories such as a headrest, a side table and pillows
to surprise myself. If I knew in advance how the result would look, I would be bored by now, and I would have a much longer beard.’ And though De Lucchi’s original design was floated pre-pandemic, Hori says it is a perfect fit with changed ways of working and living. Domestic and professional settings are now blending, and furniture has to work in different ways. ‘We now need to design for the human environment as a whole, fitting around everyone’s sensibilities, in every moment of life,’ concurs De Lucchi. His next hat thrown over the wall is a chair. ‘A crazy project, a challenge, something that simply does not exist,’ he enthuses. ‘A madness – to the point that we are all frantically looking for a way to make it real, and affordable. A product that can be bought and used by everyone, everywhere.’∂ stellarworks.com
Design Right, ‘Defy Extreme’ watch in microblasted titanium with tinted sapphire dial, £15,300, by Zenith, zenith-watches.com
Trail blazer
Adventure awaits with Zenith’s dialled-up ‘Defy Extreme’ As unconventional as it was reliable, Zenith’s ‘Defy’ watch first appeared in the 1960s, marrying a futuristic design with a tough titanium case. Now, the ‘Defy Extreme’ builds on these foundations, keeping the original’s angular case and faceted bezel with 12-sided ring, but rethinking key design codes. Dubbed a watch for all terrain, it is a modern rethink of the classic adventurer’s watch. ‘It has been radically modernised with regard to proportions, architecture, materials and finish,’ says Romain Marietta, Zenith’s product development and heritage director. Legibility is a crucial component of the new design, which features a tinted sapphire dial providing optimum clarity. ‘We have a special dial made out of sapphire for two reasons: the possibility of admiring our mechanism and for maximised legibility,’ says Marietta. ‘The central part of the dial and underneath the counters is tinted in order to clearly see the indications of the chronograph function’s dial features, with oversized and slightly overlapping chronograph counters emphasising volume and legibility while allowing an uninterrupted view of the chronograph calibre.’ The oversized hands and hour markers are
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generously coated with Super-LumiNova to ensure readability in the dark, and the models are finished in titanium (a corrosionresistant metal now much favoured by the watch industry) that has been either satin-brushed, polished or microblasted. Crucially, the lightness and strength of the titanium also ensure it is comfortable on the wrist. Wearability is considered throughout the design, with an easily interchangeable watch strap system, originally introduced last year, ensuring wearers can switch effortlessly between the rubber and Velcro strap options. The model’s aesthetic, although bold, ultimately serves the functionality of the watch. ‘Aesthetically, the “Defy Extreme” represents a supercharged “Defy”, with a design reinforced by components designed to protect the pushers, and a screw-down crown, while emphasising ergonomics and durability, with waterresistance up to 200m,’ says Marietta. ‘Accentuated outlines and details – such as a larger 45mm case, sharper lines, more pronounced edges, and the overall silhouette – express robustness, resilience and a desire to explore new horizons.’ ∂
PHOTOGRAPHY: MILO REID WRITER: HANNAH SILVER
Right, a collage of photos showing a clay quarry in Mizunami, in the Mino region Below, sample cubes of different raw clays fired using a range of techniques
Clay of the land
A new brand unearths the creative potential of soil from Japan’s Mino region PHOTOGRAPHY: YURIKA KONO WRITER: DANIELLE DEMETRIOU
A fragment of tree trunk conserved in the earth for a million years; abstract photography of the dissected layers of a quarry; ceramic spheres from a factory; and a mound of raw clay. These are some of the items showcased in a new exhibition, ‘Archeology of Mino, in collaboration with Studio Mumbai’, which casts a contemporary light on one of Japan’s most treasured materials: clay. Curated by Swiss designer David Glaettli (creative director of Karimoku New Standard and Tajimi Custom Tiles) and Indian architect Bijoy Jain of Studio Mumbai, the exhibition, showing at 441 in Tokyo, taps into the creative potential and ‘brutal beauty’ of soil from the Mino region of Gifu Prefecture, famed for a rich ceramics heritage meandering back 1,300 years. In particular, it highlights the origins of Mino clay, an ancient material that is painstakingly mined in vast quarries cut deep into remote mountains. It is the first of three exhibitions planned in
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Japan over the coming year, which will culminate in the launch of a new ceramics brand, Mino Soil, with interior products to be crafted in collaboration with global designers (discussions are ongoing with Studio Mumbai, Wang & Söderström, Dimitri Bähler, Max Lamb and Kwangho Lee, among others). ‘Few people know that clay is still quarried in the Mino region, and even fewer have actually been to these quarries,’ says Glaettli. ‘They have a raw beauty that leaves a strong and lasting impression. The deeper the quarry, the older the clay that is unearthed – up to a million years old. When drinking from a ceramic mug, nobody would think that the material it is made of originated from a place that is actually hundreds of thousands of years old.’ A simple showcase of items evokes a sense of Mino’s ancient landscape – from small cubes of local clays fired using a range of techniques to the gnarled ancient tree trunk measuring around
Design
and craft. It just seemed perfect. Bijoy was interested right away 1.2m in length, which slowly decays in contact with the air after being preserved in clay for so long. The exhibits are threaded together in the and a stream of thoughts and ideas followed that precisely put into white-walled space through a series of large images of the clay quarries, words everything that I vaguely had in mind for the exhibition.’ The debut show is a springboard for the new Mino Soil brand, shot with a direct intimacy by Japanese photographer Yurika Kono. which will be directed by Glaettli and launched by two Mino-based Kono’s images, on 35mm and medium format, give poetic companies: X’S Corporation (which is also behind Tajimi Custom expression to fragments of Mino, from the detailed abstractions Tiles) and manufacturer Izawa Corporation. A second exhibition will of the layers of ancient earth to the dense green forests that wrap showcase a ‘ceramic interior’, with prototype products highlighting around the quarries. ‘Her photos of the quarries make one see and the techniques and skills of Mino artisans, before final products for feel the primeval nature of the material and give a vivid picture of the new brand will be unveiled in the third show. the Mino area, with its landscape, factories and people,’ says Glaettli. Says Glaettli, ‘I hope that, with the exhibition and the Mino Soil Describing Studio Mumbai’s curation, he adds, ‘I wanted this products, clay will be appreciated more and be perceived differently: exhibition to be about the material only, before taking shape, without as a beautiful, valuable resource that is much older than mankind.’ ∂ showing any products yet. So a designer, or even an architect, did not really seem right. Then I remembered Studio Mumbai, with their very ‘Archeology of Mino, in collaboration with Studio Mumbai’ runs from 8-13 June, at 441, 5-12-1 Jingumae, Shibuya-ku, Tokyo, minosoil.jp particular way of working and thinking between art and architecture
DESIGN DIRECTORY Inspiring new furniture for every room, from enchanting chandeliers to asymmetric sofas, as well as a suspended outdoor seat to swing into summer. Plus, outstanding, clean-lined kitchens and brilliant, colour-splashed bathrooms
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From left, ‘Azzal’ bookcase, price on request, by Studiopepe, for Baxter. ‘Bos’ vases in Grand Antique d’Aubert marble, price on request, by Christophe Delcourt, for Collection Particulière. ‘Lemni’ armchair, from €3,113, by Marco Lavit, for Living Divani. ‘Soriana’ armchair, price on request, by Tobia Scarpa, for Cassina. ‘Tectra 2’ coffee tables, from £11,010, by Okha. ‘Noonu’ sofa, price on request, by Antonio Citterio, for B&B Italia. ‘Comete’ lamp, €6,850, by Liaigre For stockists throughout, see page 145
ARTWORK: STUDIO ROTOLO INTERIORS: OLLY MASON
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1. ‘SIDEWAYS’ SOFA by Rikke Frost, for Carl Hansen & Søn Danish designer Rikke Frost saw the potential to foster conversation when creating this sofa for Carl Hansen & Søn. Its steam-bent backrest and curving cushions produce an asymmetric shape that envelopes the sitters, while creating a cosy nook for a good old chat. A prototype of the sofa was developed in just three weeks as part of a TV show, Denmark’s Next Classic, in which contestants compete to create new designs that could become classics in the coming years. The details have subsequently been fine-tuned. From £4,931, carlhansen.com
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2. ‘DIVIDE IT’ ROOM DIVIDER by Pitsou Kedem, for MDF Italia Over the past year, our living spaces have become our work spaces, and our dining tables have become our desks so, more than ever, the spaces we are using need to be flexible. With this in mind, Israeli architecture practice Pitsou Kedem has created a room divider, available in two sizes and made up of several panels that can be rotated on an axis of 360 degrees and positioned to determine the passage of light and sound, allowing for endless possibilities of partition and transition. From €1,377, mdfitalia.com
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3. ‘HIDALGO’ CABINET by Driade This cabinet is not for the faint-hearted. With references ranging from 1930s art deco to the paintings of Dalí and Magritte, it does away with the conventions of archetypal storage systems. Its curved plywood exterior looks to have been tipped on its side, seemingly supported only by a minimal steel frame, while the finish makes an equally bold statement with its vivid patterns and colours. But rest assured, functionality has not been compromised – inside, black lacquered compartments provide plenty of room for organisation. €14,100, driade.com
4. ‘CYCLOPEDUS’ FLOOR LAMPS by Atelier Malak These simple lamps from French studio Atelier Malak are a handcrafted lesson in getting minimalism spot on, with a slight, body-like frame supporting a head-like shade, resulting in a form that the designer describes as being ‘alive’. Constructed in the Atelier Malak workshop in the Vaulx-en-Velin region of Lyon by self-taught founder Malacou Lefebvre, each piece is formed from black powder-coated steel, which has been shaped using the cold-bending method rather than the more usual hot-bending technique. €950 each, ateliermalak.net
5. ‘KOISHI’ COFFEE TABLE by Jean-Marie Massaud, for Poliform The low-level ‘Koishi’ coffee table, available in four different models, was created as a natural complement to the sensual, voluptuous curves of Poliform’s ‘Saint-Germain’ sofa system, also designed by Jean-Marie Massaud. For inspiration, the French designer looked to organic shapes appearing in natural landscapes to create the table, which consists of a sculptural yet minimalist metal frame structure supporting a top in a choice of ebony stone, marble, reflective glass or wood. £6,855, poliform.it
WRITER: ALICE MORBY
DINING ROOM
From left, ‘Velis PAW’ chairs, €954 each, by Mario Ferrarini, for Potocco. ‘L45’ dining table, from €4,634, by Guglielmo Poletti, for Desalto. ‘Scotch’ tumblers, €238 each; carafe, €696, all by Robert Stadler, for Lobmeyr. ‘Wireline’ suspension lamps, from £2,565, by Formafantasma, for Flos. ‘Bourbon’ bar unit, from €15,496, by La Conca, for Visionnaire. ‘Dymen’ table, from $500, by Claudia Surrage and Christian Cowper, for Bernhardt Design. ‘Zeleste’ table lamp, €950, by Àngel Jové and Santiago Roqueta, for Santa & Cole. ‘Material Stones’ floor tiles, price on request, by Florim
ARTWORK: STUDIO ROTOLO INTERIORS: OLLY MASON
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1. ‘N02 RECYCLE’ CHAIR by Nendo, for Fritz Hansen
2. ‘CYCNUS’ PENDANT by AYTM
Not only is this elegant, stackable chair made from upcycled household plastic, it can also be recycled again if necessary. Designed by Japanese studio Nendo for Fritz Hansen, the backrest of the chair is based simply on a crease in a piece of paper, and provides extra support for the upper and lower back. As an homage to Fritz Hansen’s Danish roots, the chair comes in seven colours inspired by the earthy, warm tones of Scandinavian landscapes, including orange, dark blue and pale grey, and is available in four-legged, sledge and swivel base versions. From £277, fritzhansen.com
In Greek mythology, the name Cycnus was often given to characters who were, at some point in the story, transformed into swans. The word is now taking on new meaning as the name of a collection of lamps by Danish brand AYTM. Inspired by the bird’s regal bearing, the collection includes a floor, table and wall lamp, as well as a pendant, crafted from aluminium, porcelain and iron. The lampshade, which resembles the wings of a swan about to take flight, is designed to create a soft upward glow, and comes in black or taupe. £219, aytmdesign.com
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3. ‘NATIVE’ TABLE by Stefano Giovannoni, for Ghidini 1961
4. ‘HOUDINI’ CABINET by Roberto Lazzeroni, for Giorgetti
5. ‘TERESINA’ CHAIR by Andrea Parisio, for Meridiani
As part of Ghidini 1961’s 2021 offering, art director Stefano Giovannoni has designed the ‘Native’ table collection, nodding to the Italian brand’s origins as a metalwork specialist. He describes the collection as being ‘almost archetypal’ in its form, and ‘ageless’, thanks to its simplicity. There are two tables in the collection, round or rectangular with rounded corners, and each comes with either a wood or marble top, with edging available in a variety of metal finishes, including satin brass, black gold and brushed copper. €16,500, ghidini1961.com
The shape of Roberto Lazzeroni’s latest piece for Giorgetti takes its cues from the work of architect Aldo Rossi, as well as replicating the silos found in Lombardy’s rural areas, but it also pays homage to the magician that gives it its name. ‘I wanted it to be a mysterious piece of furniture, to have secrets and magic,’ says Lazzeroni. Doors open to reveal shelves, drawers, compartments, and even hidden sections, which together form what Lazzeroni describes as a ‘box of wonders’. The cabinet is available in canaletto walnut or maple. Price on request, giorgettimeda.com
Designed by Meridiani’s art director Andrea Parisio, and intended to fit in both dining and living room settings, the ‘Teresina’ chair comes in two versions: soft and kuoio. Soft, as the name suggests, brings with it warmth and comfort through a supple padded leather back and seat over a sturdy oak frame, while the kuoio version makes use of a saddle leather body that is bonded to the chair’s arms and backrests, forming a suspended seat. Both versions can also support a pocket for the storage of magazines, books, tablets and the like. From £2,093, meridiani.it
WRITER: ALICE MORBY
BEDROOM
From left, ‘Compositional Copper’ side tables, from KRW4,600,000 ($4,082) each, by Jeongseob Kim. ‘Eclair Petit’ bed, €2,775, by Britta Nehrdich, for Zeitraum. ‘Silver Action’ bed linen, from €395 for duvet, fitted sheet and pillowcases, by Rivolta Carmignani. ‘Doris’ rug, from $1,212 per sq m, by Gunilla Lagerhem Ullberg, for Kasthall. ‘FS 46’ console, €37,500, by Felix Schwake. ‘Pao’ table lamp, £389, by Naoto Fukasawa, for Hay. ‘Torii’ armchair, £4,715, by Nendo, for Minotti. ‘Canvas’ cabinet, £2,550, by Norm Architects, for L Ercolani
ARTWORK: STUDIO ROTOLO INTERIORS: OLLY MASON
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1. ‘CHATA’ LAMP by Goula/Figuera, for Gofi
2. ‘WG.C1.C’ MIRROR by Mirrors Collective
3. ‘ULU’ CHAIR by Ara Thorose
4. ‘CUT’ SIDE TABLE by Peter Fehrentz, for More
5. ‘BYRON’ BED by Piero Lissoni, for Porro
Gofi’s designers, Álvaro Goula and Pablo Figuera, are on a mission to bring back lampshades. Proving a warm counterpart to what they describe as the ‘extreme minimalism’ associated with LED technology, the Spanish duo crafted a simple yet elegant LED lamp with a white linen shade and either a natural oak or Sierra Elvira marble base. Viewed face on, the lampshade appears cubic, but it’s surprisingly flat, which not only allows it to be placed on shallow shelves or near the wall on a table, but also inspired the name ‘Chata’, which means both ‘flat’ and ‘beloved’ in Spanish. €440, gofi.es
This is one of seven designs in the ‘Wrong Geometries’ collection from Mirrors Collective, which made its debut earlier this year when founders Reid Hoyt and Valeriy Shvetsov combined their expertise in design and manufacturing to give designers more control over the way their work is made. The collection sees a combination of materials and intersecting lines and planes used to create a series of statement mirrors that can be customised to fit into different interior settings, with colour options that include gold/cobalt and rhodonite/obsidian. $4,350, mirrorscollective.com
Noting that ‘a circle is limitless, while a square is limited’, Brooklyn-based Armenian-American designer Ara Thorose used an extruded circle as the basis of the ‘Ulu’ chair, which gets its name from the U-turns and L-turns that compose the line paths of each form. In a bid to humanise an inanimate object, he modelled the thickness of the noodle-like shape on the circumference of his own thigh. Each piece is made from steel and foam and upholstered in a wool and silk blend fabric, with a sheen intended to highlight the contours of its curves. Price on request, arathorose.com
Having studied metal design in Hildesheim, Germany, Peter Fehrentz went on to work as a magazine stylist, before moving into photography, then interior, product and furniture design. For his latest venture, Fehrentz has put on his ‘furniture designer’ cap to create the ‘Cut’ side table for German brand More. Characteristic of his aesthetic, the table is relatively simple in terms of its shape and materials, and the main detail is reserved for the shape of the table legs, which he describes as being reminiscent of a sailing yacht’s rudders. €490, more-moebel.de
A bed isn’t always just for sleeping – it can be a place to curl up with a book, or to recuperate if feeling low or sick. We can’t think of a better place to retreat to than this bed designed by Porro’s art director, Piero Lissoni. It’s made up of three elements: a padded frame, a cushioned headboard, and a screen fashioned from black-stained ash and straw woven into a graphic black-and-white houndstooth pattern. The screen envelopes the headboard and bed frame to create a cosy alcove, creating a bed that anyone would be happy to spend the whole day in. Price on request, porro.com
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STUDY
From left, ‘Za’ stool, €1,159, by Naoto Fukasawa, for Emeco. ‘Akira’ bureau, from €2,950, by Mathias Hahn, for Schönbuch. Silk notebooks, CHF140 (€128) each, by Hieronymus. ‘Kore’ miniature house sculpture, £540, by Patricia Urquiola, for Salvatori. ‘Yama’ pencil holder, €85, by Ferm Living. ‘Graphite Line’ pencils, £22 for set of six, by Caran d’Ache. ‘Bellhop’ floor lamp, £700, by Edward Barber and Jay Osgerby, for Flos. ‘Alvo’ chair, from £920, by Jehs + Laub, for Cor. ‘Ritz 900’ carpet, price on request, by Matteo Thun, for Object Carpet
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1. ‘15:3’ DESK LIGHT by Nicole Lawrence This LED light was created by Nicole Lawrence for a Melbourne Design Week show that invited designers to reimagine objects and components collecting dust in their studios as something new. The Melbourne-based industrial designer, known for her soft lines and curvy designs, had plenty of discarded elements to work with in her Northcote studio. She rose to the challenge, creating a series of desk lights, including this steel, aluminium and glass design, named after the proportion of reused to new components used to produce it. From A$1,220 (£680), nicolelawrence.online
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2. ‘POV’ TABLE AND STOOL by Kaschkasch, for Ton
3. ‘WORLD OF PLANTS’ SIDEBOARD by USM
Designed by the Colognebased studio Kaschkasch, and produced by Czech bentwood specialists Ton, the ‘POV’ collection of tables comes in two heights, three base types and six tabletop shapes, allowing for multiple configurations. The bases are made by joining three bent plywood forms, and the same process is used to produce a stackable conical stool. The collection is available in three types of wood – beech, oak and American walnut – and can be finished in various colours. ‘POV’ table, CZK89,100 (€3,488); stool, CZK5,670 (€222), ton.eu
A design classic since its creation in 1965, the ‘USM Haller’ modular system is branching out with a new range featuring integrated plant pot cut-outs, allowing you to build a towering green wall or simple herb display around your desk. Not only is the contrast between the furniture’s metal grid and soft cascading plants aesthetically pleasing, but the greenery should also help reduce stress and boost creativity. The range includes panels in five sizes and 14 colours, pots in terracotta or basalt, and a discreet watering set. £1,223, usm.com
4. ‘KN07’ DESK CHAIR by Piero Lissoni, for Knoll Part of Knoll’s new ‘Work from Home’ collection, this is the latest in a series of modernist-inspired chairs designed by Piero Lissoni for the American company. Its elegant, fluid form is created by fusing the inner frame and outer surfaces of the seat’s moulded shell, with the super-smooth exterior, available in either fabric or leather. Meanwhile, the chair’s cast aluminium base comes in either a simple four-leg version in glossy white or black, or an adjustable swivel in chrome or black finish with a four- or five-star base on gliders or castors. From £650, knoll-int.com
5. ‘TOUCH DOWN UNIT’ WORKSTATION by Studio Klass, for Molteni & C This versatile piece adapts to any environment, from airport lounges and libraries to high-end offices and private studies. It sits on 360-degree swivel castors and offers a rich palette of colours and configurations, and compact storage space, as well as a modular walnut desktop, allowing you to work sitting or standing. A wired version comes with a flip-door hiding USB ports and a rechargeable battery, while wood and leather trays let you display your sharp stationery on the side cabinet (or hide it inside, if you are of a messier disposition). Price on request, molteni.it
WRITER: LÉA TEUSCHER
HALLWAY
From left ‘Tower’ coat rack, KRW580,000 ($515), by Kim Giseok. ‘Hard Whale’ cabinet, price on request, by Xavier Lust. ‘Maluma’ pendant lamps, from £288, by Fumie Shibata, for Fritz Hansen. ‘Hiroi’ lounge chair, €1,450, by Cyril Dundĕra and Matĕj Janský, for Cappellini. ‘French Palette’ wall surface, price on request, by Piero Lissoni, for Alpi
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1. ‘WAVE’ BENCH by Lanzavecchia + Wai, for De Castelli The act of arriving home is taken to a ritualistic level by Lanzavecchia + Wai with the ‘Wave’ bench. It’s based on a shoe bench, which the design studio describes as a ‘quintessential’ piece of Asian furniture, given the custom of removing shoes before entering the home. The bench incorporates space to sit down and store bags and shoes, as well as a pocket emptier plate, and it has been made from copper, which has intentionally been left untreated so that it will age and reflect the routines of its users over time. €12,300, decastelli.com
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2. ‘LE’ LIGHTS by Örn Duvald, for Åben Danish-Icelandic design duo Örn Duvald set themselves the task of creating the most ‘simple, elegant and versatile wall light possible’. The pair benefit from a crossdisciplinary set of skills across architecture, design and art practices, and all were drawn upon in order to fulfill the brief. The lights, which are available in two sizes, in chrome, blue, white and terracotta, are made from steel that has been seamlessly fused at their joints, while the dimmable LED bulbs cast light that reflects off the wall, creating a soft, indirect glow. From £490, aben.as
3. ‘HIDE & SEEK’ SHELVING UNIT by Pietro Russo, for Gallotti & Radice The ‘Hide & Seek’ shelving unit, designed by Pietro Russo, is part of Gallotti & Radice’s new 2021 collection. This lacquered wood cabinet is made up of stacks of compartments laid out in three columns, with or without rotating cylinders that allow the closing of some compartments. The unit comes in three sizes, available in either glossy or opaque Persia red or London grey, and some come with satin brass details within the cylindrical niches, like miniature balconies, to protect items from falling. £2,820, gallottiradice.it
4. ‘PACIFIC’ ARMCHAIR by Patricia Urquiola, for Moroso
5. ‘MI’ CABINET by Neri & Hu, for Poltrona Frau
Spanish designer Patricia Urquiola is a longtime Moroso collaborator. For her ‘Pacific’ collection for the brand, which features a sofa and an armchair, she wanted to create pieces that felt cosy and intimate. Taking cues from the relaxed atmosphere of the American West Coast, the rounded, oversized ‘Pacific’ armchair makes use of a curving backrest that aims to wrap the sitter in a protective cocoon. Soft, woolly upholstery was chosen to further add to its tactility, and is available in either bouclé, wool or velvet. From £1,990, moroso.it
When approaching their latest piece for Poltrona Frau, designers Lyndon Neri and Rossana Hu were inspired by the Chinese word ‘mi’ (which, depending on context, can mean ‘looking’ or ‘secret’) and, as such, wanted to create a piece that would semiobstruct the view of whatever is being stored inside. The ‘Mi’ cabinet makes use of a luxurious material palette, including hand-stitched saddle leather, burnished brushed steel, tempered glass, marble and solid walnut, which all come together to create a surprisingly minimal piece of furniture. From £12,700, poltronafrau.com
WRITER: ALICE MORBY
OUTDOORS
From left, ‘Venexia’ lounge armchair, from £2,520, by Luca Nichetto, for Ethimo. ‘Atlante’ daybed, £5,666, by Antonio Citterio, for Flexform. ‘Kida’ hanging lounge chair, €2,395, by Stephen Burks, for Dedon. ‘Nui Mini’ outdoor lamp, £206, by Meneghello Paolelli Associati, for Luceplan. ‘Vertical Garden’ plant holder, from €5,330, by Massimo Castagna, for Exteta
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1. ‘LIZ’ ARMCHAIR by Ludovica + Roberto Palomba, for Expormim
2. ‘LADY GALALA’ LAMP by Peluffo & Partners, for Martinelli Luce
3. ‘GIRO’ TABLES by Vincent Van Duysen, for Kettal
4. ‘YOKO’ SOFA by Toan Nguyen, for Rolf Benz
5. ‘PANAREA’ CHAIR by CMP Design, for Pedrali
Spanish brand Expormim’s ‘Liz’ armchair looks snug enough to be an indoor chair, but is made to withstand the outdoor elements. Designed by Ludovica and Roberto Palomba, the chair pays homage ‘to the sensual and captivating forms of the cinema icon Liz Taylor’, and features a frame of highresistance aluminium tubing with die-cast aluminium legs and durable, weatherresistant fabric upholstery, available in a wide range of colours, as well as one plush seat cushion and one loose one. So, rain or shine, we’ll be sitting comfortably. Price on request, expormim.com
Conceived in a tent on Egypt’s Mount Galala, this suspension lamp consists of a resin body, to which can be attached three conicalshaped glass diffusers, available in four colours and three sizes, allowing for multiple configurations. Playful yet elegant, the lamp, designed for Martinelli Luce by Italian architecture studio Peluffo & Partners, was envisaged being hung casually for an evening of shisha and tea in the desert, with the various colour combinations recalling the warm sun, the shifting sands and the foamy sea. €490, martinelliluce.it
The ‘Giro’ collection, Vincent Van Duysen’s first collaboration with Kettal, is composed of an armchair and two side tables. The sensual, natural appearance of the chair, made from twisted rope and teak and inspired by the traditional craftsmanship of the Orkney chair, is counterbalanced by the sleek, architectural lines of the tables (pictured), which are made from concrete. But despite the variety of shapes, textures and materials between the seating and tables, the pieces work harmoniously together, oozing elegance and cosiness. €1,250 each, kettal.com
Naming its first outdoor collection after the Japanese word for sun, Rolf Benz’s ‘Yoko’ series, designed by Toan Nguyen, is all about embracing alfresco summer living. The collection, which includes chairs and tables, revolves around a modular sofa. With its lightweight powder-coated aluminium frame, it can easily be reconfigured into any number of permutations, allowing for lounging, sunbathing or socialising, while covers, made using hard-wearing waterproof polyurethane, are available in more than 40 new fabrics. €6,685, rolf-benz.com
For its latest collaboration with Pedrali, CMP Design cites the colours and breezes experienced on a sea-facing terrace in the Mediterranean as inspiration. The ‘Panarea’ collection, which includes an armchair and a lounge chair, features a curved tubular metal frame, around which is wrapped polypropylene cord, handwoven into a triangular motif for the wide backrest. Lightweight in structure, chairs come with matching (or contrasting if you prefer) seat and backrest cushions, covered in fabric made from the same yarn used for the woven backrest. €519, pedrali.it
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Shop now at store.wallpaper.com
‘Wise Eze’ mirror Cole —— €440 ——
‘Stuoia 1923 Orcino’ vase Ginori 1735
‘Come As You Are’ Dante – Goods And Bads —— €1,500 ——
—— €670 ——
‘Xi’ table lamp Poltrona Frau
—— €2,623 ——
‘Nera’ stool Zanat
—— €648 ——
‘Sofa With Arms’ Cappellini —— €2,477 ——
‘Gelee’ pouf Slide
—— €243 ——
‘Garden Layers’ rug Gan —— €351 ——
‘Venere’ cushion Missoni Home —— €192 ——
KITCHENS
‘lausanne’ kitchen by Eggersmann
German kitchen specialist Eggersmann is known for its beautifully crafted, minimalist designs, now including the new ‘Lausanne’ cabinets. Featuring fronts with vertical wooden slats in silver oiled oak, they are individually adjusted – with millimetre precision of course – to fit perfectly around each built-in appliance. The striking design can be combined with solid wood countertops as well as gleaming stainless steel surfaces. eggersmann.com
ARTWORK: STUDIO LIKENESS INTERIORS: OLLY MASON WRITER: LÉA TEUSCHER
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‘isøla’ kitchen
by Carlo Colombo, for Rossana
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Having presented its first model at New York’s MoMA in 1972, the Italian brand Rossana knows a thing or two about kitchen islands. Its latest cutting-edge design, by architect Carlo Colombo, is a sculptural creation available in a range of stones, including Melbourne and Aria marble, and Zebrato granite. The kitchen is divided by vertical steel profiles that cut through the stone fronts to create a bold, graphic surface. rossana.com
‘thea’ kitchen
by Antonio Citterio, for Arclinea
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Flexible and functional, Arclinea’s new handle-free kitchen is designed to work as a double offering, with a wall of contrasting cabinets separating a black marble-clad island from an all-white, functional space. It’s a design trend popular in Southeast Asia, where many new homes comprise a ‘dry’ kitchen in the living space, designed for socialising and cocktail making, and a ‘wet’ kitchen hidden at the back, where the real cooking is done. arclinea.com
‘twenty frame’ kitchen by Carlo Presotto and Andrea Bassanello, for Modulnova
Bringing together Modulnova’s ‘Twenty’ minimalist kitchen system and monolithic ‘Frame’ cabinets, this new model is all about large proportions and linear design. The vast horizontal central island in dark limewash comes with elongated drawers and an eye-catching cantilevered kitchen table, while tall units in Milano walnut, inspired by 1950s cupboards, add warmth and ample storage to the space. modulnova.it
‘v2’ kitchen by Vipp
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In contrast with the Danish company’s first foray into kitchen design, which was an all-steel affair, Vipp’s second model comes with a brand new material palette including Jura limestone counters, dark oak cabinets and reeded glass doors. Also featured is the brand’s trademark extruded aluminium, which appears in rounded aluminium profiles with reeded details that serve as discreet, integrated drawer and cabinet grips. vipp.com
‘alea pro’ kitchen by Poliform
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A new take on the ‘Alea’ model, this version focuses on the details, in particular the opening grooves, which are underlined by a profile to highlight the vertical and horizontal lines. Doors come with a chamfered upper edge, while spaced side panels give a lighter look to the base units. It is available in a wide range of materials, including Super White laminate fronts, Inalco counters and panels, and anodised champagne spacers. poliform.it
‘aprile’ kitchen with ‘sloane’ handle by Piero Lissoni, for Boffi
Piero Lissoni has updated his 2010 ‘Aprile’ design with the new recessed ‘Sloane’ handle, a rectangular cut-out carved out of the cabinet doors by Boffi’s skilled craftspeople in Brianza, northern Italy. It is available in a series of different finishes, including gunmetal or natural-stained wood, that can be designed to either complement or contrast with the fronts, and match the edges or worktop to create pleasingly subtle details. boffi.com
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3 1. ‘VARIO 400 SERIES’ DOWNDRAFT VENTILATOR by Gaggenau Installed flush between your induction and gas hobs, Gaggenau’s ‘Vario’ downdraft ventilator draws steam, odour and vapour down directly at the source, before they’ve had time to escape into the kitchen. Hidden away in the counter and allowing for uninterrupted sightlines, it’s ideally suited to kitchen islands, and is particularly useful sited next to a gas wok or teppanyaki grill. It also comes with traditional control knobs, so there’s no chance you’ll switch it off by mistake while trying to put some music on. Price on request, gaggenau.com
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2. ‘INDIVIDUAL COLORSYSTEM’ by SieMatic
3. ‘FOLD BLACK’ KITCHEN by Steininger
4. JOHN PAWSON KITCHEN by Obumex
SieMatic is known for its perfectly engineered luxury kitchens, usually presented in a monochrome palette, but it recently launched a kaleidoscopic array of new colourways. Its ‘Individual ColorSystem’ features a whopping 1,950 colours, from pastel greens and powder pinks to metallic hues such as gold bronze. Available in both matt and glossy finishes, the dizzying choice of colours allows customers to customise their kitchens to create unique designs, such as the sage green with Grigio Carnico patinato limestone countertop pictured above. From £25,000, siematic.com
The award-winning ‘Fold’ kitchen, first launched in 2019 in gold brass alloy, is now available in black steel. It’s the perfect material to highlight the sculptural design, which is made to measure in Steininger’s workshops using a computerbased production technique, then finished by hand. Such precision makes the kitchen appear to float, and it conceals plenty of storage within the slanted cabinets. Meanwhile, a touchpad provides both a work surface and a smart control panel, so recipes can be summoned in an instant. From €150,000, steiningerdesigners.com
John Pawson’s kitchen design for Obumex has been a worldwide success ever since it launched 25 years ago, thanks to its minimalist lines and freestanding elements. To celebrate its 60th anniversary, the Belgian brand has decided to reissue the kitchen, with the new edition featuring the same refined architectural language as its predecessor, but with a slight tweak on the material combination. For this special edition, Pawson has selected an island in solid American walnut with white lacquered fronts and a limestone backsplash. Price on request, obumex.be
WRITER: LÉA TEUSCHER
BATHROOMS
From left, ‘BetteEve Oval Silhouette’ bath, from £5,598, by Dominik Tesseraux, for Bette. ‘Luxe Silk’ wall-mounted tap, £495, by Lusso Stone. ‘Working Tile’ coffee table, $15,000, by Max Lamb, for Tajimi Custom Tiles. ‘Waffle’ radiator, from €1,282, by Piero Lissoni, for Antrax IT. ‘Labyrinthe’ bath towel in Naturel, £235, by Hermès. ‘White Tulip’ freestanding washbasin, £2,833, by Philippe Starck, for Duravit. ‘111X’ wall-mounted tap, £1,187, by Arne Jacobsen, for Vola. ‘Grey Vavona’ wood flooring, price on request, by Alpi
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From left, ‘Edge’ bath, $5,318, by Victoria + Albert Baths. ‘Giotto’ wall-mounted mixer set, from €2,520, by Natalino Malasorti, for CEA Design. ‘Luxury’ backrest, $470, by Victoria + Albert Baths. ‘Mullunu’ side table, price on request, by Ian Felton, for Unno Gallery. ‘Panthella Mini’ table lamp, £495, by Verner Panton, for Louis Poulsen. ‘Equal’ illuminated mirror, £398, by Claudio Bellini, for VitrA. ‘Eclissi’ taps, $578, by Rohl. ‘Borghi’ washbasin, from £3,210, by Gumdesign, for Antonio Lupi. ‘Sound-Rack’ shelving system, from £418, by Ludovica + Roberto Palomba, for Kartell by Laufen. ‘Baies/Berries’ candle, £140, by Diptyque. ‘Townhouse’ candle in Wild Berry & Bramble, £90, by Jo Malone. ‘Pure Gold Radiance Cream’ moisturiser, $850, by La Prairie. ‘Core Collection’ tiles, price on request, by Mosa. ‘Explosion Blue’ quartzite slabs, price on request, by Antolini
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From left, ‘Ohtake’ washbasin, from £406, by Ruy Ohtake, for Roca. ‘Elementa’ towel rail, £182, by Ritmonio. ‘Icon’ towel, €100, by Rivolta Carmignani. ‘I Balocchi’ tap, £553, by Paolo Pedrizzetti and Davide Mercatali, for Fantini Rubinetti. ‘Istanbul Rim-ex’ wall-hung toilet, £1,475, by Ross Lovegrove, for VitrA. ‘5114 Calacatta Maximus’ stone, from £550 per sq m, by Mor Krisher, for Caesarstone
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From left, ‘Rift Reverse’ radiator, from €652, by Ludovica + Roberto Palomba with Matteo Fiorini, for Tubes. ‘Delfo’ cabinet; ‘Tino’ washbasin; ‘Oval Box’ mirror, all price on request, by Andrea Parisio and Giuseppe Pezzano, for Ceramica Cielo. ‘Medameda’ mixer tap, from €345, by Alberto and Francesco Meda, for Zucchetti. ‘Anima’ soap dish, £160, by Yabu Pushelberg, for Salvatori. ‘Slanted’ cup, £35, by Justas Silkauskas, for Autotelic Objects. ‘Snoopy’ lamp, from £730, by Achille and Pier Giacomo Castiglioni, for Flos. ‘Pro Architectura 3.0’ tiles, price on request, by Axel Buether, for Villeroy & Boch
From left, ‘Diesis 40’ sofa, £21,207, by Antonio Citterio and Paolo Nava, for B&B Italia. ‘Trash’ bin, from £26, by Jasper Morrison, for Magis. ‘Arlo’ washbasin, price on request, by Mark Jankowski, for Formed Concrete Basins. ‘Axor One’ mixer tap, from £464, by Barber Osgerby, for Axor. ‘Ray’ wall light, from €300, by Decor Walther. ‘Amuleto’ shower tray, from £6,185, by Agape. ‘JP 37’ freestanding shower, from €2,520, by John Pawson, for Cocoon. ‘DR Cemento’ bath, from £9,282, by Studio MK27, Marcio Kogan and Mariana Ruzante, for Agape. ‘Meta’ freestanding mixer tap, from £1,205, by Dornbracht. ‘Calacatta’ marble, price on request, by Graniti Fiandre. ‘Nero Belgio’ marble, price on request, by Margraf. ‘Vetrina Glossy’ tiles, €190 per sq m, by Mosaico+
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From left, ‘Rooms’ bin, from €240, by Decor Walther. ‘Marble Look’ slabs in Elegant Black, £140 per sq m, by Marazzi. ‘Miena’ washbasin, £803, by Anke Salomon, for Kaldewei. Metal-framed mirror, price on request, by Armani Roca. ‘Reflet’ tap, $648, by Riobel. ‘Polar ‘lounge island, from €2,020, by Moritz Schlatter, for Karimoku New Standard. ‘Ombre Nomade’ perfume, £275, by Louis Vuitton. ‘Liquidish’ bowl, €500, by Vincent de Rijk, for Rira Objects. ‘Montalcino Noce’ flooring, from £359 per sq m, by Bisazza. For stockists, see page 145
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1. ‘PURIST’ FREESTANDING BATH by Cocoon
2. ‘ALLURE’ THREEHOLE BASIN MIXER by Grohe
3. ‘PULSIFY’ SHOWER RANGE by Hansgrohe
Frequently collaborating with the likes of Piet Boon and John Pawson, Dutch bathroom brand Cocoon creates ranges that are both contemporary and timeless. Its ‘Purist’ range of baths and basins includes this freestanding tub, with recessed drain, available in a choice of nine natural stones and marbles. Perfect for those with an eye for industrial minimalism but a love of luxurious wallowing, its pure geometric form ticks a lot of visual boxes while the smoothness of the stone makes bath time a comforting treat. From €18,000, bycocoon.com
Forming part of Grohe’s new Spa collection, which launches in September, the ‘Allure’ tap range matches cylindrical bodies with square or rectangular base plates, and comes in a choice of different colours and finishes, including chrome, brushed cool sunrise, brushed warm sunset, and hard graphite. The line includes floor-mounted taps and waterfall spouts for the bath, as well as this three-hole basin mixer, which combines state-of-the-art water technology with German craftsmanship in an elegantly slim and sleek package. Price on request, grohe.com
Hansgrohe’s ‘Pulsify’ hand and overhead showers, available in chrome, matte black and matte white, are all equipped with the brand’s innovative microfine PowderRain, Massage and IntenseRain spray modes, as well as a spray disc with an adjustable inclination of 10-30 degrees for a more comfortable showering experience. This sleek and slim range is also designed to use less water, thanks to its EcoSmart technology, and features a QuickClean function, allowing for the easy removal of lime and calcium deposits. From £1,208, hansgrohe.com
WRITER: ANNE SOWARD
4. ‘LANGBOURN’ FREESTANDING BATH FILLER TAP by Perrin & Rowe The signature piece in the comprehensive new ‘Langbourn’ bathroom collection from Perrin & Rowe is this handsome freestanding bath mixer and hand shower, which reflects the British brassware brand’s principles of proportion, balance and detail. Cast by hand at Perrin & Rowe’s Black Country foundry, it takes a skilled craftsman around five hours to polish, and is available in a choice of seven finishes, including chrome (pictured), polished brass and gold. From £2,340, perrinandrowe.co.uk
5. ‘PARALLEL’ TAP COLLECTION by Kohler Harmoniously blending flat surfaces with sharp angles, this striking collection of taps, from American bathroom brand Kohler, oozes sophistication and refinement. The range can be wall- or deck-mounted, and comes with multiple body height and spout length options, allowing it to be paired with a wide range of bathroom styles and configurations to create a unique look. Available in polished chrome, brushed nickel and matte black, the range features a lasting finish that resists corrosion and tarnishing. From $550, kohler.com
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JULY IS ALL ABOUT... BRIDGING PAST AND PRESENT p126 BREAKING GROUND Mark Bradford puts Hauser & Wirth Menorca on the map p132 CINCH YOU’VE BEEN GONE Elegant new womenswear nods to 1950s silhouettes p146 CAN-DO DINNER Peter Blake’s beans on toast ∑
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ark Bradford excavates the past through art. And the past has never felt more present than in 2020, during the global pandemic. Substantial and sumptuous, his abstract paintings have received such acclaim that, Bradford, now 59, has grown accustomed to the demands of being an international art star with a roster of museum and gallery shows. Winner of a 2009 MacArthur ‘genius’ grant and US representative to the 2017 Venice Biennale, he was elected recently to the elite American Academy of Arts and Letters. His retrospective ‘End Papers’ opened last year at Texas’ Modern Art Museum of Fort Worth, as the spread of Covid-19 led to one lockdown after another. ‘A year ago,’ he recalls, ‘I was like, well, one thing I know how to do is to show up and go to work. So I’m gonna show up, I’m gonna go to work. I’m gonna work with no assistants, one assistant, a few supplies, a lot of supplies, because that was changing by the week.’ Forced by travel restrictions and common sense to stay home in Los Angeles, he passed time and explored history by looking at the 1507 Waldseemüller map of the world. Visitors to his Compton studio have been scarce and he is eager to talk about it. Dressed in white sweatshirt and trousers, he has the grace of a very tall dancer as he lopes over to give me an air-hug. Bending himself into a folding chair at a card table, Bradford explains his latest inspiration: ‘I’ve always been fascinated by ancient maps. They become maps of the imagination because obviously maps continually change with wars, with land redistributions, with ecology.’ The Waldseemüller map is a saga of its own and it’s easy to see the attraction for an artist. Not only is it the first record of the word ‘America’, recognising the claim by Florentine explorer Amerigo Vespucci to have ‘discovered’ the continent now known as South America, but the map itself is also a work of art. The four-sheet woodblock print, roughly 4ft x 8ft was created in Strasbourg by cartographer Martin Waldseemüller and Matthias Ringmann, a scholar of Ptolemy’s studies of latitude and longitude. The map was the first to show the continent as surrounded by ocean, not as an extension of Asia. It is long and skinny, with a closer resemblance to Argentina, but it established a landmass that extends south of the equator. »
The artist Mark Bradford in his studio in Compton, LA, with one of the sculptures that will be part of his upcoming show at Hauser & Wirth’s new arts centre in Mahón, Menorca
OFF THE CHARTS Mark Bradford’s latest exhibition for Hauser & Wirth Menorca maps out new artistic territories
Photography m a x fa r ago Writer hunter drohojowsk a-philp
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Above, this month’s limited-edition cover (available to subscribers, see Wallpaper.com) features Mark Bradford’s The Price of Disaster, 2021, see page 038 for more information Left, works in progress in the artist’s 50,000 sq ft studio Opposite, Sugar Factory (detail), 2021
‘The way in which we even obtain this idea of America on the map was a leap of faith,’ says Bradford. ‘It was such a chance, a decision made by listening to other cartographers who had been in the region. I thought that was super interesting because it was the artist’s imagination.’ His comment recalls Ralph Ellison’s narrator in The Invisible Man looking at a map and wondering how Columbus could have thought it was India, as he tries to understand his own place in a shifting world. Bradford’s paintings, larger than mere wall maps, vibrate with criss-crossed gestures that simulate the energy and urgency of global matters. ‘With everything that I was experiencing and especially with the protests and the much-needed conversations around race in this country, I chose a map that said for the first time, “America”. What does the word America mean for an African American? It is all there,’ Bradford says. The title for his new show: ‘Masses and Movements’. It’s hard to conceive of a more fitting location for the debut of these works than Hauser & Wirth’s new outpost on Isla del Rey in the port of Mahón in Menorca, set to open in July. One of the Balearic Islands off the coast of Spain, Menorca’s enviable position and port have attracted Phoenician, Roman, Ottoman, Spanish and British occupations over the centuries, each leaving behind evidence in its wake. One example is the decommissioned naval hospital built by the British in the 18th century that is being restored by Hauser & Wirth and Argentine architect Luis Laplace, who designed its Somerset arts centre and St Moritz gallery. A series of eight gallery spaces, a shop and a restaurant will nestle in gardens by Piet Oudolf that overlook the sea. The gallery’s co-founders Iwan and Manuela Wirth were, says Iwan, ‘utterly captivated by Menorca and specifically Isla
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del Rey, which is spectacular. Our vision has always been to expand the idea of the gallery experience and we believe that this location is a fitting, natural and exciting extension to our centres in Somerset and LA. Given the setting so steeped in history and Mark Bradford’s interest in the legacy of the past on contemporary society, he was our choice to inaugurate the new location.’ Coincidentally, these latest paintings are an excavation of Bradford’s personal past. They were not made specifically for the site but were influenced by summers spent on the neighbouring island of Mallorca when he was in his twenties. He hadn’t yet found his way to college, and was helping his mother by working in her beauty salon. Two of her clients had bought houses in Mallorca and invited him to visit. When he asked, ‘How am I going to find you in this town?’ They said, ‘Oh, just ask for the Black women.’ Using gesso, paint and stone, he helped them renovate the old structures. That process of building – whether making an elaborate hairstyle in his mother’s salon or erecting a wall – became integral to the way Bradford learned to make his work in layers. In this case, the neutral palette reflects the tans and taupes of the island landscape with an occasional flash of blue, green or yellow. Superficially expressive and abstract, each work in the new show derives its organising principle from actual maps, with special nautical rope delineating order and structure. Papers and printed matter are glued down only to be sanded or torn off or obscured. Using caulk, Bradford adds the curved latitudinal and longitudinal lines of a globe. Thick textures cover the surfaces but allow glimpses of imagery drawn from the Waldseemüller map, such as the zephyrs that symbolise directions and wind patterns, as well as the occasional word.
‘I was fascinated by these little wind symbols on the map. For me, it’s almost like they blew my people north, west, south and east,’ says Bradford. ‘We go from Africa, all the way to the Caribbean, all the way east, all the way through Europe, all the way through the Americas. It was forced but many of us got to where we were, outside of our homelands, on the winds in the sails that pushed those boats. I kept looking at those things thinking, “Yeah, they blew us all over the world.”’ The show also includes sculptures of globes in a single line, in progressively smaller circumferences. ‘This idea of the pandemic, it was not equitable. That’s why there are some big Earths and little Earths. It is a global thing we experienced but we are all not experiencing it the same way.’ Bradford regularly borrows from Greek and Roman mythology, as a way of presenting afresh the stories of gods and goddesses, heroes and villains, with all their foibles and powers. His 2019 show at Hauser & Wirth London, was titled ‘Cerberus’ after the threeheaded dog preventing the dead from leaving Hades. Sculptures referencing Medusa have explosive serpentine hair, in a nod to the artist’s collection of comic books and their characters, often drawn from mythology. Old comics have also been repurposed as the bases of his latest paintings, offering tantalising fragments of stories never to be finished. He believes the isolation of the past year contributed to an interior journey in the studio. Working mostly alone, Bradford felt his work changing. Despite the orderly grid that has underpinned his art from the outset, he embraced a more fluid approach. ‘I think this body of work is me allowing the grids, but also allowing the slippage and the spontaneity, and actually, nature,’ he says. ‘Not just demanding that the only thing I know is the urban environment.’ »
Art
Art
‘I was fascinated by these little wind symbols on the Waldseemüller map. For me, it’s almost like they blew my people north, west, south and east’
Two of Bradford’s mixed media works on canvas: left, The Bottom of the Revolution, 2021; right, Forgotten Statue, 2021
With one of his deep self-deprecating laughs, Bradford adds, ‘If you’re going to tell me to close down, I’m probably going to do just the opposite. Open up, which means taking more risk in the work, finding a way to do it.’ Bradford has faith in the utility of the workaround, which was essential to his survival as a 6ft 8in tall, gay, Black adolescent in South Central LA. After discovering club life, he started flunking classes in high school. He didn’t attend college until he was in his late twenties, when he won a scholarship to CalArts. He received his Master of Fine Arts in 1997; he was then 36. The curriculum was heavily influenced by conceptual art, which helped Bradford uncover who he did and did not want to be. In 2001, his collages using curling papers from his mother’s beauty salon featured in Thelma Golden’s groundbreaking ‘post-Black’ ‘Freestyle’ exhibition at Harlem’s Studio Museum. In time, he incorporated grids provided by maps of LA, along with posters and advertisements. The grid referred to modernist art and provided order for his jazzy impromptu surfaces. The originality came in his use of collage and décollage. Collage is a historically significant aspect of contemporary art in LA, especially among Black artists ranging from Noah Purifoy to Betye Saar. Bradford had grafted two genres, collage and abstract expressionist painting, into a powerful new species. Success came swiftly, with collector Eli Broad buying works from his early gallery shows. (The collector’s namesake museum, The Broad, now has 11.) Bradford demonstrates allegiance to his origins with his foundation, Art + Practice, located in the historically Black neighbourhood of Leimert Park since 2014. Established with his partner Allan DiCastro and collector Eileen Harris Norton, it hosts exhibitions of contemporary art along with a crucial, innovative programme of support for foster youth. This evolved out of Bradford’s own wayward youth, as someone who almost fell through the cracks in the absence of education and opportunity. Recognising his good fortune, he chooses to pay it forward but rejects the label of ‘activist’. ‘I’m an artist,’ he insists. ‘I think that the society or the mainstream or whatever you wanna call it, they just have a very limited idea of what an artist is capable of. So you find a way to survive that’s gonna keep you on safe ground,’ he says. ‘Doesn’t mean that you’re not angry sometimes. It doesn’t mean that you don’t feel. But you have to find that space in order to be able to move through the world, to keep moving in spite of. Not just keep moving, keep moving in spite of.’ ∂ ‘Mark Bradford: Masses and Movements’, from 17 July, Hauser & Wirth Menorca, hauserwirth.com
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Fashion
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This page, dress, £1,592, by Dolce & Gabbana. Shoes, £725, by Manolo Blahnik. Tights, £16, by Trasparenze Opposite, jacket, £975, by Paul Smith. Shoes; tights, as above
We’ve gone wild for 1950s couture, contoured waistlines and leopard print Photography Chiesk a Fortune Smith Fashion jason hughes
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Above and opposite, trench coat, £1,075, by Sportmax
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This page, shirt, £380; skirt, £1,100, both by Prada. Earring, £2,400, by Sophie Bille Brahe. Tights, £13, by Calzedonia Opposite, jumpsuit, £10,405; belt, £845, both by Chanel. Shoes, £670, by Khaite. Tights, as above ‘D154.2’ armchair, £3,613, by Gio Ponti, for Molteni & C
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This page, jacket, £2,585; top, £2,451; skirt, £842; gloves, £675; shoes, £842, all by Lanvin
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This page, coat, £4,310, by Gucci. Shoes, £670, by Khaite. Tights, £13, by Calzedonia ‘Betty TK8’ stool, £333, by Thau & Kallio, for &Tradition
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This page, coat, £13,980; belt, £920, both by Alaïa. Shoes, £545, by Manolo Blahnik. Stockings, £32, by Wolford Opposite, blouse, £840, by Etro. ‘Panthère de Cartier’ earrings, price on request, by Cartier. Sunglasses, £290, by Celine
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This page and opposite, trench coat, £2,500; bag, £4,700; shoes, price on request, all by Dior. Tights, £13, by Calzedonia ‘Betty TK8’ stool, £333, by Thau & Kallio, for &Tradition
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Above left, jacket, £7,490; shoes, £1,605, both by Bottega Veneta. Tights, £16, by Trasparenze Above right, coat, £1,630; bralette, £340; skirt, £514, all by Numeroventuno by Alessandro Dell’Acqua. Shoes, £545, by Manolo Blahnik. Tights, as above ‘D154.2’ armchair, £3,613, by Gio Ponti, for Molteni & C Models: Hody Yim at Milk Management, Keyla Harewood at Wilhelmina London. Casting director: Roxane Dia. Hair: Nao Kawakami at The Wall Group using Leonor Greyl. Make-up: Nicola Brittin at Saint Luke using Shiseido. Set design: Kei Yoshino at Bryant Artists. Interiors: Olly Mason. Digi tech/photography assistant: Laura Heckford. Fashion assistant: Sammiey Hughes. Set design assistant: Alice Whittick. Post-production: Jon Hempstead
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Artist’s Palate
PETER BLAKE’S Beans on toast
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Quintessentially British yet universally appealing. What can be said of Peter Blake’s pop art is equally applicable to his favourite dish, which he insists must be created with ‘white crusty bread, Heinz beans and HP sauce’. His devotion to this precise formula echoes his rigorous approach to collage, made famous by his album covers for The Beatles and The Who, but equally groundbreaking in the worlds of painting and sculpture. ∂ ‘Peter Blake: Time Traveller’ is at Waddington Custot, 18 June-13 August, waddingtoncustot.com
‘Teema’ mug, £14; plate, £17, both by Kaj Franck, for Iittala. Bowl, $12, by Felt + Fat. ‘AlphaCheck 2.0’ fabric in Smaragd, £57 per m, by Nya Nordiska For stockists, see page 145
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PHOTOGRAPHY: SERGIY BARCHUK INTERIORS: OLLY MASON WRITER: TF CHAN
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