How a deep relationship with the arts has made Wood Marsh one of the world’s most esteemed architectural practices.
While some may baulk at the shorter days and cold mornings, Melbourne’s winter can be an especially fertile time for daydreams. From planning— and joyfully executing—a sunny European escape, hitting the waves on Australia’s northeast coast or simply reimagining the everyday anew, the winter months can be a time to slow down, step back and incubate new ways of thinking in readiness for the next cycle of growth and activity.
For some, it’s a time to see the familiar through new eyes, to assess, reassess and move forward with greater purpose. In this, our ninth issue of The Luxury Report, we have conversations and musings with innovators, dreamers, creators, pioneers, and legacy-bearers bringing their unique ways of looking at their life, work and passions to forge a unique path and do things differently.
Our Issue 9 cover story centres on the often untold yet thoroughly profound relationship between art and architecture. Here, we speak to Randal Marsh—founding partner and one half of the duo behind esteemed design firm Wood Marsh and himself a prolific collector and patron of the arts—about how the arts, rather than conventional architecture, have influenced Wood Marsh’s distinctively sculptural approach to design for over 40 years (p34).
We also sit down with designer Nicci Kavals (p08) to understand how her once-humble dream has seen her Melbourne-based lighting atelier Articolo evolve into a global brand; we then travel to Byron Bay to meet surf-tech innovator David Trewern (p18), whose unconventional journey into product design has seen his gamechanging e-Foil invention take the world by storm. Elsewhere, we acquaint ourselves with the Burgundian vigneron bringing consistency and precision to Australia’s most iconic pinot noir (p43) and take a trip to sun-soaked Mallorca to chat to an expat-Australian gallerist and restaurateur with a taste for good food and design. NYC craft cocktail guru Dale DeGroff shakes up a tipple with a side of Manhattan nostalgia, and we survey some of the most collectable and striking pieces from this year’s Melbourne Design Week.
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Naturally, there are also plenty of insights into the worlds of investment and property, including findings from recent research by JBWere on the factors driving growing female wealth; reflections on a half-year report on the Australian prestige property market, where strength and optimism prove to be winning out; and a dive into what’s behind the rising popularity of luxury branded residences across the globe.
We hope you find the characters, stories, innovations and successes within these pages to be a source of inspiration for your own life—whether you’re plotting your next move or living out your dreams where you are right now. As always, thank you for reading and we’d love to hear from you with ideas for future issues.
2 BRUCE STREET, TOORAK
An exclusive collection of meticulously designed residences and handcrafted penthouses by renowned architect Jolson, immersed in textural landscaping and gardens by Paul Bangay.
ILLUMINATED VOYAGE
With her evocative light pieces garnering attention from Milan to New York City, Articolo’s Nicci Kavals is forging her own path.
AN ENDURING INFLUENCE
With its distinctive approach heavily influenced by the arts, Melbourne architecture firm Wood Marsh has left an indelible mark on the city.
RIDING THE NEW TIDE
Since exiting the world of digital advertising, sports-tech innovator and Fliteboard founder David Trewern has been on wave of success.
06 THE SHORTLIST
14 THE NEXT GILDED AGE
We ask the experts what the feminisation of wealth means for Australia’s economic growth.
24 PRIME TIME
Discover the most notable new releases from this year’s leading international watch fair.
26 PURSUIT OF PERFECTION
After a strong half-year for the prestige housing market, NAB’s Mark Browning shares his predictions for the months ahead.
31 DECKED OUT
Hitting the water in 2024, these innovative new superyachts are upping the status quo for maritime design.
43 BLENDING TRADITIONS
From Burgundy to Gippsland: how Jean-Marie Fourrier is orchestrating the next chapter for an Australian pinot noir icon.
46 DESTINATION: MALLORCA
Gallerist and restaurateur Dolli Taylor shares her recommendations for enjoying the bohemian charms of Mallorca.
48 DESIGN IN DIALOGUE: TOM FEREDAY
Fresh from showing at this year’s Salone del Mobile, Sydney industrial designer Tom Fereday discusses his guiding philosophies.
52 PINNACLE OF PRESTIGE
With its growing global presence and imminent expansion into Australia, we chart the rise of the coveted luxury branded residences market.
56 A NEW CLASSIC Veteran NYC cocktail guru Dale DeGroff serves up his classic Martini—with a generous side of cocktail history.
59 MODERN MARVELS
Showcasing the evolution of contemporary Australian design, we survey some of Melbourne Design Week’s remarkable works.
62 OUT AND ABOUT
01 Christian Louboutin x Pierre Yovanovitch Clam chair. The latest collaboration between two esteemed creative minds sees shoe guru Christian Louboutin offer a take on the classic Clam chair by his longtime friend, French interior designer Pierre Yovanovitch. Inspired by the duo’s shared affinity for various iconic women of history, mythology and film—from ancient Egypt’s Queen Nefertiti to burlesque beauty Dita von Teese—these bespoke oakwood chairs form part of a limited-edition 9-piece series. Featuring unique intricate patterns and upholstery, the chairs’ legs are crafted in the form of high-heeled shoes, resulting in silhouettes that blend imagination and sophistication. POA. pierreyovanovitch.com
02 Rimowa x La Marzocco Linea Mini espresso machine. This inspired new collab by two of the world’s most iconic legacy brands is one for function-loving aesthetes. Embodying the best of Italian design and German engineering, this sleek, custom-made espresso machine features aluminium panels meticulously manufactured at Rimowa’s factory in Cologne before being hand-assembled by La Marzocco’s experts in Florence. Each machine comprises integrated hot water, a custom anodised aluminium portafilter, and thoughtfully designed compartments that prompt the full spectrum of home coffee-making skills. Priced around $7400. lamarzocco.com
03 Tacchini x Gucci Le Mura sofa. Paying homage to Italy’s golden age of design, Gucci’s recent remix of the iconic 1972 Mario Bellini for Tacchini Le Mura sofa offers a contemporary take on a classic. Debuted at Milan Design Week as part of Gucci’s Design Ancora collection, which reimagined a series of Italian design masterpieces, this striking limitededition modular sofa allows multiple configurations to adapt to any space. Featuring three detachable seats finished in Gucci’s glossy burgundy ‘Ancora red’ leather, the piece boasts a distinctive curved shape said to be inspired by the boulders of ancient Roman walls. $39,950. gucci.com
04 Brian Eno Turntable II. Developed by multi-Grammy-winning UK producer and ambient music pioneer Brian Eno, this limited-edition update on Eno’s original 2021 turntable reinvents the vinyl listening experience with new visual possibilities. Merging innovative tech with inspired design, the sculptural perspex unit boasts gold-plated RCA connectors, translucent acrylic platter and a frosted resin base, with high-calibre LED lights illuminating the base and platter, creating dynamic, unpredictable and ever-changing colourscapes that never truly repeat. An endless source of audio and visual inspiration, this collector’s piece is part of a limited run of just 150, with Eno’s signature and an edition number on the base. Priced around $38,300. paulstolper.com
05 Danielle Brustman and Edward Linacre Meteorite light sculpture.
The result of the first major collaboration between Melbournebased design duo, Edward Linacre and Danielle Brustman, this striking illuminated sculpture is described as a “poetic response” to the light, speed and physics of the meteor as it enters Earth’s atmosphere. A metaphor for our own position on the planet, the unique acrylic, steel and powder-coated aluminium work sees Brustman’s signature bold colour palette come to life in new ways. $39,300. usefulobjects.com.au
Illuminated voyage
Nicci Kavals, founder and creative director of internationally acclaimed lighting studio, Articolo, reflects on the evolution of her brand, its challenges and triumphs, and her recent foray into furniture design—by Hayley Curnow
Fearlessness, balanced by a strong sense of self-awareness, has seen Melbourne designer Nicci Kavals masterfully guide her lighting practice, Articolo, into a distinctive luxury brand with global resonance. Driven by the pursuit to celebrate ‘the art of light,’ the studio is renowned for its artisanal interior and exterior lighting pieces, uniquely presented in gallerylike showrooms in Melbourne and New York.
Reflecting on her journey since founding Articolo in 2010, Kavals— a former food stylist and magazine editor—humbly chalks opportunities down to good fortune, yet perhaps more accurately, they’re a mark of her adaptability and courage. After all, Articolo’s first fitting was inspired by Kavals incredulously turning a glass
vase on its head and musing:
“perhaps we could get into lighting?”
Kavals recalls that moment with clarity. After forecasting the rise of tinted glass drinkware, she had established a leading glassware company, Bribe—then the GFC hit. “We were at our trade stand at Maison & Objet in 2010 and the commitment to stock we were holding for department store giants was plummeting. I was feeling anxious about the future of the business and became irreverent,” Kavals concedes. What started as a throwaway idea to repurpose the glassware soon had legs, marking the next phase of Kavals’ global design career. At the time, Kavals had observed a few boutique lighting studios emerging, such as Apparatus and
Lindsey Adelman, “but there weren’t any decorative lighting studios in Australia doing things differently,” she says. When Kavals returned to Melbourne, she developed Articolo’s first piece, the Lumi table light, which is still held in the studio’s range today. The collection organically expanded as specifiers requested matching wall sconces and pendants, to which Kavals eagerly agreed.
In those early days, Articolo occupied a tiny space—formerly a garage—behind a fruit and vegetable shop on Toorak Road. Digital design platform, Yellowtrace, published a feature on Kavals and her nascent studio, which she says “immediately sparked international enquiries and propelled the business forward.” After opening its official showroom
01 Nicci Kavals pictured in her NYC showroom alongside the art-deco inspired custom Trilogy pendant and Flare side tables. Image: Eric Petscheck.
02 With its multiple suspended tiers, Articolo’s Fizi pendant was designed to mimic the effervescence of champagne bubbles. Image: Willem Fizi.
in Richmond, designed by close friend and collaborator, David Goss of Studio Goss, 2019 became a turning point for the brand, marked by its inaugural Milan Design Week presentation.
True to style, Kavals confidently committed to a large stand at Milan’s Salone del Mobile trade show and enlisted Studio Goss to design an elegant, understated space that held Articolo’s handcrafted fittings with a gallery-like reverence—Goss’ design taking home the 2020 Australian Interior Design Award for Installation Design and Best International project. “It was courageous because it cost a lot and we had no presence in the US at that point,” reflects Kavals. A condition that was soon to change.
From Milan, Kavals recalls “whizzing across the ocean to New York” for the brand’s fourth ICFF design fair in New York. Within weeks, the studio opened its first showroom there— a compact space in the iconic Flatiron District, opposite Madison Square Park. “It was a terribly old, 13-storey building that had been passed down over four or five generations,” recalls Kavals. “We were still muddling through a bird’s nest of wiring at 4AM the night before opening. But we figured it out, opened the showroom, then did New
Kavals says the intensity of this period was exhausting yet invigorating—and planted the first seed for Articolo’s furniture collection. “I designed a table for the New York space thinking I’d like to get into furniture design someday,” she recalls. Due to its size, the table had to be flat-packed and assembled by a white glove service, making Kavals question the practicalities of finding reputable assembly services globally. “I decided then that designing large furniture pieces didn’t make sense for Articolo, and it would be very hard to penetrate and make a difference, so I chewed on it for a few years,” she says.
Soon after, New York was decimated by Covid, and it wasn’t until 2022 that Kavals was able to return. In that time, US sales had become stronger than Australia and the rest of world combined, which encouraged Kavals to seek an additional Articolo outpost in LA. “We signed the lease on a great space on Robertson Ave, just across from The Ivy, which sadly didn’t progress,” she admits. While she’d planned to leave the New York showroom as it was, on arrival, Kavals soon changed her mind. “The brand had grown so much from that small room, so we found a larger space in an adjacent building to better showcase our range.”
This New York atelier proudly occupies the first floor of the historic Townsend Building, affording street diners and passers-by direct views to Articolo’s delicate handmade fittings. Working with Studio Goss, the studio reinstated the 1890s-built brick building’s original decorative features, which had been clouded by decades of cumulative renovations and additions. Its grand circular columns, standing over four metres, are now complemented by rounded freestanding walls that frame each collection as a series of evocative vignettes. “David really understands our brand. Each space has its own character that honours the architecture and city but has a thread of softness and texture that feels inherently Articolo,” muses Kavals.
A few years later, Kavals collaborated with Studio Goss on the design of her Cape Schanck home, and found herself struggling to source unique, small furniture pieces. Suddenly, the thought of designing her own resurfaced. “I wanted to create pieces that felt like haute couture to layer the home with,” she explains. Agreeing to an ambitious launch date to coincide with Milan Design Week 2024, Kavals cajoled and batted her eyelids until a Melbourne furniture maker agreed to produce 21 pieces in just five weeks— an applaudable feat, particularly given Kavals’ keen eye for quality craftsmanship. The manufacturing process was underscored by trust, close collaboration, and compromise: “we pivoted the whole way but didn’t simplify anything—in fact, the product got better.”
Articolo’s debut furniture release is unified by Kavals’ curiosity in form and materials. “I was intrigued to see each piece’s personality change as I changed its materiality,” Kavals reveals. The Fin Table, for example, feels refined and elegant in its dark timber and bronze iteration, heavy and sculptural in burnished brass, and in straw marquetry—produced in collaboration with French artisan, Arthur Seigneur—different again. These enduring materials express Kavals’ interest in design that has a story. “Things can be precious and have a life of their own. Mass production sanitises design and there’s romance in individuality,” she quips.
This enduring ethos is a throughline for the brand, echoed in its refined products, commitment to local manufacturing, and inclusive team spirit. With her sights still set on a showroom in LA, then Dallas, Kavals is next keen for Articolo to expand into Europe. If the legacy she has created thus far is anything to go by, the world is indeed her oyster. “My next goal is to develop luxury, top-of-table accessories, a home fragrance in partnership with Acqua di Parma, and a layer of food and wine for the showrooms. Maybe one day we’ll design an Articolo boutique hotel,” she muses. “lt’s a lofty dream, but then again, so was all of this, once.”
articolostudios.com
KAY & BURTON CONCIERGE
An unparalleled in-house service, supporting clients’ property-related and lifestyle needs.
“THROUGHOUT MY ENTIRE TRIP, MY MIND WAS AT EASE KNOWING MY HOUSE WAS WELL LOOKED AFTER BY YOUR TEAM, INSIDE AND OUT.”
—Concierge
Wanderlust
is in the air this winter as travellers eagerly plan their getaways. Whether the journey leads through the cobblestone streets of Europe, the tranquil shores of Southeast Asia, the vibrant urban landscapes of North America, or somewhere closer to home, Kay & Burton Concierge is there to ensure everything is taken care of at home for Melburnians so they can make the most of their holiday.
Born from significant experience within the luxury property market, Kay & Burton Concierge has been providing an unparalleled level of service for clients’ property-related needs since 2019. Our managed travelling solutions are meticulously crafted to cater to the diverse needs of those who are jetting off and want peace of mind during their travels when it comes to their property.
Take a break
Under the ‘Take a Break’ service, our expert Concierge consultants take on the responsibility of safeguarding your home while you explore the world. From conducting regular inspections to tending to essential tasks such as pool maintenance, mail collection, waste management, plant care, and ensuring the appearance of occupancy, this service was designed to provide you with peace of mind wherever your travels take you.
With prices starting at $150 per hour, the customisable package offers unparalleled reassurance, allowing you to focus on making memories without worrying about what’s happening back home.
Welcome home
Returning from your adventures should be a time of relaxation and rejuvenation, which is why our ‘Welcome Home’ package is designed to ensure a seamless transition back to reality. From stocking your fridge with essentials to coordinating cleaning and housekeeping services, your Concierge consultant will go above and beyond to make your homecoming as comfortable and stressfree as possible.
Wherever your travels may take you, entrust us with the responsibility of caring for your home. With our ‘Take a Break’ and ‘Welcome Home’ services, you can explore the world with confidence, knowing that your property is our top priority.
To learn more about Kay & Burton Concierge and the travel services on offer, please contact the team at concierge@kayburton.com.au or on +61 3 9825 2000.
client, Brighton, Victoria
THE NEXT GILDED AGE
With women poised to command the lion’s share of Australia’s $4.9tr intergenerational wealth transfer by 2034, understanding the barriers and triggers for female-led investment is an economic imperative. Here, Maria Lykouras and Natalie Irvine of NAB Private Wealth take us behind the latest data on what high net worth women want.
Among the headlines of The Growth of Women and Wealth research paper released by JBWere earlier this year is that myriad factors are converging to bring around 65 per cent of the nation’s private wealth holdings under female control in the coming decade, even as the gender pay gap persists. While women’s selfcreated wealth is climbing as a result of greater workforce participation in higher-paying roles and growing entrepreneurship, their inherited wealth is also rising in line with divorce rates and family business transition. Approaching the HNW bracket, Australia’s contingent of female millionaires grew 5.7 per cent annually over the decade to October 2023 compared to 3.7 per cent for male millionaires.
The report, which synthesises interviews with a small sample set of high net worth (HNW) women and quantitative analysis by CoreData, identifies the ‘oldest daughter effect’ as a keystone in women’s financial dominance. JBWere Australia chief executive Maria Lykouras explains: “Statistics show that the burden of managing the family finances at a point of transfer is more likely to fall to the oldest daughter than other relatives or external service providers, and my own 25 years in wealth management certainly bears that out.” Firstborn sons are not only nine per cent less likely than first-born daughters to be handed the key to the safe, they are also far less likely to be put in charge of the day-to-day running of the estate. Whether this is because first daughters are considered the steadier or more empathetic custodians is difficult to prove, Lykouras says, but it highlights the need for fiscal preparedness across genders nonetheless. “A great many women approached me straight after this report came out to say that it chimes with their personal experience as an elder daughter, and that they’re now pushing to educate their own daughters early,” she adds.
One demographic factor that plays into this is women’s higher life expectancy—33 per cent more women than men live into their 80s—which sees many women taking on responsibilities for which they have neither the training nor advisory support. Add to this the 10,000 high and ultra-high net worth couples who legally divided their assets last year, and old-fashioned financial services rooted in patriarchy make less and less sense. There will, however, remain clear differences between the financial needs of women and men while caregiving continues to fall largely to the former. NAB’s Natalie Irvine, who was recently named Female Private Banker of the Year in the Global Private Banking Innovation Awards for the second consecutive year, says HNW women tend to manage financial decisions in short, multitasked bursts because of their demanding schedules. “I don’t know any women who want to come into a bank between 9am and 5pm,” she explains, “but as a working mother of two children myself, I have no problem taking questions at school dropoff, and structure my day in such a way that clients know they can reach me once they finally sit down of an evening.” In contrast to the stuffy private banker image of old, Irvine says most conversations with her predominantly female client base happen via social media. She adds: “If we’re not a reflection of our clients and trying to understand their lifestyles, we don’t have a business.”
HUNGER FOR GROWTH
Arguably the most significant takeaway from JBWere’s report is that HNW women are just as risk tolerant as their male counterparts, with one in five identifying as ‘aggressive’ in their investment approach. And while HNW men are six per cent more likely than women
L-R: Maria Lykouras and Natalie Irvine.
to categorise their own knowledge of risk/return profiles as ‘good’, they are also six per cent more likely to dub it ‘poor’. Lykouras says:
“Our findings challenge the long-held stereotype that women have more conservative risk appetites, and I think that’s partly because high net worth women diverge from the broader population and partly that we are seeing risk tolerance rise as younger, more financially sophisticated women start their investment journeys.”
She adds that financial service providers need to be mindful of unconscious bias that might lead them to steer female clients toward de-risking strategies more often than male clients. “Interviews revealed that some female investors feel like they’re being offered the vanilla and that they face more obstacles than men when it comes to accessing non-traditional assets, which is a big callout for wealth management professionals,” she continues.
Though real estate was easily the most popular asset class for female HNW investors this time last year, around a quarter of those surveyed also held alternatives such as private equity and private debt, and even cryptocurrency.
As for taking risks in business, entrepreneurship is now growing three times faster among women than men. Lykouras says:
“There are a lot of female founders out there trying to get incredible ideas off the ground, and a lot of them will tell you that they’re not getting the same level of financial support as male founders in the market.”
One standout anecdote in the report highlights the experience of a C-suite executive who, despite her strong financial literacy and wealth management experience, faced more hurdles when renegotiating a mortgage than her equally qualified brother.
This increased scrutiny around everyday finance, let alone venture capital funding, indicates that female founders are missing out on critical opportunities for scaling. A dearth of female bankers and wealth advisers is seen as a contributor to this, together with a relative lack of role models and networking opportunities.
“As a female leading a business, and one with a bit of a loud voice, I believe I can have an impact,”
says Lykouras, citing the urgency of women’s financial empowerment. “I push through doors even if I’m uncomfortable doing so because that’s one of the things we have to do [as women] to get to the places that we want to go.”
Natalie Irvine agrees that swimming against the tide is key to breaking the systematic barriers that hinder the business and wealth goals of women. “When I started out I was told ‘you need to wear the blue suit, the heels, behave a certain way’, but that’s just performative,” she says. “One of my younger female clients recently said to me ‘you’re so not a banker’, and I think that’s because she can see that I’m authentic rather than slotting into a stereotype.” She adds that supporting the unique solutions and perspectives that female entrepreneurs bring to the business world is both professionally and personally rewarding.
PAYING IT FORWARD
It is hardly surprising that HNW women— having navigated their own hurdles to success —are 15 per cent more likely than men to be interested in investing for financial inclusion and empowerment. Lykouras says the link between purpose and performance has been cemented in recent years, with about one in five female respondents actively seeking investments with a social good element. “Women also tend to lead their family’s charitable giving,” she adds, “so the coming decade represents a tremendous opportunity for the philanthropic sector.”
As younger, socially conscious cohorts of women begin to inherit wealth, the cultural lag in Australia’s financial planning landscape will be increasingly evident. While several of the women interviewed in the JBWere study indicated a preference towards female advisers (as being more likely to understand their needs holistically), only one in five financial advisers is female. Lykouras says: “There is clear urgency for the wealth management industry to evolve to better support the capability and needs of high net worth women, because their financial decisions are going to have sizeable impacts across the business landscape as well as personal wealth.”
RIDING THE NEW TIDE
WORDS
Chris Binns
From Silicon Valley scholarships to Byron Bay surfs via the Melbourne ad business, connecting the dots has led to Fliteboard founder David Trewern living out his teenage dreams—inadvertently creating a world-leading brand in the process.
In 1995, newly graduated 19-year-old David Trewern left Melbourne for San Francisco on a travel scholarship awarded by the Australian Graphic Design Association. He joined pioneering tech company Netscape as an intern, just as it first floated on the US stock exchange, in the early days of the World Wide Web. Three decades later, that experience proves to have been the perfect foundation for a serial entrepreneur and tech pioneer. After years spent building creative technology businesses, Trewern’s design skills and Silicon Valley-inspired innovation mindset eventually dovetailed with his love of the ocean to give rise to the most professionally successful and personally satisfying chapter of his life so far—as founder and co-CEO of electric hydrofoil surfboard brand Fliteboard.
Launched in 2016, Fliteboard is the result of a DIY passion project that Trewern started at home while on a year-long sabbatical from the stresses of the business world. After outgrowing the family kitchen, the eFoil company decamped to its current Byron Bay headquarters and now boasts a staff of more than 100 including naval architects, hydrodynamicists and software engineers spanning offices in Australia, The Netherlands and the US. Fliteboard customers, meanwhile, can be found in 90 countries. Within five years it was generating more than $50m in sales and attracting investors such as Victor Smorgon, Afterpay’s Anthony Eisen and golfer Adam Scott. It also counts Australian design luminary Marc Newson among its
collaborators, and has found fans in everyone from Google co-founder Larry Page to legendary big-wave surfer Laird Hamilton.
As a youngster, Trewern assumed he would become an architect like his father. When he was later drawn to study industrial design and explained to an RMIT admissions officer that he wanted to design cars, he was swiftly set straight that such a career was not an option in Australia and redirected toward graphic design. He recalls: “I wanted to get my hands dirty, solve problems and get more multidimensional, so I got into multimedia design and taught myself programming.” He admits to being puzzled when he first saw designer roles advertised in San Francisco; “I didn’t even know what the internet was, or if you could design for it. When I got home I thought about it more, realised it was the future, and in September 1996 started Australia’s first web development company in DTDesign.”
Looking back, he is amused at the DIY nature of the early web. “My first project out of uni was to design the Mercedes-Benz website, purely because there was no one else with a design background who knew about coding,” he explains. “That led to building bunnings.com and myer.com, and we ended up a 300-person digital agency.” In 2007, Trewern sold the business to the STW Group with a three-year earnout. “I didn’t really have a plan,” he says. “[I was asking myself] am I more scared of doing the same thing forever and getting stuck, or of taking on a new challenge and failing?”
He adds: “But, whenever that’s come up since, I’ve decided to take the leap and see what happens.”
The next five years saw Trewern occupy various leadership positions in the advertising and digital design realm before founding Republica, a private college aimed at filling holes in Australia’s digital workforce. By 2013, he was burnt out. He says: “I was very stressed and started to have health issues, so I sold out [of Republica] and moved to Byron Bay for a year off. I promised my wife Bethwyn that I wouldn’t come up with another business.”
With their seaside upbringings (her in Fiji, him in Merimbula), plus weekend homes in Portsea and Sandy Point, the couple share a lifelong connection to the ocean. The Byron move would give their children a similar experience. Trewern says he always found solace in surfing and kiting, and in 2005 set a new world speed record for kitesurfing (on a board he designed himself). Ten years on, it was actually a lack of wind that ended the self-induced sabbatical. “When we moved to Byron Bay I thought ‘I’m living on the beach, I can finally go kitefoiling every day, it’s going to be amazing’, but then I realised the wind's no good till September,” he explains. “I was intrigued when I saw someone fly past on a petrol-powered jetboard, but that struck me as loud and obnoxious. I had the idea to hook up an electric motor to my foil and figured I’d be riding around on it by that afternoon.” How mistaken he was. “It’s one of those classic entrepreneur things where if you knew how hard it was going to be, you'd never do it, but you’re visualising the outcome before you've worked out how to get there,” he adds with a smile. Some 18 months later, he had a working prototype.
What started as a tinkering project had morphed into an obsession. Trewern recalls: “I had parts all over the lounge room, the 3D printer churning away downstairs, a soldering line going in the kitchen and my wife demanding to know what the hell I was doing.”
When he casually posted a video of the experimental flying surfboard to Facebook, it garnered millions of views and comments. He set up a basic website “just to see what happens” and was bombarded with around 11,000 enquiries. Once his son devised the Fliteboard name and his brother created its logo, all that was left was to get permission from Bethwyn to come out of retirement. “I think she started to see that I was really coming alive from the project,” he muses. “She often says that it rewired my brain. After being in a pretty stressed-out state, all of a sudden I’d forgotten my worries and was back in my happy place.” For Trewern, the way to attain the mindful state so often touted by today’s self-help gurus was to embark on a new creative endeavour.
“I was my own first customer, and it turns out there are a lot of other people in the world like me looking for freedom on the water.”
As Fliteboard’s offering continues to evolve— this year incorporating Marc Newson-designed accessories and the world’s lightest performance eFoil in the Ultra L2—its vision is clearly driven by a man living out his boyhood dream to design cool machines. He says: “If you take a Tesla and a surfboard and an iPhone and stick it all in a blender, that's Fliteboard, right? It's like I designed my perfect job; I was my own first customer, and it turns out there are a lot of other people in the world like me looking for freedom on the water.”
The opportunity to work with Newson— renowned for his eye-catching collaborations with the likes of Ferrari, Riva and Louis Vuitton —felt like stars aligning for Trewern, having long admired the London-based designer’s purity of form. “The universe has a funny way of making connections when intentions are strong,” he says. Another validating moment came when Laird Hamilton (who knows what it is like to upset surfing purists, having started the tow-in movement in the early 1990s) took the product for a spin. Trewern explains: “I expected him to be anti-eFoil but we were on the Mediterranean and he loved that he could still get a workout in without any waves. It made me realise there are two categories of people: the purists, who I totally respect for trying to protect the essence of their sport, and the pioneers, who are always asking what else can we do and don’t necessarily see one as cancelling out the other.”
Far from deterred when Puerto Rico-based Lift Foils hit the market around the same time as Fliteboard, Trewern revelled in the competition. “That fired me up more, if we weren’t going to be the first we could be the best, we had to earn our right to exist through innovation” he says. Key upgrades included integrating GPS technology and a trip computer that displays how many kilometres and minutes are left on each ride, among other ride stats. Through experimentation with composite materials, he has now managed to get the retail price down to around $11,000 for an entry-level board, half that of the first-generation model.
Populated with plenty of early adopters, the Fliteboard community is an enthusiastic one. “The app features a leaderboard so we’ve riders all around the world competing to see who can get the longest wave or the most minutes of unpowered
riding,” says Trewern. There are avenues for eFoiling to become an officially recognised sport, with top speeds around 50km and no shortage of motivation from Fliteboard ambassadors such as Adam Bennetts, the Queenslander hailed as the world’s best foiler, and Hawaiian kitesurfing champion Moona Whyte.
At the other end of the spectrum, eFoiling can simply be a peaceful way to explore. “I’ve Fliteboarded around the Statue of Liberty, under the Golden Gate Bridge, around a volcanic island in Sicily, places you just can’t get to otherwise,” Trewern says. “Riding along the canals in Miami is great fun too, checking out the real estate, the boats, just exploring.” As well as watersports amateurs, this more laidback use case welcomes in mature surfers who would otherwise age out of the sport. Among these is retired Perth businessman Bill Mitchell, who says the fresh-air pursuit makes him feel far younger than his 76 years. He tells The Luxury Report “I surfed until I got cancer and was told I might not walk again, let alone surf. I’m now on to my fifth Fliteboard and just ticked over 5000km. In The Rise Of Superman Stephen Kotler talks about the flow state, and I find that when I’m foiling.”
The brand’s growth potential has not gone unnoticed by the wider recreational marine industry. Last year Mercury Marine (a subsidiary of US boating giant Brunswick Corporation) acquired Fliteboard for a reported US$90m, with Trewern now sharing chief executive duties with Wisconsin-based Nick Stickler. Though he never dreamed of selling his passion project, the opportunity to offload supply chain and manufacturing challenges to industry veterans while he focuses on product design proved irresistible. “My goal shifted from building a company that I wanted to work in all day, every day for the rest of my life, to wanting Fliteboard to be successful into the future,” he says. “We think this can be a billion-dollar market.” As to what this could all mean for his legacy, Trewern seems at peace; “All that matters is that I'm setting an example for my kids of living life to the fullest. Make mistakes, learn things, try things, go hard.”
fliteboard.com
The retiree-turned-inventor at home with an ash timber Fliteboard, the lightweight Ultra L2 model, and a Marc Newson collab board. Image: Jeremy Gryst.
Balancing world-first technical features with stylistic panache, here are five of the most talked-about timepieces from this year’s Watches and Wonders fair in Geneva—by Charlie Boyd.
PRIME TIME
01 The watch that keeps time for millennia: Portugieser Eternal Calendar by IWC Schaffhausen
While it is hard for most of us to argue that we need a watch that will remain accurate for 45 million years, it is certainly impressive to be able to say you have one. For 2024, the aviation watch pioneer has unveiled the very first eternal calendar watch that features an astonishing ‘Double Moon’ moon phase display which does exactly that, illustrating both the northern and southern hemispheres. If that weren’t impressive enough, the watch also features a 400-year gear system that accurately incorporates leap years and skipped leap years, meaning its calendar will remain correct without any adjustment until the year 3999. A truly extraordinary creation for those who love a talking-point timepiece.
03 The world’s most complicated watch: Les Cabinotiers Berkley Grand Complication by Vacheron Constantin
For the last nine years, Swiss watchmaker Vacheron Constantin has held the record for creating the most complicated watch in the world. This year, the maison widened the gap between its competitors by introducing a new model that outdoes even its own personal best. A one-of-a-kind bespoke commission, the timepiece boasts 63 complications, including the world’s first Chinese perpetual calendar, and is the sum total of 11 years of research and development. Measuring more than 9cm in diameter and weighing almost 1kg, this is an epic piece of haute horlogerie that certainly brings new meaning to the term ‘pocket watch’.
04 The watch that tells time backwards: Santos-Dumont Rewind by Cartier
Forget minor tweaks to trimmings, this year Cartier has spoiled us with an entirely new iteration of the Santos-Dumont, which conceals a clever trick in plain sight. Featuring a platinum case, carnelian dial, and a ruby cabochon upon the crown, the Santos-Dumont Rewind also has a feature that we never knew we needed: it tells the time backwards. Whimsically, the model’s signature Roman numeral markers are inverted, counting down clockwise from 11 to one. Its movement is similarly reversed; it winds backwards thanks to a cleverly inverted mechanism. Effortlessly stylish, it also gives the perfect excuse for being late.
02 The miniature icon: Mini Royal Oak by Audemars Piguet
Released a few weeks after Watches and Wonders, Audemars Piguet’s latest novelty is shaping up as one of the most coveted women’s watches of the year. Flicking through street style photography from any fashion week you will always find a crop of stylish tastemakers sporting the iconic Royal Oak, and now, its distinctive ‘boyfriend watch’ aesthetic has been translated into a petite and punchy design with a 23mm dial. It houses a quartz movement, is available in three colourways (yellow, rose and white 18-carat gold) and is finished in the maison’s signature shimmering frosted gold, offering a dazzling lustre like nothing else.
05 The women’s sports watch: The Cut by Hermès Timepieces
With a track record for crafting luxury goods that become international icons, it comes as no surprise that Hermès has released another watch design that feels fresh, modern and effortlessly elegant. Its new sporty women’s model caught the eye of every slim-lined watch lover at the Geneva showcase thanks to its minimalist design codes, classy curves and chic changeable strap, available in eight signature Hermès hues. Low-key luxe dressers will likely gravitate to the understated stainless-steel version, while the steel and rose gold option with a delicate dusting of diamonds takes a less modest approach.
PURSUIT OF PERFECTION
Based on market activity in the first half of the year, NAB’s Mark Browning identifies signs of strength in the variety and pricing of Australian prestige homes.
Zooming out from headline-grabbing sales in the $80m echelon, the broader narrative for upscale residential real estate in the first half of the year has been one of impressive strength. So says Mark Browning, head of property valuations for NAB, with reference to the sustained transaction volumes and above-reserve sale prices seen since January. “2023 ended up being a pretty good year for prime and super-prime residential sales given the wider context of interest rate hikes and consumer stress, and that momentum has only continued—even strengthening in some catchments,” he comments. “Beyond the perennial lifestyle appeal of postcodes like 3142 and 2028, we have the impetus of strong equity markets driving buyer activity as well as competition from offshore investors.”
Kay & Burton director Andrew Sahhar, agrees: “The luxury sector has maintained robust momentum into 2024, including a resurgence of generational estates changing hands.
These historic homes tend to conclude with multiple parties vying to be the next custodians, which shows just how strong the appetite is in the $20m-plus segment.”
Geopolitical and economic turmoil overseas is increasing the appeal of Australia’s east coast for highly mobile global citizens, Browning suggests, with many reassessing snap decisions made about their living arrangements during the Covid era. He says: “The stream of high net worth expatriates returning to Australia continues its steady flow, and anecdotal reports indicate that people who have been waiting and watching for a couple of years have now reached a crystal-clear understanding of what and where will deliver them the best quality of life.”
This clarity of vision and unwillingness to settle for lessthan-perfect can cause mispriced properties to languish on the market longer than in recent years, he says, but it can also convert others into active buyers the moment that a true
BALANCING ACT
The fact that prohibitive construction costs and skills shortages are continuing to limit new residential projects from getting out of the ground means supply is unlikely to catch up to demand any time soon. Browning says: “Inventory and variety of luxury housing stock remains constrained and, with no clear catalyst in sight to resolve the issues that are slowing premium constructions as well as mainstream homebuilding, I don’t see that dynamic changing before 2030.”
The new-build pipeline is running slightly hotter for premium apartments, particularly in downsizer destinations such as the Gold Coast where developers promise refined waterfront living without the maintenance burden of a mansion. “Apartment prices are climbing in line with design ambition,” notes Browning. “It’ll be interesting to see if the 1000sqm Soul penthouse in Surfers Paradise, listed for $30m in early June, succeeds in setting a new record for Queensland apartments this year. Either way, such a listing points to the growing appeal of lock-and-leave homes with a level of amenity previously reserved for detached properties.”
As apartments get more spacious and high-spec, often accompanied by hotel-like facilities such as day spas and valet parking, they draw more interest from young professionals who travel frequently as well as empty nesters. “The improvement in design, service and privacy standards over the past decade has brought apartments on to the radar of high-end buyers with more diverse family arrangements and lifestyle priorities,” Browning adds.
OFF THE PACE
In the age-old tussle between Sydney and Melbourne, the harbour city has jumped ahead in terms of pricing levels for luxury property. Browning says: “We’re talking about the biggest gap between the two capitals that we’ve seen in a long time, though I expect that to narrow over the long term, but we’re also seeing greater investment in smaller capitals like Brisbane and coastal enclaves like Noosa Heads.” He suggests this is partly down to the ‘sun, surf, startup’ culture of Queensland’s prime residential hubs attracting buyers from the west coast of the US. Sahhar says this reflects a broader trend: “A new demographic of buyers, many with backgrounds in Silicon Valley and disruptive industries such as cryptocurrency, has injected fresh dynamism into the Australian market.”
In lifestyle locations like the Mornington Peninsula, meanwhile, land tax hikes brought in by the state government this year are disincentivising second-home ownership. Though the rising costs of running a holiday home makes is less likely that such markets will return to their pandemic peak, one need only look at median house prices in Rye and Blairgowrie (more than double what they were five years ago) or recent Portsea sales in the $15-30m range to see that year-round coastal living retains its sheen. Browning adds: “Considering the diverse reasons that people choose to invest in peninsula property, which includes some of the most aspirational homes in the country, I expect the additional taxation burden to have a stabilising effect rather than short-circuiting the market.”
THE WAITING GAME
trophy home comes on the market.
As such, the blue-chip neighbourhood of Toorak logged multiple sales in excess of $35m in the first few months of the year, including St Georges Road residence ‘Karum’ for around double its listed value a decade ago. Since the setting of a fresh Brighton benchmark in December (>$30m), suburb records have also been broken by sizeable margins in Elwood ($17m) and Camberwell ($13m). “Even the most eye-watering records can quickly become the new normal when you have interest coming from Asia, Europe and the US, as we do at the moment,” says Browning.
The biggest ticket of the half-year (reportedly $80-85m) went to Point Piper’s ‘Rockleigh’ in May, not long after a new suburb high of $30m was hit in Bondi. “There’s only so much harbourside to go around after all,” Browning notes, “and the resort-style quality that luxury buyers are chasing nowadays is in very short supply.”
At one end of the spectrum sit internationally marketed showpieces like the 1600sqm penthouse atop Crown Hotel in Sydney’s Barangaroo, which is being advertised for $90m this year after failing to secure a buyer at nine figures. At the other end are boutique heritage-enveloped developments such as Orchard Piper’s nine-residence Toorak Village, which celebrate local charm for those seeking a community-focused lifestyle. Sahhar says the rightsizing movement certainly persists among his Melbourne-based clients, with robust demand for house-sized apartments reflecting a preference for low-maintenance living.
While we expect the Reserve Bank’s cash rate to stay higher for longer, with NAB economists forecasting a cut in 2025, Browning asserts that a prevailing sense of optimism is poised to energise buyers who have been observing from the sidelines for an extended period. Highlighting the recent surge in investor mortgages to a two-year high as a positive indicator, he expects a resurgence in activity come spring; “While the performance of the share market holds greater significance for luxury home buyers and vendors than borrowing rates, even at a foundational level the prestige property market appears robust in the run-up to 2025.” Sahhar echoes this prediction that the ‘wealth effect’ triggered by easing inflation and stabilising interest rates will galvanise spending. “We expect more buyers and sellers to enter the market this spring as a result, providing an optimistic outlook for most sectors,” he says.
A REPUTATION built on results
01 37 Mary Street, Hawthorn
A noticeable uplift in buyer activity across Boroondara’s upper end, fuelled by market stability and returning ex-pats, led to an early offer within the $14-$15M price guide, triggering a private auction for this magnificent Grace Park Estate mansion. The resulting sale far surpassed expectations. Nestled amidst magnificent botanical gardens, the illustrious, light-filled mansion offers privacy and serenity. Designed by renowned architects Grainger and D’Ebro, the residence features a large widow’s walk with breathtaking 360-degree city views, underscoring its historical and architectural significance.
02 7 Normanby Street, Brighton
Proving once again the strength in the upper end of the Brighton market, a record result was achieved for this Normanby Street property, known as ‘Clutha’. Following an extensive buyer search both locally and abroad, there were three offers from local buyers. The immaculate quarter-acre estate sold in excess of $10M. Positioned on one of Bayside’s most adored streetscapes, the home’s charisma, timeless Hawthornbrick façade, and blend of heritage and contemporary elegance made this home truly remarkable.
03 2 Hopetoun Road,
A resurgence of generational estates changing hands across Stonnington has injected new vitality into the market, yet demand still far exceeds supply. This highly sought-after Wayne Gillespie, Rob Mills, and Paul Bangay masterpiece attracted eight offers at the end of its expressions of interest campaign and sold to an international purchaser within the price guide. Displaying unmatched prominence and stature, the extraordinary home embodies refined extravagance and sophistication amidst Toorak’s most revered avenues. The remarkable residence sits beyond a high front fence and horseshoe driveway, with sculpted gardens leading to an intricate yet wonderfully simple design that captures passive light and exquisite detail.
04 5 Old Bittern-Dromana Road, Merricks North
Lovingly established by the vendors over many years, ‘Willawong’ is a beautiful 56acre estate in a sought-after location that secured a terrific result. The iconic property offered a unique opportunity to embrace a country lifestyle in the heart of the
Kay & Burton has always been a leader in the premium and luxury real estate markets. Since selling our first home in 1938, our success has been underpinned by the depth of knowledge, experience, and relationships that we have formed within the market in which we operate. We are proud to present some of 2024’s top results.
Peninsula’s wine-growing region. Set up to run cattle, it also boasted lifestyle amenities including an oasis pool, tennis court, and two substantial family homes. A sweeping Pin Oak-lined driveway welcomes you to the property, meandering past a tranquil lake home to geese, ducks, and abundant wildlife, through award-winning gardens to The Main Residence and The Cottage.
05 11 Bates Street, Malvern East
Elegance, eminence, and exclusivity defined this Victorian landmark, now home to a local family following a successful expressions of interest campaign that drew multiple offers. ‘East View’ stands a testament to the grandeur of the Gascoigne Estate. The extraordinary residence, surrounded by manicured gardens and set back from the street, boasts elaborate ornamentation and a facade that captivates all who pass by. Its timeless charm and prestigious location make it a true masterpiece among period homes and commanded a strong campaign.
Toorak
The Kay & Burton Foundation was established in 2021 to formalise the philanthropic endeavours of our team, clients, and partners. The focus of the Kay & Burton Foundation is to make a meaningful impact in the lives of those in need and champion health and wellness initiatives throughout our community.
In alignment with our mission, the Kay & Burton Foundation proudly extends its support to a diverse array of charitable organisations and community sponsorships each year.
Collaborating with esteemed partners such as Koala Kids, Rule Prostate Cancer, MPavilion, Melbourne Baseball Club, Pier to Perignon, the Rotary Club of Sorrento and many more, we strive to make a meaningful impact, fostering a community where health and wellness thrive.
DECKED OUT
From the world's largest sportfisher to the first zero-emission superyacht, 2024 looks set to be a watershed for maritime design. Here, we preview some of the prestige vessels making a splash in the coming months—by Julia Zaltzman.
Project Zero by Vripack
Does a single sailing superyacht have the power to transform an entire industry? Meet Project Zero, a 62m classic sailer and the world’s first fossil fuel-free superyacht where guest comfort is high and environmental impact low. The work of Dutch design studio Vripack, Zero is ecological in both consumption and production, harnessing three forms of alternative energy: hydro, solar and wind. Arriving in 2025, the Zero is equipped with advanced lithium-ion batteries that are calculated at five megawatt hours and can store 6720 kWh (equivalent to 88 Tesla cars). Secondary energy-generation kit includes wind turbines in the rig, marine-grade solar panels that electronically pivot to capture the most sun, and two power kites to harness wind power. The large high-performance sails are also a draw for regatta regulars. If ever there was a yacht that could change the status quo, Zero is it.
03 Special One by Vripack
The largest sportfisher on record was delivered by renowned Dutch builder Royal Huisman in June. With Netherlands-based studio Vripack taking responsibility for the naval architecture, exterior and interior design, the 52m all-aluminium motor yacht combines the silhouette of a typical American fisher with a long flaring bow, high bulwarks to displace approaching waves and a six-decked tuna tower. Much like the fish its owner is intent on catching, Special One is a behemoth of the seas. The low and uncluttered aft cockpit is where the action takes place, while four large decks give spectators a front-row seat. Equipped with live bait wells, rod holders, freezers, tuna tubes and the best fighting chair on the market, there’s also a bait and tackle room forward of the cockpit. A cinema screen on the foredeck with studio-quality speakers enhances the celebratory postcatch atmosphere, and laser-powered lighting ensures every element shines bright after sunset.
02 Almax by Sanlorenzo
First came battery, then came hydrogen, now methanol is stepping into the spotlight as the green marine fuel du jour Built for Sanlorenzo CEO Massimo Perotti but also available to order for delivery in 2027, the striking 50m Almax is the first hull in the Italian yard’s 50Steel series. Setting a new benchmark in ecoconscious cruising, the Almax is the world’s first yacht equipped with biomethanol cells to power onboard systems such as aircon and lighting, meaning you can sit at anchor completely emissionfree. With exteriors by Zuccon International Project and interiors by prominent architect Piero Lissoni, the five-decked beauty increases the amount of living space typically found on a yacht of this size by relegating the engine room to the tank deck. In fact, it frees up enough space to add an ‘ocean lounge’ on the lower deck together with a gym, spa and guest accommodation. There is also a main deck salon and dining room with 3.5m-high coffered ceilings, two pools and a vast beach club with three fold-out sea terraces.
This yacht’s name is more than apt, for it is an AI-enabled hybrid-electric wolf wrapped in superyacht clothing. Italian builder Rossinavi’s first catamaran comprises a sports car-esque exterior by Fulvio de Simoni Yacht Design and nature-inspired interiors by New York-based Meyer Davis Studio. Even during transatlantic crossings the newly delivered 43m vessel can cruise in electric mode for 80 per cent of the time, thanks in part to the onboard artificial intelligence system providing real-time suggestions for energy efficiency. The outdoor living areas include a convivial cockpit centred around a pool, an expansive sundeck and the ultimate bow area with a second hidden pool and home theatre.
Feadship
04 Project 821 by
Project 821 has been five years in the making, and for good reason. The 118m custom build is the world’s first hydrogen fuel-cell superyacht, taking the combustion-free technology of electric cars to the water. Though Bill Gates is footing the bill for this supercharged innovation, the Microsoft co-founder has listed it for sale prior to delivery. Dutch yard Feadship partnered with Edmiston and Lloyd’s Register to develop appropriately scaled equipment, with two Norwegian ferries due to enter service next year using the system pioneered for this more compact and luxurious watercraft. That’s no easy feat when storing 4 tonnes of compressed liquid hydrogen below deck at -253°C requires a cryogenic storage tank 10 times the size of a traditional fuel tank. Then there are the fuel cells and vent stacks for escaping water vapour that add an extra 4m to the already 100m-plus vessel, which sees it edge out Mark Zuckerberg’s recently delivered Launchpad as the largest motor yacht launched in the Netherlands. Project 821 also features the most efficient heat recovery system yet developed, powering everything from the pool, jacuzzi and steam room to the bathroom floors. Interiors sport a mix of textured leathers, marble, rattan and smoked eucalypt panelling. The owners’ deck includes two ensuite bedrooms, a gym, two offices and a living room, not to mention a secret staircase lined with bookshelves.
Seawolf X by Rossinavi
Image: Project 821.
Special One. Seawolf X.
Almax.
An enduring influence
WORDS
Carli Philips
For over four decades, Melbourne architecture practice Wood Marsh has operated with a clarity of vision inspired by the arts rather than contemporary design trends. The result is a groundbreaking body of work that embodies striking sculptural qualities balanced by an interplay of solidity and transparency with expertly curated artwork. Offering a thoughtful response to context and place, Wood Marsh has undoubtedly left an indelible mark on Victoria’s built environment.
Few names have enriched Melbourne’s architectural landscape as significantly as Wood Marsh. Founded in 1983 by then-young architecture graduates Roger Wood and Randal Marsh, the practice has evolved from its early days designing nightclubs and a film studio to incorporate a diverse portfolio that spans residential, commercial and infrastructure work. Widely acclaimed and the recipients of countless awards, co-founders Wood and Marsh cemented their ethos from the outset with a commitment to invoke art as a guiding force, creating buildings that are sculptural in their external form and expressive in experience. Over time, as trends have come and gone, the pair’s clarity of vision has never wavered. “Art has always influenced our direction,” says Marsh, citing painting, photography, filmmaking and fashion more than traditional architecture, as references. In particular, large-scale land artists including Christo, Donald Judd and Richard Serra, have been constant sources of inspiration. Central to Wood Marsh’s approach is a philosophy of architecture as permanent, threedimensional sculpture that is also functional. Their projects have a consistently tight materials palette and toggle between opacity and “Art has always influenced our direction.”
01 Peninsula House (2023), Flinders. Image: Timothy Kaye.
02 L-R: Randal Marsh and Roger Wood. Image: Jean-Luc Laloux.
03 Portsea House (2014). Image: Peter Bennetts.
04 Paris Apartment (2023), France, featuring artworks by (L-R) Polly Borland, Bill Viola and Aaron Carter, curated by Murray White of Murray White Room. Image: Tommaso Sartori.
transparency. Intrinsically tethered to site, their residential buildings are purposely intriguing, with mystifying silhouettes and entrances often obscured by hulking proportions.
“The homes we design are intentionally enigmatic so they can’t be easily read on first sighting,” says Marsh. “Architecture is meant to be something that unfolds in front of you.”
As groundbreaking today as when it was built, the boundary-pushing Gottlieb House (1990) was unlike anything suburban Melbourne had seen at the time. Eschewing typical conventions of what residential design should be, the house is governed by the interplay of space, light and form. Wood Marsh describes the mass of abstract, intersecting volumes and avant-garde arrangement as
“a distinctive object that nonetheless entirely fulfils its domestic requirements as a family home.”
The same concept is embodied in their multi-award-winning Towers Road House (2019) in Toorak, with its winding path framed by monumental concave concrete ‘curtain’ walls that meander along the sloping property.
Capped with an oversized zinc disc roof reminiscent of a flying saucer, the seemingly impenetrable monolith opens into an unexpectedly dramatic, double-height corridor that is “almost a religious experience,” says Marsh. In response to the client brief, adequate space was made for the owner’s art collection in specially integrated galleries on the ground floor.
Described by Wood Marsh as “an artistic architectural response to Australia’s coastline and the contours of the rural landscape,” coastal Victorian residence Peninsula House (2023) sits nestled between grazing pastures, vines and the rugged drama of Bass Strait in Flinders. Curved surfaces have been designed to capture shifts in light and shadow, while the dark exterior material palette of charred timber and rammed
earth contribute to its enigmatic presence, presenting what Marsh terms a “dramatic sculptural relic.” Artistic influences are also evident in Wood Marsh’s Domain Road Apartments (2014) in South Yarra, where robust scale and delicate detail draw reference from the distinctive geometric arrangements of Dutch abstract artist Mondrian and US conceptual artist Sol LeWitt. When it comes to art, many of Wood Marsh’s clients have significant existing and evolving collections. Carving out space for complementary pieces is a process that Wood Marsh works on with private advisor, curator and gallerist Murray White. White’s eponymous Melbourne gallery, Murray White Room, was designed by Wood Marsh in 2006, establishing their longterm working relationship.
“My role is working with small, moveable things, and as architects, they focus on the grand scale,” explains White, who has consulted with the firm on countless projects over the past two decades. “But there’s a continuity of ideas and a respectful dialogue between us. For me, working with Roger and Randal on private
homes is a match made in heaven.”
Their most recent collaboration— the renovation of a baroque apartment in Paris’ 4th arrondissement (2023)— involved preserving the historically significant architectural elements with contemporary insertions while thoughtfully integrating pieces from the Australian owners’ large collection of First Nations and international art.
“The client and I worked out where the gaps were, commissioned site-specific pieces and curated his existing collection, all the while with Wood Marsh’s head of interior architecture, Marco Zerbi, beside us, backing us up with visual renders of the apartment.” He adds: “There’s always a very respectful dialogue, and the fact that we could do it remotely at the height of Covid lockdowns was extraordinary,” explains White, who also engaged a curator from the Centre Pompidou for the awardwinning pied-à-terre
In a departure from the apartment’s minimal decor and monochromatism, the dining room has been wrapped in a striking salmon hue to complement the building’s original 17th-century
murals, a careful process that involved meticulous restoration by experts from the Louvre. The result—a home that balances French classicism with modern amenities and the integration of contemporary art— is demonstrative of Wood Marsh’s prowess not just in the new, but also in the enhancement and betterment of the existing.
White also collaborated with the architects Wood Marsh on Melbourne restaurant Kisumé (2017), which involved curating a collection of photographs by the celebrated Australian-born, US-based artist Polly Borland. Among them is an edition of Borland’s iconic Untitled (Portrait of Nick Cave in a blue wig) 2010 perfectly placed for visibility from the street through a circular window portal. The restaurant also houses a series of provocative works by renowned Japanese photographer and artist, Nobuyoshi Araki that provide a potent response to the client’s obsession with beauty and sensuality. Of Melbourne’s many urban architectural icons, Wood Marsh’s Australian Centre for Contemporary Art (ACCA) is one of the city’s most celebrated. Showcasing their deftness for creating buildings with a strong connection to place, the multi-use facility references the once-ubiquitous warehouses and foundries of the location’s industrial past. Clad in robust Corten steel, the building’s patinated skin is at odds with its interiors. Described by Wood Marsh as “a sculpture in which to exhibit art,” ACCA (2002) subverts the contemporary ideal of a shiny gallery with right-angled walls designed for the display of visual art; its atypical arrangement instead made up of faceted, collapsing planes and a discrepancy in ceiling heights. Yet pragmatically, it still successfully supports a broad range of exhibition spaces and even extends to the landscape beyond with a central courtyard and link to the adjacent arts precinct.
Wood and Marsh have described the building’s earthy, austere cladding and flat ground plane as “rock-like,” as though gradually exposed over the years by erosion.
This same sentiment and lack of ornamentation are evident in other projects, most notably the Australian Pavilion at World Expo Shanghai (2010), a sparse, undulating building in weathered steel evoking the landforms of the outback. White says it’s yet another example of Wood Marsh effortlessly breaking the mould. “Even though their work contributes to the grand dialogue of modernism, they always bring something new—without trying too hard. They really take it to another level in dimension and form.”
Throughout their four decades in business, Wood and Marsh have always been conscious of their responsibility to the community at large. “Freeways, universities, bridges—it’s all architecture for the people and should make a positive contribution to the state,” says Marsh. “We have an obligation that what we’re designing will be stimulating for the public.”
Even 15 years after construction, infrastructure projects such as the 39-kilometrelong EastLink Freeway still invite discussion. With its concrete corridor of fractured graphic ribbons and additional “furniture” by way of tolling gantries, tunnel portals, bridges and a selection of public art, the roadscape was “intended to be an experience, rather than just a routine car ride,” Wood says.
Of the various works that line the tollway, Melbourne artist Callum Morton’s high-rise model of a hotel in an empty field still generates the most buzz. Comprising multiple oversized works, it has long been described as an openair sculpture park. “A lot of kids may never have seen a sculpture before,” says Marsh. “The idea was to design something that would encourage debate and commentary; I think that’s why [it] has been so successful.”
Regardless of the context, it’s a sentiment that Wood Marsh espouses across all typologies. “Anyone can drive past and enjoy a building. Even a private home can be viewed as public art. We strive to make buildings that challenge people. That’s our philosophy, and it will never change. It’s in the Wood Marsh DNA.”
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With one of Burgundy’s top vignerons now in charge of Australia’s iconic Bass Phillip pinot noir, change is coming about through evolution rather than revolution.
BLENDING TRADITIONS
WORDS
Jane Faulkner
The lush green hills of south Gippsland, prime dairy country, are about as far removed from Burgundy as vigneron JeanMarie Fourrier could ever imagine. Yet, he feels at ease— joyous even—on a vineyard 20 kilometres inland from Bass Strait at Leongatha South in southeast Victoria.
And what brought him to this wind-swept, high-rainfall region is Australia’s most famed pinot noir site—Bass Phillip.
Its creator, the legendary Phillip Jones, toiled the original 3.5-hectare high-density vineyard before adding another 8 hectares a decade later in 1996 on a different property a few kilometres away, a strategy that eventually elevated his wines to icon status. But as he told me on the eve of selling in early 2020, at 74 he was too exhausted to continue, and with no children to continue his legacy, the only option was to sell.
Enter Jean-Marie Fourrier of Burgundy’s esteemed Domaine Fourrier, who took the baton that same year and now co-owns Bass Phillip alongside Singaporean-based wine businessman Soo Hoo Khoon Peng and Hong Kongbased venture capitalist Kent Ho. While his partners are heavily invested, it is the Burgundian orchestrating the winery’s next phase.
Fourrier is quick to point out his admiration for Jones: “I have always had a huge respect for what Phillip achieved and I’ve always said that at Bass Phillip [it’s not about] revolution [in terms of winemaking approach], it’s an evolution,” he explains over the phone from his family estate in Gevrey-Chambertin. “I’m bringing consistency and precision, but I want to continue the legacy. I do not aim to make Burgundy wines [at Bass Phillip].”
“You have to be an adventurer, a pioneer. That is what attracted me to this place.”
For all his modesty, it is certainly a coup to have someone of Fourrier’s calibre overseeing this prized place. Yet of all coincidences, it is not his first time there. Visiting Australia in 2002 to promote his wines and Burgundy generally, his importer, the late Ross Duke, asked the young vigneron if he might be interested in some consultancy work. He headed to Gippsland to visit Phillip Jones.
“For me, the adventure of Bass Phillip was coming back to the modest side of the wine world because Burgundy is crazy,” he says. “The Burgundy I grew up in, there were no stars. No one was famous. We were farmers with two bits of pipe, small tanks and a couple of buckets and we did the best with what we had.”
“It was my first time in Australia and my introduction to Bass Phillip,” he recalls. “It was a mutual discovery for both of us because, coming from Burgundy, everything comes from the vineyard. For Phillip, I think it was the first time dealing with a consultant, so I said ‘let’s start in the vineyard,’” he explains. “The more time we spent together, the more it was an exchange of ideas between two crazy people. The joy of winemaking is [experimentation] and it was a fascinating introduction for me. You have to be an adventurer, a pioneer. That is what attracted me to this place.”
France has complex, detailed wine laws, specifically its appellation d’origine contrôlée law, which strictly regulates region, variety, yields, winemaking, quality and more; in Burgundy, the highest tier is grand cru followed by premier cru, according to the designation of the vineyards. To producers in Australia, who can grow any variety in any place (not that they should) such laws might appear restrictive. Conversely, there’s less freedom to experiment, and Fourrier likes to experiment. He saw in Jones a pioneering spirit. Very few vineyards were planted to pinot in the early 1980s and almost none at high density, as is the norm in Burgundy. The original Leongatha South vineyard came in at 8000 vines per hectare, whereas around 2500 per hectare is closer to the norm in Australian vineyards.
“It takes madness to plant vineyards in Gippsland in the early ‘80s like this,” says Fourrier. As an aside, Jones initially planted cabernet sauvignon in 1979, later switching to pinot noir and chardonnay. He also added gamay, gewurztraminer and nebbiolo.
While the pinots are highly prized, Fourrier says the place reminds him of Burgundy before the hype, before the outlandish prices, before supply outstripping demand.
Of course, in time, with his overseas training and experience, Fourrier has brought consistency, quality and modern methods to Domaine Fourrier easing the variations in vintages, which were “very bumpy from one year to the next,” he says, adding, “Making good wines every year is what matters to me.”
It’s a philosophy he’s now bringing to Bass Phillip.
On home soil at Gevrey-Chambertin, Fourrier heads the family estate with his English-born wife, Vicki, and sister, Isabelle. Their nine hectares include a 0.26-hectare parcel of the excellent grand cru Griotte-Chambertin and a 0.89-hectare plot of the premier cru, Clos Saint-Jacques—arguably the jewel in the crown. He is only one of five who has a stake in the famed clos, a vineyard Burgundy lovers agree is the most famous cru that’s not a grand cru, more a historical anomaly as it wasn’t granted top appellation status back in the 1930s. Regardless, he has the privilege to work with very old vines—plantings from 1919, ‘28, the ‘30s and ‘40s. He also has plots in Morey St. Denis and Chambolle.
This reads like a dream, and yes, the vineyards are a blessing, but credit to Fourrier for elevating the business to the lofty heights it now enjoys—it wasn’t always so. His father, Jean-Claude, was 14 when his father died in a tragic accident, and the teenager’s wish to be a mechanic faded as he went to work for his winemaking uncle. Jean-Claude later inherited the vineyard holdings and business, then known as Pernot-Fourrier, which later became Domaine Fourrier. Fourrier says his father lacked both the technical expertise and a passion for wine to make the most of it, but things began to change after a young Jean-Marie took over in 1994 aged 23.
He had recently returned from a lifechanging work trip at Domaine Drouhin in Oregon; a pivotal moment because there he learnt winemaking skills (he’d studied oenology in Beaune), more importantly, he realised what a gift the family’s vineyard holdings were; the key to great wine being a great site. Apart from a deep love and respect for the land he works, it’s Fourrier’s worldly attitude that sets him apart. A deep thinker, he’s constantly questioning all aspects of wine—from the growing, making to
the selling and promotion. He also regards himself more a biologist than an oenologist.
Today, Domaine Fourrier wines are some of the world’s most sought-after, sold within a nano-second of release. Much like Bass Phillip’s. Sure, there have been some hiccups in the past, yet when on song, Bass Phillip wines reveal great beauty and power; the Reserve easily Australia’s finest pinot, and its most expensive at over $800 per bottle retail.
It’s worth noting the property was bought on the cusp of a global pandemic and subsequent lockdowns, which meant Fourrier initially had to make the wine via Zoom. Luckily, Jones had asked his friend, experienced winemaker John Durham (ex-Cape Mentelle), to help with his final vintage in 2019. Durham stayed on to oversee several subsequent vintages alongside Fourrier’s brother-in-law, Adam ‘Skip’ Francis, who is now Bass Phillip’s onsite winemaker and general manager.
Skip says the original vineyard has been completely re-trellised—a huge undertaking—and in late 2020, they bought the former Clair de Lune winery in nearby Kardella. Grafting to chardonnay and pinot noir has begun and future plantings will be high-density. A new modern winery will be finished in time for next year’s vintage and some of the sheds at the original property will be demolished for more plantings.
“We will replant there because this is the terroir, the best site,” Skip explains. “There’s prime soil under these buildings and we need to use it.”
While Fourrier now visits Gippsland at key times throughout the year, the fine-tuning and gradual evolution are underway. At Domaine Fourrier, his father once blended all the Gevrey premier crus into one wine; the son now vinifies and bottles them separately, allowing the unique qualities to shine. Working out disparate blocks and fermenting them separately at Bass Phillip has become the next phase, not necessarily to make single bottlings, rather to assess differences in the first instance. The original vineyard is split into five different ferments, with the Reserve, historically a barrel selection, now coming from two distinct blocks.
Also, he de-stems the pinot both at home and in Gippsland. However, with vintage ’23 in Australia, he made a parcel using 100 per cent whole-bunches and aged in 50 per cent new French oak; it turned out to be very good. Only four barrels were produced of the yet unnamed wine.
What’s next? Well, more gamay is being planted (a variety Fourrier adores). Equal adoration is held for cabernet franc, with a hectare of space earmarked for new planting at Kardella in 2025. “When I looked at the climate, the soil, everything, [I could see] it all has the potential to make amazing cabernet franc,” Fourrier explains. Imagine that. A Burgundian planting a Loire/Bordeaux red in a region allowing him the full freedom to do so. No wonder he loves Australia.
Destination: Mallorca
Australian expat Dolli Taylor shares her recommendations for how best to enjoy the Mediterranean charms of her adopted island home.
INTERVIEW
BY Leanne Clancey
Considerably more laidback than its hard-partying neighbour Ibiza, Mallorca is perhaps the Mediterranean’s original bohemian haven, having drawn and inspired generations of creatives. Names including DH Lawrence, Anaïs Nin, Mick Jagger and Joan Miró have all been captivated by the island’s charms and today, the same spirit of creativity and freedom is attracting a new generation of travellers. With its classic Spanish architecture, atmospheric villages and pristine turquoise waters, Mallorca is a dreamy destination for those looking to go a little slower, while still keeping one foot in the world of great food, wine and culture.
For Sydney-born gallerist, interior designer and restaurateur Dolli Taylor, the island idyll is now home, after marrying her Italian-born Mallorcan-based husband and relocating in 2018. Here, Dolli offers insights into some of the best places to immerse in local culture.
If I could describe Mallorca in three words it would be: bohemian, artistic, inspiring. The island has a strong artistic influence that dates back decades. Renowned Catalan painter, sculptor and ceramist Joan Miró spent much of his adult life in Mallorca and produced many of his iconic works here. Small villages such as Deià and Valldemossa have long drawn artists and writers and we now see creatives coming from all over the world to base themselves on the island. The rich nature and unique landscapes provide great inspiration to create.
Something I always do with visitors is eat sobrasada (cured pork), empanadas (savoury pastries) and ensaimadas (a classic Mallorcan sweet pastry scroll), and drink hierbas, a traditional herbal liqueur. I also take them to lunch at Ca’s Patró March in Cala Deià, for incredible seafood on the cliffs while admiring the beautiful blue sea. One of my favorite things to order is a typical Menorcan dish of langosta (lobster) with eggs and fries.
One thing I crave most whenever I return after being away is the Mediterranean sea and my farm life. My husband and I are fortunate enough to live in a finca, a typical country house on 15,000sqm of farmland. Behind is a mountain range, and in front a sea view. We are far from our neighbours but only five minutes from supermarkets and villages. I love that I can have a peaceful life but not feel remote and isolated.
For breakfast I go to Surry Hills in Palma for an Australian-style cafe experience. The Spanish don’t really do coffee culture like Australians do; it’s usually just a quick cortado or espresso standing at the bar. I also like chic newcomer Terreno Club in Ponent, which attracts a creative, interesting customer base. They serve cocktails, natural wine and a delicious brunch cooked by Villi.
And for dinner, my restaurant, bar, art gallery and shop, Trobar, in the town of Cala Agulla. You’ll find international fusion share plates, a basement tequila bar and a rooftop bar for sundowners. Much of what you see, including tableware, is made in collaboration with artists and is for sale through our retail space. Atmospheric wine bar Little Jarana in Palma is a favourite for delicious small plates, great atmosphere and excellent wines. La Rosa Vermutería in Palma for an aperitivo. They specialise in vermouth and offer their twist on tapas, which chefs prepare in front of you at the little bar. Brut is an experimental restaurant with an incredible tasting menu set in the village of Llubí. Ca na Toneta is a cosy farm-to-table restaurant run by the Solivellas sisters at their aunt’s old house in the village of Caimari. They offer a tasting menu of typical local dishes using organic produce grown on site.
For nightlife I go to Abaco cocktail bar. Set in the heart of Palma’s Old Town (La Lonja district), you’d never expect to find such interesting interiors and energy behind the doors of a traditional building like this. It’s like stepping into another era. I also love Sa Fonda Deià for great music and Brassclub for inventive cocktails and small bites.
To experience local art, design and culture, I recommend the Miró Foundation, located near Palma, where the artist lived from the mid-1950s until he died in 1983. Its collection includes over 7000 works of art by Miró and his contemporaries. La Bibi Gallery is a warehouse-style gallery space inside a traditional building. The curators present an exciting mix of contemporary works by international and local artists and also host residencies. Museo Sa Bassa Blanca is a wonderful space to appreciate the intersection of art, nature and architecture. And of course, there’s my gallery
space trobat, which showcases the work of lesser-known artisans from around the world.
For the best swimming, I go to Cala Agulla, a picturesque beach surrounded by mountains and very little else around. I love it because it is one of the longer beaches, the water clear and majestically blue and often quite flat. You can ride horses here and in the winter months take your dog. Cala Torta is another beach I love. The water can only be reached by walking along a bush track, which means it is particularly untouched and private.
My perfect Mallorca day off would involve spending the morning on the farm with my animals then heading to the beach for some paddleboarding. We are blessed to have so many beaches with incredible coves you can paddleboard to. For lunch I’d have the seafood paella at a local chiringuito (waterfront bar-cafe) such as Xiringuito Son Moll. Sunset drinks at The Sea Club, I love to have an espresso martini looking out to the sparkling blue water, or I’ll head to the rooftop at Trobar before dinner at a little Japanese-Peruvian fusion sushi bar called Ro Nikkei.
One thing that still surprises me about the local culture is how late the parties go. The locals here always celebrate tradition and have special events happening in the local villages all year round. On these nights everyone from the town and surrounding areas will come and stay out until 6 or 7 in the morning. I also love how inclusive everyone is of children, there’s no culture of adults-only parties here. No-one uses babysitters because children are welcomed and accepted everywhere. I love it, it means you don’t need to lead a separate life to socialise.
trobat.co
Sydney-based industrial designer Tom Fereday discusses notions of permanence and the importance of reflection amid increasingly fast-paced production cycles.
How was your latest visit to Milan, exhibiting new work at Alcova for Salone del Mobile?
[Presenting] my Mazer collection as an independent exhibition in the iconic Villa Borsani was a major highlight. One of the things that makes Milan Design Week so special is the access to these incredible locations and buildings. While a typical exhibit would involve setting up in a commercial space or at a trade show, we were quietly installing in a landmark 1930s villa alongside 12 or so other designers. The process of putting it all together and the sense of ‘calm before the storm’ was an amazing experience. Trying to create sympathetic work for these spaces is a nice challenge.
What would you say is the value of physical presentations in a world where almost everything is virtually accessible?
Whether it is a positive or negative response, when you encounter works in real life it is just such a different experience, so I don’t think the impact of physical exhibitions will ever go away. For me, the best part of Milan Design Week or any design fair is not only having a clear deadline and target to launch new work, but ultimately having this moment of reflection to see how your work sits among the best in the world. Everything culminates at that point of reflection.
CURIOSITY UNLEASHED
← Tom hand-finishing one of his bespoke chairs for the Art Gallery of NSW in his Camperdown studio. Image: Sean Fennessey.
INTERVIEW BY Zachary Calleja
Your work is often described as ‘honest’ in how it showcases raw material identity while embracing craft and innovation. How do you define honest design?
Trying to celebrate the material you work with, or to show a level respect to it, is very important to me, so it has always made complete sense to have that as a cornerstone. You don’t want a form you’re working on to take away from the material, and vice versa. So while I start with an idea or a problem to be solved, I always try to work with aesthetic and functional longevity in mind; it is honouring the material and the process without too much interference. When you’re working with natural materials, they are often the most elegant or beautiful to age; they inherently possess real value and character and are usually the pieces I still enjoy the most, even after many years.
Do you have a current material obsession?
Because I’m not a traditional maker, in that I don’t specialise in one material, I get to explore the potential of different materials within each brief. Over the past couple of years I’ve been doing a lot of experimentation with cast glass and that’s a really fascinating material and process, [while] the theme for my show with Oigåll Projects at Melbourne Design Week [was] cast aluminium. As some of these processes haven’t changed in hundreds of years, it becomes a challenge to find new ways of innovating with our current knowledge.
Who or what have been your greatest influences?
Even though I ended up dropping out of art college, I’d say it was still probably the most valuable thing I did because I got to experience what it would be like to do sculpture, or graphic design, or fine art. In many ways, there are many overlaps between someone who is a product designer, someone who is an artist and someone who is an engineer. Starting in the arts [enabled] me to feel less constrained, slowly becoming more functional as I learnt about industrial design. That grounding in how to justify even quite abstract work, and how to analyse it conceptually, has been really useful and is arguably under-utilised in industrial design.
What is something that isn’t discussed enough in design?
Something I appreciated about Oigåll Projects is that they encourage designers to both create new work and be emboldened to show previous works. There is always an urgency and pressure to show new work in the design industry, and I think there’s a growing fear of it moving toward a fashion model. Maybe what isn’t discussed enough is celebrating and showcasing existing work, and considering how we reflect on the work we’ve produced. If work doesn’t have longevity, I don’t really want to do it, and that also means I like to show it multiple times and revisit it in different contexts.
What excites you most about the future?
There are so many gaps that I am curious to explore. The future feels quite limitless, which is a good feeling.
“There is always an urgency and pressure to show new work in the design industry, and I think there’s a growing fear of it moving toward a fashion model.”
Debuted at this year’s Melbourne Design Week, the sculptural, totem-like Aver speaker is hand-cast from marine-grade aluminium. Image: Annika Kafcaloudis.
Hand-cast from
décor. Image: Sevak Babakhani.
05 Responding to the architecture of the Art Gallery of NSW, the Fereday Ottoman is crafted from materials sourced exclusively from the Sydney area, using fine aniline leather from Australia’s foremost artisans. Image: Fiona Susanto.
PINNACLE OF PRESTIGE
How luxury brands are shaping the skyline of our most elite residential hubs.
15,347 people. That figure is expected to rise a further 27 per cent by 2028 to 19,491. The real estate researcher’s Global Branded Residences Report 2023 revealed the worldwide market for these deluxe dwellings is in expansion mode, forecasting a 55 per cent uptick by 2026.
A similar report by London-based commercial real estate brokerage Savills revealed volume in the branded residence sector is up 160 per cent over the past decade.
Riyan Itani, director and founder of consultancy Global Branded Residences, said South East Asia is the next emerging market. And although he remained tightlipped about specific imminent brand collaborations in Australia, he hinted there is serious interest in developments down under.
“There are 714 completed branded residential developments in the world and in the next five to seven years, there'll be another 660 completed. So what's taken 100 years to build [will] effectively be built again in just a few years,” Itani says. “That gives you an idea of the growth in the market and the pickup rate of this model from developers and investors.”
While five-star hotels moved into the luxury residential space a century ago, today the mode du jour for this property industry niche is haute couture, as fashion labels, exclusive jewellery names and even prestige automobile brands drive demand for luxury branded residences worldwide.
In recent years, coveted names including Dolce & Gabbana, Armani, Fendi, Lagerfeld, Baccarat, Bentley and Aston Martin—among dozens more— have collaborated with major international developers to create unparalleled residences where brand loyalty is a yearround lived-in experience.
Australia is a late adopter in this multibillion-dollar real estate universe which now counts approximately 700 addresses in its exclusive global club. Although currently, there are no fashion-branded residences on our shores, industry insiders say the local market with its ever-growing pool of ultrahigh net worth individuals (UHNWIs) is ripe for the picking.
Knight Frank’s The Wealth Report 2024 found that in Australia, the number of UHNWIs—defined as those with a net worth of $30 million or more—rose by 2.9 per cent between 2022 and 2023 to reach
“Thailand is growing as well as Vietnam with Mexico and Brazil coming up through the ranks. Saudi Arabia has also come from almost nothing to now having a significant pipeline of branded residential developments. What's interesting is the most growth is in emerging markets; it's not in Paris, New York or Miami.” Savills reports that emerging cities such as Cairo, Limassol, and Muscat are poised to witness substantial expansion, alongside Middle Eastern hubs including Jeddah, Makkah, Doha, with eastern European destinations such as Croatia’s Dalmatia and coastal Montenegro also in the mix.
New York was home to the first branded residence partnership back in 1927 when the iconic New Netherland Hotel and apartments combined forces with the popular Sherry’s restaurant on the Upper East Side. The Four Seasons Boston then kickstarted a more contemporary residential concept in 1985 with other hotels such as St Regis, Ritz-Carlton and Waldorf Astoria swiftly joining the mix. Although luxury fashion labels made their glamorous entrance into the branded space a decade ago, Mr Itani said hotel homes remain the frontrunners for market share. “Hoteliers still very much dominate. Based on completed projects, 77 per cent are hoteliers and 23 per cent are non-hoteliers. When we look to the
WORDS
Kirsten Craze
next five years or so, that number stays approximately the same. I don't think we're anywhere near a point where the non-hoteliers are going to challenge the hoteliers and that’s mainly because they’re relatively new to the sector.”
Nonetheless, fashion is making its mark. Only a decade ago Dubai was home to 10 branded residences but now there are approximately 190 such projects in the local pipeline for delivery by 2030. Bulgari Lighthouse is set to open in 2027, Armani will follow up its successful Burj Khalifa development of 2010 with a new property in Palm Jumeirah next year while Roberto Cavalli and Lagerfeld developments are already underway. Prestige car brands Mercedes-Benz, Lamborghini, Bentley and Bugatti have all recently announced residential plans for the UAE.
In Miami, where there are more than 40 branded residences, Dolce & Gabbana, Porsche, Aston Martin, Mercedes, Bentley, Armani, Fendi, Missoni and Baccarat are behind some of the dozens of developments recently completed or on their way to fruition. Even fashion magazines are joining the
fold with Elle Residences, a 25-storey 180 tower inspired by the pages of ELLE Decor promising to bring a blend of mid-century modern and contemporary French chic to South Florida.
With New York considered the epicentre of global hotel-branded residences, Armani’s newest bite of the Big Apple will sit atop a planned retail store for the fashion brand at 760 Madison Avenue. The exclusive collection of 10 apartments—where Mr Armani reportedly plans to keep a local pied-a-terre—has already achieved sales in excess of US$25 million.
The One Atelier is an international consultancy for prime new branded developments which has liaised with the likes of Elle, Dolce & Gabbana, Fendi and Lagerfeld. Its CEO, Michele Galli, said when fashion brands began labelling real estate 20 years ago, it was just about the name. Today, it’s a considerably more evolved experience.
“[Today’s] buyers are much more mature and they’ve started to be more demanding,” Galli says. “Most brands have understood that it cannot be only a matter of royalties to receive, but the
project must be more consistent and represent the DNA of the trademark in a proper way.” He continues: “Projects are now definitely representing the brand much more, and the market is extremely competitive, which is very positive for the consumer because they have the possibility to choose from a pretty wide offering.”
Galli added that fashion and other luxury brands are giving hotels a run for their money.
“In my opinion, it’s pure maths. The awareness of fashion brands in culture and the media is much bigger than [that] of hotel brands. What a fashion brand can offer is something much more flexible because they are flexible as a priority. Every year they have something new; they change colour, patterns, and styles.”
He adds that for fashion brands, it is also a story of creating exclusivity. “If you buy a Birkin bag now, probably in seven years the value will be much higher because that’s the commercial strategy of the brand to make these pieces extremely desirable. You simply have to wait,” Galli explains. “I feel this is the
big difference why fashion brands are probably performing better in real estate than hotel brands. Hotels are always looking at increasing the number of the keys in a territory whereas a fashion brand usually has the strategy of finding one place where they put one flag.”
“A fashion brand is also able to create some synergies between the core business and the residential buyers. Very frequently they offer an owner to become part of, let’s say, ‘the family’.”
The One Atelier’s RE branding and marketing director, Anna Masello, agrees a sense of connection is often a purchaser’s motivation.
“These residences offer a sense of belonging to a lifestyle the buyer has always dreamed of. It’s that aspiration of being part of a community; you cannot buy a ticket to access these catwalk shows, you’re invited to a catwalk. Purchasing branded real estate with a fashion brand allows you to enter into a community that is extremely desirable,” she said. “It's not about labelling and royalties, it's about the brand creating a world so the real estate becomes part of that experience.”
Unsurprisingly, premium brands can command premium prices above and beyond their non-branded competitors. But just how much that luxury markup is, explained Mr Itani, will depend on an old-school real estate trope.
“The premium is all based on location. It's a calculation of the sales performance of the branded residence compared to a cohort of non-branded competing developments,” Itani explains.
“If I'm doing a brand premium study in somewhere like New York, where comparable non-branded residences are very sophisticated with concierge services, gyms and restaurants—but they don't have a brand name—then the premium for a branded development is a lot tighter. Essentially, all you're adding on is the brand,” he said.
“In a competitive global city like New York, you'd expect to see brand premiums ranging from 8 to 15 per cent. Whereas, in resort and emerging markets the brand premium can be anywhere from 50 to 200 per cent because the competing projects often have no concierge services, resident lounges, gyms, or restaurants. They’re solely residential, and even then the fit out isn't that great often because it's just not what the market has been expecting. When you turn up with a branded residential development, everybody goes ‘wow!’”
Averaged out globally, Itani said price premiums are approximately 30 per cent when taking into account the width and breadth of very sophisticated markets through to emerging markets.
“What tends to happen is one developer does it, they blow the market out of the water, then other developers realise they can achieve 30 per cent more in their sales values by bringing in a major brand and the management and services to go along with it. That’s when you see a very fast pickup of developers wanting to do branded residency,” he explains.
Branded residences as a minimum will feature swimming pools, wellness centres and spas, gyms, residential lounge facilities, rooftop bars and restaurants, limousine services, as well as resident-first perks attached to the luxury brand. The extent of their offerings is only limited by the appetite of the buyer and the willingness of the luxury label to share its brand.
“Australia might be very far from New York, but it’s going to be a very interesting place for branded real estate in the future,” Galli says. “There are already a number of requests by local developers interested in joining with fashion or car brands. It’s just a matter of time, sooner rather than later.”
Ross Savas, managing director of Kay & Burton, said the group had seen a significant uptick in interest from Australians wishing to secure branded residences overseas.
“These exclusive global residences represent a unique lifestyle that is proving highly sought-after by our high net-worth clients who recognise the incredible level of luxury on offer,” Savas explains. “This is evidenced in the fact that an Australian purchaser was among the first to buy into the residential offer at the newly transformed Waldorf Astoria in New York, and there’s clearly an overwhelming appetite for projects in key locations such as Dubai and Miami as well,” he said, adding that the desire for designer homes is growing on local soil.
“We’re fielding regular inquiries from buyers curious about the branded residences currently available or soon to enter the market in Australia. Whether coming from buyers already based in Australia or those looking to purchase here, the demand for this type of home is strong and I believe the market will only continue to strengthen.”
01 Artist’s impression of Dolce & Gabbana’s upcoming takeover of the iconic La Cabane Marbella Beach Club on Spain’s Costa del Sol. Image: supplied.
02 Artist’s impression of the planned Karl Lagerfeld-branded villas in Dubai. Touted as “unique lifestyle habitats,” the villas’ pricing starts at circa AUD$13M. Images: supplied. 03 Artist’s impression of
Image: supplied.
A new classic
While visiting Australia to launch a micro-bar honouring the perennially popular martini, the godfather of craft cocktails tells The Luxury Report about the techniques and perspectives shaping bar culture from Manhattan to Melbourne.
Dale DeGroff has fixed me a martini, no ordinary mix of gin and vermouth mind— this version is a suitably elevated mix of five ingredients. There’s the dry vermouth, French vodka in place of gin, a dash of orange bitters in 15-per-cent saline solution, as well as a shot of 2016 sauternes for the pièce de résistance. All this has been stirred with ice (not shaken), garnished with a Sicilian green olive and served in a frosted coupe. But of course, DeGroff is no ordinary bartender.
Known around the world for decades as ‘King Cocktail’, the New York City native is credited with reinventing Manhattan’s drinks
scene in the late 1980s and ’90s during his reign at the legendary Rainbow Room atop Rockefeller Center. It’s here he revived classic recipes for drinks like the Negroni, Clover Club and Between the Sheets. Now aged in his 70s, DeGroff is admired by generations of bar professionals for pioneering a culinary approach to cocktailmaking that included adopting unusual, carefully sourced ingredients and spirits from around the world. He enshrined this approach in the James Beard award-winning 2002 industry bible The Craft of the Cocktail, which he revised in 2020 after no fewer than 18 hardback printings. This gastronomy-led
revolution paved the way for the subsequent craft cocktail movement that emerged at the turn of the millennium, the foundations of which still greatly influence today’s bar culture.
“It’s fascinating what has happened [in the drinks scene] over the past 30 years,” says DeGroff, in town for the launch of Le Martini, an intimate new 34-seat bar at Crown Melbourne that is wholly dedicated to the iconic aperitif. “[Chefs] led the way, initially,” he explains. “The great restaurants of the 1990s created the audiences that we in the craft cocktail movement continue to enjoy today.”
GLOBAL INFLUENCE
DeGroff points first to the rise of nouvelle cuisine. Then came the fusion-style New American cooking, which brought with it a renewed focus on tequila and mezcal and with them, drinks like the pisco sour and mojito creole. The explosion in southeast Asian restaurants, meanwhile, opened diners up to big new flavours.
“I tell young bartenders today, [that’s why] people are willing to try your crazy drinks today,” DeGroff laughs. He sees New York bartenders drawing more inspiration than ever from chefs, with particular emphasis on savoury and umami notes. Scan a drinks list in the City That Never Sleeps and you’ll see unlikely ingredients such as parmesan, sesame oil, caraway or corn juice. Celebrated high-rise venue Overstory serves a drink with nori and buckwheat soda, for example.
Within Australia’s own (far younger) cocktail scene too, ingredients such as cashew syrup and distilled liquors such as Japanese shochu or Chinese baijiu are making their way on to more conventional drinks lists. Mirroring the farm-to-table ethos of the top kitchens means more sippable ingredients that are hyperlocal, seasonal and sustainable. Small-batch spirits, coveted for their exclusivity, are elevated further by a tighter focus on regionality. Instead of a mass-market agave, for instance, a bartender might reach for sotol, its more floral cousin from the Mexican state of Chihuahua, or raicilla from the western side of Jalisco.
SAVOURING COMPLEXITY
DeGroff says today’s mixologists have the freedom, knowledge and access to ingredients to create cocktails with multilayered flavour profiles. For proof, one need only consider the three martinis he has concocted for the Melbourne venue that opened in May in partnership with French
vodka maker Grey Goose. The secret here, he divulges, is a drop of saline solution to “give the drink a little zip”.
Mixologists are also increasingly experienced with cheffy practices such as smoking, spherification, infusion and sous vide, DeGroff points out. He cites Iain McPherson of critically acclaimed Edinburgh cocktail bar Panda & Sons, whose lab-like freezing techniques (sous pression, freeze drying, freeze concentration) have elevated countless classics to deliciously inventive new heights.
While it may seem laborious to the uninitiated observer, this diligent quest for perfection and innovation adds to the compelling theatrics of the modern cocktail bar experience, designed to engage drinkers with a sense of occasion and wonder, wrapped up in old-fashioned hospitality.
And despite all the experimentation, many cocktail trends simply come in and out of fashion—just as they do in the world of food. In some quarters, there has been a revival of thrown cocktails and tableside cocktail trolley service. At the New Orleansinspired Maison Premiere in Brooklyn, for example, you can have an Old King Cole Martini or various Sazeracs prepared at the table from scratch with a large dose of Golden Age glamour.
“Today’s young bartenders are arguably the most skilled the craft movement’s ever seen,” DeGroff says. Though he’s the first to admit that mixologists went too far at one point in the 2010s, overworking cocktails with too many ingredients—much like the molecular gastronomy wave that swept the restaurant world around the same time.
“We started to get into what I call ‘tweezer drinks’, some with 12 ingredients; you ended up with mud.”
He says that tipping point prompted bar staff to switch their focus back to customers, and return to minimalist classic cocktails executed perfectly. Tellingly, one of DeGroff’s drinks for Le Martini is based on the first written recipe for the Martini from Harry Johnson’s 1888 bartender manual.
He says he has seen the “fancy, dressup” cocktail bar make a return lately, meaning the kind of establishment where you might imagine bumping into Frank Sinatra and his Rat Pack, as well as more restaurant-like venues with open kitchens rather than back walls filled with booze.
DALE’S PICKS
Best under-the-radar bar in New York City?
McSorley’s Old Ale House in the East Village.
After-work drink of choice?
A version of the Negroni Sbagliato, where sparkling wine takes the place of gin. I call it the Negroni Sbagliato Corretto, where I ‘correct’ the error by adding the gin back in.
Finest bar food in New York City?
You’ll find great cuttingedge cocktails and small bites at Bar Goto (Lower East Side), Katana Kitten (Greenwich Village) and Bar Masa (Upper West Side).
Ingredient you’d like to see more of?
Vermouth is driving the most exciting explosion of creativity in bars at the moment.
Most costly cocktail you’ve enjoyed?
At Merchants in Belfast, Jack McGarry and Sean Muldoon made a USD$1000 Mai Tai using a bottle of Trader Vic’s rum from the 1940s. Salvatore Calabrese of the Lanesborough Hotel in London once made me a cocktail with a split base of rye whisky and 19th-century Sazerac de Forge et Fils cognac.”
Dale DeGroff. Image: Hugh Davison.
Explore some of the standout artifacts from this year’s Melbourne Design Week, each infused with compelling stories and exquisite workmanship— by Alice Blackwood
MODERN MARVELS
Each Melbourne Design Week invites creatives to ‘open source’ their investigations into design for a better collective future. What makes the event so exciting is the freedom it offers to share experiments and explorations that are not necessarily neat, nor fully resolved. The program offers a rare view into the rapid evolution of the contemporary Australian design scene as it seeks to facilitate comfort, beauty, functionality and environmental custodianship.
COLLECTIBLE DECOR
Following the launch of last year’s biennial Melbourne Design Fair, a niche of Australian-designed objets d’art is rapidly emerging. What makes a design piece innately precious, rare, unique and collectible? Showcased at Tolarno Galleries, Adam&Arthur’s The Kissing Cabinet
goes some way to epitomising these qualities. As recipient of the 2024 Melbourne Design Week Award, this piece marries functional design with engineering and masterful straw marquetry craftsmanship in a compelling homage to the mechanical furniture of the 1800s. The term mechanical does not quite explain the smooth, sinuous undulation of form, pattern and colour that unfolds as industrial designer Adam Goodrum and straw marquetry artisan Arthur Seigneur manoeuvre the cabinet for onlookers. It is truly spellbinding to watch and to wonder at the imagination, problem-solving and hours of fine detail work that must have gone into this piece (said to have been three years in the making).
Another pleasurable discovery was artist-designer Jordan Fleming’s Éclat bowl, its long spindly legs and roughened aluminium texture embellished with polished
brass. Fleming’s experimental and sculptural work transcends the more utilitarian aspects of furniture, and she has certainly elevated this piece beyond the mundane through its anthropomorphic presence. While commenting on our inclination towards abundance and materialism, the piece stokes the viewer’s drive to invest and collect just as strongly.
From the studio of Ross Gardam came a seven-edition collection of his Mass Table which, as the name implies, explores the fundamental equilibrium of form and mass. Each table in the experimental collection carries a different stone offcut, the distinct natural tones and raw broken edges anchoring satiny aluminium that has been bead-blasted and then waxed by hand for a softened finish.
EVERYTHING IS ILLUMINATED
Elsewhere, lighting designer Christopher Boots and furniture maker Dean Norton delivered masterclasses on what it means to shape beauty into a form with functional purpose, creating visceral objects that are intended to be both viewed and used. Debuted at this year’s Salone del Mobile in Milan, Boots’ CRUX collection of pendant and sconce lights conjures the natural geometries of the five-star Southern Cross constellation. The new work sees Boots expand his repertoire of precious materials to embrace textured blown glass— manifesting as smoky stars nestled within rocky, sand-cast brass cups. The delicate glass components appear as if molten, glowing warmly within their fittings. The designer says he sought to “[bring] pieces of the universe to the human domain… [by creating] shapes embodying that sense of mystery and timeless allure present in the stars above.”
Embracing chrome plating and spaceshifting surfaces, Dean Norton presented his Chromatic Process coffee table and mirror within the evocatively historic spaces of Villa Alba in Kew. The shabby-chic aesthetic of the location threw the polished, liquid-like surfaces of Norton’s minimalist pieces into stark relief. He suggests the mirror finish “soaks up” its surrounding environment, adding a playful dynamic to form in which new perspectives come from a slight shift in position.
AT THE CUTTING EDGE
Daniel Barbera has a reputation for working with legacy materials: marble, stone, metal, glass, wood, leather. His 2024 BCE–2024 CE showcase at Fletcher Arts reimagined these materials and ancient technology as future relics. Evocative side tables hark back to the period when smelting was first discovered (most likely by ceramicists via early glazing
processes), reminding us this was “the Silicon Valley of Mesopotamia.” In the experimental glass work, he delivers objects that could have been created 5000 years ago. These one-off pieces reflect an intuitive, stream-of-consciousness approach to smelting recycled glass partnered with select fragments of stone and metal, resulting in raw beauty that simultaneously evokes balance.
Sydney-based designer Tom Fereday (interviewed on p48) used his show at Oigåll Projects to comment on the significance of exploration in design practice and the true value of longevity. His Aver series of audio sculptures and high-performance sound pieces—including a cast aluminium speaker created in collaboration with Tasmanian loudspeaker manufacturer Pitt & Giblin—exemplifies a refined approach to recycled material.
What unites these works is that they are to be felt and experienced, rather than simply viewed. To peel back the layers of a finished product or piece and understand the meticulous experimentation with which they have been composed is to understand design just that little bit more; to appreciate the hidden layers of meaning that dwell beneath the embellished, polished or textured surfaces.
05 Mass table by Ross Gardam. Image: Haydn Cattach.
06 Crux by Christoper Boots. Image: Annika Kafcaloudis.
OUT AND ABOUT
The work of renowned Brooklyn-based composer Missy Mazzoli (dubbed the “postmillennial Mozart” by Time Out New York), this critically acclaimed operatic adaptation of Lars von Trier’s 1996 Cannes Grand Prixwinning film makes its Australian debut this winter. Recognised as one of the finest operas of the 21st century, the hauntingly lyrical semistaged production (presented here by Opera Australia), will be led by soprano Jennifer Black in the lead role of Bess, with baritone Duncan Rock reprising his role as Jan from the production’s acclaimed European premiere at the Edinburgh International Festival. Hamer Hall, 26–28 July. artscentremelbourne.com
Swiss-Italian expat restaurateur Cinzia Buono (Buono, Parkdale) has recruited a gun team including chefs Mirco Speri (ex-European, Pastore) and Daniele Ruffolo (Pastore), along with co-owner and sommelier Fabio Magliano, who boasts Michelin experience from his time at Locanda Locatelli in London. Expect unpretentious Italian fare with a sophisticated edge, sophisticated edge alongside an impressive list of old and new world wines. Designer Pascale Gomes-McNabb is behind the inviting timber-accented interiors, which blend warmth and charm and equal measure. 283–385 Glenferrie Rd, Malvern. sincero.com.au
After three years spent leading some of the city’s favourite collaborative pop-ups (think Lee Ho Fook, Cumulus Inc, Gray & Gray), chef Tom Sarafian (ex-Bar Saracen) is getting ready to launch his first solo venture in Melbourne’s CBD—teaming up with The Mulberry Group (Hazel, Lilac Wine) on restaurant Zareh and casual daytime deli Sarafian. Drawing inspiration from across the Levant, Sarafian will also dive into his Armenian heritage, spotlighting khorovats (Armenian barbecued meats). His legendary king prawns and spanner crab over hummus will also make an appearance. CBD, Melbourne. instagram.com/zareh.melbourne
Presenting a nostalgic reinterpretation of what owners Henry Crawford and Alexei TahenyMacfarlane term ‘1990s Australian bistro’ style, this welcoming white-clothed diner fills a niche for smart-casual European dining in an otherwise quiet pocket of Carlton. Chef Alex Nishizawa (ex-Attica, Bar Liberty) turns out a solid mix of French classics with some mod-Aus influences in the mix, while the 460-strong wine list is sure to impress. Set in a classic Carlton terrace, the 60-seat venue captures a cosy, low-key ambiance, making it a perfect nook for relaxed midweek dining. 157 Elgin St, Carlton. bistracarlton.com
The art of French post-impressionist Paul Gauguin makes its way to Australia for the very first time this winter, in an exhibition showcasing Gauguin’s (retrospectively) provocative 19th-century Polynesian period. Assembling 140 works, on loan from over 65 private and public collections around the world (including the MoMA in New York and LA’s Getty Museum), French curator Henri Loyette (ex-Louvre Museum and Musée d’Orsay), offers a fresh perspective on Gauguin’s life and work with some of the artist’s most iconic masterpieces appearing alongside obscure sculptures and drawings. NGA, 29 June–7 Oct nga.gov.au
From a passionate trio of ex-Rockpool Bar and Grill veterans comes this intimate European-influenced bistro at the beach end of Victoria Avenue. French sommelier and co-owner Pierre-Marie Caillaud is behind the extensive wine list, which features over 20 wines by the glass, while in the kitchen, chefs Dean Stagno and Declan Carroll serve up French and Italian-leaning dishes with quality ingredients and precise execution. Open from mid-afternoon on Fridays and Saturdays with a dedicated snack menu, it’s a popular draw for the bayside aperitivo set. 149 Victoria Ave, Albert Park. omenrestaurant.com
First produced almost 80 years ago, Tennessee Williams’ timeless classic has lost none of its lustre, and this newest adaptation promises to captivate audiences anew. Set against the sultry backdrop of 1940s New Orleans, the MTC production balances a mix of original and modern themes, opening the classic up to a new generation of viewers. Nikki Shiels (star of MTC’s 2023 hit production Sunday) masterfully portrays the complexity Blanche DuBois, alongside an impeccable cast of Australian theatre talent guided by the visionary leadership of MTC artistic director Anne-Louise Sarks. Arts Centre Melbourne, Playhouse, 9 July–12 Aug. mtc.com.au
Trailblazing Sydney chef Mitch Orr, of onehatted Kiln at Sydney’s Ace Hotel, and the now-closed Acme, is bringing a fresh spin to St Kilda’s newly updated Prince Dining Room after recently stepping in as food and creative director. The kitchen, helmed by chef Ben Parkinson (ex-Pipi’s Kiosk), is turning out the type of inventive, flavourforward fare that put Orr on the map, while the circular bar makes a fine perch from which to enjoy a smart cocktail and some bites from Orr’s dedicated bar menu.
2 Acland St, St Kilda theprince.com.au
Award-winning chef Josh Niland is relocating his two-hatted Sydney restaurant this winter, with Saint Peter soon to reopen in Paddington. Since launching the restaurant with wife Julie in 2016, Niland has established himself as a pioneer for his innovative ‘scale-to-tail’ approach. Inhabiting a newly renovated Grand National Hotel, the new venue will more than double Saint Peter’s current size, incorporating a 40-seat dining room and 30-seat bar, with a 14-room boutique hotel following later this year. 161 Underwood St, Paddington. saintpeter.com
With its atmospheric fitout, 300-bottle wine list and share-friendly menu, Albert Park newcomer Wally’s is the relaxed neighbourhood wine bar locals didn’t know they were missing. Owner Baxter
Pickard has assembled a list of French and Australian wines, offering plenty of rare and aged bottles acquired at auctions. In the kitchen, head chef Damon McIvor (ex-Vex, Waxflower) plates up a style of sophisticated yet approachable Euro-leaning fare designed to complement the wine offer. 67 Cardigan Pl, Albert Park. wallysalbertpark.com.au
Weaving a modern narrative through ancestral tales, the fourth edition of ACCA’s biennial exhibition series unveils ambitious new largescale works by seven emerging and midcareer artists from across Australia. Each of the artists has boldly reclaimed, imagined and reshaped cultural and ideological legacies in various mediums from immersive installation and tactile sculpture. Drawing from personal and familial journeys as well as official cultural archives and historic collections, the works deftly blend humour, satire and wisdom. ACCA, 29 June–1 Sept. acca.melbourne
