MANOR Magazine Issue 12

The Region’s Premium Publication High Summer 2016 | Issue 12 | £3.95

Ranulph Fiennes As I see it...

The Black Farmer Best of British

Miranda Sawyer

Cheese & wine

Mid-life critical

The South West’s finest

Nathan Outlaw

Summer sushi

Seafood supremo

Cornish food pioneer

PLUS

CULTURE SPACE ESCAPE SCHOOL 1 PROPERTY

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Chagford, Devon

A beautifully presented country house on the edge of Dartmoor Chagford 1.5 miles, A30 5 miles, Exeter 20 miles This stylish family house is not listed and stands in stunning landscaped grounds.

6 bedrooms, 4 reception rooms, 4 bathrooms. Indoor swimming pool, gym and sauna. Large garage block with home office. ‘Tree House’ overlooking the river.

Fishing on the River Teign. EPC: E. About 7 acres.

Guide Price £2,500,000 KnightFrank.co.uk/EXE030089 4

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To find out how we can help you please contact us.

KnightFrank.co.uk/country james.mckillop@knightfrank.com +44 20 7861 1528 edward.clarkson@knightfrank.com +44 1392 848823 Savills Exeter raddington@savills.com +44 1392 455700

Somerset

To find out how we can help you please contact us.

Wellington 2 miles, Taunton 9 miles (Paddington from 107 minutes)

james.mckillop@knightfrank.com +44 20 7861 1528 edward.clarkson@knightfrank.com +44 1392 848823

An impressive country residence surrounded by its own parkland

A well-balanced residential estate with an unlisted 7 bedroom country house, detached 3 bedroom lodge, detached 2 bedroom cottage, traditional outbuildings, stables and barns. The house stands in mature gardens and grounds, including a tennis court, swimming pool, lake and walled garden. There is potential to reinstate and expand the former vineyard. EPC: F. About 44 acres.

Guide Price ÂŁ2,500,000 KnightFrank.co.uk/EXE030089

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Contents

High Summer 2016

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24 Regulars 13 TOWN MOUSE, COUNTRY MOUSE Correspondence from across the divide

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MANOR CONFIDENTIAL SkyBar, Salcombe

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AS I SEE IT...

Explorer Sir Ranulph Fiennes

Style & Beauty 14 TRENDS

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Features 26 THE PHILOSOPHER KING

We take tea with The Black Farmer, Wilfred Emmanuel-Jones

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THE BUSINESS

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SAFE HAVEN

Flounce and frills and pyjama parties

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TAKE A BROW

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MY FEEL-GOOD REGIME

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THE STYLE SHOOT

Grooming advice from our beauty expert

Silversmith Hannah Humpsten

Beauty and the beach

Michelmores talks to Mark Dunsford of Lear Browne and Dunsford

How Plymouth is at the front line of refugee support

Photostory 34 GROWING TOGETHER Matt Austin captures life on Haye Farm, Devon

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Culture 52 A MONTH OF MUSIC Dartington Halls’ annual Summer School and Music festival

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BEATING A PATH We talk to Exeter-based contemporary composer Joe Duddell

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WRITING PLACES

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SOUTH WEST MUST SEES...

A project to install writers in literary houses across the South West

What’s on around the region

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WORTH MAKING THE TRIP FOR...

Cultural highlights from the metropolis

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WORTH STAYING IN FOR...

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Quality time on your sofa

Food 90 IN VINO VERITAS Why the South West’s wines are worth getting excited about

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CHEESE PLEASE

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A guide to some of the region’s tastiest cheeses

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FOOD PIONEER Carli Summer’s super sushi

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IN CONVERSATION WITH NATHAN OUTLAW We talk exclusively to the Michelin-starred chef

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RECIPES ...from Nathan Outlaw’s new book

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BITES Food news from across the peninsula

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THE TABLE PROWLER ...dines out at The Star & Garter, Falmouth and Paul Ainsworth at No.6, Padstow

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157 MANOR school 135 NEWS IN BRIEF Oscar winner visits Blundells; Exeter School pupils’ poetry selected for festival; Millfield in the Maths Challenge national final

136 Space 114 DESIGN FOR LIFE How interior design works in harmony with architecture...with beautiful results

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SHOPPING FOR SPACE

Professor Ruth Merttens offers the ninth part in her series on how to Help Your Child at Home

Property 143 THE BULLETIN With the UK voting to leave Europe, what will it mean for the South West property market?

Nautical but nice

Escape 124 ON THE EDGE 129

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PROPERTY OF NOTE

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SNAPSHOT COMPARATIVE

Farthings, Kingswear, Devon

A whirlwind walking tour of Penzance, the South West’s frontier town

A selection of waterfront homes from around the region and in London

WHERE TO STAY IN PENZANCE

Back page 162 THE MANOR READER SURVEY

We suggest two great options

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ALL WRITE NOW

DARTMOOR DAWDLING A relaxing break at the Prince Hall Hotel

The results are in...

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is brought to you by PUBLISHING EDITOR

Imogen Clements imogen@manormagazine.co.uk

COMMISSIONING EDITOR

Jane Fitzgerald jane@manormagazine.co.uk

FEATURES EDITOR

Fiona McGowan FEATURES WRITER

Harriet Mellor ARTS EDITOR

Belinda Dillon belinda@manormagazine.co.uk

FOOD EDITOR

Anna Turns food@manormagazine.co.uk

CONTRIBUTORS

Professor Ruth Merttens, Emma Inglis, Kate Mount, Phoebe Tancock, Vanessa Curtis, Stuart Crewes DESIGN

Guy Cracknell ADVERTISING SALES

Rachel Evans, Kathy Barrau advertising@manormagazine.co.uk

THE COVER White lace top, Topshop, £34.99 Stylist: Mimi Stott; Photographer: Seb Chandler; Model: Melissa Bell; Make-up: Maddie Austin; Hair: Hayley Gent

Exclusive designer fashion...be different...dare to wear!

NOW IN ROYAL WILLIAM YARD PLYMOUTH Unit 2&3, The Guardhouse, Royal William Yard, Plymouth PL1 3RP Tel: 01752 941968 TOTNES 83 High Street, Totnes TQ9 5PB Tel: 01803 840823

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© MANOR Publishing Ltd, 2016.

MANOR Magazine is published by Manor Publishing Ltd, Registered office: MANOR Publishing Ltd, 52/54 Higher Compton Road, Plymouth, PL3 5JE. Registered in England No. 09264104 info@manormagazine.co.uk. Printed by Warners Midlands plc.

Hello and welcome to The Food Issue, or as I’d rather call it, The Mark of Good Taste Issue.

After all, it’s not just about food. As with all MANOR issues, although each has a theme, the magazine is never given over entirely to that theme; the emphasis merely shifts a little.

Moreover, the stories behind the food are as tantalising as the food itself.

Take, for example, Wilfred Emmanuel-Jones, aka The Black Farmer. The philosophy behind his brand goes much deeper than the premium sausages it is known for. In moving to the West Country from London he became known as ‘the black farmer’ by his immediate neighbours. Rather than be offended, he created a highly successful brand out of it; a brand name that does so much more than just sell sausages. The Black Farmer was keen to demonstrate Britain’s modernity and diversity, and truly celebrate it. He still is – the sausages are a delicious by-product – but there are many more plans afoot.

Restaurant Nathan Outlaw is the only seafood restaurant in the UK to hold two Michelin stars. At the age of 38, Outlaw has notched up four Michelin stars across his different restaurants and his name has become synonymous with the very finest fish cuisine. His third book, Everyday Seafood, has to be one of the most mouth-watering you will pore over, and every dish is apparently as easy to rustle up at home as it is tempting. Outlaw talks exclusively to MANOR about his career and the thinking behind this book, and we publish recipes guaranteed to bowl over any lunch or dinner guests lucky enough to be invited round.

We go way beyond food to interrogate Sir Ranulph Fiennes on just what it is that drives him, through severe pain and the most extreme conditions, to be our greatest living explorer.

Miranda Sawyer, who many of us consider a contemporary, having read her in our 20s, 30s, and 40s, reveals the thinking behind her latest book, Out of Time. Middle age is invariably characterized by denial, a clinging on to youth. Let go! It can only lead to crisis.

As well as features to fascinate, we have an in-depth analysis of our booming South West cheese and wine sectors (along with our top ten of each), a bumper and inspiring arts section, beautiful homes and, as always, stunning photography, courtesy of some of the best photographers in the region. All of which makes this issue of MANOR not just unputdownable, but one to keep. Our reader survey shows that the majority of you do just that – keep every issue. Turn to the back page to find out what else the survey revealed.

We hope you devour every page as a ‘mark of good taste’, and enjoy a relaxing and quite delicious summer.

Imogen Clements FOUNDER & PUBLISHING EDITOR

The views of the writers in MANOR Magazine are not necessarily those shared by the publisher. Unsolicited manuscripts, artwork or transparencies are accepted on the understanding that the publishers incur no liability for their storage or return. The contents of MANOR Magazine are fully protected by copyright and may not be reproduced without permission.

By submitting material to MANOR Magazine, MANOR Magazine Ltd is automatically granted the royalty-free, perpetual, irrevocable right and license to use, reproduce, edit, distribute and display such material (in whole or part) and/or to incorporate it in other works in any form, media, or technology now known or later developed for the full term of any rights that may exist in such content. The contributor acknowledges that material submitted may

be published in any publication or website produced or published by MANOR Publishing Ltd. The contributor agrees not to submit material where they do not own the copyright and where they have not obtained all necessary licenses and/or approvals from the rightful owner.

With respect to any photographs submitted, the contributor confirms that all necessary model and property releases have been obtained from any clearly identifiable person appearing in any image, together with any other relevant consents required.

Prices and details of services and products are genuinely believed to be correct at the time of going to press, but may change. Although every effort is made to maintain accuracy we regret we are unable to honour any incorrect prices or other details that may be printed.

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GOLDSMITHS YOUR LOCAL JEWELLERS

Whether you are looking for a beautiful piece of jewellery or the perfect watch, visit your local Goldsmiths for friendly expert advice.

Goldsmiths Torquay 39/41 Union Street, Torquay TQ1 1ET Goldsmiths Exeter 12-13 High Street, Princesshay, Exeter EX4 3LH

www.goldsmiths.co.uk 12

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TOWN MOUSE, COUNTRY MOUSE Sweetness...

Darling...

I’ve been thinking of throwing a cheese and wine party.

Except it sounds so 1970s, don’t you think? Conjures up images of Beverly and cubes of cheddar and pineapple on toothpicks. What do you mean, who’s Beverly? From Abigail’s Party, sweetie – the Mike Leigh play. Never mind. Anyhow, I thought now that there’s so many and varied good cheeses coming out of the UK, especially this part of the world – not to mention wine that has the French on the run – it’s time we brought back the cheese and wine party, in a post-ironic kind of way.

So easy, no canapés required, just one giant cheese board and wine of all varieties, particularly sparkling. Does sparkling go with cheese? I shall have to consult my sommelier. We do need to have sparkling, as UK sparkling seems to be scooping up all the awards right now, be silly not to.

Perhaps some bubbles as people enter, then they can move onto the Pinot Noir and Yarg. I’m liking the idea a lot, except for one thing: transport.

The transport situation out here is a bind on all matters social. We have no tube in the country, and I never realized when I was squashed nose to armpit in a hot, airless carriage during rush hour quite how much I’d miss it. If only all these little villages, with their quaint pubs serving delicious English fare, were connected by an underground transport system… life in the sticks would be a whole different ball game. Instead we all have to drive everywhere, and as a result, people leave by 8pm to drive home before risking another and having to spend £100 on a cab to get home.

I look forward to driverless cars. They will quite transform the countryside. Everyone will want to live here.

Cheese and wine – fabulous idea. So good that I shall nick it, and we must compare notes. Our delis in Notting Hill, however, are stocked with a rich variety of Continental fare, less of the English, so it will have to be a European party – a sort of ‘homage to fromage’ (like it?) before the import tariffs go up. Thank God we’re getting so good at producing our own wines and cheeses. It’s all about self-sufficiency these days, cast adrift on our little island; and self-sufficiency I know you country folk are very good at. We, alas, are not. Barely know the meaning of the word. We may need to take lessons.

We can do wine tastings very well, however, thanks to our wondrous London Underground always at the ready to carry us home. I am thinking that in my bid to get people more used to English fare, I will blindfold them and have a ‘guess the year and place of origin’ tasting challenge. I do love a party game, and there are so many wine snobs near me. It will be rather delightful to see them mistake Camel Valley for Dom Perignon. Could even extend it to cheeses – ‘name the animal and place of origin’. But I will need to import them from you, sweetie. When are you next in town?

On another note: have you donned your nightie yet? I mean, out on the street, by day? Slips and pyjamas – it’s the height of fashion, all over the catwalk Spring Summer 2016. Everyone up here’s in white satin with black lace trim. I must confess to being a little reticent. This is one of those trends where you wonder if all those designer grandees got in a room and chortled aloud, “What trend can we launch on the high street that really pushes the boundaries and demonstrates just what power we all have over people’s wardrobes. I’ve got it: let’s make everyone go out in their nighties!” It pains me not to comply but I think for a woman of my age this could be one trend too far.

WHAT’S COOL IN THE COUNTRY?

WHAT’S HOT IN THE SMOKE?

The Map of Truths and Beliefs by Grayson Perry at Castle Drogo, Dartmoor. The 15 foot wide tapestry is part of the Truth and Triomphe exhibition. Perry’s tapestry will be hung alongside a French masterpiece, the 300 year old Char de Triomphe, made for King Louis XIV. Until the end of October 2016.

David Hockney’s 82 Portraits and One Still Life at the Royal Academy until 2nd October. Another rich splash of Hockney acrylic, another breathtaking achievement. Same chair, same set up but all so different, painted over two and a half years.

Plan to make several return trips. It still won’t be enough.

Dine at the Home Farm Café, Parke, Bovey Tracey on Thursday to Saturday evenings. Local, seasonal ingredients and slowcooking techniques to create a ‘treasure pot of cooking’ at its best.

The Ninth, new restaurant on Charlotte Street. Cool, bare brick interior gives great ambience to what is a highly revered French/Mediterranean menu. Book well ahead.

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Frills and flounce

Earrings, Whistles, £25

Salvatore Ferragamo SS16

Ruffles and frills add a prettiness to any garment. Where bold they conjure images of flamenco; where floaty and transparent they inject femininity and, conveniently, hide the odd bulge.

Top, Zara, £29.99

Jumpsuit, Zara, £49.99

Dress, Next, £24

Necklace, Hobbs, £45

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Bardot bodies, Topshop, £19

Sandals, Whistles, £150

Bork Aksu SS16

trends

Sunglasses, Next, £15

Mini camera bag, Whistles, £95

Blouse, Marks and Spencer, £27.50

Skirt, Zara, £29.99

Top, Next, £32

Dress, Zara, £49.99

Shirt, Marks & Spencer, £25

Shoes, Dune, £70

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Pyjama parties

Enamel dip necklace, Whistles, £25

Stella McCartney AW16

It’s acceptable to make nightwear your daywear this season.

We’re donning satin and chiffon and silk pyjamas. The latter makes beautiful if somewhat daring evening wear. For the more timid, offset nighties and slips with a tee-shirt underneath and a solid pair of white trainers.

Dress, Zara, £35.99

Top Zara, £25.99

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Camisole Top, Marks & Spencer, £25

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Trainers, Whistles, £120

Dress, Zara, £49.99

trends

Wrap top, Whistles, £175

Silk print trousers, Whistles, £175

Top, Marks & Spencer, £25

Trousers, Next, £22

www.barcarchitects.com Hems Studio, 86 Longbrook Street, Exeter, EX4 6AP Tel: 01392 435051 Call us to arrange a free consultation

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Take a brow Perfectly groomed eyebrows can give you an instant facelift. Makeup artist Elouise Abbott offers advice on how to get the look.

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ever underestimate the power of the brow.

Eyebrows frame and shape the face, and if defined correctly have the ability to open the eye and soften the facial features, giving an instant facelift. Plus they are fantastically expressive – think of Gromit, the clever half of that well-known duo who only ever communicates through his eyebrows. Think also of those more obvious beauty icons: Elizabeth Taylor, Audrey Hepburn and brow girl of the moment, Cara Delevingne. Brows have never been more pertinent, and the current style embraces a natural-shaped, bold, full and perfectly groomed eyebrow.

MY TOP TIPS FOR A PERFECT BROW Tidy the brow There is bold, and there is bushy. Tidying the eyebrows gives definition. Whether you choose to have your eyebrows waxed or threaded by a professional, or tweeze them yourself, taking away those stray hairs will define and open the eye. When shaping at home, remember never to over-tweeze. I like to tweeze after defining with colour, as this ensures that I only remove stray hairs outside of my chosen shape.

Choose your shade When choosing an eyebrow colour, always match your natural shade, or go a shade lighter; the only exception to the rule being people with very fair hair who can go a little darker. Too dark a shade can make your eyebrows look unnatural and harden facial features, which is incredibly ageing.

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Choose your product There are a wide range of products available to add colour to your eyebrows. Each gives a slightly different effect and finish. To choose which is most suitable to you is just down to preference and individual requirements: An eyebrow pencil is the classic for colouring those brows. I love the accuracy of a pencil – it’s ideal for those with thin brows as a sharp pencil can be used in light feathery movements to redraw individual hairs. I like a pencil with a spoolie, which can help to soften a harsh pencil line and keep those brows soft and natural. Charlotte Tilbury Brow Lift ticks all my boxes and comes with a spoolie and a highlighter for just under the arch.

Eyebrow powder or eyebrow cake is my absolute favourite for all brows as it give a beautifully soft, natural, uniform finish. I find a powder is pretty forgiving, too – great if you are not so confident with a pencil. The Urban Decay Brow Box comes in a great range of shades and includes everything you need for fabulous brows, from two shades of powder and setting wax to bush and tweezers.

Use the lighter shade of powder on the inner body of the brow and the darker shade on the outer tail.

Eyebrow gels are great for setting unruly brows or

beauty adding colour with a bit of sheen. Benefit Gimme Brow Volumizing Brow Gel is amazing for sparse brows as it contains tiny microfibres to build volume, making eyebrows appear fuller. It also contains a buildable tint so eyebrows can always look their best. If you use a gel from a pot, you will need a good brow brush. I recommend the Real Techniques brow brush set. It contains angled brushes for ease of application.

A brow wax may be coloured or clear, and is usually waterproof. They are fantastic for setting powders and pencils, and keeping brows in place. Brow waxes usually come in a kit with powder, but Kiko Cosmetics Eyebrow Wax Fixing Pencil is a wonderful standalone product. Just be careful not to over-apply.

Application To begin the eyebrow application I always brush the brows up as this

instantly lifts and opens the eye. If you have trouble defining the top of your arch you may want to brush your brows down, apply to the top of the arch first, before brushing the brows up to define underneath the arch.

I then take a pencil or a brush as a guide to map out where to place the key points of the brow. First I hold my guide vertically along the side of my nose up past the inner corner of the eye; this marks where the brow begins. To place the arch, I hold the guide diagonally from the nostril up through the eye on the outer side of the Iris, this will give you the highest point of the arch.

Finally I hold the guide diagonally from the nostril past the outer corner of the eye and this gives you the point where the eyebrow should end.

Using light feathery strokes I fill in the brow working from the centre out. When the eyebrow is shaded I comb through with a spoolie to soften the brow, and set with wax.

If you need some additional audiovisual assistance the best eyebrow tutorials online are here: Charlotte Tilbury: youtu.be/IxJolMFR2UE Lisa Eldridge: youtu.be/tPTl4ZcPqCw Sephora: youtu.be/JGYSd0vGe6I Pixie Woo: youtu.be/83rlEkm7w60

beautiful fused glass interior pieces, handmade at our cornwall studio. bespoke design service available. galleries at st ives, padstow, fowey and launceston, cornwall and ripley, surrey. www.jodowns.com

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Hayle Harbour, Cornwall

My feel-good regime PHOTO: JULIUS BRIGHTON

Silversmith Hannah Humpston was born and raised in Penzance. After many years of travelling, she returned to Cornwall to do a degree in silversmithing, and now lives in Hayle with her two children, aged eight and nine.

My workshop is a lovely space at the end of a working pier in Hayle, above the boat builders’ yard, in what wwused to be the old netting lofts. It’s light and airy, the building is steeped in history, and it looks out towards the estuary with magnificent sea views. It’s pretty wild in the winter and idyllic in the summer. Energy is positive and creativity flows – I love it.

special. The techniques I use allow me to let each piece develop in the making process, exploring textures and form – it’s like alchemy. I enjoy the spontaneity of working with such beautiful metal. I get into a meditative state, like an altered form of consciousness, where I get so absorbed in the making and creating that hours go past.

I love dancing; I love music! Big, daily doses of it. I dance all the time, whether it be on a dancefloor in a club or on my kitchen tiles. The celebration, social and emotional bonds, and the connections made. Music is my therapy. I couldn’t imagine life without it.

I try to keep to a healthy diet, but I have my downfalls. I really enjoy cooking and am a big fan of Ottolenghi’s recipes (when I get the time). If I can buy good, local organic meat, then we have a treat, but more often than not it’s a good oldfashioned veggie one-pot wonder. And fish, we love fish! We never come home empty-handed after a trip to Newlyn.

Standing on a cliff top on the north coast of West Penwith, getting beaten by the elements, is where I find my peace. I feel so free and happy being out in these places; a total connection. It’s so wild, and quite often not a soul in sight. Space alone to clear the mind, breathe the air and get focused. This is why I live in Cornwall!

Jewellery is art that can be worn. I love creating a piece of jewellery, then to see it being worn and loved; that’s pretty

There are some brilliant restaurants in Penzance at the moment. The Shore is one of my favourites. It’s a lovely seafood restaurant, relatively new; it already has a big following and reputation for fine dining. I love the Thai restaurant in Penzance, Sukhothai; it’s an oldie but it says a lot that they’re still going. Last, but not least, the Grameen Tandoori restaurant and take-away in Hayle is seriously one of the best curry houses I have ever eaten in. I know people who travel the length of Cornwall to have one of their curries!

PHOTO: LEE SEARLE

I try to get in the sea as much as possible. I love (trying) to surf. I’m over the fact that I look stupid now, and take every opportunity to get in for a splash. I feel so energised having been in; it’s guaranteed to sort me out, no matter how big the hangover. It’s a total healer. I try to keep to a routine of pilates, but it comes and goes. Some weeks I’m on it and some I’m not, but I really need to get back into it full swing. I cycle lots, mainly as transport these days, but occasionally go on a big ride, which is a fantastic buzz.

My best nights out are on the dancefloor, surrounded by happy faces with upbeat music. Local DJs Sir Vinyl

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are keeping Cornwall on its toes, playing fresh sounds – everything from reggae/dancehall, African, hip hop, calypso.

Happy music. They run areas at local festivals such as the Masked Ball and Tropical Pressure, two of my highlights of the year. Tropical Pressure is an amazing local festival: small, intimate, family-friendly and seriously tropical! A bit like a mini Womad, which is easily one of my favourite festivals.

good at finding anything form vintage goods to day-to-day items. Over the years, I’ve found some really special things – a lot of the vintage stuff I find really inspires my work. I look for fabrics and jewellery with heavy textures and try to incorporate these styles and patterns into my jewellery. It gets quite addictive, and if I don’t get my weekly rummage, then you will find me in the local charity shops.

I recently watched Bronco’s House, a film made by a local film-maker and handcrafted on 16mm black-and-white film in Newlyn itself. The film is about the housing crisis, ‘one man’s quest for a roof ’, a topic that touches on a few nerves. It was great to see such local talent produce a beautiful film with a unique style. It was fun working out where each scene was shot.

I love Cornwall with all of my heart, but it’s so important to leave occasionally! It’s really easy to get stuck down here, especially being this far down, as it takes nearly three hours just to cross the border: before you know it, years have passed! I try to get to London when I can for a good gig or just to be there, absorbing the madness and all of that culture.

I love a good car-boot sale. One man’s junk is another man’s treasure and all that. I’m a bit of magpie, and am quite

hannahhumpstonjewellery.co.uk

LANGUISHING IN MY MAKE-UP BAG No7 Stay Perfect Mascara, which is the best thing ever. Totally smudge proof – literally no more panda eyes.

Such a good find. Benefit Benetint rouge – I always have that. White eye shadow. Lavera Cover Stick and Rose Vaseline. When I’m feeling flush, I treat myself to Dr Hauschka products, usually the Rose Day Cream – so nice! I use Suma Rose and Geranium Shampoo – it’s natural and works well for my hair. I get my hair cut with Richard Goulden at Trinity Atelier Hairspa in Penzance. He is easily one of the best hairstylists around.

Watching him cut hair is like sculpture, an artform.

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SkyBar, Salcombe SkyBar is a pop-up event that “blends cocktail-bar chic with a cool beach club vibe”. On 17-18 June, the standout SkyBar blue stretch marquee landed in Salcombe, where 500 guests enjoyed cocktails and sundowners as the sun set over cornfields and estuary views. Live acoustic music made a perfect start to the evening, followed

by SkyBar DJs stepping up the party atmosphere. SkyBar will be in Polperro, Cornwall, on 22-23 July, with further sessions scheduled throughout August and September across the South West. Numbers are restricted to a maximum of 500 a night and tickets cost £15 each. Photos by Kirstin Prisk. the-skybar.co.uk

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confidential

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As I see it...

Hailed as the greatest living explorer, Sir Ranulph Fiennes has pushed his mind and body to its utmost limits in some of the most inhospitable environments on Earth. Born in Berkshire, his father was a commander in the British Army – a war hero who died just months before he was born. He was brought up in South Africa before being sent to Eton College. Now aged 72, he lives on the edge of Exmoor with his wife and daughter, and continues to take on extraordinary challenges and expeditions – such as the gruelling Marathon des Sables – raising money for Marie Curie and the British Heart Foundation. Interview by Fiona McGowan.

Having only sisters, a grandmother and mother – no father, brothers, uncles or grandfathers – I think I was spoilt rotten.

I was not a particularly adventurous child. I remember being taken to the Cape Town Festival aged about eight, and told to ride a rickshaw. They were driven by seven-foot Zulus with ostrich feathers, and I screamed and wouldn’t go on it. I got taken home and my mother was told, “He’s a right wimp. If he’s going to live up to his father’s wonderful reputation, you’re going to have to make him a bit more steely.”

And not sarcastic when they’re under stress or hungry. Just very patient and determined.

Faith is not strong enough by itself to deal with the long treks when you’ve got crotch rot and gangrene. Being brought up in

13 and carried on until I left, aged 17. If I’d stayed a bit longer, I’d have been boxing captain.

South Africa, my faith was Anglican and I’ve still got it. But when moving is unpleasant and you’ve got another 1,000 miles to go, towing a heavy weight at minus 70 degrees, blood all over the place, lips scabbed up, the voice in your head tells you that you want to stop, and your faith’s not enough to counter it. At that point, I imagine that the people I respect most – my father and my grandfather – are watching. I don’t want to let them down by being the first to give up. I’ve had severe gangrene and we’ve been moved out, but only after the doctor has said that I’d have to have an arm removed if not.

Expeditions were introduced to stop the soldiers in my regiment beating each other up. I spent five years in Germany

Nobody normally gets hurt on Everest, unless there’s an earthquake or something. I think it’s more dangerous driving

facing the Warsaw Pact tanks, which never attacked. The soldiers got bored so I started organising expeditions with my regiment, the Scots Greys. I could choose any river on the map, the army would provide a lorry, and I made the men buy canoes out of their pay. In winter I taught them cross-country skiing and we had competitions against all the other regiments.

down the M6.

I was known as a ‘pretty boy’ at Eton and the big boys taunted me, so I learned to look at the ground until someone said, “You should take up boxing.” I never looked back. I started boxing at

The ideal number of people on an expedition is two. The fewer

people, the easier it is, but I don’t go for solos because in the ice – whether it’s water ice up top or crevasse ice down below – if you fall in, it’s easier if there’s another person to haul you out.

Some roles suit men better than women. My expedition

teams are made up of men, because we’re normally pulling very heavy weights, but if you need a base commander radio operator – Morse code and so on – we would always take a woman, because they’re better at that sort of thing.

One way to weed out applicants for an expedition is to make them apply to join the territorial SAS. Back in 1975-78, we had

800 applicants for our expedition around the Earth vertically, crossing both ice caps and everything else in between.

Applying to join the SAS got rid of nearly all of them. We spent four years checking out those who got through, wore them down from about 11 very good ones to three very, very good ones, and a year later ended up with two, who lasted the entire expedition. If we’d had hindsight, we couldn’t have made better choices.

Generally, if team members had a religious faith – it didn’t matter which one – that was a good sign. Psychologically, we

were looking for character as much as skills. I want the team to be self-confident but not egotistical – there’s a difference.

Dealing with physical injury and illness is difficult, because – coupled with the mental and physical aspects of the ageing process – it’s depressing. The fear that I experience during

expeditions and challenges isn’t depressive at all; it’s exciting.

Coping with illness is mind over matter, so your head has got to be filled with positive thoughts that you force against the negative, but it’s a constant, repetitive process. If the depression comes upon you, and you forget to fight it, it can get you down.

If the penguins are getting lesser in number, it’s not for us to count them. Climate change hasn’t had any noticeable effect on

a man-haul crossing of Antarctica. The Arctic, however, is a different matter. In the mid-70s, I designed man-haul sledges that were waterproof in case we hit a canal. Now we design canoes that you occasionally haul over ice. Within three or four years, it might be impossible to cross the Arctic via the Pole, unless you do it by boat instead of a sledge.

I feel most at peace when I’m going for a physical challenge,

knowing that, if one can succeed, one will be the first group to do it, and make two or three million pounds for a chosen charity.

You’ve got to try to fight old age. If I’m at home, I’ll go for a

one-hour run up the hill. It’s not a run anymore, though – it’s more of a shuffle.

Ranulph’s latest expedition project is still under wraps, but there are plans for it to get underway in the latter part of 2016. His latest book, Fear, will be published by Hodder & Stoughton in 2017.

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feature

Wilfred Emmanuel-Jones, aka The Black Farmer, takes tea with Fiona McGowan.

“M

y passion is about making Britain a better place. I want to demonstrate that there is a new, modern Britain. It’s not our old, white, colonial types and the old boy network. It’s different. It’s assertive, not passive. It’s positive, it’s not apologetic.”

Wilfred Emmanuel-Jones, aka The Black Farmer, sips a cup of tea and nibbles on a hot cross bun in his large farmhouse kitchen. At 59, he cuts a dapper figure, all cravats and English country gent attire. The highly successful purveyor of fine British sausages under his standout brand name is a proud mass of contradictions.

The Black Farmer sausages are a staple in supermarkets across the country. They are made with high-quality, outdoor-bred meat. They are gluten free (who knew sausages had gluten in them anyway?). And they are RSPCA-approved, which means Wilfred’s business only sources meat from farms that are regularly inspected by the RSPCA, ensuring that the animals really do have freedom to roam. Wilfred, while not actually a livestock farmer, is a branding genius. Even

the gluten-free element is carefully thought out: “I was aware that the incidence of wheat- and glutenintolerance and Coeliac disease was growing in the UK, and I wanted to offer a sausage that was for everyone.”

He has also branched out into numerous other products, including chicken, eggs, meatballs, cheese and bacon.

Recently, The Black Farmer released a new TV advert. It is rare these days to see an ad that is genuinely moving and superbly filmed; gone are the days when your friends used to say, “have you seen that new ad?”, and would go on to deconstruct the music, the style – even discuss the product itself. Wilfred’s eye-catching commercial features him dancing in the Devon fields around his home with a group of local Morris dancers, holding aloft a Union Jack and intoning a poem about belonging and being rooted and connected, all with highly emotive (and very traditional) music. While the poem was not written by him, and the ad was not directed by him, it is clear that his background in marketing and film directing has had a huge impact. He MANOR | High Summer 2016

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In creating a brand that is ‘quintessentially British’, he wants to break the mould and overturn some of the concepts of what it means to be British.

is emphatic that consumers don’t just buy a product, they buy into a philosophy: ‘flavours without frontiers’ is the sausage strapline. He loves the juxtaposition of being both a son of immigrants and being ardently British. He also loves the fact that many people feel uncomfortable with the somewhat un-PC label of The Black Farmer.

Moving to rural Devon, he says, as a black man who has lived in cities all his life, makes him as much of a pioneer as his parents were when they made the brave decision to leave the Caribbean and move to Birmingham.

The brand name came about because, in the early days of living in Devon, his neighbours used to refer to him as ‘the black farmer’. Instead of taking offence at being labelled in this way, he took the name and made it a formidable brand. It is a name that challenges perceptions, as he loves to do. “It’s the audacity of a black guy going ‘I’m an English man’, dancing around with the Union Jack and the Morris dancers.” He says that in creating a brand that is ‘quintessentially British’, he wants to break the mould and overturn some of the concepts of what it means to be British.

Wilfred quickly saw that trying to be a producer while seducing supermarkets and the consumer, and growing a business, was completely unrealistic. “When I meet farmers round here, they say, ‘You’re not even a proper farmer. We are. We’ve been working our hands to the bone, and here you are getting all this bloody glory.’

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of them don’t understand it. I say, ‘It doesn’t matter how good you are in terms of doing the job. You’ve got to go out and make friends and talk with the consumer.’” In fact, he and his wife do still run a farm, which produces hay and silage, and provides grazing for cattle, but as he points out, there’s no way they could produce enough meat to supply his business.

These days, he is invited to speak as a business leader and entrepreneur all over the country, dishing out his know-how with the polish and panache of an experienced life coach. How did he get from a childhood in Birmingham to this point? It all started with a dream, an “impossible dream”. Escaping from the chaos of his home life, where he shared a terraced house with nine siblings, 11-year-old Wilfred would work on his dad’s allotment and dream of being a farmer. Life was tough: “It was your classic inner-city area,” he says, “devoid of hope, and the expectation was that you’d end up on society’s dustbin heap.” But Wilfred always felt like an outsider with something to prove.

“I have the attitude of challenging the status quo,” he says. “It’s either about being or belonging – if you want to start up your own business, you can’t have the attitude of belonging to a group: you don’t play by the rules of belonging.” Back when he left school, he thought joining the army might be a way out, but for a man with such fire in his belly, the army was the last place he could settle. Very quickly, he got kicked out (“I was a black guy

feature with attitude who didn’t want to play by the rules”), and ended up working as a chef. In the early 80s, the catering industry was by no means glamorous. Wilfred is one of those people who is eternally positive: while not religious, he has an almost spiritual, karmic belief that every struggle, every step in life’s journey, happens for a reason.

A giant leap from cooking burgers in sweaty kitchens to working as a runner at BBC’s Pebble Mill is just one example of his drive. After watching BBC’s 60 Minutes current affairs programme, he decided to get into TV. He spent two years working every angle and every contact he could find, whether it was security guards or cleaners, to help him get into the BBC. Finally, a TV exec took him on – disregarding the fact that he had no qualifications – and he flourished. Moving quickly from Pebble Mill to London, he beat 15,000 applicants to get onto one of the BBC’s production training courses, and within a very short time was producing and directing.

Perhaps partly thanks to his background working in kitchens, he was an obvious choice to embrace the new food and drink revolution that was taking TV by storm. He effectively launched the careers of the likes of Gordon Ramsay and James Martin, coaching them on how to appear on camera and directing them in his own distinctive hands-off style. “I liked people’s personalities to come out – a lot of TV tended to be pretty controlled, but I liked to allow the unexpected. I would allow things to evolve rather than directing everything.”

After 12 years of travelling the world and working as a ‘jobbing director’, Wilfred’s entrepreneurial spirit was burning to get away. With his PR consultant wife, Michaela Pain, he decided to start his own business.

Michaela walks into the kitchen with a cup of tea and a plate of (full-gluten) buttered hot cross buns. The pair have been working as a team since they created their food and drink marketing agency Comms Plus in the early 90s. They are one of those rare couples who have just the right skillsets to work together. Wilfred is the visionary, the one with all the ideas, says Michaela.

“And I’m more of the worker,” she says with an impish grin. He doesn’t contradict her. Their clients at Comms Plus included exciting new entrepreneurial brands such as Kettle Chips, Lloyd Grossman sauces and Plymouth Gin. As with Gordon Ramsay et al, it is thanks to their work that these are now household names. Although it was their own business, both now admit that they didn’t enjoy what they were doing, but they were living in London with two small children, so they stuck with it for 15 years. “I’d been doing it for years and years, and I’d had enough,” says Michaela. “And it wasn’t really you, was it, kow-towing to clients?” Wilfred agrees: “I look back on it and think, why in God’s name did we do that?

But it was what trained us for The Black Farmer – the main event.” He grins expansively.

The Black Farmer business is now a multi-millionpound enterprise – they’ve come a long way from

the day when they first bought the farmhouse near Launceston, sourced local suppliers of pork, touted their wares at freezing cold food shows and hawked to the supermarkets. Even the shocking experience of Wilfred suffering from an aggressive form of leukaemia two years ago hasn’t put the brakes on. If anything, it has made him more driven, more determined to make a difference in the world – not just in food, but in changing people’s perceptions. The fight against cancer is just another part of his journey: not only did he come exceptionally close to death, the treatment left him with a lasting, and highly visible, legacy. The stem cell transplant resulted in graft versus host disease, which means that patches of his skin have completely lost pigment. “Every time I look in the mirror – it’s a reminder of how lucky I am,” he says. “There’s nothing better than knowing you’re on borrowed time to put things into perspective. Even that, I see as a positive.”

Wilfred is a man breaking with tradition; he is drawn to eccentricity. While his background is in food and drink, he seems far more interested in the connection with the consumer than in the actual food. He agrees: “I do cook, and I like it, but it’s not my passion. My passion is about making Britain a better place. This modern view of Britain...” It is hard to hold him back – he’ll just as soon analyse you as tell you his story, offering advice based on his hard-won wealth of experience. Producing tasty, high-quality sausages is almost a by-product of his determination to push diversity, and challenge the status quo: whether it’s turning up on doorsteps while canvassing as a Tory MP, introducing different meats and flavours to his sausages, or declaring his love for flamenco and Morris dancing. Behind it all is an absolute self-belief and an unwavering philosophy. “I remember something my father said to me: ‘You can achieve anything you want in life, but it’s going to take two things – one is absolute determination and the other is total focus’.”

The Black Farmer Cookbook, full of lush, meat-heavy recipes and mouth-watering images, is published by Simon & Schuster. theblackfarmer.com

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PHOTO: MATT WRITTLE

How soon is now?

T

he mid-life crisis used to be the stuff of sitcoms and comedy sketches. A social malaise that hit frustrated men once they hit their 40s.

Symptoms of the condition included: donning a biker jacket, buying a motorbike or sports car, and quite often shagging, or shacking up with, their younger secretary. Meanwhile, the sex-less housewife waved farewell to her now-adult offspring and pottered about the empty nest until the arrival of grandchildren brought her next purpose.

So where does middle-age sit in the year 2016? The gender gap between men and women has – arguably – almost closed, so the associated angst no longer just applies to males. Career ambition is definitely part of being a woman, having a first kid is normal in late 30s or even early 40s, which has to be juggled with decades left on mortgage repayments followed by a meagre pension, with many still grabbing a hedonistic night out, wearing the ‘right’ trainers.

There were many existential questions that troubled the writer and broadcaster Miranda Sawyer. At the age of 44, with a late second child aged one gurgling by her side, it dawned on her that – providing she met her life expectancy quota – she’d already lived over half of her 30

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Miranda Sawyer talks about middle age, having a plan, looks, acceptance and community with Harriet Mellor.

life. “I had less time to go than I’d already lived and that is the genuine shock.”

Miranda wrote her aged musings as an excellent article for The Observer in 2011. This eventually became a book. After many interviews with a broad mix of characters, including DJs, psychotherapists, psychiatrists, historians, style journalists, writers and historians, Miranda interwove her own past and present life experiences and produced Out of Time.

“It started with the question, if you were young in the 1990s, how does that affect your middle age? I’d look back quickly, but just long enough to investigate my prejudices and assumptions about adulthood… There would be no beating myself up for the wrong decisions, I would merely tell the tale. And then I would arrive at my 40s and look at that. At this middle decade, between the old age of youth and the youth of old age.”

If you flicked through Miranda’s press cuttings, they could document the social and cultural commentary of a generation. With her trademark short blonde locks, street style and northern accent she’s been a zeitgeist figure whose writing career began in 1988 on Smash Hits followed by Select magazine and The Face, beginning with Bros-Mania, the ‘Madchester’ and Acid

feature

If you obsess about your looks, you’re screwed – you’re never going to win.

House scene followed by Brit Pop and beyond. If she wasn’t interviewing the stars of the show, she was often irreverently charting the creative and hedonistic psyche of the era.

Interviewing her, I realise that, at aged 49, we were born a day apart. Having led a similar 90s existence, I found the book to be full of many lightbulbs of identification. But does she really think we’re different or does every generation think that?

“I think that some of the mid-life will happen and that’s related to your age, happiness and also capitalism, which is to do with how you judge achievement. But I do think we happened to have our youth at a particular time – which was similar for those in the 60s. For whatever reason, the ideas we had were taken on by the mainstream, and the mainstream said, ‘you’re right’, and that gave us a sense on invincibility and a belief in youth culture.”

Part of that attitude and influence came with communal clubbing in a pre-digital age. “The shared experience was really big in the 90s because of various things like Acid House and even Brit Pop that set off on a life pattern and a mindset that’s optimistic, independent and collaborative. But that’s harder in your 40s, maybe more so because of the time we lived through. But we started before the internet, and then the internet came through and devastated a lot of us.”

That ‘devastation’ is covered in a chapter on work.

The recession, the radical shifts within the media industry and the effects on those who suddenly found themselves unemployable because those jobs had become obsolete.

Miranda’s own career is still in ascent. As a writer for The Observer and presenter on the BBC’s Culture Show, she is so respected that her musical interviewees are often iconic, but she admits there is still a lot of financial vulnerability. Married to Michael Smiley, the Northern Irish actor and comic, with two kids, their only true security is ownership of a London flat.

“I’m in quite a privileged position because I was established before a lot of that stuff happened but I’ve no plan, I’m still reliant on employers because I haven’t invented anything. As an actor my husband’s career is similar. It is difficult but we are used to it as we’ve never had anything else. On one level that makes you really resilient to being freelance but on another level that’s a bit scary. But then leaving youth and going into old age is a bit scary and that’s what you have to face up to.”

On the topic of women’s looks and ageing, Miranda is amusing and passionate in her views, choosing to look at a changing body with interest rather than negativity.

“I’m the same as anyone, I do like to look nice but a lot of it is a pile of crap. If you obsess about your looks, you’re screwed – you’re never going to win. I was never a massive looker, I dressed quite weird and I never got it quite right but there was probably a point in my 30s when I hit my most attractive moment and that was fine but I’m more confident now than I was then.”

The bigger issues – death, relationships, children, anger, alcohol, drugs, and money – are all examined.

The book is devoid of bitterness or smugness, and there is a running theme and philosophical conclusion of acceptance and making the most of the collective experience around you.

“We’ve all got amazing dreams and there’s nothing wrong with them but maybe do them in a smaller way.

Make a list of things you can change and what you can’t.

Weirdly, in a hippy way, I think it’s about community.

Are you embedded in a community? Does that community like you? And do you like that community?

And if that’s the case, like it is with us, then that’s your life. It’s quite hard to put that on social media or list that on a CV, but what does that bring you?”

Out of Time is published by Harper Collins. Miranda Sawyer will be appearing at Ways With Words, Dartington, on 17 July, and the Port Eliot Festival, 28-31 July, St Germans, Cornwall. mirandasawyer.com

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The Business

Each month, Michelmores shines the spotlight on one of its South West clients, uncovering the real people behind the success. This month we speak to Mark Dunsford, Managing Director of cloth merchants Lear Browne and Dunsford, parent company of six world-renowned cloth brands, including Harrisons of Edinburgh and W Bill. Mark sheds light on how the Exeter-based business has gone from strength to strength and now supplies its bespoke cloth to tailors around the world.

Portrait by Matt Austin.

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promotional feature Tell us about your business The original business, Lear Browne and Dunsford, was established in 1895 as a cloth merchant in Exeter − a city with a rich history in the woollen cloth trade. My great grandfather James Dunsford joined in early 1909 and shortly after became a partner. My cousin James and I joined in 1988 as the fourth generation of Dunsfords, and we are now joint managing directors. James focuses on the Far East and European markets, and I concentrate on London and the United States. We now have six individual cloth brands, the majority of which are all produced right here in the UK. Our cloth is ordered by tailors, and clothiers from all over the world, from Savile Row, New York, Paris and Tokyo. We also supply cloth to many of the world’s famous clothing brands including Ralph Lauren, Prada, Gucci and Vivienne Westwood.

How did you come to join the family business?

After a stint in the hotel industry, I joined the business very shortly after my cousin James started. We began working in the warehouse, getting to know the business and the ins and outs of the world of cloth and now we’ve got almost 60 years of experience between us.

How have you grown from an Exeter-based merchant into an international supplier?

The business has grown steadily, in a large part thanks to several key acquisitions. In 1995 we bought a merchant in Tunbridge Wells, Pedersen & Becker, whose owner was retiring. This deal was a real game changer for us, and opened doors to a booming London market; in turn, this success helped us go on to acquire Porter & Harding of Scotland and then Harrisons of Edinburgh. These deals were led by Malcolm Dickinson at Michelmores – who is now Michelmores’ Managing Partner! Then in 2010 we acquired H Lesser & Sons, a very well-known and respected merchant used exclusively by Savile Row tailoring houses.

Most recently we acquired Smith & Co, along with W Bill in 2014 – again a deal supported by Michelmores (Richard Cobb). We are now a group of six brands, all with a distinct style and offering.

of producing our fabrics is both technical and skilful, and we put a lot of effort into making them. We know our customers appreciate this, and it gives us our identity, distinguishing us from our competitors.

What challenges do you face?

The big challenge for us going forward is ensuring the manufacturing base in the UK and the skills that come with it are maintained in the future. We have worked with some of these mills for over 50 years. Their specialist knowledge and craftsmanship is unrivalled and their survival is essential.

What is your favourite part of running your business?

I have always loved the industry. Although it’s an international business, it is a tight-knit community with a lot of dedicated and passionate people. It’s also to see our cloth used to make suits for Hollywood films and television programmes. Recently we provided the fabric for Leonardo DiCaprio’s suit in Wolf of Wall Street. It was great to see him in a suit made from a H.Lesser Lumbs Golden Bale flannel.

Where is your favourite place in Devon?

There are so many special places, but I really enjoy the Exe Estuary and its surroundings – which is also the historic export route for the wool produced in Exeter’s mills, then sold across the world.

Do you have any advice for someone starting their own business?

In any business, retaining the quality of your product and service, and not cutting corners, is essential. Once you reduce the quality you lose your customer’s trust, so maintaining the quality is absolutely key for us. The process Michelmores is a Top 100 law firm supporting individuals, businesses and institutions in the private wealth sector for over 125 years.

“Michelmores is a powerhouse in the UK. They have invested both time and capital in the building of a strong team providing top quality private client work.” Judging panel, STEP Private Client Awards 2014

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Harry and Emily Boglione moved to Haye Farm from London in 2014. They did so out of a desire to break with the rat race, living only for the weekends, and instead live and work as a family embracing their occupation as a lifestyle. They were also keen to do something that had a positive impact on the planet.

The farm they bought is a 66-acre mixed organic farm in Musbury, Devon. Since taking over the farm, Harry, Emily and their team, including many volunteers, have developed a vegetable garden, soft fruit and herb garden. They graze a herd of Devon Ruby Red cattle, raise Gloucester Old Spot and Oxford Sandy and Black pigs. They also raise a mixed flock of sheep, have 650 roaming hens, meat chickens and ducks.

“Our focus for Haye Farm,” states Emily, “is to create sustainable food systems that support high levels of productivity while encouraging an increase in biodiversity and wildlife. The long-term objective of the farm is to create a fully integrated system, which is not reliant on any external inputs. Through embracing these practices, we hope to produce the highestquality organic meat and vegetables with regards to taste, nutritional value and animal welfare.” hayefarmproduce@gmail.com

PHOTOS BY MATT AUSTIN

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Working at the front line of refugee support in Plymouth, Rupert Blomfield explains to Harriet Mellor how the South West is leading the field when it comes to innovative practice.

“T

he asylum process puts people under an awful lot of mental strain. They go through three stages of trauma: the reason why you leave your country in the first place, there’s the journey, then you arrive here and have got to prove yourself to a hostile reception.”

Rupert Blomfield, the Area Manager of Refugee Support for the British Red Cross based in Plymouth, is explaining how vulnerability outweighs euphoria even when an asylum seeker has finally been granted refugee status.

That reaching a place of safety can trigger an emotional crumble. It’s a crucial stage to put support into place.

Rupert’s patch covers Cornwall, Devon, Dorset, Somerset and the Channel Islands, plus he’s also the area’s Family Tracing Officer, but we’re particularly focusing on what it’s like to arrive and survive in Plymouth – a geographically far-flung, largely white-populated city with some deep pockets of poverty. With limited transport links to the rest of the UK, it sits solo as an urban dwelling, sandwiched in between the rural and 46

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coastal landscapes of Devon and Cornwall. Not exactly a multi-ethnic hub.

Contrary to popular belief, a refugee doesn’t get a choice as to where they are placed. The Home Office decides their UK destination according to availability of suitable accommodation and the permitted intake of that area. “No one arrives in this country saying, ‘I want to go to Plymouth’,” says Rupert. “It’s a totally random selection by the Home Office.”

But before this churns up any inner Nigel Farage, the actual intake here is minimal. And those figures are reduced to minuscule amounts in other parts of the South West. “Plymouth has had a limit of 300 supported asylum seekers at any one time since the year 2000,” says Rupert. “Exeter briefly had a limit of 60 and that stopped. The levels of asylum seekers are quite low for the whole of the West Country. We only take up 3% of what they negatively call the ‘national burden’ – only 3% including Bristol, Gloucester and Swindon.”

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PHOTO: SIMON RAWLES/BRITISH RED CROSS

A refugee being aided with shopping by British Red Cross Refugee Services

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That reaching a place of safety can trigger an emotional crumble. It’s a crucial stage to put support into place.

PHOTO: SIMON RAWLES/BRITISH RED CROSS

As Rupert explains, running the South West Red Cross gives the team some unique development opportunities. They have the cerebral and physical headspace to create and pilot new refugee projects, which have since been rolled out around the rest of the UK. “Say we were in Kent – we would probably be so overwhelmed that we couldn’t be as creative as we are here. We have a reputation for being rather an innovative refugee service – other areas are trying to replicate it.”

One of those initiatives put into place by Rupert’s team was creating the Welcome Project. On arrival in Plymouth, one of the first people a refugee will meet is Waleed Abdullah, originally from Sudan. He forges partnerships and links with local authorities and significant organisations to put living arrangements into place and make settling less bewildering. His most recent arrangement is for dental students at Plymouth University to provide a service and treatment for refugees with translators. Teeth are an element of healthcare that has usually gone unmet.

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Another first has been persuading the Home Office to provide details about imminent arrivals so that their needs can be assessed in advance rather than on the spot.

“Previously, the voluntary sector hadn’t been trusted with information on who is coming to a city before they’d arrive here,” says Rupert. “That change now only happens in Plymouth and not the rest of the UK.” Two weeks of one-to-one orientation follows, either with Waleed or an appropriate mentor assigned according to language and gender. After looking at the map to show them where in the UK they are beginning a new life – because “people have no idea” – everything is covered from registering with a GP, language school, children’s school places to handling and knowing the value of our currency. Eventually, the service can extend to some of those refugees becoming Red Cross volunteers to boost self-esteem, confidence, language skills and ultimately employment prospects.

But what is the reception of others and integration into the city like? Rupert, a Londoner who was one of the

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TEAM SPIRIT As Family Reunion Service Manager for the Red Cross, David Feindouno uses patience and empathy to wade through UK and international laws and red tape to reunite refugees – usually a vulnerable spouse and children whose family separation has been brought about by conflict or persecution – with their next of kin.

That day job merges into another role: as the founder of Plymouth Hope FC, David uses the beautiful game to

Waleed Abdullah with David Feindouno and Rupert Blomfield

founders of the capital’s first homeless hostel for asylum seekers in the 90s, followed by four years of VSO work in Africa, came to Plymouth in 2002 and worked for Refugee Action before joining the Red Cross in 2010.

Over that time, he has seen the city flourish and start to diversify. “A friend of mine who had studied here in the 80s said, ‘Why are you moving to Plymouth? There are only six black people there. Only five when I left.’ He said this to me because my wife is black South African and was worried about us. But Plymouth has changed fantastically.

“It was – and still is – a tough place. For the South West, some parts are very deprived. But the university and the growth of the hospital have made a huge difference to the population. It’s a bigger, more modern and developed city now. We’ve still got a lot of problems but people are smarter, more switched on and are trying their best. I see it as going in a positive direction.”

For the refugees, being part of a smaller intake has its benefits. Plus, there’s the added security from ethnic groups who welcome and protect their own.

“Some asylum seekers and refugees really like it here and actually find it a cosy place to live. There are some smallish communities – the Eritreans, Sudanese, Syrians and Iraqi Kurds all have their own associations and are good at self-supporting each other.”

Rupert understands the psychology behind some locals’ resistance to immigration and responds with awareness-raising based on facts. “Racism usually comes from worry or fear. I think that this is how people respond to migration and immigration. They feel that something is happening that they’ve got no control over. Change is always frightening, especially if it’s happening to you. But all change usually leads to a place of acceptance and moving on, even if pulled into it unwillingly, familiarising themselves with it.”

bring together asylum seekers, refugees and residents from deprived areas on Plymouth turf. “Football is a worldwide sport,” he says. “It’s a language. What will bring people together, regardless of nationality and background? Football does that.”

David’s work has not gone unnoticed. In 2015 he appeared on the Independent on Sunday’s Happy List, as one of 100 ‘people who make life better for others’, an award endorsed by David Cameron.

David’s own story makes him more than qualified to understand those he helps. Born and brought up in Guinea, he was studying Economics at university when soldiers opposed to his family’s Christian faith tortured and beat him badly, shattering his limbs. After being treated in a Red Cross hospital, he escaped to the UK in 2005. The Home Office sent him to seek asylum in Plymouth. Unable to speak English, without friends or family and in a refugee centre, the idea of starting a football team came to him. He is now married with twin toddlers.

Both David and Plymouth Hope FC are fully established, not just as a team but a community charity that has links with aid work overseas. They recently kicked off Refugee Week 2016 with a match at Arsenal Football ground against a London team called Freedom From Torture.

redcross.org.uk/what-we-do/refugee-support

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Informal and relaxed.

Stylish and quirky.

Tranquil and secluded.

Introducing a very special Cornish wedding venue that’s all fun, no fuss.

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For more information or to book a viewing contact: jane@petiteweddings.co.uk www.petiteweddings.co.uk or call Jane, on 07411 117294

Culture Dartington Music Festival and Summer School | Composer Joe Duddell | Artist Kerry Harding Writing places | South West must sees | Worth making the trip for | Worth staying in for

PHOTO: COURTESY OF THE ARTIST AND CORVI-MORA, LONDON

Imran Qureshi, Where the Shadows are so Deep, 2015, Gouache and gold leaf on Wasli paper, 29.5 x 23 cm, on display at Newlyn Art Gallery and The Exchange, Penzance, until 15 October. newlynartgallery.co.uk

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culture

Dartington Hall once again welcomes musicians from around the world to its annual Summer School and Music Festival.

Words by Vanessa Curtis.

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etween 30 July and 27 August, the beautiful medieval estate of Dartington Hall in Devon will again be the setting for the internationally acclaimed Summer School and Music Festival.

This annual event attracts world-class musicians, writers, performers and tutors to the unique setting of Dartington and offers more than 80 evening concerts featuring artists such as pianists Alfred Brendel and Joanna MacGregor, award-winning poets Simon Armitage and Jo Shapcott, trumpet superstar Alison Balsom, and eminent conductors Jane Glover and Sian Edwards. In addition to the concerts, attendees of the festival can enjoy workshops and masterclasses on everything from classical music, jazz, opera and folk to contemporary music, world music and musical theatre, or take part in the accompanying literature, poetry, dance and film classes.

All are welcome, from professional musicians and students to non-professionals and those who just relish the chance to rest and recharge in the unique surroundings, enjoying the sense of space, calm and wellbeing that the estate has always been renowned for.

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Alison Balsom

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Dartington Hall itself has had a long association with the arts. In 1925, Dorothy and Leonard Elmhirst purchased the neglected 14th-century Dartington estate.

The Elmhirsts were pioneers, inspired by many innovative thinkers of the time, and through Dorothy’s inherited wealth, exceptionally well-off. They poured their resources into the ‘Dartington Experiment’ – restoring the estate buildings and setting up a host of farming, forestry and educational projects. Early initiatives included Dartington Hall School, Dartington Tweed Mill and later Dartington Glass, but the Hall rapidly became a magnet for artists, architects, writers, philosophers and musicians from around the world, creating an exceptional centre of creative activity that involved major names such as Jacqueline du Pré, Daniel Barenboim, Arthur Rubinstein, Igor Stravinsky, Imogen Holst, Benjamin Britten, Peter Maxwell Davies and Ravi Shankar.

The courses and concerts offered during this year’s festival are spread over four weeks, each with its own unique flavour. Week One offers a strong focus on early music, with the chance to hear Bach’s Well-Tempered Clavier played in Dartington’s atmospheric medieval Great Hall by concert pianist and Artistic Director of the Festival, Joanna MacGregor, or to enjoy the poetic art of John Dowland in a programme featuring soprano Emma Kirkby and lutenists David Miller and Toby Carr.

There’s also a Middle-Eastern flavour to Week One, with the veteran Lebanese musician Abdul Salam Kheir performing a programme of lullabies and love songs, and hurdy-gurdy player and violinist Stevie Wishart’s

culture Transients offering collages of traditional Arabic and experimental improvisations.

Week Two begins with a continuation of the Baroque theme but moves on to encompass folk music from virtuoso Northumbrian pipe artist Kathryn Tickell, a performance of Beethoven and Mozart from Richard Tunnicliffe on cello and Maggie Cole on fortepiano, and conductor Jane Glover in conversation with Paul Allen about the remarkable women in Mozart’s short but turbulent life.

Week Three offers a real treat for pianists, with lectures on the late Beethoven piano sonatas and Woody Allen from the legendary Alfred Brendel, but also introduces an enticing flavour of South American music with the incredible Brazilian percussionist Adriano Adewale before the week finishes in style with a Tango Ball and live band.

Week Four offers a dazzling selection of jazz events, including a late-night concert from one of Holland’s most in-demand trumpeters, Eric Vloeimans, and also introduces French flair with an evening of Debussy, Poulenc, Ravel and Fauré, and a performance of Bizet’s

Carmen by the Dartington Festival Orchestra and Dartington Chamber Choir.

These are only a few highlights from what promises to be a packed, diverse and exciting four weeks of events at Dartington. The festival also offers the opportunity for visitors to enjoy food and drink at the White Hart bar adjacent to the Great Hall or in the relaxed surroundings of the Roundhouse Café. As Joanna MacGregor, Artistic Director of the Festival, says, “Dartington Summer School and Music Festival is unique in the musical calendar. A place of shimmering, ancient beauty, its creative atmosphere welcomes musicians of all backgrounds. During the day, you can enjoy wonderful teaching and socialising; every evening, audiences will see superb artists from all over the world, performing in Dartington Hall throughout August. A truly inspirational place for everyone.”

For further information and to book tickets: dartington.org

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Exeter-based contemporary composer Joe Duddell has gone from humble beginnings as a drummer in Salford to working with some of the world’s most renowned bands.

Words by Stuart Crewes.

W

hat do you call a guy who hangs out with musicians? The drummer! Pity the poor drummer, the band member who is the butt of more jokes than any other. But is it because they’re genuinely the most intellectually challenged, or might it really be because the other musicians are a little in awe of these poly-rhythmic powerhouses perched at the back?

Joe Duddell (right) started drumming as a lad in Salford, at the local authority music centre where the lessons were free. He put the hours in, on Monday, Wednesday and Friday evenings and Saturday mornings, playing with ensembles and big bands, and even looked set to hit the big time with his indie band, Pullover, in the mid 90s when they were picked up by independent record label Fierce Panda. But not being content with sitting at the back and playing on borrowed kits (and even using another drummer’s sticks for a performance at the Reading Festival), Joe studied composition at Salford University before moving on to the Royal Academy of Music, where he is now an Associate.

As a composer of contemporary classical music, Joe’s career plays out like an impressive score – small gestures and motives expand and explode into crescendos, and major themes weave in and out; at times there are delicate passages and at others the roar of the full orchestra in flight. The leitmotif would no doubt be played by Steve Martland, who was Joe’s teacher at the Royal Academy and a classical composer famed for being signed to iconic Manchester label Factory Records, which was also home to New Order, whose posters adorned the teenage Joe’s bedroom walls. In June this year, Joe shared the Sydney Opera House stage with his musical heroes for two performances with the Australian Chamber Orchestra.

Who said pop and classical don’t mix?

But at the start of his composing career, Joe’s focus was purely classical. His first commission was courtesy of his Royal Academy teacher Martland, who asked Joe to write something for his ensemble’s forthcoming Contemporary Music Network tour. The resultant piano piece – Dole Stages – was recorded by the BBC for the contemporary classical programme Here and Now on Radio 3 and came to the ears of the commissioner of new music, Andrew Kurowski. “The BBC’s approach to young composers, which I guess still exists, is that if you do a good job for them, and it goes down well, you get asked again,” says Joe, matter of factly. Further 56

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commissions included pieces for Colin Currie, the first percussionist to reach the finals of the Young Musician of the Year competition, including percussion concerto Ruby, which was premiered by Currie and the Bournemouth Symphony Orchestra at the Proms in 2003 and immediately had further performances at both the BBC Young Musician of the Year and the European Young Musician of the Year. As the youngest composer ever to be commissioned for the Proms, Joe was in demand, writing three or four contemporary pieces a year. “There was a concentrated spate of jobs at that time, which was quite high pressure – when you’re young you don’t really think about the pressure, you just get on with it.”

Alongside his composing career, Joe teaches, including at Exeter University – until they closed the music department in 2005 – followed by Brunel, Salford and now Bath Spa University (where he is Professor of Music), but by 2009, he felt he’d reached an impasse with his own work. “I’d got to a stage in my career where I wasn’t really happy with what I was writing. And I thought, well, if I’ve had enough, maybe other people have too.” However, a meeting with Alex Poots, who ran the Manchester International Festival, was to change all that. “He wanted to broach this kind of indie-bandwith-an-orchestra idea and he knew I was a big indie kid and also that I could write for orchestra.”

And so Joe found himself arranging and conducting Elbow with the Hallé Orchestra. For Joe, it was a dream job. “I wasn’t initially supposed to be conducting the gig, just the rehearsal. The problem with working with two sets of disparate musicians is that you need to know both languages – you need to know that when they say ‘we’ll go from the middle eight’ that they mean bar 34. If you get a classical conductor who doesn’t know their music, they wouldn’t be able to tell you from the score, so it was kind of crucial that I was there. After the rehearsal, the orchestra leader suggested that I conduct the gig as they were all happy. And I was like, well, that wasn’t quite my idea, but yeah, I can do it! Elbow’s music lends itself to orchestration – that slow, cinematic scope. They were very open to leaving a lot of it to me; for instance, if there was a guitar line that sounded better on the harp or celeste, they were open to that. There was not a sense of ‘that’s my line’, more ‘we are now an über-ensemble’. And the irony is that only the drummer in Elbow can read music!”

culture

PHOTO: RHODRI COOPER

My dad was a lover of the Beatles and Springsteen and Schubert!

There’s no hierarchy there, and that influenced the way I thought about things.

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Being a composer is isolating; you become part of an ensemble for a bit but once the concert’s over, you’re out. Being in a band is fun. And I get to play drums again!

Joe Duddell with Guy Garvey

This egalitarian, non-hierarchical approach, where the featured artist becomes just another part of the whole, was played out in the physical arrangement, too. “Pete the bass player sat at the end of the double bass section, and the drummer was with the percussion at the back. It wasn’t, like, here’s the band with the orchestra sat behind.”

The Elbow gig is considered a landmark event in introducing new audiences to the Hallé, and having created a way in for people who always thought that classical music wasn’t for them. “I know people who have since gone to the Hallé who never would have done, because of that gig,” says Joe. “Any institution, however rarefied and historical, needs audiences, so it’s about breaking down those walls, and showing that it’s not that difficult or intimidating.”

This way of thinking about the orchestra can be read as a political statement, something that played a large part in Steve Martland’s teaching and work, and which he got through the work of his own teacher, Louis Andriessen, whom Joe considers to be “the grandfather of this family tree, if you like”. All three composers have attacked the hierarchical machine that is the classical music establishment. And it continues to be a problem: with the continuing erosion of music education in state schools, fewer children from poor backgrounds will get the opportunity to feel involved, culturally. But while Andriessen, in protest, deliberately never wrote a piece for conventional orchestra, and Martland refused to use the term ‘string quartet’ due to the scale of the existing canon, Joe’s approach is about democracy between musicians. “I don’t want to write for some virtuoso show-off, this all has to be as equal as possible. A lot of the pieces I write are about equality within an ensemble.

So even with a duo like Parallel Lines, traditionally the soloist is the non-piano player, whatever that instrument is, and the pianist is the accompanist so there’s already a hierarchy there and I’m not interested in that. I’m 58

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interested in how those two instruments become a metainstrument. They are both as important as each other.

“I also don’t see any difference in terms of quality or artistic intent between writing a string quartet or writing a piece that’s a recontextualisation of an indie band. The same parameters are involved and it has to be the same quality of work. That stems from growing up around musicians of all sorts. My dad was a lover of the Beatles and Springsteen and Schubert! There’s no hierarchy there, and that influenced the way I thought about things. Mum only listened to Edith Piaf, but that’s a different issue!”

For the fourth year in a row, Joe is the composer-inresidence at Festival No. 6 in Portmeirion, a position that has seen him working with household names like Tim Burgess (The Charlatans), Cathal Smythe (Madness), Steve Mason (The Beta Band) and Gaz Coombes (Supergrass).

He’s very low-key about the amount of work required to pull off such an event: “I look at all the artists on the roster, some are big and established, some are emerging, but I have to consider whether it’s going to work musically, and whether the artist is going to be flexible and adaptable enough – we only have an hour or so rehearsal, then go for it! We never meet before, although I may have a couple of conversations on the phone about what songs we’re going to do and how I might approach them and whether they’ll bring a band. Steve Mason has a band but came on his own and didn’t even bring a guitar! So I knew it all had to go onto the harp…”

Joe’s approach is certainly working: to date he’s been orchestrating and conducting fashion shows for Burberry, writing work for them with Rae Morris, Rhodes and Alison Moyet; he’s collaborated with Richard Hawley and the BBC Philharmonic for BBC6 Music; and was commissioned by the Philharmonic to collaborate with drum and bass/dubstep pioneers Nero, which saw the first performance of Joe’s Dubstep Symphony broadcast live

culture on Zane Lowe’s Radio 1 show, with a worldwide web simulcast on 1Xtra – Joe considers it to be his “audition for the next Bond theme!”

While he continues to collaborate with artists he met through Festival No. 6 – contributing material to Steve Mason’s new album, for instance, as well as Cathal Smythe’s – Joe has also been writing for New Order, putting strings on their latest album, Music Complete. He’s pretty unfazed by this turn of events, but it turns out it’s just the tip of the iceberg. “I was doing Philip Glass’s Tibet House benefit gig at Carnegie Hall in 2014 with New Order, and the poet Mike Garry,” says Joe. “Glass has got Patti Smith, Iggy Pop and the National, you name it, but what was interesting was that, yeah, I’ve got my childhood hero here, but then Bernard has to deal with meeting Iggy Pop for the first time, and so there’s this level of idolisation which was very humbling – to see Bernard completely star-struck, coming off stage saying, ‘Fucking hell, we’ve just played with Iggy Pop!’ But, you know, we’re all just the same.”

Joe’s work with Mike Garry is also something of note – their track, St Anthony: An Ode to Anthony H Wilson, entered the charts at number one in August 2015. For something that anecdotally took two hours to put together during a train ride, it was no mean feat.

“When it came out I was in deepest Norfolk, with no mobile signal or internet connection. It wasn’t until we were driving up to York that I started getting hundreds

of tweets and messages, as it went to number one in the vinyl singles, physical and indie charts all in one week. I was a bit, oh, this has happened! It’s a poem with a string quartet and a vibraphone – what are the chances?”

The time for change may be on the horizon, with Joe, now 43, taking stock of his achievements. “If you were a cynic you could see my dalliance with pop musicians as a big major diversion, but they might send me back home at some stage, I don’t know. As long as there’s artists that I can work with, I’ll do it.” This rings true for Joe’s most recent venture: Stella Martyr, a group of likely lads based in Exeter. “The whole purpose of Stella Martyr is for people who have always been in bands and are missing being in a band and doing it with a set of friends who you’d go to the pub with. I’ve been in a band since I was 13, and I miss that weird piss-take camaraderie. Being a composer is isolating; you become part of an ensemble for a bit but once the concert’s over, you’re out. So that was the initial thing about being in the band, because it’s fun.

And I get to play drums again!”

Joe Duddell is composer-in-residence at Festival No. 6, 1-4 September, in Portmeirion, Wales. For ticket information, visit festivalnumber6.com joeduddell.co.uk

PHOTO: DANIEL BOUD

On stage with New Order, Sydney Opera House in June this year

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A project to install writers in literary houses across the South West brings together established and aspiring creatives in inspiring locations. Words by Belinda Dillon.

PHOTO: © NATIONAL TRUST IMAGES/CHRIS LACEY

Max Gate, Thomas Hardy’s house outside Dorchester

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A

few years ago, when visiting Wellington in New Zealand, I stumbled across the childhood home of modernist short story writer Katherine Mansfield. Somehow, by walking through those imposing, darkpanelled Victorian rooms, and looking out over the lush garden bursting with exotic blooms, I was able see her work more clearly; to understand the ambivalence in her writing about her native country – the tension between the desire for freedom and a deep yearning for home.

Being there, in that place, felt like opening a long-locked room and finding treasures within.

Such is the lure of Writing Places, a project run by Exeter-based Literature Works that celebrates the region’s literary heritage by installing writers in National Trustowned houses across the South West. Poets and novelists are funded to spend three months in literary properties – including Samuel Taylor Coleridge’s cottage in Nether Stowey, Somerset; Agatha Christie’s holiday home,

culture

PHOTO: © NATIONAL TRUST IMAGES/RUPERT TRUMAN

A La Ronde

PHOTO: © NATIONAL TRUST IMAGES

Greenway, in Galmpton, South Devon; and Max Gate, Thomas Hardy’s house outside Dorchester, Dorset – in order to focus on developing their own work, a gift for any writer. During their stint, they also host a number of events, which might include talks and creative writing workshops (mostly free), giving the public the chance to appreciate and respond to the properties in new ways.

“It’s not just the fact that writers lived in these houses, it’s the way in which intrinsic aspects of the houses come through in their work that makes visiting them so fascinating,” says Tracey Guiry, CEO of Literature Works. “The houses can quite often be signifiers of the preoccupations in the writer’s work, and their domestic life, and it’s really intriguing to see how those two link up.”

At a launch event last year at Max Gate, Sir Andrew Motion admitted that he had spent years trying to get inside, and often found himself peering over the wall when it was privately rented. “It was only on visiting that he realised that [Hardy’s wife] Emma’s rooms were right above Hardy’s study – he would have heard her walking across the floorboards, she would have been present as he wrote, even though they were estranged,” says Tracey.

“After her death, Hardy had this incredible creative outpouring. At the event we read Ten Years Since, and you could suddenly imagine Hardy in his study, hearing the house creaking in the wind and thinking that it was Emma, then realising that it couldn’t be, and missing her all over again. The physicality of the house is responsible for a lot of those poems, and you could only know that by being there. Sir Andrew said that was a revelation to him, and changed the way he thought about the work.”

The physical reality of Max Gate was something that novelist and screenwriter Boris Starling tapped into during his residency in autumn 2015, hosting two creative writing workshops in the house, which were attended by a mix of Hardy fans and aspiring writers.

The first explored how to create a sense of place in a novel, short story or film. “Hardy does it very well,” says Boris. “Rather than just a setting where the action takes place, the location becomes an extra character that feeds into the narrative.” The second workshop focused on plot, for which Hardy was also famous, and was held – appropriately – on Guy Fawkes’s night. “We all sat around the kitchen table and talked about the difference between plot and structure. I’m a thriller writer and get very antsy that plot is seen as an easy thing to do, and that proper writers spend all their time crafting wonderful sentences – it’s just not true.

“Both workshops were great fun, full of lively discussions. It’s very solitary, writing, and workshops are a chance for people to be with others who are doing the same thing, to learn from each other’s struggles and triumphs. I’ve been a professional writer for 20 years, and it can get very lonely. I can sit there and wonder whether what I’m doing is right or wrong. Having that validation is very important.”

Coleridge’s fireplace

The houses can quite often be signifiers of the preoccupations in the writer’s work, and their domestic life, and it’s really intriguing to see how those two link up.

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PHOTO: © NATIONAL TRUST IMAGES/ANDREW BUTLER

Greenway

All the residencies provide unique opportunities for aspiring writers to engage with established practitioners in this way, but equally as important is that the resident writers also have the space and time to work on their own material. “All the residencies were swamped with applications from brilliant writers,” says Tracey, “so as part of our selection criteria we looked at what they hoped to achieve for their work during the residency, and how we felt they would use the property to the best of its potential. All along, we’ve been firm in fighting for the writer’s right to concentrate on their own work, because the houses otherwise would have been able to use them tenfold. This is a key aspect of the project for us.”

At Greenway, poet Miriam Nash has been working with the public to create poems in response to the house, as well as using the time to complete her first full collection. A recent Christie devotee, she was attracted to the residency by the richness of the place. “I grew up around Totnes, and so I knew about Greenway,” she says.

“It is stunning, and you can feel how much it has been cared for and loved by Christie and her family, and now by the National Trust. When I enter the grounds I feel as if I’m released from everyday time, and the house has this feeling of wellbeing. It’s a very inspiring place.

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PHOTO: COURTESY OF LAURA RUGG

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PHOTO: JKATHARINE DAVIES

PHOTO: JODIE WHYTE/LITERATURE WORKS

Jane Feaver

“At the moment I’m really enjoying the house kitchen. It’s large, light and spacious, with a dresser full of china and a working Aga. It has a friendly feel and enough space for me to spread out my books and notepads on a table, with room for visitors to pull up a chair and have a chat when they feel like it. I’m gaining so much just by being here, talking to visitors, the staff, volunteers. I’m excited about the work I’m doing during the residency but also how all of that material will have percolated and fed into my work in six months’ time.”

And spending time at Greenway has also helped Miriam see Christie’s work in a new way. “Being in the place gives an imagined sense of what she must have been like, through her possessions, the many collections, the quotes and the beautifully presented material that’s around the house to read. Now when I’m reading her books I feel as if I’m reading a book by someone I know a little.”

That sense of a place – its particular atmosphere and its objects – are what attracted novelist Jane Feaver to A La Ronde, in Exmouth, where she will be in residence until the end of September. A little bit leftfield, as it’s not a strictly a literary house – cousins Jane and Mary Parminter were collectors rather than writers, although

Sir Andrew Motion at Max Gate

Boris Starling

Miriam Nash

culture

Being in the place gives an imagined sense of what Agatha Christie must have been like, through her possessions and the many collections.

PHOTO: LTERATURE WORKS

Agatha Christie photo collection

there is a fragment from one of their travel journals – but it is an extraordinary place. The Parminters were intrepid, independent women for the 18th century, travelling abroad and having A La Ronde built to their own unique design – the house is 16-sided, with the rooms arranged so that one’s progression through them during the course of the day follows the sun. They brought back numerous souvenirs from their Grand Tour of Europe, using them to decorate the house in an idiosyncratic way – creating friezes and mosaics incorporating collected ephemera, and feathers and shells gathered locally. The Shell Gallery, which dominates the upper floor and boasts views out to sea, is astonishing.

“I first visited about four years ago, and unlike other ‘historical’ houses, which tend to be grand and monumental in the same old boring ways, this was extraordinary,” says Jane. “I had such an extreme reaction – I just wanted to cry. The design of it is beautiful, it’s on the estuary, and it’s a lovely domestic size. It feels really personal. The Parminters were fascinated with recording, collecting and commemorating, and through that they made this place. As a result, it’s very rich and suggestive – there’s a lot of scope, and I’m looking forward to immersing myself in it.”

Jane will be holding four writing workshops linked to the house and gardens over the three-month residency, and also working on a piece of fiction inspired by the cousins and their home. “People are central to stories, but

place is the thing that binds people to each other. When I began thinking about the Parminters, I thought it would be so difficult to connect with them because, apart from the odd novel, I know so little about the 18th century. I wondered how I’d get in touch with that time. I’m not much interested in historical fiction in itself, I want to find some live connection between now and then, and it seems to me that this residency offers just that.”

Writing Places has proved so popular with visitors that Literature Works is in the process of developing an app that locates literary houses around the UK, so you can identify your nearest opportunity for inspiration wherever you happen to be. And there are still more properties ripe for residencies, both inside and outside the South West. “We haven’t got anywhere near the end of the National Trust riches,” says Tracey. “Then there’s the rest of the country, and internationally, and not just houses but landscapes that inspired writers, locations they visited that fed into their work. This project allows us see that what was everyday in a writer’s life could suddenly become remarkable in their work.”

Jane Feaver will be hosting free workshops at A La Ronde on 15 July, 10 & 17 August, and 23 September. Booking is essential via nationaltrust.org.uk/a-la-ronde. For more information about the Writing Places project, and to get in touch if you are interested in supporting Literature Works to continue offering these valuable residencies, visit writingplaces.literatureworks.org.uk.

CYPRESS WELL Although not part of the Writing Places project, Cornish poet Charles Causley’s house in Launceston, Cypress Well, has also been hosting writers. Run by the Charles Causley Trust, the programme has so far hosted poets Kathryn Simmonds, Alyson Hallett and Isabel Galleymore, and is currently hosting Karen Hayes. As well as providing time to work on their own material, each residency features workshops and events.

Karen will be focusing especially on community and young people, and as she is also a singer and librettist, will also be producing sound poetry.

“The workshops are a product of the work the writer is already spending their days doing in the house,” says Jennifer McDerra, who is the project coordinator. “It’s important that these residencies bring literature to the people in the local community.” In addition to organised events, open days are held on the last Wednesday of each month, when the resident writer will be available to show visitors around.

For more details, and to find out how to apply for upcoming residencies, see thecharlescausleytrust.wordpress.com

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PHOTO: SIMON COOK

PHOTO: KRISTIN PRISK

Dawn Mist, oil on canvas

Nonliteral landscape This summer, Bath Contemporary Fine Art presents an exhibition of work to confound both your literal and abstract mind. Mercedes Smith considers the thrill of the delightfully disconcerting.

I

have a particular predilection for abstract painting.

Twenty years of practiced appreciation has made me an expert at disengaging my literal interpretations and soaking up the sensory thrill of nonfigurative work.

Let’s call it my drug of choice. Figurative painting, on the other hand, I appreciate more soberly, through a reverence for technical skill and the sort of academic thinking pounded into my head by a successions of merciless lectures. In short, show me one thing or the other, and I know where I’m at.

Rarely, though, do I come across work that genuinely demands both literal and abstract thinking, but when I do the effect is hypnotic – delightfully disconcerting in that you just can’t get a handle on it. This is because engaging with art is like looking for love: the attainable has no allure, while the spectacularly uncooperative ignites real passion. My own passions are currently engaged with the work of Kerry Harding (above), soon to be on show at Bath Contemporary Fine Art Gallery, whose semifigurative, semi-abstracted, occasionally surreal paintings reflect her intense engagement with the landscape of the South West. Locking eyes with a painting in her studio this spring, I found myself unable to walk away without it, thanks to an instant and infuriating desire to wrestle with its contradictions on a daily basis.

A graduate of the Ruskin School of Drawing and Fine Art at Oxford University and later Falmouth 64

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College of Art, Kerry’s curious cadmium yellow, payne’s grey and manganese violet works are born of a highly process-led, responsive approach to working, combining conflicting realities such as flattened shape and detailed depth of field with other process-led oddities that defy both visual logic and traditional genres of painting. They walk a nebulous line between the real and the abstract in a way that commands absolute attention from the viewer’s sensory and psychological self.

“I find it productive to straddle that creative boundary,” she says. “The starting point for a work might be something figurative, or the paint might give me something I can hook into. Really, what I like to do is ‘twee’ the work up and then destroy it, process it backwards. I don’t want a pretty landscape, I want a twist, a technical twist perhaps, or a visual oddity, something surreal. I like tricks and subversion. I want people to look at my work and ask, ‘How does she do that?’”

See Kerry Harding ‘Featured Artist’ at Bath Contemporary Fine Art Gallery from 1-13 August. The show accompanies the gallery’s mixed exhibition, which remains on show throughout the summer.

For further information, contact Bath Contemporary, 35 Gay Street, Bath BA1 2NT. 01225 461230. gallery@bathcontemporary.com bathcontemporary.com kerryharding.co.uk

culture South West must sees...

PHOTO: MATT AUSTIN

Family theatre

Margo & Mr Whatsit

Exeter’s Bike Shed Theatre and the Phoenix art centre will play host to the city’s first family-focused theatre festival this summer. Curated by PaddleBoat Theatre Company, UnPacked will feature performances and creative workshops aimed at keeping all the family entertained. Headlining the festival is PaddleBoat’s new show Margo & Mr. Whatsit (Exeter Phoenix, 2-6 August). Every morning, the Phoenix will also be the venue for puppetry and storytelling workshops. The Bike Shed will be home to Open Attic’s Much Ado About Puffin and Soap Soup’s The Snow Baby, as well as Squeezy Green’s Compendium of Games, and Moon on a Stick’s King Arthur and the Inglewood. You can get a taste of what’s on offer at the free launch event, 11am on 4 August at the Phoenix Café Bar. 2-6 August at Exeter Phoenix and Bike Shed Theatre. Show tickets: £8 adults, £6 children, £25 family ticket (2 adults, 2 children).

Workshop tickets: £5 children, adults go free. Exeter Phoenix Box Office: 01392 667080, exeterphoenix.org.uk. Bike Shed Theatre Box Office: 01392 434169. bikeshedtheatre.co.uk

Get crafty Exeter Craft Festival has been a summer staple on Cathedral Green for more than 40 years, offering a platform for the best artists and makers in the South West. Expect paintings, jewellery, textiles and ceramics, including saggar-fired pots from Alison West, whose work conjures the Dartmoor landscape she calls home.

15-17 July on Cathedral Green, Exeter. exetercraftfestival.co.uk

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Open business The Thelma Hulbert Gallery Open celebrates the rich and varied talent of artists living in the South West, and provides the opportunity to view and purchase work by some of the best established and emerging artists from across the region. Out of a record-breaking 185 entries this year, 93 artworks are exhibited, including winner of the Audience Prize, Frances Hatch, for 3 Red Canoes Southbeach (pictured). The Best Emerging Artist prize (awarded to an artist who either graduated in the last three years or is under 25 years old) was won by Ruth Carter for her artwork Re-place.

Until 27 August at Thelma Hulbert Gallery, Honiton. thelmahulbert.com

Small is beautiful

PHOTO: COURTESY: THE ARTIST, AGA KHAN MUSEUM, TORONTO, AND CORVI-MORA, LONDON

Painter Imran Qureshi’s latest work, a series of Mughal Miniatures, will be presented at two Cornwall gallery spaces this summer, in addition to a site-specific commission for Truro Cathedral. The exhibition at Newlyn is quiet and reflective, presenting new and existing works, many on paper; for the single large gallery space at The Exchange, Qureshi has devised an installation where, characteristically, painted imagery spills from large canvases, across wall and floors. This work reflects on the galleries’ relationship with the sea and plays with traditional devices in miniature painting to represent water in different states: reflective pools, rippling sea and falling as rain.

Until 15 October at Newlyn Art Gallery and The Exchange, Penzance. newlynartgallery.co.uk

Folk it up Once again, the East Devon coastal town of Sidmouth plays host to a week of all things folk. Headliners include The Fisherman’s Friends, Seth Lakeman and Show of Hands. And I guarantee there’ll be more Morris dancers than you can shake a hankie at…

29 July – 5 August at various venues throughout Sidmouth. sidmouthfolkweek.co.uk

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In tents Fast becoming known as the hippest festival on the circuit, Port Eliot once again pulls out all the stops with a cracking roster that draws from the best in literature, music, food and drink. Musical highlights include Bo Ningen and The Black Tambourines, there’s comedy from Sara Pascoe and Issy Suttie, while the literature line-up is packed with heavy hitters such as Ali Smith, A.L. Kennedy and Max Porter.

28-31 July at St Germans, Cornwall. porteliotfestival.com

PHOTO: MICHAEL BOWLES

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Worth making the trip for...

South London massive Battersea Arts Centre and GOAT Music (former Roundhouse music programmers) are collaborating to present a musical spectacle across August and September, showcasing a broad and diverse multi-genre program to celebrate some of the best home-grown talent and unique artists from around the globe. Shows will take place in BAC’s beautiful Council Chamber (a room unaffected by the fire last year). Artists on board include Hackney Colliery Band, MONEY, Electric Jalaba, Kiko Bun, HÆLOS, Francesa Belmonte and many more.

Family Atlantica

2 August – 29 September at Battersea Arts Centre, Lavender Hill SW11. See bac.org.uk/borderless for further information and to book tickets

Puzzle it out Due to public demand, the interactive urban adventure Moriarty’s Game has received a five-month extension.

The 28th trail created by HiddenCity, Moriarty’s Game is inspired by characters from Arthur Conan Doyle’s 1893 novel The Final Problem. Over the course of two to four hours, players find themselves exploring exhibitions, celebrating contemporary architecture and drinking in Georgian public houses as they solve puzzles sent via text messages, in search of Moriarty’s hidden safe house.

Each clue directs participants to a hidden location within walking distance, and asks a specific question about the surroundings. If participants reply with the correct answer they receive the next clue. It’s a must for puzzle fans, but also an alternative way to explore the city. The trail is for adults only, and there’s a dress code: no shorts or tracksuits.

Until 1 September. Start point: Royal Institute of British Architects, 66 Portland Place, W1B 1AD. £60 for a team of up to four people. For more information and to book tickets visit inthehiddencity.com/moriartysgame

Renaissance man

PHOTO: SODA VISUAL

Eclectic, playful, eccentric, profound… Martin Creed’s work constantly bulldozes over the traditional boundaries of art and confounds expectations at every turn. ‘What You Find’ presents a new body of work that includes paintings, films, drawings, sculpture, music, spoken word and performance, many of which will be created in situ throughout the five gallery spaces at Hauser & Wirth. Creed’s band performed live at the show’s launch event – his new album, Thoughts Lined Up, is out now on Telephone Records.

Until 11 September at Hauser & Wirth, Bruton, Somerset. hauserwirthsomerset.com

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culture

Flower power

Until 30 October at Tate Modern, Bankside SE1. £19 (£17), free for members. tate.org.uk

PHOTO: 2016 GEORGIA O’KEEFFE MUSEUM/ DACS, LONDON.

A stalwart of the student bedroom wall, Georgia O’Keeffe is best known for her paintings of magnified flowers, animal skulls, and New Mexico desert landscapes. Featuring more than 100 paintings, this exhibition brings together some of her most important works, including Jimson Weed/White Flower No. 1 1932, the most expensive painting by a female artist ever sold at auction.

With no works by O’Keeffe in UK public collections, this is a rare chance to marvel at the skill of this pioneer of 20th-century art.

Oriental Poppies 1927. Oil paint on canvas 762 x 1016mm. Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis

Face to face Now in its 37th year at the National Portrait Gallery, the BP Portrait Award is the most prestigious international portrait-painting competition of its kind and has launched the careers of many renowned artists. Included in this year’s selection is a life-size oil painting, Unfolding, by Devon artist Martin Brooks. Martin, who teaches Fine Art at Plymouth University and runs drawing and painting courses across Devon, trained at Exeter College of Art and later at the Royal College of Art, where he was awarded the Royal College Drawing Prize and Madame Tussaud’s Prize for Figurative Art. To see more of Martin’s work, visit martinbrooksart.com.

Until 4 September at National Portrait Gallery, St Martin’s Place, WC2. Free.

For opening times see npg.org.uk

Unfolding, oil on canvas, 1200mm x 860mm

Bound for Bristol...

It’s all happening in Bristol at the end of July. Once again, the south side of the city will be hosting Europe’s largest urban art festival, Upfest. Last year saw 300 artists from across the world and more than 30,000 visitors descend for a weekend of wall-to-wall art, and this year looks set to be even bigger. Painters will be in action at 28 venues, and there’s also live music, festival food, crafts and clothing stalls.

23-25 July at various locations in Bedminster and Southville, Bristol. See upfest.co.uk for full details.

Artwork by Aspire

If investing in art is more your thing, then head over to the Arnolfini for The Other Art Fair, featuring the work of 80 emerging artists alongside unique pop-up immersive experiences, an award-winning film showcase and bespoke interactive installations. The fair presents a broad range of genres including photography, print-making, painting, sculpture, mixed media, ceramics, street art and even taxidermy, with prices starting from just £50. Highlight artists include watercolourist Bridget Davies, urban printmaker Gerry Buxton, and Alexander Korzer-Robinson, who returns for a second year with his exquisitely collaged antiquarian book sculptures.

22-24 July at the Arnolfini. See bristol.theotherartfair.com for tickets

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culture Worth staying in for...

On the road Scotland’s only Booker Prize winner, James Kelman, releases his latest novel this summer. Dirt Road follows father and son Tom and Murdo as they set out from their Scottish island home on an expedition to America’s Deep South. Murdo, a teenager obsessed with music, wishes for a life beyond the constraints of home, and dreams of becoming his own man. Tom, battered by loss, stumbles backwards towards the future, terrified of losing his dignity, his control, his son and the last of his family life. Kelman’s prose is precise and understated, and all the more powerful for it. There is also an accompanying film, Dirt Road to Lafayette, which will be released at the same time, helmed by Scottish director Kenny Glenaan.

Dirt Road is published by Canongate on 14 July

Dark sounds

nickcave.com

Auntie’s archives If you’ve ever doubted the value of the annual licence fee, then get yourself over to BBC iPlayer and take a gander at all the gold that is available for you to roll around in at your leisure. Notwithstanding the current crop of staggeringly good drama – how bleeding amazing are all three series of Line of Duty, just for starters? – you can wallow in classics from yesteryear, and a great place to start is the fathoms-deep treasure chest that is BBC4. 50 Years of Horizon celebrates five decades of world-class documentaries, including The Woman Who Thinks Like a Cow, a 2006 programme about Dr Temple Grandin, a professor of animal science whose autism gives her a special insight into bovine behaviour. There’s also a collection of films about London, dating from 1946-1996, a particular highlight being Just Another Day, John Pitman’s 1985 look at daily life in Soho – sadly now much disappeared thanks to the increasingly rapacious advance of money-hungry property developers and Crossrail.

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PHOTO: CAT STEVENS

Nick Cave & The Bad Seeds’ 16th studio album, Skeleton Tree, will be released on 9 September alongside a documentary called One More Time With Feeling, which will be shown in 650 cinemas around the world the day before – the first time anyone will hear material from the album. The film, directed by Andrew Dominik (Chopper, Killing Me Softly, and The Assassination of Jesse James by the Coward Robert Ford, on which he collaborated with Cave and fellow Bad Seed Warren Ellis), features a live performance, plus interviews and footage from the making of the album. It’s likely to be raw and uncompromising – Cave’s teenage son died in July 2015, midway through the album’s making.

Also available in the portfolio Reasons—10 woodcut prints in a portfolio edition of 5 (ed 21–25/25)

Seven Sisters—Woodcut print—Unframed dimensions: 517 x 381 mm—Edition of 25 Signed and numbered—£390.00

Woodcut prints by Rachel Howard

othercriteria.com 10 The Quay, Ilfracombe EX34 9EQ Founded by Damien Hirst, Other Criteria collaborates with both established and emerging artists to produce limited-edition prints, books and other artworks in a range of different media. Works are available to buy online and in our stores.

Monday—Sunday 9.30am—5.00pm T +44(0)1271 867057 E ilfracombe@othercriteria.com

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We headed to a stretch of North Cornish coastline, where the rock formation made a jaw-dropping backdrop. Some of the locations were a challenge to access, armed with clothes and camera equipment – we are no mountain goats – but despite getting caught in quick sand and drenched by deceptively powerful waves several times, we went home in soggy trainers, after a great day at the beach.

PHOTOGRAPHS BY SEB CHANDLER STYLED BY MIMI STOTT

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Tie-dye dress, Zara, £89.99

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White lace top, Topshop, £34.99; Sea Folly bikini bottoms, John Lewis, £38

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Lace midi dress, Zara, £59.99

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Tie-dyed poncho, Zara, £39.99

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Multi-coloured dress, Zara, £49.99

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Strapless jumpsuit, Zara, £39.99; necklace, Next, £12

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Photographer: Seb Chandler Model: Melissa Bell Stylist: Mimi Stott Hair: Hayley Gent Make-up: Maddie Austin

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The Art of Living Rangemoors, the South West's range cooker and stove specialists, are delighted to bring a new experience to home lovers and makers at their new Hearth & Cook showroom in Exeter. Expertly gathered together is a selection of the finest products designed to transform homes and inspire wonderful culinary creations, including an extensive range of beautifully designed outdoor ovens from renowned Danish stove manufacturer, Morsø.

Visit our showrooms - either in Exeter or Winkleigh - where you can experience a huge range of inspiring appliances in action, or browse our websites for more information.

• RANGE COOKERS FROM LA CORNUE AND ESSE • MORSØ STOVES & OUTDOOR LIVING RANGE • ASHGROVE BESPOKE KITCHENS Find us in Oaktree Place, 100 yards behind Carrs Ferrari & Maserati.

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Call 01392 797679 www.hearthandcook.com 14 Oaktree Place, Manaton Close, Matford, Exeter, Devon EX2 8WA

Food

Discover the delights of Westcountry wine and cheese | Food Pioneer Carli Summer In conversation with Nathan Outlaw and recipes from his new book Bites, the latest news and events from across the region | The Table Prowler

PHOTO: DAVID LOFTUS

Nathan Outlaw’s dressed lobster with herb mayonnaise nathan-outlaw.com

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Garnering plaudits and awards by the gallon, the South West’s wine industry is giving the world’s best vineyards a run for their money.

Words by Fiona McGowan.

Vines at Camel Valley

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food

W

ho would have guessed that Devon and Cornwall, so famed for unpredictable weather and winter storms whipping in from the Atlantic, could be not just capable of producing enough grapes for making wine, but actually winning international awards.

Nearly 30 years ago, Bob and Annie Lindo planted 8,000 vines on the sunny slopes of their farm in Cornwall’s Camel Valley. The vines flourished, and Camel Valley wines became some of the most popular and critically acclaimed wines in the country, increasingly holding their own against European vintages. Over in Devon, grapes grown on the 1,000-year-old farm at Sharpham Estate have been used for making wine since the late 80s. These two vineyards both grew fast and became incredibly successful: today, Sharpham produces a whopping 70,000 bottles of wine of all varieties a year and consistently wins awards. Chart-topper Camel Valley produces around 130,000 a year.

These vineyards have set an admirable benchmark for other wine producers in the region. Cornwall, particularly, has attracted some impressive new contenders. “Cornish vineyard Knightor is new,” says wine-seller Yannick Loué, owner of Vignoble in Plymouth. “They’re only four years old, and it takes time to establish yourself, but they are bringing something different – they’re not following what the others do, which is a good way to demarcate yourself.” The limited production (Knightor calls itself a ‘boutique’ wine producer), and the determination not to mimic wine styles from warmer climes, means that its white and rosé wines are light and elegant. They all go particularly well with seafood – a good selling point in Cornwall – and its Mena Hweg white, says Yannick of Vignoble, is just “off-dry: the only one in Cornwall that I’m aware of.”

Its slight sweetness cut with acidity makes it a good accompaniment for desserts or as an aperitif.

The Polgoon vineyards are based near Penzance, and even that slight distance further west can have an impact on the grape. “Polgoon has two or three vintages,” says Jon Keast of Scarlet Wines near St Ives, “and its 2014 vintage is particularly good. It was a very hot summer, a good year for grapes.” After one less impressive year, due to poor weather, the wine-growers at Polgoon are highly focused on adopting different techniques for success. They have employed well-known viticulturalist Dr David Smart to work with them, says Jon, as well as using semi-perm roofs: curved tents to make the atmosphere warmer and drier. “They are really pioneering – growing grapes under cover. It’s almost unknown.” Growing grapes like this does, however, mean that the wines produced from this method cannot be given the ‘Fine English Wines’ appellation. Polgoon also produces an excellent range of ciders. “They use the Champagne method to make their cider,” Jon Keast explains. “They let it ferment in the bottle and then add

Camel Valley wines became some of the most popular and critically acclaimed wines in the country, increasingly holding their own against European vintages. alcohol. Their Aval cider sells really well here.” The business is clearly doing plenty to ensure the success of the label, and reduce the dependency on wine with its sensitivity to the vagaries of the weather.

A new vineyard near Padstow in Cornwall opened a year ago, and is already pleasing the palates of wine buffs and sommeliers. Taking advantage of a similar setting to Camel Valley, Trevibban Mill is marking out its place by making oaked wine. “Storing it in oak barrels,” explains Jon Keast, “softens the wine and gives it a new flavour.”

Its white wine has a pristine, crisp taste, and not much fruitiness, which makes it a bit like Muscadet. Husband and wife team Liz and Engin Mumcuoglu began planting back in 2008, with the dream of creating top-quality Cornish wine and cider. It seems to have come to fruition: in the year since it hit the market, Trevibban has already won awards for seven of its ten wines.

Pebblebed Wines near Exeter started off as a community project, spearheaded by keen viticulturalists Geoff and Anna Bowen. In a good year, the vineyard produces as many as 50,000 bottles, and has won plenty of awards. The vineyard still has a real community feel to it – its organically grown grapes are harvested by around 500 volunteers from the local area every year. Lyme Bay Winery in East Devon began planting in 2010, and, thanks to a bumper harvest in 2014, has also been winning awards for its still and sparkling English wines. Diversifying into fruit wines and ciders has meant that the business is not entirely dependent on good grape-growing weather: it is certainly a pattern with English vineyards that, while

Pebblebed Brut Sparkling Rosé

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Trevibban Mill’s Rock Rosé 2014

producing ‘English wines’ is somewhat of a holy grail, it’s vital to find other revenue streams.

The world of wine-growing is as complex and layered as the most sophisticated glass of wine. The rules are strict and hard to stick by. Grapes grown under a polytunnel, for example, cannot be called ‘English wines’.

Yannick Loué says that the rapid growth of the number of vineyards in the UK has meant that new appellations will have to be created. “As wines are getting better and better in the UK, they’re looking at some classification. In Kent, there’s a different climate than in Dorset, and in Cornwall, it’s different again. So, just as in France you have the appellations for Bordeaux, Champagne, Rhone and so on, the same could happen in the UK.” This is interesting for such winning brands as Camel Valley where now just one third of their fruit comes from base and the rest from contracted vineyards across the south of the UK. Wines from the West Country are a shade more expensive than their international equivalents. This is mainly due to the cost of land, cost of labour and the fact that everything is done by hand, from the planting and the pruning to the selecting and picking. Much of the business of wine production these days, especially of New World wines, is highly mechanised, making it very cheap to mass-produce. Add to that the unpredictable nature of the weather in this part of the world, and you begin to understand why most of the South West wines start 92

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at around £13 a bottle. The big-hitting, hugely popular sparkling wines, such as Camel Valley White Pinot Noir Brut, give Champagne a run for its money – coming in at nearly £30 a bottle. In spite of these prices, the region’s wines are selling incredibly well, and it’s not just the tourists who are buying them: with Sharpham and Camel Valley forging the way, awards are flooding in, and the wine is flowing out.

Harvesting grapes at Sharpham Estate

food

Raise a toast to the region’s best The top 10 wines from Devon and Cornwall, compiled

by Tom Hancock, The Cornish Vintner

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Camel Valley ‘Cornwall’ Pinot Noir Rosé Brut 2013 Camel Valley Vineyard, near Bodmin, Cornwall The wine that beat Bollinger at the awards! World famous pink sparkler from Cornwall’s flagship winery and the UK’s winemaker of the year, Sam Lindo.

Very English in style with pretty delicate strawberry fruits, luxurious brioche and finesse in spades.

Black Ewe Dry Rosé 2013 Trevibban Mill, near Padstow, Cornwall The new kids on the block hitting the wine trade by storm. Fully organic, they produce an exceptional range of wines and this delightfully mouth-watering rosé is no exception. An explosion of watermelon, white peach and strawberries – this is tantalizingly delicious.

Darnibole Bacchus 2013 Camel Valley Vineyard, near Bodmin, Cornwall The only single vineyard in the UK with its own Protected Designated Origin – grapes are grown on rich, free-draining soil over an ancient slate sub-soil. This very special and limited production Bacchus is really vibrant, with racing acidity and delightful floral and mineral tones.

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Black Ewe Red 2014, Trevibban Mill, near Padstow, Cornwall This fruity red is full-bodied, with soft tannins and notes of anise, clove and vanilla. It’s great to drink with lamb and red pasta dishes.

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Annie’s Anniversary Brut 2013 Camel Valley Vineyard, near Bodmin, Cornwall A fresh, lemony sparkling wine with richer, yeastier depths, this brut was created to commemorate owner Annie Lindo’s 100,000th vine pruned, and the millionth cut by hand with secateurs.

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Madeleine Angevine 2013 Knightor Winery, Trethurgy, Cornwall Floral notes and a light, elegant style make this wine ideal with vegetables or light seafood dishes, or on its own. It has a slightly fuller body than previous vintages.

4

Dart Valley Reserve 2014 Sharpham Vineyard, Totnes, Devon A blend of different grape varieties, partially aged in American oak, this off-dry wine has a light, fresh character, making it great to drink on its own or with food.

9

Rondo & Pinot Noir Rosé 2014 Polgoon Vineyard, Penzance, Cornwall Single-estate medium-dry rosé with a ripe summer fruit palate and a long finish of crisp fruit acidity.

Ideal for serving on its own, with seafood – especially lobster – and meats such as duck and lamb.

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Lyme Bay Shoreline 2014 Lyme Bay Winery, Shute, Axminster Devon Ideal for accompanying seafood, this Gold awardwinning wine has a subtle taste and combines notes of citrus, nettle and rose petal.

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Pebblebed Sparkling White 2013, Pebblebed Vineyards, Exeter, Devon ‘Apple’ crisp, lively wine made from Pebblebed’s own Seyval Blanc grapes. It is dry and slightly fruity and has won a number of awards.

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Cheese please T With guidance from the experts, Emma Inglis selects some of the region’s best cheeses for an irresistible Westcountry cheeseboard.

he science is simple enough. Take some milk – cow, sheep, or goat will do just fine. Add a bacteriological starter and some rennet to cause the milk to coagulate into curds (solids) and whey (liquid). Separate the curds from the whey. Voila: you now have a soft cheese. Expel more whey from the curd for a harder cheese. Mix salt into the curds to add flavour and act as a preservative. Then tweak as desired: ripen in a room controlled for humidity and temperature – a cave or cellar can work well – and leave until ready.

When it comes to cheese it pays to keep things simple. After all there are more than 700 varieties of cheese in the UK, ranging from vast blocks of cheddar produced in huge creameries in Somerset to tiny rounds of chèvre handmade by artisan producers in Cornwall.

But when tasked with uncovering the best cheeses in the South West, where does one begin?

A trip to Country Cheeses is a good start. There are three shops to choose from, in Tavistock, Topsham and Totnes, selling in the region of 100 different cheeses, all British and mostly from the West Country. Owners Gary and Elise Jungheim started the business 25 years 94

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ago and now leave the selling to the enthusiastic ‘slice girls’, who are a font of knowledge. What makes a great cheese? “Good milk is important,” says my server. “But a cheesemaker has got to know what to do with it.”

“Great cheese comes from great cheesemakers,” says Ian Wellens of The Cheese Shed (thecheeseshed.com), an online business devoted to promoting and selling local artisan cheese from the West Country. “It’s not accidental that the best cheeses come from people with a great deal of dedication whose aim is to make cheese with real quality and character. Great cheese is the result of their care, attention and hard work.” The upshot of this devotion is a dizzying number of cheeses of different tastes, textures, style and character.

So without further ado, MANOR selects some of the best cheeses in our region. It’s by no means a definitive list: the South West has many talented cheesemakers and produces a huge number of fantastic cheeses. But what follows is a good starting point for an impressive Westcountry cheeseboard: a selection that includes iconic cheddar, bries, a couple of blues and a washed rind, as well as other intriguing cheeses from small artisan dairies.

food

Quicke’s Extra Mature Cheddar For more than 450 years, the Quicke family has been farming at Newton St Cyres in Devon. Forty years ago, Sir John Quicke and his wife, Prue, built the dairy where their daughter, Mary, continues to produce outstanding cheese. All their cheddar is matured slowly – but an extra few months maturing (Quicke’s Extra matures for at least 18 months) does wonderful things to this rich, rounded cheese.

Bath Soft “Look after your cows and your cows will look after you,” says dairy farmer and cheesemaker Graham Padfield of Bath Soft Cheeses in Somerset. And they’ve done just that. Padfield’s cheeses frequently win awards and he supplies shops and delicatessens all over the country. Bath Soft was his first creation and remains a favourite with customers: creamy milk from his grass-fed cows gives this soft, yielding brie tons of flavour.

Sharpham Brie Sharpham’s take on brie is another sure-fire winner on any Westcountry cheeseboard. This creamy gem is produced on the Sharpham estate near Totnes in Devon, made with milk from their herd of Jersey cows.

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Cornish Blue Move over Stilton – here’s a blue cheese that is dangerously delicious. Voted Supreme Champion at the 2010 World Cheese Awards and judged Best Blue Cheese and Best English Cheese at the 2006 British Cheese Awards, this creamy mellow Gorgonzola-ish blue is made by Philip and Carol Stansfield on their farm on Bodmin.

Cornish Yarg Wrapped in nettle leaves, award-winning Cornish Yarg is a semi-hard cheese, creamy and crumbly; its texture between that of a cheddar and Caerphilly. “Wheels of Yarg have a fantastic appearance,” says Ian Wellens. “We often use them for our cheese wedding cakes to great effect, as one of the lower layers.” Cornish-based Lynher Dairies, which produces the cheese, also makes another version called Wild Garlic Yarg, where the nettles are replaced by garlic leaves.

Beenleigh Blue

Keltic Gold

Beenleigh Blue is sometimes nicknamed ‘English Roquefort’ by cheesemongers, due to a similarity with France’s blue. This ewes’ milk

Pungent, earthy and soft, its rind washed three times a week with local cider, Keltic Gold is made from Cornish cow’s milk and

cheese made by veteran cheesemaker Robin Congdon of Ticklemore Cheese in Devon has a crumbly texture and a complex, fruity flavour, and tastes less salty than its French counterpart.

produced by Sue Proudfoot on her farm in Bude. Similar in taste to French Alpine cheeses, Keltic Gold has a maturing room of its own as it’s quite the little stinker.

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Tor The best piece of advice ever given about how to put together a cheese board: ‘something old, something new, something goat and something blue.’ Well, here’s our favourite goat: a pyramid-shaped soft cheese coated in ash that has a smooth interior and a light delicate taste. No surprise to us that Tor picked up two awards at the British Cheese Awards last year: Winner of the Best Fresh Cheese and Best Goat’s Cheese. We’ve been enjoying it for ages.

Gunstone For those who prefer a semi-hard goat’s cheese, Gunstone is a good choice. Made to a Dutch recipe by Dave Johnson in Crediton with unpasteurised goat’s milk, it’s light and buttery, with a delicate goat

The perfect marriage of flavour and texture.

Bespoke wedding and celebration cakes made to order from an award-winning selection of artisan cheeses.

Bring out the best on your big day.

flavour that increases with maturity.

Sheep Tor For a hard cheese with a difference, try Sheep Tor: an aged ewe’s milk cheese made by Gary Jungheim, owner of Country Cheeses. Sheep milk has almost twice the fat as goat milk and some breeds of cow, which results in a richer-tasting cheese, with more heft to each bite.

We love Sheep Tor for its gamey, smoky flavour, and think it’s a great addition to any cheeseboard.

TO BOOK YOUR CONSULTATION 01392 851000 SHOP@QUICKES.CO.UK HOME FARM, NEWTON ST CYRES, EXETER, DEVON EX5 5AY

Flights to over 30 destinations this summer for business or pleasure Pendragon Buffalo Buffalo in the West Country? Not quite – the milk is sourced from a farm in Hampshire. But it’s cheese veteran Philip Rainbow, of the Somerset Cheese Company, who turns it into a delicious buttery hard cheese that at first taste reminds one of cheddar and then transforms into something more sour and meaty. It’s the taste of a bigger, stronger animal, if you will.

It’s Easy from Exeter

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Food Pioneer Carli Summer FOUNDER OF SUMMER SUSHI Carli Summer is setting up a sushi business in West Cornwall, where, in spite of a plethora of freshly caught fish and an adventurous foodie market, there has been a dearth of fresh sushi. Until now…

“I used to go to a sushi bar when I was living in Hossegor near Biarritz. It was a local surf hangout, with hammocks on the veranda, and it felt very different from sushi bars I’d been to before, which always seemed a bit sterile. Soon after that, I moved to Sydney, where they have a similarly relaxed ethos around sushi. Since coming to live in Cornwall about 10 years ago, I was a bit shocked to discover that you can’t get sushi here.

“Ten years ago, I don’t think Cornwall was ready for sushi. But it is now. I think it’s partly because a lot of the younger surfer-travellers who live here have now grown up and had kids. They want fresh, good, sustainable food and they’re more adventurous in their tastes, as are the children – it’s amazing how many kids’ parties I’ve catered.

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“What marks out my sushi from big brands like Yo! Sushi is that it’s tailored to every client, and the fact that I make small amounts means I can give more attention to detail. It’s all about the quality of ingredients: I make my own seasoning, whereas the majority of mass-production sushi uses ready-made seasoning, which can be very sugary. Sushi contains a surprising amount of refined sugar: without it, rice becomes very favourless, plus you need something to cut the taste of the vinegar. I’m currently experimenting with alternatives like raw cane sugar or fructose. I use high-grade seaweed: the nori that you get in supermarket sushi is very thin and holey, but good-quality nori is really dark and comes in thick sheets.

“I make sure that the fish I use is sustainable. I am working with the Wild Harbour Fish Company, which lands its fish in Hayle. It uses local boats and batch-tests its fish regularly to ensure the quality. I don’t use Bluefin tuna in my sushi at all – it’s a big fish that takes years to reach maturity, and it’s on the verge of collapse. I always

food think, ‘I wouldn’t eat a rhino burger or a tiger burger, so why is it OK to eat Bluefin tuna?’ Skipjack tuna is more abundant, so I’m happy to use that. Most of the crabmeat comes from spider crabs, which get brought in locally, but then are usually shipped off to France and Spain.

There’s a crayfish called the American Signal, which have huge claws full of meat. They are an invasive species that are damaging the ecosystem, so it’s good to take as many of them out as we can.

“Vegetarian sushi is quite tricky, because you have to supplement the oily flavours of fish with vegetables. I like to use sweet potato, avocado, sweet pepper, chargrilled asparagus and plenty of tempura vegetables to bring the sweetness and richness to the sushi. Adding strongly flavoured seasonings helps, too – like rolling the rice in roasted sesame seeds.

“Making sushi is a science: when I’m preparing sushi, my kitchen looks like a laboratory, but that’s what appeals to me. Making sure that sushi is safe is all about pH and temperature control. The environmental health standards are very exacting with the sale of sushi, because you’re dealing with raw fish and rice. Rice grows one of the nastiest bacteria called bacillus cereus, which can cause severe food poisoning. You have to let the rice cool within 20 minutes: I spread it out on trays and cool it with a fan.

The vinegar is added to keep the pH value at the right level to prevent the bacteria growing. I use a special digital pH monitor to make sure it stays below pH 4.5.

“Raw fish degrades so quickly; you really need to prepare it straight off the boat if you can – and the more you touch it, the more it degrades. You have to keep the fish in the fridge as much as possible, and keep checking the temperature of the fridge.

“When I did my training, I was blown away by how many things have to be done in a particular way – and it’s not just about looking good, it actually makes life easier.

After my training, I invested in a set of Japanese knives: they’re made in the same way as samurai swords, using folded steel. They have a cutting edge on one side of the knife, which makes it hard to sharpen them: you basically have to use a whetstone. You can’t just hack off a piece of fish, either – you have to think about the lines in the fish. I learned a lot about cutting and preparing fish from a local Newlyn skipper. Even the flat wooden hangiri bowls that are used to mix the rice have to be seasoned (soaked in water and vinegar) before each use, to speed up evaporation and prevent the rice from getting mushy.

“There is so much more to making sushi than I thought, but it hasn’t put me off – it has really sparked me up. I’ve catered lots of parties and at-home feasts and the next step is to supply sushi packs to restaurants and cafés. The demand is definitely there, and because it’s so labour intensive, I’ll have to employ some staff soon.” facebook.com/summersushi/ twitter.com/summersushi

Carli Summer

Wasabi

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PHOTO: DAVID LOFTUS

In conversation with

A

t the age of 14, Nathan Outlaw started working in a professional kitchen helping his father, a chef. He studied an NVQ in food preparation and went on to work in various kitchens, including at the Intercontinental Hyde Park Corner in London with Peter Kromberg, then with Rick Stein in Padstow (with whom he developed a lasting friendship), then with John Campbell at The Lords of the Manor. In 2003 he opened his own restaurant, The Black Pig, and was awarded his first Michelin star just eight months later, at the age of 25. In 2007 he opened his second, Restaurant Nathan Outlaw, where he was awarded two Michelin stars in 2010.

Fish is Outlaw’s speciality; intent on bringing healthy, delicious fish dishes to the masses, he has published three books: Nathan Outlaw’s British Seafood, Nathan Outlaw’s Fish Kitchen and now Nathan Outlaw’s Everyday Seafood. This latest comprises 100 recipes that can be cooked quickly and easily at home, all of which have been tested personally by Nathan and his team with special consideration given to timing, availability of ingredients and equipment required.

Nathan Outlaw is a busy man. With a regular TV presence, four successful restaurants to his name and numerous public events to host and cook at (he will be at Port Eliot for one), he is a chef in demand. We did, however, manage to track him down and put some questions to him about how it all started, why he’s taken the direction he has and the level of detail that goes into not only attaining Michelin stars, but in delivering what has to be one of the most mouth-watering as well as doable cookbooks you’re likely to have on your shelf.

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When and how did you discover a love of cooking?

When I was very small, like a lot of kids I used to roll out odd bits of pastry that my mum had finished with.

We graduated to fairy cakes and I really liked scooping out the middles and cutting the ‘wings’ then decorating them to make butterfly cakes. When I was eight, my dad, who’s also a chef, took me into work on Saturday mornings in his big industrial kitchen. I used to flip the toast and tray up sausages. I think that’s where I began to learn how to work as part of a team and where I felt the excitement building as service came nearer. I don’t think I ever took a conscious decision to become a chef. It just happened and seemed natural to me.

What would you have done if you hadn’t been a chef?

When I was younger I wanted to be a Disney animator but it’s a very tough industry to get into – kids from small villages in England don’t get to Hollywood very often! If I’d have chosen another career as an adult, it would have been in the music industry. I love music of all kinds and mix my own tracks for the restaurant.

I ‘play’ (a loose description!) the guitar very badly so I think I’d have probably been somewhere behind the scenes in production rather than out on a stage.

Why fish?

I came to Cornwall as a very young chef to work with Rick Stein at The Seafood Restaurant in Padstow. I had cooked fish and seafood at various places in London and liked doing it so I thought to myself, where’s the best place to learn more? And Rick’s was it. I spent the whole of the first year prepping fish, which I must admit, at

food times, made me really fed up, but I kept on going and now I realise it was ‘tough love’. It was the best training I could have had. I learnt so much there. And I met my wife there, too.

Fish is such a challenge to cook but it’s also very versatile. It’s a wild animal so no two pieces ever react in exactly the same way. It depends on where the fish has been feeding, what currents it’s been swimming in and, crucially, how it was caught and has been treated since. I only use responsibly caught fish and seafood, so my major challenge is conjuring up a seasonal menu in the winter months when the fishermen haven’t managed to get out of harbour because of the poor weather. There’s very little available so at those times I have to be very creative, very quickly.

I love the sea and I like being around the fishing industry. I can’t explain why; I just do. I like to give the seafood and fish I use the respect they deserve and hope that shows in my food.

What distinguishes a chef from a Michelin-starred chef?

Can you give us an insight into what’s required?

I’ve held Michelin stars for 13 years now but never had a conversation with a Michelin inspector where it was explained how or why I was awarded them!

To my mind, Michelin stars are earned for cooking excellent food consistently. I think using local ingredients helps, too. I am also a good judge, and have a good understanding of what people like. You have to be confident enough to stand by what you are doing and not give in to fads or fashions. Finally, it’s about dedication to what you are doing – no cutting corners.

Why do people find fish so hard to cook and veer away from it?

To begin with, I think they remember the fish they experienced as a child – usually overcooked, tasteless or greasy offerings at school. In those days, the refrigeration was much less effective than it is now so fish was often in poor condition before it was even bought by the home cook. These days, methods of catching fish and storing it have changed dramatically so it’s usually in good condition when you buy it.

Secondly, there’s the smell factor. People want their homes smelling fresh, not of last night’s fish dinner! The key to this is to wash everything immediately it’s finished in cold water – using hot water causes the remains of the fish to ‘cook’ on the board or utensils. Any scraps should be well wrapped and disposed of in the outside dustbin, not the kitchen bin.

Lastly, people tend to overcook fish. It doesn’t need a high temperature or long cooking. Really, it’s the ultimate ‘fast food’, as most fish cooks within a few minutes. The trick is to get everything else ready first and then cook the fish. Remember, it will continue to cook in residual heat, so you need to be ready to dish up straight away or, again, it will overcook. It really is very easy!

Of the recipes comprising the new book, are many of them on the menu in your best-selling restaurants?

If so, what are the favourites amongst diners?

The majority of the recipes have been on the menu in one or other of my restaurants, and the pub, at some point. Of all of them, the crab Scotch eggs are a real favourite, as are the cured fish dishes. The cod’s roe dip and the brandade are very popular, too.

What’s involved and how long does it take to pull together a book such as Everyday Seafood?

When I’m writing a book, first of all I think about what I want to get across to the reader – species, techniques, and with this one, simple fish cookery that everyone can try.

Once I’ve formulated that in my mind, I begin to put ideas for dishes together and think about how I’m going to group them into chapters. The writing process takes about six months and I do it by scribbling notes into two notebooks so that I can go back and change or annotate as I turn ideas over in my head. Some of the recipes will be dishes that I’ve featured in the restaurants, other will have been tweaked from those dishes and more will be completely new. I come up with ideas at all hours of the day and night, and love experimenting with my Head Chefs until a dish comes right (which can sometimes take several months).

My mum (who is also my PA) makes sense of my notes and puts them into ‘home cook speak’ then types them up for onward transmission to my editor at Quadrille, my publisher. That’s why I have two books: she has one and I have one so that we can swap each time we meet and the process is continuous. I do a lot of my writing on the train to and from Paddington. Next there’s a period of to-ing and fro-ing to my editor with queries until everything is finalized.

I’m very lucky to have had all of my books so far photographed by David Loftus, who really knows his stuff and has an appreciation of food, too. I’m very grateful to him for making my dishes look so good in print. The last book was photographed over three days, including one all-night session. I cooked every dish in the book in those three days, tweaking the recipes as I went to make sure they do actually work. David photographed each one and then we immediately went onto the next dish. There was no hanging about. It was manic in the kitchen but my team was brilliant and all pitched in. nathan-outlaw.com

You have to be confident enough to stand by what you are doing and not give in to fads or fashions.

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From Nathan Outlaw’s Everyday Seafood we feature four delicious recipes. perfect for summer eating. Photos by David Loftus.

Crab and tomato salad with horseradish dressing Serves four as a starter “This is a perfect, simple salad for a summer’s day, especially when tomatoes are plentiful, juicy and sweet. It’s always nice to cook your own crab, but if you can get hold of a good one, freshly picked, you can assemble the salad in next to no time. The horseradish adds a refreshing hot kick and really brings the salad alive.”

• • • • • • • •

About 300g white crabmeat (from a 1.5kg freshly cooked crab) 12 ripe tomatoes (the best variety you can get) 1 shallot, peeled and finely chopped 100ml olive oil 50ml white wine vinegar 1 tsp caster sugar 3 tsp chopped parsley Sea salt and freshly ground black pepper

FOR HORSERADISH DRESSING

• • • •

150ml soured cream 2 tbsp creamed horseradish Finely grated zest and juice of 1 lemon 100g brown crabmeat, sieved

TO GARNISH

• •

Zest of 1 lemon (microplaned) 2 tbsp flat-leaf parsley leaves, sliced

METHOD

Bring a pan of water (large enough to hold all the tomatoes) to the boil. Remove the cores from the tomatoes and score a cross in the skin on the top of each one. Lower the tomatoes into the boiling water and blanch for 20 seconds, then remove to a tray. When cool enough to handle, peel off the skins. Cut half of the tomatoes into slices the thickness of a £1 coin; cut the rest into wedges.

Place all the tomatoes in a bowl and add the shallot, olive oil, wine vinegar, sugar and chopped parsley. Toss gently to mix and season with salt and pepper to taste. Set aside.

Check through the white crabmeat carefully for fragments of shell or cartilage.

Place the crabmeat in a bowl and season with salt and pepper.

For the dressing, whisk the ingredients together in a bowl until smoothly combined.

Season with salt and pepper to taste.

To serve, divide the tomato salad between four plates. Share the white 102

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crabmeat equally between the plates and drizzle the dressing over the salad. Finish with a sprinkling of lemon zest and parsley.

food Gin-cured sea trout Serves six as a starter “Wild sea trout is, for me, a delicacy. I actually prefer it to salmon and find it responds particularly well to curing. Using strong alcohol in the cure helps to achieve a pronounced flavour and the combination of gin, apple and fennel works well here. This is a good dish for a party because it can be prepared in advance and whipped out of the fridge when you’re ready to serve.”

•

1 very fresh side of wild sea trout, skinned and pin-boned

FOR THE CURE

• • • •

250g sea salt 250g caster sugar 2 tbsp juniper berries, crushed 150ml gin

FOR APPLE AND FENNEL SALAD

• • • • • • • •

200ml olive oil 2 shallots, peeled and finely sliced 4 juniper berries, finely chopped 100ml cider vinegar 30ml gin 2 fennel bulbs, tough outer layer removed 3 eating apples, such as Braeburn 3 tsp finely sliced tarragon

METHOD

For the cure, put the salt, sugar and crushed juniper berries into a food processor and blitz for three minutes.

Lay the sea trout on a tray and sprinkle evenly with the cure mixture. Turn the fish over in the cure a few times

to ensure it is coated all over. Drizzle the gin evenly over the fish, then wrap the whole tray in cling film and place in the fridge to cure for four hours.

When the time is up, unwrap the fish and wash off the cure with cold water, then pat dry with kitchen paper. Wrap the fish tightly in fresh cling film and place back in the fridge for an hour to firm up. (At this stage you can freeze the fish for up to a month.)

To make the dressing, put the olive oil, shallots and chopped juniper berries into a small pan over a medium heat until the oil just begins to bubble. Take the pan off the heat and add the cider vinegar and gin.

Slice the fennel as thinly as possible, using a mandoline if you have one, and place it in a bowl. Peel, core and grate the apples, then add to the fennel with the tarragon. Toss to combine and dress the salad with halfof the dressing, keeping the rest to finish the dish.

Using a sharp knife and a clean board, slice the trout as thinly as possible and lay it equally on 4 large plates.

Scatter some of the salad over the fish and drizzle with the remaining dressing; bring to room temperature before serving. Serve the rest of the salad in a bowl on the side.

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Dressed lobster with herb mayonnaise Serves two as a light lunch “Sometimes, perfectly cooked simple seafood and good mayonnaise is all you need to impress. If you are entertaining, this is often the best way to go, as everything can be done in advance. Remember to remove this dish from the fridge half an hour or so before serving to take the chill off the lobsters. Verjus gives seafood a lovely fresh acidity.”

• • • • • • • • • • •

2 live lobsters, up to 1kg each 2 shallots, peeled and sliced 1 fennel bulb, trimmed and sliced 2 carrots, peeled and sliced 2 garlic cloves, peeled and crushed 2 thyme sprigs 2 bay leaves 10 black peppercorns 200ml verjus Olive oil to drizzle Salt

METHOD Put the lobsters in the freezer for an hour before cooking to sedate them.

To cook the lobsters, put the vegetables, garlic, herbs, peppercorns and verjus into a large pan (big enough to hold all the lobsters). Pour in enough water to cover the lobsters and add plenty of salt. Bring to the boil over a high heat, then lower the heat and simmer for five minutes.

In the meantime, take the lobsters out of the freezer and firmly

insert the tip of a strong cook’s knife into the cross on the head to kill each one instantly. Add the lobsters to the simmering bouillon and cook for six minutes, then remove the pan from the heat.

Leave the lobsters in the bouillon for two minutes to finish cooking in the residual heat, then lift them out. Strain the bouillon and let it cool. Place the lobsters on a tray and leave to cool completely.

Meanwhile, make the mayonnaise. Put the egg yolks, mustard, garlic, shallot and verjus into a bowl and whisk together for one minute. Add the olive oil in a thin, steady steam, whisking as you do so, until it is all incorporated. Season with salt to taste, cover and place in the fridge.

When the lobsters are cold, carefully cut them in half lengthways, from head to tail. Remove the stomach sac from the head and the dark intestinal thread that runs along the length of the tail. Crack the claws and knuckles and lay the lobsters on a large platter.

When ready to serve, mix the chopped herbs into the mayonnaise and spoon some into the head part of the shell.

Drizzle the lobsters with a little bouillon and olive oil. Serve at once, with the rest of the mayonnaise in a bowl on the side.

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food Lemon curd pavlova with yoghurt sorbet Serves six “I find meringues fascinating – the fact that simple egg whites and sugar can be whisked together to create something so special is magic, and I always have some sort of meringue dessert on my restaurant menus. I like to balance the sweetness with something sharp, hence the lemon and tangy yoghurt sorbet topping for this pavlova. It’s a favourite dessert at home.”

FOR THE MERINGUE • 3 medium egg whites • 150g caster sugar • 1 vanilla pod, split lengthways and seeds scraped • 2 tsp cornflour • 2 tsp white wine vinegar FOR THE LEMON CURD • Finely grated zest of 1 lemon • 130ml lemon juice (about 3 lemons) • 100g caster sugar • 80g egg yolks (about 4 medium) • 1 egg white • 200g unsalted butter, chilled and diced FOR THE YOGHURT SORBET • 200ml whole milk • 100g caster sugar • 120ml liquid glucose • 300g full-fat Greek yoghurt

and liquid glucose into a pan and place over a medium heat to dissolve the sugar. Bring to a simmer, take off the heat and leave to cool. Once cold, whisk in the yoghurt, then transfer to an ice-cream machine and churn until thick.

For the lemon syrup, heat the glucose, lemon zest and juice, and the sugar in a pan over a medium heat to dissolve the sugar. Let simmer for three minutes, then pour the syrup into a bowl and leave to cool.

When the sorbet is ready, spoon into a suitable container and place in the freezer. When the meringues are cooked, transfer to a wire rack to cool.

To assemble, put a spoonful of lemon curd in the centre of each bowl and place a meringue on top. Drizzle the lemon syrup over the meringues and around each plate. Top each meringue with a scoop of the sorbet. Scatter over the toasted almonds and serve, with an extra spoonful of lemon curd on the side, if you like.

FOR THE LEMON SYRUP • 200ml liquid glucose • Finely grated zest of 1 lemon • 100ml lemon juice • 100g caster sugar TO FINISH 50g flaked almonds, toasted METHOD Preheat your oven to 110°C/Gas ¼ and line a baking sheet with a silicone mat or baking parchment. Wipe your stand mixer (or other large) bowl with kitchen paper dipped in vinegar to remove any trace of grease.

Using a stand mixer or electric hand mixer, whisk the egg whites in the bowl to soft peaks.

Whisk in the sugar a third at a time until fully incorporated; add the vanilla seeds with the last of the sugar. Gently fold in the cornflour and wine vinegar, using a spatula or large metal spoon.

Using a large spoon, shape the meringue into six equal sized mounds on the prepared tray and then use the back of the spoon to make an indent in each one. Bake the meringues for one hour.

Meanwhile, make the lemon curd. Whisk the lemon zest and juice, sugar, egg yolks and egg white in a heatproof bowl over a pan of simmering water until the mixture thickens. Remove the bowl from the pan and whisk in the cold butter, a piece at a time, until it is all incorporated. Strain through a sieve into a bowl, cover and refrigerate until set.

To make the yoghurt sorbet, put the milk, sugar

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Bites

Gluten freedom The takeaway restaurant chain Rockfish has introduced a new additional menu offering everything in glutenfree form. “We think it’s a first for a fish restaurant,” says Mitch Tonks, seafood pioneer and founder of Rockfish.

“We have mirrored our whole regular menu so that everything will be available gluten free for customers.

As part of this we’ve invested heavily in new ranges and preparation equipment. We believe we are the first seafood restaurant in the country to offer a regular menu and a gluten-free mirrored menu rather than just options. We are working with the Coeliac society on the accreditation process.

“It wasn’t until we opened Rockfish that we realised the extent that people are unable, or chose not to, eat gluten. I don’t think people’s food choices should limit their options when dining out. And as nearly every coeliac will tell you, they love to eat fish and chips, so we made a commitment to make our whole menu, from starters to mains to desserts to beers, available gluten free.”

The new gluten-free menu is available at Rockfish in Dartmouth, Plymouth, Brixham and Torquay. therockfish.co.uk

Green heroes The People Environment Achievement (P.E.A.) Awards is calling businesses and individuals with a passion for sustainability to enter the brand new category: South West’s Greenest Business. The judges are looking for people who are providing inspiring alternatives to business as usual. The winner will be showcased in MyGreenPod Magazine, which is distributed with The Guardian newspaper, and will be featured online. Their story will reach approximately three million ethical consumers.

Environmental ambassadors are invited to either nominate themselves or someone who has inspired them by writing 500 words about their great work, inspiring initiative or sustainability project.

Entries are free and must be submitted via the P.E.A. Awards website before 31 August 2016.

Those who are based in Bristol, Gloucestershire, Wiltshire, Somerset, Dorset, Devon, Cornwall, as well as the Isles of Scilly, can enter the South West Category. peaawards.com

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food

Sundae sundae Salcombe Dairy has opened a bright new nauticalthemed ice cream parlour in the heart of Dartmouth. As well as ice cream, the parlour also serves Origin coffee and Cornish-grown Tregothnan tea.

“We recognised the growing trend for ‘safari dinners’ and are bringing our twist on this to Dartmouth,” says Salcombe Dairy managing director Dan Bly. “As well as being a scooping parlour, we have created an inviting menu of Salcombe Dairy sundaes.”

These include the classic Knickerbocker Glory, with raspberry ripple and strawberry ice cream served with

mango sorbet, raspberry and mango sauces, and peaches in strawberry jelly. Then there’s the Devon Cream Tea sundae with Devon cream and vanilla clotted cream ice cream, blackcurrant sorbet, blueberry sauce, fresh strawberries and crunchy biscuit crumb, topped with clotted cream and wafers. Or, should you wish to make your own, there is always the Designer Sundae.

At the end of July, Salcombe Dairy is also launching a summer pop-up shop at Stokeley Farm Shop in Stokenham. salcombedairy.co.uk

24 herbs A new Vermouth produced in Cornwall is causing a bit of a stir. The Vermouth – a fortified wine produced by Knightor Winery – has been praised by wine critics, merchants and restaurant sommeliers at the recent London Wine Fair for its versatility, complexity and depth of flavour.

Knightor owner Adrian Derx was delighted with the reaction to the new Vermouth: “Events like these attract the toughest, most discerning critics. It’s fantastic that our Vermouth stood out to so many experts as something genuinely exciting and delicious.”

To make the Vermouth, 24 different herbs – including wormwood (Artemisia absinth) – are infused in a fruity Eau de Vie distilled from Knightor’s own grape skins. After a short steeping period, the herb infusion is blended with a sparkling base wine and allowed to mature and integrate for a time before bottling. The Vermouth is described as “elegant and crisp, with citrus, mint and fresh sage aromas and a sweet, pleasantly bitter taste.”

Mixologists at Fifteen Cornwall have created a Classic Martini and a Cornish Negroni using Knightor Vermouth, and the Knightor team have also been experimenting, creating a Sweet Manhattan, and a Vermouth and Gorse Flower Cocktail.

The Vermouth is being released in small batches, dependent on herb and Eau de Vie supply. knightor.com/vermouth

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Fired up Making a wood oven from clay is a very muddy process, as pupils from Collaton St Mary C of E Primary School discovered when David Jones visited the school to do just that. To raise funds for the project, David and his wife Holly Jones hosted a pop-up pizza evening at Manna from Devon Cooking School.

Now the school has a cob wood-fired oven ready for outdoor learning, forest school activities, food education classes and PTFA fundraising events.

David, who volunteered two days of his time to create the structure, alongside pupils, teachers and parents, explains the process: “One of the parents built a base from old bottles, sand and fire bricks on top of old pallets. We made a dome of sand to create the internal shape and the children puddled clay and sand together then made ‘bricks’ with which we built the first layer of the oven. An entrance was cut out of the clay dome and a brick arch was made to form the door and flue. Next the children made a wet clay ‘slip’, which was mixed with wood shavings to form the insulation layer. After a week, we removed the sand and fired up the oven for the first time. It has just had its first full firing.”

Sam Ward, kitchen manager of Collaton St Mary, who ensures everything served to pupils is cooked from scratch on site, says: “Our pupils learn so much through food education, growing, art and outdoor learning.

We wanted to take this to the next level by having an outdoor kitchen next to the yurt, which is our outdoor classroom. The children will be selling healthy schoolmade pizza at our ‘Collaton Friday takeaway afternoons’.

We look forward to working with David again when he comes here to run further clay oven cookery workshops.”

PHOTOS: HARRIET FITZGERLAD

Festival fodder Port Eliot has the reputation for being the summer festival for food lovers and this year is no exception, with chefs including Sally Clarke, Alistair Little and Nathan Outlaw taking part, and a wonderful assortment of food and drink on offer.

Polpo restaurant will create an authentic Bàcaro pop up, Comins Tea House will be pouring perfect brews in the Orangerie, and the Oyster Shack will be shucking seashell in the Walled Garden.

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Along with tempting street food (served in a delightful assortment of vehicles, from coffee in a ski gondola to a converted horsebox with its own hydroponic garden), there will be wine and cocktail bars, a Skinner’s beer tent and the Sipsmith’s Bloody Mary ambulance.

Russell Norman, Tom Parker Bowles and Mark Hix will host a Food Fight, and homemade produce in the Flower and Fodder classes will be judged by Rose Prince. porteliotfestival.com

food

Open arms These days it’s rare to hear of a new pub opening rather than closing, but that is exactly what is happening in west Cornwall. The newly renovated Carew Arms (previously known as The Ring O’Bells) in Antony, near Torpoint, opens this month, complete with a general store.

Consultant Chef Emily Watkins of The Kingham Plough in Oxfordshire will work with Head Chef Jack Clayton to produce a menu of seasonal dishes for the pub’s menu using locally sourced ingredients, some of which – including lamb, potatoes and onions – will be reared and grown on the nearby Antony Estate.

Part of the building will be used as a General Store, a hybrid farm and community shop, which will offer both local essentials and the best of Cornish products, alongside a range of community services. The store will open from 8am and will include a café space that will serve barista coffees and snacks. carewarms.com

Emily Watkins and Jack Clayton

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Signature dish PHOTO: SUZANNE DAVIES

Joe Simmonds is head chef at The Beach at Bude in North Cornwall, a 16-bedroom boutique hotel that overlooks Summerleaze Beach. He joined the team when the hotel’s restaurant opened in 2014 and became head chef a year later. Joe’s love of fresh local ingredients combined with his knowledge of classical techniques is reflected in his menus.

Originally from Yorkshire, he started an apprenticeship at a local pub in Hebden Bridge at the age of 16. After a stint working at a tapas bar in Majorca, he returned to the UK where he worked under Sam Moody at the Michelin-starred Priory Hotel in Bath.

Joe says he likes to push for new ideas and encourage younger chefs to bounce ideas off the more experienced ones. “The biggest help in my career has been the people I’ve had the pleasure to work with, the drive of some head chefs and the skill sets of others,” he says.

“I learnt that there’s always a solution when things are going wrong – you just need to know your trade. That’s something I live by every day.

“My cooking style is fresh, exciting and 90% local, but I’m not scared of using international influences to really lift the dishes on my menus. Big flavours and seasoning are important.”

A big cake fan, Joe has chosen a particularly light and summery pistachio and citrus cake with summer fruits for his signature dish. “I always enjoy cake, at this time of year especially. This little light number is something you’ll definitely enjoy baking. The marriage of nutty, sweet and citrus, with the sharpness of lovely seasonal berries, is something I personally look forward to every year. And it’s a popular dish on our pudding menu. Enjoy.”

Pistachio and citrus cake, served with raspberries, clotted cream and raspberry curd Serves six to eight FOR THE CAKE

• • • • • • •

200g unsalted butter, softened 200g caster sugar 4 eggs Zest of 2 oranges 1 tbsp baking powder 2 tbsp pistachio paste (or 200g roasted pistachios, blitzed to a paste consistency in a food processor) 200g plain flour

FOR THE RASPBERRY CURD

• • • • •

4 eggs, whisked 200g caster sugar Zest and juice of 2 lemons 200g raspberries 100g unsalted butter

lined cake tin (8in/20cm round cake tin, or rectangular equivalent).Bake at 180°C/Gas 4 for 18-20 minutes.

For the curd

FOR THE RASPBERRY AND PISTACHIO CRUMB

• 100g pistachios • 100g raspberries, frozen TO SERVE

• Clotted cream • Raspberries

Mix the ingredients and simmer over a bain-marie until they thicken. This should take approximately 20 minutes.

If you have a probe, the temperature should be 84°C. Pour into a liquidiser and add the raspberries and butter before blitzing. Pass the liquid through a fine sieve.

This mix will keep for up to a week in the fridge.

For the crumb

For the cake

Blitz the frozen raspberries and pistachios in a food processor. Keep in a container in the freezer.

Cream together the butter and sugar, before adding the four eggs, one at a time. Add the orange zest, baking powder, pistachio paste and plain flour until all ingredients are combined. Turn the mixture out into a

To serve, slice the cake and add a dollop of clotted cream, raspberry curd, a sprinkle of raspberry and pistachio crumb, and a few fresh raspberries.

METHOD

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food

The Table Prowler Star & Garter, Falmouth After a day of packing boxes and stumbling with them down three flights of stairs, we were ready to fall into the Star & Garter and inhale an elderflower gin and tonic. Table 4 is tucked into a corner of this recently overhauled pub overlooking the harbour. It’s been a locals’ local in Falmouth since 1892, and the décor is restrained – wooden tables, hard chairs, utility lamps and spider plants (sans macramé ). There’s a no-nonsense let’sget-on-with-the-food feel to the place. So we do.

To begin we order smoked pork belly with clams, and burrata, a creamy mozzarella. The tender pork (from Warrens in Launceston) is smokily slow-cooked and runs with porky juices; it is unctuous yet intact and punctuated by the flavoursome chewiness of the clams. Adding bite to the burrata are small, squeaky-fresh broad beans, with mint and a trickle of peppery Tuscan olive oil.

Waiting at our table is indigo textile artist Sarah, who tells us about lamb vignole – an Italian dish prepared at the time of year when spring lamb, artichokes, peas and broad beans are all in season. It is duly ordered alongside turbot, Tregassow Farm asparagus, artichokes and olive salsa.

Under a gleaming white tranche of turbot from St Mawes (faultlessly cooked), the asparagus and artichoke has bite and a smoky edge, but sits in a bit too much olive oil. The lamb vignole simply shouts summer – the lamb (cooked separately) is pinkly perfect and the braised peas, broad beans, artichokes and grassy salsa take the dish to another level.

The side of duck salt chips leaves little room for pudding, but we feel it important to test the custard tart, nutmeg and Cornish strawberries. It is gorgeous. I had forgotten strawberries could taste like this. The custard is light, barely set, fragrant and not over-sweet (hurrah); the pastry is English, yet thin enough to be almost crispy but still soft.

As darkness drains the colour from the small boats moored below, and I watch the water taxi return sailors to their yachts, I think I start to ‘get’ what the three chefs in the three kitchens at the Star & Garter are delivering. It’s an assuredness, a confidence in their ingredients (every oil, spice, loaf of bread, salad leaf has been sourced with scrupulous care) and their ‘nose-to-tail’ philosophy, but also in their technique: they are smoking, pickling, preserving, wringing out every possibility from their produce. Coming up with new takes on familiar ingredients and leading customers down unfamiliar paths, surprising the taste buds, taking flavour that bit further. And the price is very reasonable for two with some excellent Pinot Branco and Garganega Veneto. Go there. See for yourself. starandgarter.squarespace.com Food 9 | Service 8.5 | Location 10 | Ambience 8

Paul Ainsworth at No.6, Padstow No. 6 holds a special place in my heart. On an anniversary a few years back, we cycled the scenic Camel Trail from Wadebridge on a sunny and tranquil afternoon, parked our bikes, and enjoyed the most wonderful three-course set menu with wine flight at Paul Ainsworth’s little terraced restaurant on a quiet back street of Padstow. Such a perfect day. Perfect food coupled with perfect wine, followed by the perfect cycle ride back, feeling blissfully sated and light of head.

This memory has stayed with me, and possibly, given the years, become a little rose-tinted. We returned to No. 6 for dinner, and were greeted warmly, if a bit more businesslike. No. 6 has grown since our last visit – there seem to be more covers, there’s a tiny terrace in which to take aperitifs and the staff were efficient but a little hurried. The prices seemed a lot higher than I’d remembered, with starters at around £15 and main courses between £30 and £40. These were Rick Stein prices, but clearly it wasn’t hurting business, and if people will pay it, as they do in Padstow high season, you’d be a fool not to charge it. I had the smoked haddock quiche Lorraine and he, the Porthilly oysters. The quiche was petite and perfect, with crisp pastry and the most delicious creamy egg and chunky haddock filling, sitting on a smooth, subtle, cheesy sauce. The oysters were also top notch. Fish of the day was turbot and seemed enormous when it arrived. It was perfectly cooked and extremely tasty.

The accompanying crab came in a little copper pan; as a fan of

fresh unadulterated crab, I was disappointed by a rather tangy sauce. This was one of the £40 main courses. Husband had the Cornish chap (£28), which I coveted, mainly because of the ingeniously perfect round of crispy crackling that arrived with it. It had me almost begging for morsels. However, the chap was a little tainted by a slight vinegary sauce that dressed the smoked eel. For dessert we had the chocolate pudding, which looked delicious as it arrived at the table. Rich, smooth chocolate with a crisp top upon which the waiter then poured the hot Caramac; it melted a hole in the surface like acid through metal and created a little well of Caramac in the centre of the pudding. Quite exciting, but for me the Caramac overpowered the chocolate – for this particular gooey chocolate pudding aficionado, it was a bit of a disappointment.

We left considerably poorer. With higher prices I concluded that there was more need for spectacle and elaboration, where one sauce or ingredient too far took the edge off an otherwise perfect mix. That said, Paul Ainsworth and No. 6 will always be firm favourites, but next time I think we’ll stick with the three-course set lunch menu with wine flight, and keep things simple. paul-ainsworth.co.uk Food 8 | Location 8 | Ambience 8 | Service 8

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24A West Street, Ashburton, Newton Abbott, Devon TQ13 7DU

Tel: 01364 653613 www.barnesofashburton.co.uk 112

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Space

How interior design works in harmony with architecture Shopping for space

Bespoke spiral staircase for a recently completed home in Dartmouth. See page 114

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Beyond colour, cushions and curtains, good interior design brings architecture and the lives lived within it into perfect harmony. Words by Imogen Clements.

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D

efine ‘interior design’, I challenge you. The term has become rather vague, such that noone really knows what it means. Doubtless soft furnishings come to mind, but there’s a lot more to it.

To get an idea of the scope behind good interior design, start with the architectural structure of a space – the shell – and then imagine, layer upon layer, the constructing of a fine work of art where all the details (layout, lighting, surfaces, textures, aspects) combine to meet ergonomic, practical and aesthetic requirements, but which also, through that last sprinkle of magic, deliver a certain thrill in the occupier: an intangible, emotional response that they get just being in the space and feeling at home. Not a small task.

“There’s a difference between interior design and interior decoration,” says Matthew Robinson of JAM Interiors. “As interior designers we work closely with the architect, key contractor and client. The design of the interior should be built into the design and build process such that the architect can get on with creating the structures while we can focus on delivering the internal features that best complement it. It goes well beyond – and starts a long time before – cushions and curtains.”

A case in point is a recent project, a beautiful fourstorey home set on the bank of the River Dart, images

of which we feature here. “The house was inherited by three siblings and their families. It was a house that they’d all holidayed in regularly and spent many happy times there. When they inherited it, what started as vague thoughts around a new kitchen (design thoughts always tend to start with the kitchen) ended up as a complete rebuild.”

The architect appointed was BBH of Dartmouth.

It was a multi-family brief. The house needed to accommodate all three siblings and their families together but also independently with friends or alone with children and in some cases grandchildren. There were many people to please and scenarios to cater to, and this was not an easy plot on which to do it. The building was an unusual shape: tall but narrow, it presented various design challenges in order to make the best use of each floor. BBH recommended JAM to the client as a company that could get a handle on them.

“Fortunately, the siblings had similar ideas of what they wanted,” says Matthew. “What they definitely didn’t want was a blue-and-white-striped, typical seaside home. The ideas that they sent through were much more in keeping with a high-end London apartment – a relaxed but quite sophisticated family home. This fitted well with my first impression of the house. The shape and positioning on the river bank, together with the

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The shape and positioning on the river bank, together with the clients’ style requirements, brought to mind the interior of a superyacht: relaxed luxury cleverly designed to make best use of space.

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space clients’ style requirements, brought to mind the interior of a superyacht: relaxed luxury cleverly designed to make best use of space.”

This reference proved particularly useful when it came to the kitchen: “We were to create an open-plan kitchen, dining and living area in a long but narrow space, and one with a spiral staircase running through it (which connected all four floors). The clients were averse to galley kitchens but we persuaded them that an open-plan galley bordered by the breakfast bar was the best option. We brought in Sapphire Spaces to design a Bulthaup kitchen that was sleek in style and practical while efficient with the space. The dining area was positioned to enjoy the drama of the view, while the living area was arranged such that it could communicate with the kitchen but be separate from it. The long, narrow lounge meant that furniture pieces would have crowded it, so we commissioned one very long sofa, the kind you would see on a superyacht.”

Matthew goes on to explain that the staircase was the head-scratcher. Exposed with glass banisters it was too much of a feature and imposed on both the living and kitchen areas. It couldn’t be moved so JAM went back to the architect and together they drew up plans to encase it in full, resulting in a calm divide between the kitchen and sofa area.

Lighting came next. Control throughout the building was paramount, as you could be four flights away from the area you wanted illuminated or otherwise. “We put together initial concepts of how we wanted the lighting to look and where throughout the house, then called in Barton Solutions to devise an automation network that allowed control throughout the building.

Lightmaster then worked with Barton Solutions to create technical drawings that positioned points throughout and we worked with the clients to choose the decorative elements of lighting on each floor in such a way that it would set off each room perfectly. A large Julian Chichester chandelier was chosen to hang over the dining area, and more discreet but no less interesting ‘Puzzle’ up-lighting for the ceiling of the living area.

The Puzzle light would emit a warm glow across the ceiling but not impose on the view of the living area from the breakfast bar nor obstruct TV watching. There were also floor lights throughout, shelf and mirror lighting, wash lighting down the staircase and lighting plastered in at the top of the stairs.”

Now that the bar had been set with these core elements, the same level of quality was applied to every last aspect of the house, right down to the finish. A unique aspect of the interior is that there is not one exposed edge in the whole of the house. Every wall is flush.

A historic hotel, with outstanding food and beautiful gardens, located in the heart of Cornwall.

T H E A LV E R T O N . C O . U K S TAY@ T H E A LV E R T O N . C O . U K 01872 276 633

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A unique aspect of the building’s interior is that there is not one exposed edge in the whole of the house.

Every wall is flush.

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space “It became an obsession,” Matthew confesses. “No area or join was overlooked, which required a great deal of work and, fortunately for us, highly amenable and expert contractors. Plasterboard was brought out to different degrees and floor levels adjusted to match the depth of stone tiles, such that everything, all wall and floor surfaces, were flush. The result is a sleekness that extends across every surface, including the joinery, provided by Touch Design Group. The cupboards were inset and all the doors rebated. It would have been a lot easier to have used standard skirting and architraves for the doors, but this level of finish sets the house apart.”

The interior design project took about 18 months to complete and in that time JAM built up a strong relationship with the client. “It’s highly personal and they need to trust you, but it’s important that that trust doesn’t extend to dependency on every decision. Despite the temptation to complete the interior down to the last detail, we left a prominent wall noticeably bare deliberately. This, we explained, was for that special work of art that they would source and love. However tempting it may be for us to provide the final touch, it’s important to hand over ownership to the ultimate occupier and have them complete the project. It is, after all, their home.”

THE DESIGN TEAM JAM Interiors, recommended by the building’s architect BBH Architects (Paul Myers and Lee Rowell) to take an all-encompassing approach and in doing so they brought in: Sapphire Living Spaces (David Aspinall and Mark Newbery) to design and provide the kitchen and all the bathroom and sanitaryware; Barton Solutions (Joe Harvey) to devise the control network for the home’s lighting system; Lightmaster (Carly Brooks) to draw up the lighting’s technical specifications; Devon Stone, a wholly owned subsidiary of JAM, to supply all the stone for walls and floors throughout the building; Touch Design (David Tremlett) to deliver the high level of joinery throughout the house; plus all the decorative elements, designer lighting and furniture, which are too many to mention here, minus one very personal work of art. jaminteriorsgroup.com bbhdartmouth.co.uk sapphirespaces.co.uk bartonsolutions.co.uk lightmaster-direct.co.uk touchdesigngroup.com

Bovey Castle is history, excitement, glamour, adventure and the perfect country retreat.

Where else can you wear your Hunter wellies at 8am, golf spikes at 3pm and Manolo Blahniks for dinner? But while we offer our guests luxury and indulgence, this isn’t a stuffy hotel where you can’t sit on the furniture or let your kids enjoy themselves.

Purchase an ‘Off Road Experience’ voucher by calling 01647 445000 or visit www.boveycastle.com OFF ROAD EXPERIENCES | GOLF | FALCONRY | FLY FISHING CLAY PIGEON SHOOTING | ARCHERY | CIDER AND SLOE GIN MAKING | COCKTAIL MAKING | HORSEBACK ADVENTURES North Bovey, Devon, TQ13 8RE T: 01647 445000 E: info@boveycastle.com www.boveycastle.com /boveycastlehotel @boveycastle MANOR | High Summer 2016

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Nautical but nice It’s seaside season so we thought we’d be predictable. Also, because the soft hues of driftwood and calming blues, whites and greys never go out of fashion, and make for a lovely spread. To look at them conjures up thoughts of sea-scented sunshine and sand between your toes.

Lantern, Debenhams, £50

House of Fraser

Plates, Marks & Spencer, £15 each

Chair, Marks & Spencer, £449

Lantern, Lorraine at Home, £29 120

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Cushion, Laura Ashley, £50

Crockery, John Lewis, £30

space Light, John Lewis, £155

Light, John Lewis, £40

Hanging chair, Almara, £449

Picnic hamper, House of Fraser, £70

Table, John Lewis, £60

Cushion, John Lewis, £20 Cushion, John Lewis, £15

Vases, Lorraine at Home, £25

Plate, Homesense, £14.99

Ship’s wheel, House of Fraser, £49

Hightide Devon Ocean Pearl candle, Orange Tree, Dart’s Farm, Topsham, £28

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Award-winning frames

Photo:Van Ellen + Sheryn Architects

2014

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2015

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carpenteroak.com 01803 732900

Escape A walking tour of Penzance and places to stay in the town | Prince Hall Hotel, Dartmoor

The Shepherd’s Hut at Prince Hall Hotel, Dartmoor princehall.co.uk

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MANOR takes a whirlwind walking tour of Penzance – England’s most south-westerly frontier town. Words and photos by Kate Mount.

Jublilee Pool

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P

enzance is truly a ‘destination’. Like London Paddington at the other end of the mainline; like Brighton, Torquay and other seaside towns; even like Venice Santa Lucia or Paris Gare du Nord, it has buffers. Trains come to a proper halt in a closed room and agree with you that the town is worth the stop – it’s not just somewhere on the way to somewhere else.

Just as unusually nowadays, you can arrive in Penzance in your pyjamas. The Great Western excursion is one of only two still running a sleeper service out of London, accentuating the romance of the fact that Penzance delights in being a town right on the edge, a place of independent, frontier spirit, to be seen with fresh and increasingly fashionable eyes.

In daylight, the run down from my home in Totnes is a mixed bag. After Plymouth and the brief excitement of the Tamar bridge – when you feel you might be flying to another island country – the route offers only occasional glimpses of any seaside, but frequent reminders of Cornwall’s chequered industrial past, as it slows and shimmies through the mining landscapes of St Austell, Redruth and Camborne.

Then, at the last minute, the view opens along the shore of Mount’s Bay onto a view of the tidal island of St Michael’s Mount – steep sided, incongruously Gothic, with a castle and chapel on the summit. Penzance takes its name from another holy place, a western harbour headland named in the Cornish language ‘Penn Sans’, but its atmosphere has more to do with southwesterliness and the pleasure of looking farther out, perhaps from the window of one of its white, shipshape, Modernist houses.

And Penzance, I discover, has more tangible charms than that, based on its rich history, especially the Victorian age of ambition, when the money it made from tin allowed it to think like a metropolis, offering its people education, culture and opportunity. That’s the flavour of the optimistic combination I thought I’d try to capture on this whirlwind walking tour.

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Somewhere nearby was Geoffrey Bazeley, a native of the town, who designed Tregannick House, Sancreed, Cornwall, which is, according to architectural historians, “one of the best Modern Movement houses in the West”.

My outing follows the Western Promenade Road and then via New Road takes me towards Newlyn – on level ground (perfect for bikes, pushchairs or running). I make a short detour to another modernist building, Acland House, in Lidden Road, built on what was open land but is now in the middle of an estate. It might be a Geoffrey Bazeley but other sources credit the Drewitts.

The Scillonian III

From the railway station I take the coast road toward the quays to find the good ship Scillonian III disembarking island passengers and craning ashore a small fishing boat. The Scillonian ploughs the 30-mile crossing eight months of the year carrying up to 485 passengers. Voyages to the Scilly Isles can be memorable for the marine sightseeing – dolphins and sharks – or for the torture of going to sea in a shallow-bottomed, peagreen boat.

Acland House

The Yacht Inn

Next stop for me is the Jubilee Pool, just refurbished and reopened for the new season and dazzling white – as if no winter storm had touched it or ever could. The largest open-air seawater pool in the UK still surviving, it was designed in the early 1930s by Frank Latham and opened with great celebration in May 1935 for George V’s Silver Jubilee. The tempests of February 2014 all but wrecked it, and Storm Frank interrupted the rescue work last winter, but here it is, elegant, glamorous and floating out of the blue like a mirage.

There’s more International Style curves just across the road at the Yacht Inn, which was designed in 1935 by Colin Minors Drewitt, one of a cluster of tuned-in local architects. Colin was in practice with his brother Frederick.

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And so to Newlyn, part of Penzance parish but with a character quite its own. Newlyn has one of the largest fishing fleets in the United Kingdom, with more than 40 acres of harbour. It is also known for the Newlyn School – the colony of artists here between the 1880s and the early 20th century who were lured by the light and the romance associated with hard and dangerous work in the open air. The 1895 Passmore Edwards Gallery – now the Newlyn Gallery – has a modern extension, shows contemporary art and (de rigueur these days) has an excellent cafe, this one with sea views as well.

It was gallery Operations Officer Simon Jaques who recommended the Newlyn ice factory to me as a characteristic example of the architecture associated with the fishing industry.

It was built just two years ago, and works round the clock freezing 100 tonnes of flake ice every day. The painters of the Newlyn School might not have seen much beauty in it, but a century later their artistic counterparts would: it’s very reminiscent of the industrial structures, particularly water towers, photographed by Bernd and Hilla Becher in Germany from 1959 until the 1990s.

Simon Jaques told me he’d like to open a sushi restaurant there. Good idea – nowhere could the sushi be fresher.

Back now to Penzance along the Western Promenade and via Morrab Road to the gates of Morrab Gardens, a public, sub-tropical oasis in the heart of town.

Among the palms there’s a great rarity – one of just 30 independent libraries in the country – also some Grade

escape

Penzance delights in being a town right on the edge, a place of independent, frontier spirit, to be seen with fresh and increasingly fashionable eyes.

Newlyn Gallery

II Listed architectural features including a Victorian bandstand and fountain. The Morrab Gardens story encapsulates Penzance’s rise, fall and modern recovery: created in 1841 out of a private fortune at the height of the town’s prosperity, it now flourishes in local authority ownership as a tourist attraction.

From there to Chapel Street, one of the oldest, which leads down to the even older quay where my journey began. Some of the 18th-century houses here are of red

Morrab Gardens

brick rather than the local granite and are called the ‘Rotterdam Buildings’, having reputedly been raised with money from Dutch prizes taken by a Penzance privateer. At the time, brick was regarded as being of higher status than granite.

Chapel Street’s standout building is The Egyptian House, built in 1835 for the mineralogist John Lavin.

The architect was either John Foulston, who designed one vaguely similar still standing in Devonport, or P.F. Robertson, after his Egyptian Hall in Piccadilly.

Penzance’s souvenir of the Napoleonic Egyptian craze is owned by The Landmark Trust, which can offer three holiday apartments.

A plaque on the wall of 25 Chapel Street, one of the ‘Rotterdam’ houses, records the unlikeliest of literary connections – between Penzance and Wuthering Heights.

It was the home of Maria Branwell – mother of Charlotte, Emily, Anne and Branwell Bronte – and her sister Elizabeth, who helped raise the Bronte children after Maria’s death.

The Branwell men took an active part in Penzance public life as town mayors and prominent Methodists.

Just round the corner from Chapel Street is The Exchange, an art space opened in 2007 to coincide with renovations to the Newlyn Gallery and housed in an old telephone exchange. The large gallery space retains the original industrial feel and has a striking glass facade illuminated after dark by ‘Lightwave’, an installation by

The Egyptian House and its façade

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Its atmosphere is to do with south-westerliness and the pleasure of looking farther out, perhaps from the window of one of its white, shipshape, Modernist houses.

The plaque at 25 Chapel Street

Penwith artist Peter Freeman. And there’s another good café here!

Lastly to Market House, whose lead Venetian dome continues to be the architectural pivot of the town and which symbolises its Victorian prosperity and selfconfidence. Built in 1838 as a market, there was once a guildhall with a lock-up in the basement, a grammar school on the first floor and a theatre upstairs – a whole society in miniature. Now there’s a bank in the front section and the rest of the building surely beckons to smart redevelopment.

Market House

Just outside there’s a statue of Sir Humphry Davy, a famous son, celebrated here for his contribution to pure chemistry, rather than miners’ safety.

Humphry said: “Nothing is so dangerous to the progress of the human mind than to assume that our views of science are ultimate, that there are no mysteries in nature, that our triumphs are complete and that there are no new worlds to conquer.” Just the sort of adventurous thought to think when looking out to sea from England’s most south-westerly frontier town.

The Exchange

The Davy statue

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Places to stay in Penzance Words by Fiona McGowan.

ARTIST RESIDENCE On Penzance’s Chapel Street is a rather grand, doublefronted Georgian townhouse. It has little fanfare to announce its presence as one of the chicest places in town, but perhaps that’s what makes it so chic. The road is home to an array of interesting shops and characterful pubs: The Admiral Benbow opposite flies a huge pirate flag with a skull that leers into the window of the hotel, flapping in a breeze from the harbour front just below.

The Artist Residence, the second in a chain of three boutique hotels created by hip young couple Justin and Charlotte Salisbury, has been growing organically since it opened four years ago. The concept behind the hotels has a slightly eccentric provenance. Eight years ago, Justin – fresh out of university – took over the family’s run-down guest-house in Brighton. With a flash of inspiration, he posted an ad on Gumtree to invite local artists to decorate the eight rooms. Instead of one or two responses, as he’d expected, there were hundreds.

Stripping back the walls to original features, exposing beams and brickwork, and combining that with the murals from local artists, the townhouse was transformed into a quirky yet classy boutique hotel with 23 rooms and a hugely popular, uber-cool restaurant.

Charlotte, Justin’s partner, has been heavily involved

in bringing the essence of the Brighton hotel to the Penzance Artist Residence. When they took over the place four years ago, it was similarly run-down. Charlotte lived in the hotel while it was being transformed. Local graphic artist Mat McIvor, along with Jo Peele (one of the artists from the Brighton hotel), daubed the rooms with their striking murals. The restaurant started off with an American diner vibe – lots of ribs, sliders and mac ‘n’ cheese – to go with the exposed brickwork, reclaimed furniture and utilitarian décor.

Over time – and they have crammed a lot into a very short time – the place has morphed from a laid-back guest-house with a few self-catering apartments and a youthful vibe to a proper boutique hotel. The youthful vibe is still there: it’s one of the hippest places to hang out and eat at the weekends, helped by the walled back garden that would not be out of place in Shoreditch hipster-ville. The extremely young staff also add to the bright-eyed, bushy-tailed, do-anything atmosphere.

While Charlotte and Justin headed off to set up a hotel in Pimlico, the Penzance Artist Residence was put under the control of a team of 20-somethings, headed up by General Manager Nick Sowden.

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for the job. He works with the head chef (also only 24) to create a food and drink menu that is pushing boundaries.

While not losing touch with the accessible diner-style elements, they are constantly creating imaginative tasting dishes. The food is mostly locally sourced, from the fishmongers in nearby Newlyn, the century-old butcher’s up the road and from local producers around the county.

The chef is into foraging, too, often bringing in wild garlic and herbs that he has picked himself. A scruffy yard area at the back of the hotel is about to be dug up and planted as a kitchen garden. The menu is heavy on smoked meats, all done on site: a ‘Big Green Egg’ smoker sits alongside a barbecue on the decking area, and on dry evenings, guests will be able to order and eat their dinner straight from the grill or smoker. A cocktail bar and table tennis table, plus picnic benches and wooden decking, add to the buzzy atmosphere.

Justin and Charlotte explain that the development of both their Brighton and Penzance hotels was done in stages, based not on any grandiose plans but on what they could afford at the time. The layout of the Penzance hotel is currently being altered: the bar is being taken out of the restaurant and put into what was a huge groundfloor apartment. There are still elements that are far from perfect: the finish in some of the hotel’s bathrooms still looks a little B&B-y, but the artwork and quirkiness of the interior design more than makes up for it.

While the hotel has very much a ‘town’ feel – many of its rooms overlook the characterful rooftops, walled gardens and chimney stacks of old Penzance – it is still imbued with the ocean. The higher rooms (particularly

The new lounge bar

the ‘Admiral Benbow’, where you really do feel as though you are in an old sailing ship) have sea views to the big curve of Mount’s Bay, just a couple of streets below.

The atmosphere of the bar and restaurant is a true Cornish blend, catering to arty visitors with a penchant for leftfield design as well as locals from every generation.

You are just as likely to find a party of 20-somethings with hipster beards and funky footwear as a couple of elderly artists or a group of parents on day-release from the kids. Most importantly – clientele and décor aside – it feels both comfortable and welcoming, which is about the best endorsement you can get for a hotel. artistresidencecornwall.co.uk

PHOTO: MIKE NEWMAN

MYRTLE HOUSE Penzance is a town of many facets: the more genteel neighbourhoods are leafy streets with rows of large terraced townhouses that wouldn’t look out of place in Notting Hill; the quiet roads clustered around Morrab Gardens are particularly elegant – the park maintains its secluded Victorian design, with neatly mown lawns, landscaped shrubbery, winding pathways and a delightful wrought-iron bandstand. Myrtle House stands imperiously in a line of merchants’ houses, overlooking the gardens and, beyond them, glimpses of the sea stretching out west towards Newlyn and Mousehole.

A socking great Friesian cow grazes on the gravel front garden, indicating that Myrtle House is not your average high-end holiday rental. Admittedly, it’s not a real cow, but it’s still a bit eccentric to stick a plastic bovine in your front yard. Inside, the décor is just on the right side of quirky, blending period features – lovingly restored fireplaces, wooden floors and great Victorian sash windows – with G-Plan furniture, edgy wallpaper, an enviable collection of Leech Pottery and a few Toby jugs thrown in for comedic value.

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escape

PHOTO: MIKE NEWMAN

The view from the loft

holiday in a self-catered house, the kitchen and utilities become rather important. Myrtle doesn’t disappoint here: the range cooker is made by uber-luxe brand Lacanche; the big rough-hewn wooden island is both worktop and chopping board, while a farmhouse table is the main draw for the family to gather round. Down in the basement is the all-important utility room, where wetsuits and outdoor gear can be washed and dried (and ‘going out clothes’ can be ironed). The rather more formal dining room is flooded with light, no matter how gloomy the day, thanks to giant bay windows overlooking Myrtle the cow, chewing on her gravelly cud.

It is a tough call to find a place that juxtaposes such inspiring design features and interesting art with a genuinely homely feel. Most of the rooms upstairs overlook Morrab Gardens, and each room has its own individual personality. If the upstairs sitting room feels rather formal (no soft, sinky sofas here – and the 300-year-old armchair is plain scary if you have stickyfingered kids around), it more than compensates with the fabulous window seat with its vista of treetops and sea beyond. Some odd, clangy, metal-framed shelves sit alongside spectacular features like the working marble fireplace and large Amanda Slade painting. The bedrooms and en-suites are exactly what you’d expect: high-end finish, flawless fittings and all sorts of vintage oddments and antiques to keep it from feeling too stuffy.

The twin room right up in the eaves is a perfect den for

kids, too – all funny-angled ceilings, wooden joists and cubbyholes. The whole place is painted in tasteful Farrow & Ball hues, some walls are adorned with Timorous Beasties hand-printed toile wallpaper, and every surface is decorated with carefully thought-out ornaments – from glass Buddhas to cute china birds.

The stairs are lined with books that guests might actually want to read, too (no tatty airport trash here) – entertainment laid-on, no matter what the weather.

Bibliophile visitors will be blown away by the Morrab library just on the other side of the gardens. Established in 1818, it is one of few privately owned libraries in the country that are open to the public, and home to some 55,000 books. It is a warren of book-lined rooms, and you can become a member for a week – or just sit in the reading room and take in the atmosphere.

Penzance townhouses were not built with parking in mind, so it is a particular boon for Myrtle House guests that there is designated parking in a gated carpark just a street away. And if the idea of self-catering doesn’t appeal, guests can even organise a catering service…

Myrtle House is certainly spacious enough for two families or a group of friends to stay, forming a base from which to explore the particular charms of Penzance and the exquisite coastline beyond, all the way to Land’s End and back to St Ives on the north coast. myrtlehousepenzance.co.uk

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Dartmoor dawdling To do or not to do… that is the question Belinda Dillon ponders on a visit to the Prince Hall Hotel & Restaurant.

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s I headed towards Dartmeet on the first properly warm day of spring, it seemed as if the moor had pulled out all the stops in its efforts to impress. Everywhere, the gorse was beginning to burst into explosions of buttery yellow; lambs and foals loafed about or sauntered roadside; the landscape was laid out crisp and clear in every direction under an expanse of startling blue, feathered here and there with wisps of white. If you’re after a surefire stress-buster, there’s little better.

Until you discover the Prince Hall Hotel, that is.

Situated at the end of a serene, beech-lined drive, this 18th-century manor house has the right mix of people, place and atmosphere to encourage surrender to total relaxation. Refurbished and updated by the current owners when they took over in 2007, the hotel has that welcoming, home-from-home aesthetic – if your home is a mansion on the moor, natch – that makes you feel immediately at ease: a charmingly bohemian style, with

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mismatched sofas and chairs in the cosy sitting room, handmade wooden tables in the bar and restaurant. The eight bedrooms – all named after tors – are individual and sumptuous; and there’s a glamorous Shepherd’s Hut in the grounds, should you prefer to pretend that you’re roughing it (hardly – this gorgeous little space has full double glazing and an ensuite shower room!). And the staff team manage to exude that rare combination of supreme professionalism and friendly informality. All very conducive to kicking back and enjoying the country house vibe.

But there’s also plenty to do, should you feel the need.

As well as the obvious walking opportunities afforded by the location, you can grab a fishing licence from reception (the West Dart runs past the bottom of the property) or have them arrange a hack with a local stable, or, like me, you can join owner Chris Daly in the adjoining barn for a full or half-day pottery session.

As a first-timer at the wheel, it took me a while to get the hang of it, but pretty quickly I was hooked. It’s a testament to Chris’s patience and skill as a teacher – he ran a number of studios prior to becoming a hotelier, and makes all the flatware and crockery used throughout Prince Hall – that he managed to coax from me a fairly decent bowl and… um… something else that’s shaped a bit like a beehive. After a bit of head scratching, we decided that it might be a scent diffuser holder. Yes, that’s exactly what it is. And while I was busy shaping my creations, the head chef came in to make up a batch of ash glazes that the team are experimenting with for the hotelware. The ash came from the grates in the house, plus some brought in by staff from their fires at home. It’s clear that everyone gets involved with every aspect of life at Prince Hall.

After the pottery session, the afternoon stretched

escape ahead of me. What to do? I could have gone for an invigorating yomp, or, since I’d brought my laptop and a tonne of work in lieu of the other half (who was too busy to join me), I could have been productive in myriad other ways. I went out onto the terrace to consider my options, and that was it – the next four hours were gobbled up by gawping at the view, watching house martins swooping and diving between the sky and their nests under the eaves, and being charmed by a family of goldfinches bouncing from bush to fencepost to nearby tables. Resident house dog Timba wandered over for a stroke or two, but mostly it was just me and the reality of Dartmoor at its most sublime.

After such a taxing afternoon, I was ravenous, and dinner proved that the Prince Hall is also a go-to destination for foodies. The daily changing menu is focused on the best seasonal ingredients – with most of the salad and herbs grown in the hotel’s kitchen garden – and rightly celebrates the locale. The pork belly and apple purée amuse bouche got the taste buds tingling in all the right ways, followed by a rabbit terrine that was coarse and robust, offset perfectly by a sweet tomato chutney; a celeriac remoulade added a nicely astringent edge. Next up was a supreme of guinea fowl, which was succulent and tender, accompanied by a rainbow of the cutest heritage carrots. All came served on Chris’s Dartmoorinspired plates, the colours conjuring the view outside the windows. I thought this might be a problem – I’m usually a stickler for pure white dinnerware – but it worked; it was as if the food were springing directly from the land that had produced it.

I couldn’t manage dessert, unfortunately, but repaired instead with a glass of smooth organic merlot to the sitting room, and pulled up a chair in front of the fire.

The other guests – the hotel and restaurant were full that evening – gradually filtered in, and soon we were a happy band of post-prandial recliners, chatting and gazing into the flames while several resident and guests’ dogs curled up at our feet. Because that’s the other thing: Prince Hall is exceptionally pooch friendly; they’re free to wander wherever their doggy hearts desire, except the kitchen and the dining room – although your fourlegged friend can join you for dinner in the bar. There’s even a complimentary pack of Bob and Lush treats in every room.

And so to bed – I spent the night in Houndtor, which boasted not only another chance to enjoy that view, but possibly the biggest bed I’ve ever seen (certainly that I’ve ever slept in). After a shockingly good night’s sleep, I wandered down to a hearty breakfast, and once again was struck at the level of ease fostered by the whole Prince Hall experience. It’s no wonder that it’s a popular destination for house parties: you can book out the whole hotel for the weekend and make like proper landed gentry. “Guests feel so at home that they wander around in their pyjamas,” says Chris. I can well believe it.

After such a relaxing time, it was with a heavy heart that I got ready to leave, but I just had time to head to the pottery once more to try my hand at raku. Choosing a readymade pot, I went wild with the various glazes on offer – dipping and pouring to create different effects, occasionally using a brush to add more definite lines and markings, making sure that every part of the clay was covered. This and several others went into the kiln, which then was cranked up to about 980°C, glowing furiously (Chris told me that he usually tries to arrange raku firing sessions for at night, when the effect is elemental and mesmerising). After about 40 minutes, we removed the pots and put them into a metal dustbin filled with straw, and thereafter dunked them in a bin of cold water. When they came out, they looked like lumps of lava, but after we vigorously scrubbed at them with scourers and cleaning fluid, they emerged like beautiful butterflies – vibrant and iridescent, popping with unexpected colours and effects, the trademark raku crackle like a map underneath it all. Kirsty Allsop once referred to freehand machine embroidery as “the crack cocaine of the craft world”. I think raku might have that beat.

But whether you choose to fill your days here with activities, or just trail around in a state of advanced relaxation, a visit to Prince Hall demands a repeat performance. I’ll be heading back soon to reclaim those pots I made earlier, and to have a go at glazing them.

And next time, I’ll make sure to bring the other half, or at the very least borrow a dog or two.

Courtyard-view B&B prices range start at £160 in low season (moorland view rooms from £190, £115 for the Shepherd’s Hut); from £180 in high season (moorland £220, £150 for the Hut).

Courtyard-view B&B plus dinner from £190 in low season (with moorland view from £220, £170 for the Hut); from £225 in high season (moorland £255, £200 for the Hut). House Party prices start at £1,820 per night (low season) for all rooms – dinner, B&B for 9 rooms (18 people).

Pottery courses start at £45 for half day per person. Although Chris is often available for impromptu pottery sessions, it is advisable to book ahead to avoid disappointment. Stay for two nights and get a pottery course for one person free included in the stay (must be mentioned at time of booking). Offers from £99 B&B per night. princehall.co.uk Chris at the potter’s wheel

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22/04/2016 13:28

For teachers and parents of children studying in the South West Schools news in brief

Advice and inspiration from an Oscar winner JENNY BEAVAN, the Oscarwinning costume designer, gave students at Blundell’s School an inspirational talk and great advice when she was guest of honour at the school’s Creative Arts dinner. Jenny (left) has won two Oscars, most recently for designing the costumes for the film Mad Max: Fury Road, which also won her a BAFTA, and she has won Academy nominations for eight other films.

The senior pupils who were lucky enough to hear her speak were enthralled by her insights into the research, design and making of the costumes for Mad Max, for which she drew on a range of sources from Nigerian Hyena Men to discarded plumbing tools. She showed the pupils that costume design was not just the result of a creative gift but also the product of an enormous amount of background work; that design for drama is all about the characters and the story-telling, not the clothes; and that to cope with any significant challenge, you have to split the task into bite-size chunks – useful advice for many careers.

Jenny was very interested in the pupils and spent a long time talking to them about the merits of a career in the Arts. After the event, one Year 13 pupil commented, “The most amazing thing about Jenny was her passionate and down-to-earth nature. She told us that while she was lucky to be where she was, it did not come without being out of her comfort zone, which was great advice to the budding creatives in the room.”

Exeter School pupils’ poetry selected for Bud Lit festival

THE WORK of three Exeter School poets has been selected for publication by the Budleigh Salterton Decorative and Fine Arts Society. The collection of poems will be published in September as part of the Budleigh Salterton Literary Festival, and the work of five other pupils will also be on display.

The Year 10 pupils were invited to write poetry on the themes of poaching and conservation as part of a Bud Lit Fest creative writing project during their English lessons.

“We were delighted to discover that Megan Bailey, Bethan Reynolds and Phoebe Solway’s works had been selected for publication. Their poems displayed great heart and originality, as well as a feel for the music and imagery that makes poetry memorably haunting.”

The collection, which is to be published in tandem with the arts events in September, opens with Megan’s poem ‘A World without Animals’. Poems by Georgia Willis, Jess Wright, Jashan Patidar, Lauren Sampson and Emma Daly will also be on display during the event. budlitfest.org.uk

Millfield in the mix at UKMT Maths Challenge national final MILLFIELD AND MILLFIELD PREP pupils continued their involvement in the national Team Maths Challenge this week, sending a joint team to take part in the final in London. One of 88 teams to compete in the final, Millfield finished a very creditable 11th in the rankings. Overall, more than 1,500 teams entered the whole competition.

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All write now

In Help Your Child at Home, Professor Ruth Merttens provides parents with advice on how they can assist their children’s learning. In the ninth part of this exclusive series for MANOR, she focuses on helping teenagers with writing.

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riting is not easy! Throughout this series, I have been concerned to stress the fact that writing is a complex skill, one that it took many thousands of years to develop. It encompasses a diverse set of skills. These can be broadly categorised under two headings: semiotic and transcriptional. As our children transmogrify into teenagers, the separation between these two skill sets can become more acute.

Writing and numerical fluency are the two skills that follow reading in being of real significance when it comes to not only educational or academic success but also professional achievement and employment. If young adults can’t or don’t write, they are virtually unable to participate in higher education and are much less likely to succeed in job applications or to make progress in professional life. So writing is, despite what teenagers often think, as important as it ever was.

Transcriptional skills are those that involve the physical activity of writing and setting words in order on paper. By the time they are 13 or 14, children should have developed a fluent handwriting style. However, ‘should have done so’ and ‘actually have done so’ are two different things, and a regrettable number of 13- to 14-year-olds seem unable to write without considerable pain and effort. This means that the situation is now serious, as teenagers will argue vociferously that they don’t need to be able to handwrite anything as they can type! Unfortunately this is not true, and although the occasions when we have to write something by hand are few, they are pivotal in career terms. So I tell my classes of Y9 and Y10 students that if they cannot handwrite neatly and rapidly when they are required to do so, those few occasions can cost them dear. They include exams, parts of job applications, interview tasks, legal forms such as mortgage or rental applications, and so on.

The only thing that helps children to physically write well and fluently is practice. It can be practice at patterns as well as actually writing, and even free-style drawing helps as it develops hand-to-eye coordination and fine motor skills. But really we need to get our teenagers writing, writing, writing... They need to find handwriting easy and not a struggle. Since there are few occasions in daily life where they actually need to handwrite, bribery can be an effective option. Usually there are parts of homework that could be handwritten or could be typed.

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get the practice. I always stress that they do need this skill and will thank me one day! And sometimes there are more immediate gains – being bribed with a film to write a letter to Granny could potentially result in a letter back or even a small gift!

The other aspect of the transcriptional skills which tends to hold young adults back is a lack of spelling and punctuation. Once again, truculent teenagers will assure you that these things don’t matter as they can use ‘spell-check’. There are, as I continuously point out, many things wrong with this argument. Firstly, if I am handwriting something, there is no spell-check. So an employer who wants to ascertain my writing skills has only to request a short piece of handwritten information to find me out. Most offices do this routinely before employing someone. And, of course, almost 100% of examinations are handwritten. It is worth noting that the trend to handwritten examinations is increasing rather than the reverse, as the potential for ‘cheating’ via online material is one that exam boards as well as colleges and universities take seriously. Most lecturers know that there is no substitute for watching the students handwrite a short essay to enable them to evaluate their genuine ability to produce thoughtful, written work.

But a second, equally crucial point needs to be made about the ubiquitous spell-check. It does not pick up many important ‘give-away’ errors. Using ‘their’ instead of ‘there’ or ‘its’ instead of ‘it’s’ will go unchallenged, as will ‘advice’ instead of ‘advise’ or ‘practise’ instead of ‘practice’, etc. The default settings of spell-checks are US American and not UK English, and so words like color, neighbor, theater, centimeter, and so forth, will all be spelt incorrectly, not to mention those more difficult to recognise such as pretense, recognize, organize and specialize.

So it is important to point out that an error such as using ‘their’ for ‘there’ or ‘theater’ for ‘theatre’ tells potential employers or examination markers that they lack the ability to write correct English as plainly as if they had just stood there and yelled “I can’t write English!” in their faces.

Supporting 13/14-year-olds to improve their spelling and punctuation skills has to involve the school or, potentially, another experienced professional. It is notoriously hard to improve spelling, as the research is, despite what some people claim, highly equivocal.

We do not know why some people find it easier than others to spell correctly; we simply know that they do.

school We do, however, know that some things help. Reading is certainly a benefit here. There is no logical reason why the sound ‘ooh’ in the words moon, flew, do, blue, rule, you, fruit, truth, two, shoe, should be spelt differently in each one, and you can only recognise that ‘rool’ is wrong and ‘rule’ is correct if you have read the word many times. So, the more children read, the more they are likely to spell correctly. In addition, professional help from a trained specialist can make a great deal of difference. Schools will be able to advise here and it is worth making an appointment to see your child’s English teacher to discuss this if you are worried.

However, I have been dealing with the more serious end of the spectrum here. Many examples of teenagers’ poor writing, showing a lack of transcriptional skills, are not evidence of a cognitive deficit so much as evidence that the teenager cannot be bothered to make an effort to write correctly. Somehow, between the ages of 12 and 16, many erstwhile good writers become sloppy and inconsistent; their handwriting deteriorates, their spelling goes to pot, and their punctuation becomes all but non-existent. To a degree we can let this go as a phase, which (like others!), they will generally grow out of. However, there is a risk that they get into bad habits and are unable to retrieve their previous good writing practices. Therefore it is important not to let this laziness consolidate into habit. Consistently challenge their assertion that a piece of work is ‘good enough’, that ‘it will do’. Show them, by your own attention to detail and the effort that you put into your own work, whatever it is, that ‘it’ll do’ is not an attitude that you can go along with. Setting an example here is of the essence. As well as the inevitable ‘nag, nag, nag’, occasionally be prepared to reward if they go the extra mile, or put in renewed effort when you have pointed out the shortfalls in a piece of homework. But don’t let the ‘can’t be bothered’ harden into practice. It is an attitude that will serve them very poorly not only in education but in life itself.

The other half of writing is the semiotic aspect.

This refers to the ability to create and share meaning through reading and writing texts. Here, as with the transcriptional skills, teenage years are a dangerous period since some children simply stop reading. A child who has read with enthusiasm throughout their primary school years may, as they enter puberty, transform into a child who never picks up a book. And this can be disastrous for their education as well as for their emotional and intellectual well-being. Once again, the essence of change is setting an example, and encouraging, even bribing, children to read. (See MANOR issue 10 for the article on helping your teenager to read.)

At the heart of writing well is the ability to communicate with others. If your teenager is not encouraged to communicate in spoken language, they certainly will not be able to communicate well in written language. All writing begins with speaking. They

need to be able to explain what they mean, to recount a sequence of events, to give a series of instructions and to argue a point. Engage your silent or sullen teenager in dialogue! It doesn’t matter if this irritates him; I always told my children that it was my job as their mum to be annoying! It matters if they gradually cease to be able to express their feelings, opinions and grievances coherently in words. A pupil who cannot order his thoughts to express them in spoken language is certainly not going to be able to write them in a logical order. By contrast, an adolescent who still participates vociferously in family discussions, whose opinion is sought on decisions and issues, and who is encouraged – even required – to articulate exactly why something has upset her or what it was about that conclusion that annoyed her so much, is very unlikely to have a problem putting pen to paper and saying it all in writing.

Adolescents, no less than younger children, need to be given frequent and easy opportunities to write.

This includes typing emails and writing a diary. It does not include messaging or posting stuff on Facebook, YouTube or Twitter. Basically, in relation to expressing oneself in writing, it does not matter if the writing is typed or handwritten – what is critical is that more than one thought is being articulated, and there is an internal logic to the text.

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An opportunity to meet staff, take a tour with a pupil guide and learn about our impressive results, scholarships and awards, and extra-curricular opportunities.

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Finally, parents often ask me if it matters if their child’s grammar seems to have deteriorated since leaving primary school. This is a tricky question. Grammatical errors within a piece of writing do certainly matter.

In examinations, even those like geography or history, which are not English per se, the examinee is likely to lose marks if the grammar is incorrect. By the same token, when writing an application for a place at university or for a job, grammatical errors will sharply decrease the likelihood of success. However, other than in an English or foreign language exam, the ability to name or distinguish grammatical terms is unimportant; we just have to use them correctly. So it really comes down to the ability to write coherently, and to have a good vocabulary on which to draw. Helping teenagers to build that good vocabulary and acquire a set of useful ways of expressing things involves supporting them in reading lots and encouraging them to convey their meaning eloquently in speech.

HOW PARENTS CAN HELP – SOME ‘DOS AND DON’TS’ • DO remember that there are plenty of opportunities for writing in daily life. We need to write lists, emails to friends and relations who live far away, ‘thank-you’ letters, notices. We need to fill out forms and answer written questions. Involve your teenager with these things – it is good for them to see that writing is very much a part of adult life. .

• DON’T give up on poor handwriting. Although your reluctant adolescent may resist writing at all opportunities, if they cannot write clearly and swiftly, this will matter! Be explicit and positive. “I know that you hate writing, and I can see that you have trouble writing fast, but I know for a fact that practising this will make it easier.” Stress that they can do this. And remember that a different adult may well have more success than you in helping them to practise!

• DO encourage your child to write using a variety of different media. They do need to practise their handwriting and to keep this fluent. But they also need to write on laptops, tablets and other devices using touch screens and keyboards. The skills required are different – and important.

• DON’T stop encouraging your teenager to read.

Talk to them about books, and buy or borrow books for them to read. If they have seen and liked a film, get hold of the book of the film. If they have a particular interest, acquire books about this. We know that being able to produce coherent written texts is closely linked to how much they read and also to the variety of reading material they enjoy. Reading affects everything – but especially writing!

• DO remember that even teenagers still like to listen to a story. There are many excellent story 138

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CDs, which can be played on a car journey or as they relax before going to sleep at night. Different novels can also be downloaded for surprisingly small amounts of money.

DON’T imagine that because your child spends hours and hours on social media, or messaging their friends, that they are practising their writing skills.

They are not. They are simply practising textese rather than English. It is the length and coherence of a text that makes it appropriate for developing writing skills. Children need to be forced to sequence, to think logically and to organise their thoughts. This is only possible if they are composing a longer text.

DO remember that writing is more than spelling, handwriting and punctuation. If a teenager cannot express a complex thought, or sequence a series of ideas, in spoken language, then they will not be able to produce a coherent written text. The higher level semiotic skills are more important in the long run than spelling or handwriting.

DON’T be too critical, be positive as well.

Teenagers are often diffident or truculent because they are actually insecure and nervous. They avoid writing because they secretly believe that they can’t write, that they are incapable of writing proficiently.

Everyone needs encouragement and positive reinforcement to be confident, and a confident teenager will be able to make progress. You have to convey that you believe that they can do this!

GAMES AND ACTIVITIES Each of these activities helps children develop one or more of the skills needed to become a proficient and enthusiastic writer – including exercising their imaginations! All the activities are for two people!

Three lives

Preparation: you need paper and pencils • • • • • • •

Take it in turns to play.

Pick ONE word from the box below.

Say it to your partner.

They have to write it down, spelling it correctly.

You and they check it. If they are correct that’s fine. If they spelt it wrong, they lose a life!

Keep taking turns and playing like this until one person has lost all three lives!

Play again. Do you do any better?

d, th eatre, ec ia l, re commen Un fo rt un ately, sp us , arct ic, ns weird, un co cio , te ia ed m im , ly appare nt illen ni um , as s, supe rsede, m rr ba em , hm yt rh duct ib le, an ce , oc cu rred , de ec st as y, m ai nten be cause succ ee d, an nual , Good luck!

school Give us a clue!

Preparation: you need some squared paper, a pencil, a rubber and a dictionary.

To play • Take it in iturns to choose a word in the crossword. DO NOT tell your partner which word you have chosen.

• Write a clue for that word – it must enable the crossword puzzler to solve that clue!

• Show your partner. Do they see which word your clue leads to?

• If they agree it is a good clue, write it beside the appropriate number below.

• Now let your partner choose a word and repeat the process.

• Continue until, between you, you have written clues for every word in the puzzle.

• Copy out the crossword WITHOUT the words written in below your clues.

• Present it to a friend or relative! Can they solve your crossword?

Go on...persuade me!

Preparation: you need paper and felt tips This activity needs to be done with a parent or carer •

• • •

Each of you thinks of something that you really want the other person to do. E.g. the mum might really want Sean to keep his room tidy or to do the washing up. Sean might really want his mum to take him out for a burger or to let him stay up late.

Each of you writes three coherent reasons to persuade the other person that they should do as you desire. The writing must be clear, well expressed and persuasive.

Enrol a third person to be the judge!

They read both sets of reasons.

Which is the more persuasive?

This activity helps to extend vocabulary, as does Car Word Challenge!

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DOWN

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6. Opposite of ‘Yang’ in Chinese

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Car challenge

You need someone to play with on a car journey!

To play • Look at a car number plate.

• You have to think of a word that has the same letters as the last 3 letters on the plate in the same order.

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E.g. you could have SWOOP for the first car and GRATE for the second car.

Score 7 points for getting a word BUT take off 1 point for each letter between the car number plate letters.

So SWOOP scores 7 – 2 as there are 2 letters between the W and P. GRATE scores 6 as there is only 1 letter between R and T. It doesn’t matter how many letters are after or before the car number letters! It is the letters in between which count.

If your partner got SWIPE for the first car, they would score 6 and beat you!

Keep playing – who wins each round? Who thinks of the best words?

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9. Initials: Association of Science Instructors

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HELP YOUR CHILD AT HOME If you have missed any of the series Help Your Child at Home by Ruth Merttens and would like to access any part of it, please write to school@manormagazine.co.uk

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04/07/2016

16:07

Summertime

Beautiful

Bargains

SAL E N OW ON !

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Property The Bulletin | Property of note: Farthings, Kingswear, Devon Snapshot comparative

Warfleet Creek slipway, just a few yards from Creek House, Dartmouth On the market with Marchand Petit. Guide price: ÂŁ1,895,000. See page 157 marchandpetit.co.uk

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KINGSWEAR, Dartmouth

â&#x2013; Guide

Price ÂŁ1,300,000

Magnificent 180 degree views over Dartmouth, the River Dart and countryside. Light and spacious well presented house with wonderful decked terrace, garden, garage and parking.

EPC Rating C. Web Ref 81566 Superb panoramic views | attractive garden and summer house | large decked terrace For further details please contact our Prime Waterfront & Country House Department on 01548 855590 or 01803 839190

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property

The Bulletin Brex-what? Imogen Clements asks the experts what impact the leave vote is having on the South West property market.

Last issue we ran a hypothetical piece asking what might happen were we to vote to leave the European Union, not really thinking for a moment that we would. We consulted experts in the region for their predictions on the impact a leave vote would have on the property sector, specifically in the South West, and they were universally optimistic. But then, we suspect that they too didn’t really expect the leave vote to win.

Nor, it seems, did many politicians.

We are where we are, which doubtless, by the time you read this, will be somewhere entirely different, such is the speed of change, but we thought it appropriate that now that the leave vote is passed, to go back to the experts and scan market reports to see what they’re saying. After all, in economic turbulence, it seems to be property – most people’s big-ticket investment – that we look to first The pound has plummeted, as predicted. This makes UK property far more attractive to foreign buyers, prime London property in particular, but also consider the expats currently earning foreign currency. Many will now be considering moving back to the UK from the Continent where life, work and retirement may not be as easy with the UK outside of the EU. These people who had planned to work or retire on the Continent for quality of life may well choose the UK’s SW coastline or hubbub-free countryside to base themselves instead.

Certainly, as Prunella Martin of Marchand Petit noted, the South West seems a prime location for expats to settle in on their return.

And then there are interest rates. Mark Carney has hinted at lowering them further from the current minuscule 0.5% in response to the economic impact the leave vote has had. This will further ease mortgages, and benefit not only first-time buyers and movers but also buy-to-let buyers, particularly those who have equity available in other properties. Again, it seems pertinent that the South West, with its plethora of attractive holiday homes, is likely to attract a good chunk of this investment.

Certainly, the panic of the morning after has subsided. For the agents, it seems to be back to business as usual. In fact, many barely noticed a blip.

Roger Wilkinson of Wilkinson Grant, Exeter, reveals that “in the five working days following the EU Referendum result, we had 114 viewings booked, five sales agreed, numerous offers and healthy levels of fresh applicant enquiries. The post-Brexit property market here in Exeter shows no signs of cooling.

Indeed, several of the offers coming in have been from

London and South East homeowners who have gone under offer since 24 June, and one potential buyer from Twickenham has 15 viewers booked in for this Saturday, barely a week after the referendum – hardly signs of a stalling residential property market.”

Jonathan Cunliffe of Savills, Truro, is equally upbeat: “The Bank of England has made positive statements and the FTSE100 is now at a ten-month high, just a week after Brexit. Following Mark Carney’s statement, the threat of rising interest rates is now off the agenda for the rest of this year – this should underpin the property market and provide confidence going forward.”

Mark Proctor of Knight Frank adds, “In the week after 24 June we saw only two deals fall out of bed as a result of Brexit, and as likely it provided a convenient excuse for buyers who probably wouldn’t have proceeded anyway. In times of uncertainty, bricks and mortar have always been a good place to invest, particularly over the medium to long term. Interest rates remain low, and while we are in uncharted territory, the pound is low, making it more attractive for buyers coming from overseas. There is the continued trend of London buyers moving to the West Country who are realising the growth they have seen in the last ten years and finally making the move for a better quality of life.”

This inward investment from London, all agents seem agreed on, shows no sign of abating, particularly if there is now greater interest in London property from overseas buyers. Recent reports indicate that there is net migration from London and that the South West is a favourite amongst those families choosing to do so. As prime territory also for those expats choosing to return to the UK, things don’t looks so bad from this corner of the country.

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Dartmouth, Devon

Unmodernised house with stunning river views Totnes 13.2 miles, Newton Abbot 21½ miles, Exeter 43 miles (all distances are approximate) Waterfront development opportunity with wonderful views over the mouth of the River Dart. Peaceful South Hams location. 4 bedrooms, 3 reception rooms and 2 bathrooms.

Attached separate flat. Top floor terrace and garden down to the water’s edge with steps onto the foreshore. Double garage and private parking. EPC: E.

Guide Price £1,950,000 KnightFrank.co.uk/EXE160132 144

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To find out how we can help you please contact us. mark.proctor@knightfrank.com 01392 848842

Dartmouth, Devon

One of the best locations in Dartmouth Totnes 13.2 miles, Newton Abbot 21½ miles, Exeter 43 miles (all distances are approximate)

To find out how we can help you please contact us. mark.proctor@knightfrank.com 01392 848842

Exceptional Edwardian house in one of the best locations in Dartmouth with panoramic views of the River Dart. 4 bedrooms, 2 reception rooms and conservatory. Separate office.

Exceptional elevated gardens, beautifully landscaped and with fantastic views towards Kingswear. EPC: F.

Guide Price ÂŁ1,285,000 KnightFrank.co.uk/EXE160132 MANOR | High Summer 2016

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property of note

Seeing is believing Occupying a prime waterfront location, Farthings in Kingswear boasts possibly the best views in the county. Words by Phoebe Tancock.

C

ome rain or shine, economically speaking, waterfront properties never seem to lose their appeal. Waterfront, particularly prime waterfront, has remained one of the more consistently performing sectors in property in recent years. It seems that, when all else in life is uncertain or in turmoil, a property close to the water’s edge offers up a calming, elemental, almost mystic charm that makes them a uniquely special place to be; particularly when they are as well positioned as Farthings.

Occupying 112ft of water frontage, Farthings boasts wide impressive views stretching across the River Dart.

Dotted with bobbing sail boats and yachts, it’s a prime location for anyone with a love of the water. “We are keen sailors, so it was the perfect location for us,” explained the current owner. “It gets the sun all day long because it’s south facing and it’s got this glorious view.

But it’s not just the view; it’s the easy access to the water that the house offers, too.”

Walking down to the back garden leads you to the house’s private jetty, while steps leading down into the MANOR | High Summer 2016

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Walking down to the back garden leads you to the houseâ&#x20AC;&#x2122;s private jetty, while steps leading down into the foreshore provide an ideal spot for those looking to take a dip in the warm summer months.

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property of note foreshore provide an ideal spot for those looking to take a dip in the warm summer months. If you want to keep dry, there is plenty of room to set up sun loungers and enjoy the scenery. There are also two running moorings (subject to harbour authority permission), a private slipway and a boathouse, which makes it feasible, when the tide is in, to moor a very big boat. The location also makes it ideal for more accomplished sailors to head further out to sea and explore the West Country’s coast, or even France and the Channel Islands; for those less accomplished to remain within the safety of the harbour.

Inside, Farthings is made up of large open spaces, all of which enjoy the view of the river below. The crisp white walls ensure all eyes are drawn to the resplendent boats dreamingly floating by, as they would be to a richly painted canvas, no more so than in the master bedroom.

A sleek freestanding bath positioned by the window allows you to bathe while relaxing with a glass of wine as the sun slowly sets over the water.

Despite the waterfront location, the house emanates warmth: “It feels very cosy, in the winter months, even though it’s on the river. It’s very well insulated so it’s warm and comfortable out of season.”

A balcony on the top floor is accessible through the hallway at the top of the stairs, or through one of the five bedrooms, offering further extraordinary views of the water and beyond. French doors lead out of the dining room onto the terrace, providing a perfect place to entertain or just sit and unwind throughout the day. The house also comes with a study, a utility room, a guest bedroom, three further bedrooms and a family shower room.

Since buying the property, the owners have not made any drastic changes to the house, aside from putting in new carpets, curtains and lighting in the garden, although there is planning permission to increase its size from roughly 2,689 sq ft to 3,998 sq ft. The plans put forward would enable a large expansion of the kitchen, dining room and lounge area, while also adding a garage and a gallery upstairs.

This area around Dartmouth is one of Devon’s most desirable locations. The town is directly opposite Kingswear and easily accessible, with two vehicle ferries and one pedestrian ferry. “It has a lot going on, there are numerous restaurants, a plethora of wonderful art galleries and bars, and really interesting shops – it’s got a real buzz.” There are also plenty of amenities just a short walking distance from the house, including a Post Office, a grocery store and several pubs.

For avid sailors, the Royal Dart Yacht Club is located in Kingswear and offers a variety of social events around the year as well as a number of sailing events. For those wanting to stay on land and take in the views on offer, Britain’s longest national trail, the South West Coast Path, runs through the town. There are also a number of beautiful sandy beaches and coves in the surrounding area perfect for those long walks and family days out.

Inside, Farthings is made up of large open spaces, all of which enjoy the view of the river below.

Farthings is on the market for £2,750,000 with Strutt & Parker, Exeter. For more information call Richard Speedy on 01392 215631 struttandparker.com

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Luppitt | Devon

A beautiful unlisted Victorian house set in a peaceful location with stunning views Honiton 3 ½ miles, Exeter 21 miles

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Guide Price: ÂŁ1,650,000

4 Reception rooms, Master bedroom with ensuite bathroom, 3 Further bedrooms, Dressing room, Family shower room, Large gardens, Triple garage and workshop, Parking for several cars, Separate 3 bedroom coach house, 2 acre wildflower meadow

Dipford | Somerset

A beautiful and substantial early Victorian six bedroom house with large gardens in this sought after location Taunton 2 miles, Exeter 31 miles

Guide Price: ÂŁ1,250,000

Entrance hall, Drawing room, Dining room, Sitting room, Kitchen/breakfast room, Study, Utility room, Six bedrooms (one ensuite), Family bathroom, Shower room, Separate WC, Games Room, Workshop, Wine store, Gardens, Orchard, Croquet Lawn, Garage Set in approximately 1½ acres

Exeter 01392 215631 Exeter@struttandparker.com 50 offices across England and Scotland, including 10 offices in Central London MANOR | High Summer 2016

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NEWTON FERRERS, South Devon

â&#x2013; Guide

Price ÂŁ1,500,000

A superb waterside residence offering light and contemporary 4 bedroom accommodation with outstanding southerly estuary views, private jetty and outhaul mooring. JSA Luscombe Maye.

EPC Rating D. Web Ref 72161 Superb waterside location | private jetty and outhaul mooring | sun terrace accessed from all rooms For further details please contact our Prime Waterfront & Country House Department on 01548 855590 or 01752 873311

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FROGMORE, Kingsbridge

â&#x2013; Guide

Price ÂŁ795,000

A beautifully presented period farmhouse with original features and well proportioned rooms, large landscaped gardens and millpond, within minutes of the beautiful South Devon coastline and a short walk from Frogmore Creek. EPC Rating E. Web Ref 82468 South facing gardens | range of lower ground floor rooms | rotating summer house For further details please contact our Prime Waterfront & Country House Department on 01548 855590 or 01548 857588

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PROPERTY & ACQUISITION AGENTS

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NEAR MODBURY, South Devon

â&#x2013; Guide

Price ÂŁ950,000

A wonderful Grade II listed Devon manor house, with spacious rooms and many south facing windows making it beautifully light, set in about an acre of land with stables, store rooms and ample parking and excellent access to the A38. No EPC required. Web Ref 93203 Nestled in a beautiful rural setting | 5 bedrooms | paddock and stable block For further details please contact our Prime Waterfront & Country House Department on 01548 855590 or 01548 831163

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property

Snapshot comparative A selection of waterfront properties from around the South West along with one on the Thames.

Thames Reach, London W6 Guide price £2,600,000

London

A Richard Rogers-designed penthouse located on one of the most picturesque stretches of the Thames.

The apartment is arranged over two floors, including a double-height galleried reception room looking out across the river. It has two roof terraces, the largest of which measures 28’ by 20’, and two balconies, and measures 1,894 sq ft internally. It has 2-3 bedrooms and three bathrooms. knightfrank.co.uk

East Devon

The Strand, Topsham Guide price £1,975,000 A Grade II listed house with direct water access, views over the Exe Estuary, rear gardens and riverside gardens, off-road parking and garaging. The ground floor has four reception rooms and a large kitchen/breakfast room. On the first floor there is a further drawing room a master suite, separate dressing room and ensuite bathroom; and two further double bedrooms. Two bedrooms are located on the second floor along with the family bathroom. knightfrank.co.uk

South Devon

Castle Road, Dartmouth Guide price £1,895,000 A detached house with spacious accommodation and river views, located a few yards from Warfleet Creek slipway.

There is a large open-plan reception room, which opens to a large terrace for dining, relaxing or simply enjoying the views.

There are four double bedrooms and two ensuite bathrooms, plus a double-aspect study. The property also has an indoor plunge pool, a lift from parking area, a sail loft and large garage/workshop. There is parking for four vehicles. marchandpetit.co.uk

South Devon

Above Town, Dartmouth Guide price £660,000 A beautifully presented townhouse with river and sea views,with open-plan living/dining room, which occupies the entire lower floor with views across the river to Kingswear. The dining area opens out to the decked terrace, which runs the full length of the house. Steps descend to a further paved terrace, and a landscaped gravel garden. There are three double bedrooms, one ensuite and study. marchandpetit.co.uk

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The Region’s Premium Publication High Summer 2016 | Issue 12 | £3.95

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Available throughout Devon and Cornwall, and on sale on all major air, road and rail routes from London into the region, MANOR is read by approximately 100,000 informed, quality-discerning adults with a base in, or hankering after, the South West.

Featuring fashion, beauty, design and property, MANOR is on a par with any national glossy in terms of quality, while weaving in the very best of the South West.

It is the only magazine that is read by South West residents from Bristol to Land’s End, as well as by Londoners with an interest in this corner of the UK, be it property, schooling or leisure.

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MANOR | High Summer 2016

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“We have been going through our busiest period for five years and MANOR is one of two magazine advertising runs we have taken this year so something is working. What’s more we have had one very big lead that we know has come directly as a result of advertising in MANOR. We’re very pleased we chose to advertise in what is a magazine of such great visual quality.”

Jamie Wilson, Carpenter Oak “Although print advertising is so difficult to effectively track, we’ve definitely seen an upturn in new AB clients in the last year, since we’ve been advertising in the publication.

Thank you MANOR!” Julianne Shelton, Cornish Gems “Since we’ve been advertising in MANOR Magazine, we’ve noticed an increase in positive enquiries leading to various commissions over the South West. We love the magazine and keep all the editions in our showroom. Our customers love to browse through them whilst looking around.”

Jon Roach, Kingsteignton Kitchens & Joinery “I honestly think MANOR gets better and better. How much further can you raise the bar? Really interesting articles, lots of local tips about what to do and where to go. Stunning and utterly beautiful photographs. And best of all: it makes me so proud of my county.”

Christopher Bailey, Knight Frank

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The MANOR Reader Survey In our first anniversary issue we invited readers to take part in a reader survey to find out what you thought of MANOR, to what extent you read it, kept it, and for any advice and comments you had about the magazine. I am very proud to say that the feedback was extremely positive. Thank you so much to those of you who took the time to respond. Here’s a brief summary of what you said: Pretty much all of you like it enough to recommend it!

Firstly, as many as 94% of you have or would recommend MANOR to a friend or relative – that’s how good you think it is.

Half of you said you already had. We’re absolutely thrilled by this.

As an independent publication, we do not have the vast marketing budgets of other big publishers, so positive word of mouth to this extent is the very best thing that we could hope for. Thank you.

The photography The photography in MANOR is of particular appeal, evident in all the comments we received – you love our Style Shoot, and our Photostory is turned to almost every issue for 92% of you. Both are considered an interesting point of difference.

Resounding approval

Once you’ve seen it, you read it regularly

Asked if you would read MANOR again, we got resounding approval, with 75% saying ‘Yes, definitely’ and 23% saying ‘Yes, if I came across it’.

MANOR is not an intermittent read. Some 50% of you read every issue, with 25% claiming to read almost every issue (on average 3 out of 4).

Thank you all for your comments – useful, constructive and lovely to receive. Here are just a view of them:

MANOR is not a throwaway title Some 60% of you keep the title for more than a month, with as many as a third of you keeping every issue indefinitely. This is wonderful, and proves the title’s readability, lookability (coffee table status) and durability (high-quality stock). A tired, unattractive or fleeting-interest publication wouldn’t hang around. Another statistic that we’re especially proud of, particularly in a digital world. No-one keeps websites! We love the permanence of print.

Food, glorious food!

In terms of sections of MANOR you like the most, appropriately enough for this, The Food Issue, MANOR Food was ranked highest, with as many as nine out of ten of you rating it as good or very good. You particularly loved our furtive Table Prowler restaurant reviews, so we shall keep the shades on and collars up and keep bringing you his – or her – opinions.

Home and away Our Escape and Space sections also ranked highly amongst you all and Culture was another section that is a must-read for the vast majority – two-thirds of you always read it, with only 8% claiming to rarely read it.

This proves the interest in our regional best, as both Food and Culture are predominantly about South West players.

• Beautifully edited, fantastic photographs and very interesting read. Such a professional magazine, I am surprised you are only one year old. A definite read for me in the future.

• Photostory is a revelation, fab culture section, love it that you give features room to breathe.

• Having not seen Manor before I was really impressed – a London quality, with a SW focus. Great pics and well written.

A really good read.

• I find the guides to anything food or produce-related excellent, better than Food and Travel magazine, which I also subscribe to. Would love if you got some chefs’ recipes in there too! [Sorted! Ed] • I generally take two or three things from each issue I’ve been inspired to have a go at, be it an eating thing, a doing thing or a going to thing.

• An excellent magazine which covers an area of the country I love to be in.

• Excellent magazine and well-pitched for the South West audience. Long overdue!

Prize winner Finally, congratulations to our prize draw overall winner, Claire McHugh, who won a night for two at Bovey Castle with spa and dinner included, and to the 18 runners up who each won REN Skincare’s Instant Brightening Beauty Shot Eyelift.

The MANOR Reader Survey received 282 respondents, 89% were women and 74% between the ages of 35 and 65. A full list of winners is available by request at info@manormagazine.co.uk.

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