Welcome to our Summer edition of In Focus magazine. Discover a curated selection of style and design inspiration from industry-leading experts and explore a handpicked collection of beautiful homes across Central Victoria, Mornington Peninsula and the Bellarine. Find your dream home with Jellis Craig. 04 08 12
Tastemakers: Simone Haag
Simone
in Australian
her insights on the art of mastering textures and how to spot new classics
Behind the build: Modern Farmhouse
Smart design choices, modern finishes and local materials, harmonise to create a beautiful modern farmhouse.
Business of design: Sorrento Contemporary
Located on Victoria’s scenic Mornington Peninsula, this gallery offers an impressive permanent collection that champions Indigenous artists from across Australia.
Haag, a leading figure
interior design, shares
Simone Haag
Interior stylist Simone Haag is a leading figure in the Australian design scene renowned for blending vintage and contemporary pieces to create richly textured spaces that reflect her clients’ unique personalities.
We visited Simone at Red Crest House, a stunning mid-century modern home that combines rich materials and a warm palette to echo the beauty of its picturesque Dandenong Ranges setting. Here, Simone shares her insights on the art of mastering textures and how to spot new classics.
How to master textures
Embrace diverse materials
Layering diverse materials like wood, marble, metals, and soft textiles adds tactile interest to your space. Incorporating a variety of textures - smooth surfaces, rough finishes, and soft fabrics – creates a dynamic sensory experience. At Red Crest House, we use natural materials bound by an earthy palette such as treated timbers, cool concrete and buttery leathers.
Balance visual weight
Strike a balance between heavier materials like stone and lighter textures, such as soft rugs or woven baskets, to create harmony. This helps the eye to move through the room while providing visual intrigue.
Pair sleek leather with plush velvet, or linen with wool. This interplay of fabrics adds depth and richness to the design.
Engage the senses
Incorporating textured items like shaggy rugs, chunky knit blankets, or rough-hewn ceramics can engage the tactile elements of your design. To elevate this effect, aim for a mix of materials that invites touch. In the master suite, elegant drapery, a vintage leather chair, tactile seagrass wallpaper, a cork side table, and a plush rug - all in warm, earthy toneswork together to create a sensual space that invites relaxation.
How to spot new classics
When looking for new classics, I always opt for clean lines, simple silhouettes and durable materials. These elements are timeless, making it easier for pieces to remain relevant as styles evolve.
I also seek out designs with a slight twist on the traditionalwhether that’s an unexpected colour accent or an asymmetrical shape - something that adds a modern edge without being overly trendy. Choose understated, neutral hues that can easily adapt to changing tastes.
Invest in furniture that blends timeless materials, like timber with modern finishes, and look for thoughtful detailing, such as unique leg shapes or subtly curved edges. I also believe in investing in quality - sourcing from brands with a reputation for craftsmanship ensures longevity, both in terms of aesthetics and durability.
Pieces we sourced for the Red Crest House property, such as the 1960s Pernilla leather chair and footstool in the lounge, Featherston chaise lounge in the entry, and Nord Modern leather chair in the bedroom will never go out of style.
I also love sourcing bold, abstract art, unique sculptures or rare vintage pieces that bring character and serve as focal points within a room. Look for organic, sculptural art or ceramics that create a dynamic yet understated focal point within the space.
RED CREST HOUSE | ARCHITECTURE Dion Keech Architects |BUILDER Hedger Constructions | INTERIOR DESIGN Dion Keech Architects & Loopea Design Studio | FURNITURE ART & OBJECT Simone Haag | PHOTOGRAPHY Dylan James Simone Haag Studio specialises in residential interior styling, focusing on furniture, art, and object curation. To discuss your next design project with Simone, visit her website to schedule a consultation.
Scan QR to watch the Jellis Craig Tastemakers series
Modern hillside
farmhouse
built for generations
Nestled in the heart of the picturesque Pastoria district, just minutes from the vibrant town of Kyneton, this hillside property is filled with smart design choices. The home seamlessly blends modern finishes and local materials, that harmonise with the breathtaking natural surroundings. Set on 180 acres of farmland, the property offers a new lifestyle. We caught up with owner Ben, to learn more about the build of this beautiful modern farmhouse.
What was the initial vision for this build and how did the rural setting in Kyneton influence the design?
The site and setting dictated both the size and shape of the building, while we tried to complement the native palette with the selected finishes. We always wanted to build a modern farmhouse, but the design evolved with our needs. Initially we wanted a weekender, but once we decided it was to be our full-time family home, the footprint increased accordingly.
Tell us about the collaborative design process between yourself, the architect and the builder.
We engaged with our builder first, as we were particularly impressed by a project they had completed nearby. VR Builders then introduced us to our architect Rilla from Small Studio. We were quite settled on what we wanted from the house, but Rilla allowed us to express that and introduced a lot of additional elements that have certainly added to the liveability of the house.
Simple, honest, homely.
Across 73 hectares of land, the home sits on a commanding position with beautiful views. Can you share some insights into the planning process, including the home’s orientation to the landscape?
There were a few positions considered when selecting the house site. From the top of the property there are views of Mt Macedon, but in the end, we decided to build further down and be part of the hill rather than sit atop. It also allowed us to create a ‘house paddock’ with a terrific northerly aspect, somewhat separate from the rest of the farm.
The northern side of the home is predominantly glass to allow sunshine to warm the concrete floors – much needed for Kyneton’s cold winters. The western wall is the first thing you see as you reach the top of the driveway, which gives an almost Brutalist first impression. Made up of 450mm thick recycled concrete rammed earth with zero penetrations, to combat the blazing western sun in summer.
The use of rammed earth walls, local bluestone, and blackbutt timbers connect the home to its environment. Could you share your approach to selecting these materials, and how they reflect the character of the property?
We selected the recycled concrete rammed earth walls first, which are sympathetic and respond to the basalt. We wanted the building material to give the house an authentic feel. At night, the Blackbutt timber ceiling has a honey glow from the lighting plan and works beautifully with the recycled red brick. The polished concrete floors are both hydronically heated in winter and cool to touch in summer, granting the strong thermal properties.
What do you love most about the home, or its connection to nature?
Every part of the home feels solid and secure. The glass obviously lets the outside in, but it feels quite private with no neighbours within cooee. In summer the large glass windows seamlessly stack open to the deck and lawn. Yet in winter when the curtains are drawn and the fireplace roaring, the house still feels cozy.
Are there any unique or custom-made features in the home that you’re particularly proud of?
We turned the basalt ridge that skirts the house-site into a rock wall that now defines the house yard from the farm area. Champion Stonemasonry then used some of that rock to create the amazing fireplace area, which tied the interiors to the outside environment. The finish of the fireplace area is intentionally less refined and more agricultural. It also complements and contrasts with the concrete well, bringing in some natural colours.
600 Baynton Road, Kyneton recently sold by Jellis Craig Central Victoria.
Business of DESIGN
Sorrento Contemporary and the legacy of Indigenous creativity
Australian Indigenous art captivates audiences with its beauty and storytelling, weaving heritage, landscapes, and ancestral wisdom into each brushstroke and pattern. In this article, we talk to Adam Knight, a distinguished Australian art curator, whose career has been instrumental in bringing Indigenous art to the forefront. As the visionary behind seven art galleries, including Mitchelton, Gallery of Aboriginal Art, and the recently opened Sorrento Contemporary, Knight is committed to showcasing the richness and diversity of Aboriginal Art to both local and international audiences.
What inspired you to open Sorrento Contemporary, and how does it reflect your vision for showcasing Indigenous art in Australia?
Our family were regular visitors to Sorrento and surrounds for many years. I love the feel of the area and the Peninsula in general.
We purchased a home in Blairgowrie 2 years ago and I was keeping a constant eye out for vacant suitable spaces. I was delighted when our current location became available as the space offers great presentation to the street and allows us to present a large number of works to the public even if they choose not to physically enter the gallery.
How would you describe the role of Sorrento Contemporary compared to your other galleries and the broader Victorian art scene?
Most galleries are destination galleries with established clientele however Sorrento Contemporary, like our other galleries, are all located in tourist orientated locations as we have found this to be an exceptional way of introducing Indigenous art to a broader market. Based on the locations we exist, we have created many passionate collectors who may never have started collecting through traditional approaches.
Sorrento Contemporary located on Victoria’s scenic Mornington Peninsula, offers an impressive permanent collection that champions both emerging talents and acclaimed Indigenous artists from across Australia.
You have dedicated your career to Indigenous art. What considerations go into selecting the works and the artists represented in your galleries?
As we have been in the industry for over 30 years, most of the artists we deal directly with, we have been dealing with either themselves or their family members for 20-30 years. This is a privileged position and one we take very seriously. We also work with 15 - 20 Government Art Centres, some of which support 100’s of artists. These relationships with art centres are long standing and highly valued.
Selecting works is complicated as there are several considerations in doing so. Like many things in life, the longer you do something - the better you get. My eye for art has matured over my career and seems to serve me well.
How does Sorrento Contemporary connect with the local community and engage visitors from the Peninsula and beyond?
As we are a relatively new space we are continuing to engage with the local community and the region. We recently donated a painting to the Sorrento Sailing Couta Boat Club 2024/25 Fundraising Campaign and we are also an enthusiastic partner of the newly formed Sorrento Galleries Campaign, whereby the 9 galleries intend to work together to promote Sorrento as an art precinct. We will continue to forge new relationships and support local causes when opportunities present.
What’s on the horizon for Sorrento Contemporary?
We intend on conducting specific exhibitions representing high profile artists who we feel suit the gallery and location. One such artist is Kate Constantine, whose works have been very popular at Sorrento Contemporary since our opening. Kate is a proud Gadigal woman of the Eora nation and a neo-contemporary Indigenous artist. She is re-imagining the traditions of her peoples’ dot painters and providing a modern narrative for all Australians to better understand First Nations People as part of the fabric of Australia.
Can you share a memorable experience that’s reinforced your passion for the art business?
In general, the genuine enthusiasm received from the constant gallery visitors is a highlight. Visitors often comment that they didn't realise Aboriginal artwork was so beautiful and contemporary. Many people had the view that Aboriginal artwork was just dots or earthy colours, with many purchasers often saying they never thought they would have bought a piece of Indigenous art for that reason. Our gallery changes views and starts conversations, and that is a wonderful outcome for all Australians.
Your gallery has gained a reputation for promoting Australian Indigenous artists and voices from the across the country. How do you see the role of these artists evolving in the global art market?
We have been fortunate enough to have worked with the identified founding artists of our movement. Artists such as Emily Kame Kngwarreye, Clifford Possum Tjapaltjarri, and Rover Thomas; their individual styles have been elevated to a serious level internationally, and deservedly so.
Artists who essentially came slightly later but exercised a style in the most artistically gifted and beautiful way such as Sally Gabori, Warlimpirrnga Tjapaltjarri, Yukultji Napangati, Daniel Walbidi, and Vincent Namatjira have also risen to international acclaim.
With the recent exhibitions and promotions by the likes of Steve Martin, and with support by industry leaders such as Larry Gagosian, the market appears very potent. The late Emily Kame Kngwarreye has a solo exhibition at the Tate Modern next year.
Are there any emerging trends or movements within Indigenous art that you’re particularly excited about or believe will shape the future of the industry?
As art movements go, Aboriginal Art could be considered still in its infancy as it has been running for a relatively short period of time.
It is the only art movement in our history to completely evolve out of itself, i.e. most other art movements are an evolution or adaption of a previous movement. Whilst the works are generated with cultural knowledge and wisdom, their outstanding visual cannot be ignored.
The number of Aboriginal artists creating new, inventive, beautiful yet contemporary works derived from their cultural knowledge and ancestors is extraordinary, with new stars arising all the time.
The second or third generation of artists is a very exciting progression to observe, with the collision of cultures from all over the world having an impact on Aboriginal Art. Aboriginal artists are now being considered amongst the most important contemporary artistsnot just protectors and promoters of cultural knowledge.
Former Presbyterian Church – circa 1882 9 Linton Mannibadar Road, Linton
Eureka Street, Ballarat East
14 Gillies Street North, Lake Wendouree
Jellis Craig Ballarat
Now is the perfect time to start preparing your home for sale in the new year. Whether it’s styling interiors or refreshing the backyard, preparing now will ensure your property stands out in a competitive summer market.