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Contents
Upfront
VLife
18 22 24 31
51 PROFILE: ATHENA CALDERONE
CONTRIBUTORS ONLINE NOW vogueliving.com.au EDITOR’S LETTER VOGUE LIVING VIEW
VLoves 35 FLIGHTS OF FANTASY
P HOTO GR AP HE R : JÉ R ÔM E GAL L AN D
Revel in the fun of functional investment pieces that weave personality and art into the fabric of everyday life with intriguing forms and timeless craftsmanship that captivate the imagination
40 THE VL EDIT A curated hit list of new feature pieces and accessories that have caught our eye
An innate and considered sense of style informs everything this creative does
126 Château de Fabrégues, a 17th-century property now designer Pierre Yovanovitch’s fairytale escape in the south of France.
60 DREAMING OF MIND AND SOUL Black art in the white cube restricts to no one perspective on cultural identity, as these contemporary First Nations artists prove
76 CAST IN STONE Bulgari’s hypnotic Serpenti collection has captured the attention of some of the world’s most powerful women
138 SUBSCRIBE TO VL 140 SOURCES
44 FULL OF WONDER
VLast look
Creative director Alessandro Michele has re-imagined archival Gucci designs for a new generation
This polished side table is small in scale yet visionary in its design
144 CLOUD FORMATION
magic of home
I N T E R I O R S T O E N C H A N T, I N S P I R E & C O M F O R T
On the cover The living area of a Brooklyn townhouse, home to multidisciplinary creative Athena Calderone. Photographer: Nicole Franzen. Story: page 51. Subscribe to Vogue Living: page 138. Be part of the conversation: #VogueLiving #loveVL Nov/Dec 2020
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P HOTO GR AP HE R S: MI C H AE L DE PA SQUA L E AN D MARTI N A MAF FI N I
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Rebecca Caratti EDITOR editor@vogueliving.com.au CREATIVE DIRECTOR Natasha Allen DEPUTY EDITOR Verity Magdalino STYLE EDITOR Joseph Gardner ACTING CHIEF COPY EDITOR Virginia Jen MELBOURNE EDITOR & FEATURES WRITER Annemarie Kiely DIGITAL DIGITAL EDITOR Yeong Sassall CONTRIBUTORS CONTRIBUTING EDITORS Fiona McCarthy (London), Freya Herring, Jason Mowen IMAGES Michael DePasquale, Jérôme Galland, Nicole Franzen, Martina Maffini, Stephan Julliard, Anson Smart, James Tolich, Victoria Zschommler WORDS Joanne Gambale, Michelle Ogundehin, Ian Phillips INTERACTIVE EDITION PRODUCTION MANAGER Stuart McDowell DIGITAL ASSETS & RIGHTS MANAGER Trudy Biernat COMMERCIAL FINANCE MANAGER Roshni Walder GENERAL MANAGER — THE AUSTRALIAN & PRESTIGE TITLES Nicole Waudby (02) 8045 4661. GROUP COMMERCIAL INTEGRATION DIRECTOR — THE AUSTRALIAN & PRESTIGE TITLES Amanda Spackman 0438 266 373. GROUP DIGITAL BRAND MANAGER Adriana Hooper 0421 207 999. PRODUCT MANAGER Julie Hancock 0412 909 490. COMMERCIAL MANAGER Garineh Torossian 0410 742 745. NSW GROUP SALES MANAGER Cheyne Hall (02) 8045 4667. NSW KEY ACCOUNT MANAGERS Kate Corbett (02) 8045 4737, Jennifer Chan 0433 610 198. SENIOR COMMERCIAL INTEGRATION & STRATEGY MANAGER Elise De Santo 0422 080 755. COMMERCIAL INTEGRATION & STRATEGY MANAGERS Sophie Gallagher 0449 767 447, Izabela Gower 0478 661 794, Alex Wilson 0404 061 435, Anthony Gattari 0424 151 545. PARTNERSHIP SOLUTIONS MANAGER Catherine Patrick (02) 8045 4613. PROJECT MANAGER — PARTNERSHIPS Kate Dwyer (02) 9288 1009. CAMPAIGN IMPLEMENTATION MANAGER Matilda McMaster (02) 9288 2243. NSW CLIENT SERVICE EXECUTIVE Eunice Lam 0420 703 702. VICTORIA COMMERCIAL INTEGRATION MANAGER Nadine Denison 0402 743 884. VICTORIA COMMERCIAL INTEGRATION SPECIALIST Jo Constable 0410 558 673. VICTORIA CLIENT SERVICE EXECUTIVE Isabella Pirrie 0451 533 396. ACTING VICTORIA GROUP BUSINESS MANAGER Meagan Pate (03) 9292 3224. VICTORIA CAMPAIGN IMPLEMENTATION MANAGER Cecile Stefanova (03) 9292 1951. QUEENSLAND AGENCY SALES MANAGER, NEWS PRESTIGE NETWORK Tenielle Jordan (07) 3666 7418. CLASSIFIED SALES MANAGER Tejal Chabhadia (02) 8832 1939. ACCOUNT MANAGER George Cheriyan 1300 139 305. ACCOUNT MANAGERS Rachel Li (02) 8832 1942, Skye Corsar (02) 8832 1946. CREATIVE BRAND DESIGNER Kylie McGrath ASIA Kim Kenchington, Mediaworks Asia (852) 2882 1106. ADVERTISING — CREATIVE HEAD OF CREATIVE Richard McAuliffe HEAD OF CREATIVE OPERATIONS Eva Chown HEAD OF ART Karen Ng HEAD OF CONTENT Brooke Lewis SENIOR ART DIRECTORS Rachel Pink, Nicole Vonwiller SENIOR CONTENT WRITERS Annette Farnsworth, Rosie Double, Tiffany Pilcher, Colin Sevitt CREATIVE PRODUCERS Sarah Mury, Candice Shields, Kristie Walden PRODUCTION MANAGER Michelle O'Brien ADVERTISING PRODUCTION COORDINATOR Robynne Beavan IMAGING AND RETOUCHING SERVICES, PRESTIGE Michael Sykes GENERAL MANAGER, RETAIL SALES & CIRCULATION Brett Willis NATIONAL CIRCULATION MANAGER Danielle Stevenson SUBSCRIPTIONS ACQUISITION MANAGER Grant Durie SUBSCRIPTIONS RETENTION MANAGER Crystal Ewins GENERAL MANAGER, DIGITAL Stuart Fagg HEAD OF PRODUCT DESIGN Alex Fawdray DIGITAL DESIGNER Yeara Chaham DIGITAL PRODUCT MANAGER Benjamin Langford BRAND EXPERIENCES & EVENTS GENERAL MANAGER, BRAND EXPERIENCES & EVENTS Diana Kay CAMPAIGN MARKETING MANAGER Rachel Christian MARKETING MANAGER —PARTNERSHIPS & EVENTS Natalie Headland EVENTS MANAGER Genevieve McCaskill CAMPAIGN MARKETING COORDINATOR Sophie Mac Smith PRESTIGE MARKETING GENERAL MANAGER, MARKETING Alice Bradbury HEAD OF MARKETING Jarrah Petzold MARKETING MANAGER, PRESTIGE TITLES Annie Kelly MARKETING EXECUTIVE, PRESTIGE TITLES Jessica Bunney HEAD OF PLANNING, PERFORMANCE & ENGAGEMENT Alan Sims MARKETING EXECUTIVE, ENGAGEMENT Meghan Knox PUBLISHER, NEWS PRESTIGE NETWORK Nicholas Gray EDITORIAL DIRECTOR, CONDÉ NAST TITLES Edwina McCann MANAGING EDITOR, CONDÉ NAST TITLES Louise Bryant DIRECTOR OF COMMUNICATIONS Sharyn Whitten HEAD OF FINANCE Jacob Shadwick CHIEF TECHNOLOGY OFFICER, DATA AND DIGITAL Julian Delany VOGUE LIVING is published by NewsLifeMedia Pty Ltd, ACN 088 923 906. NewsLifeMedia Pty Ltd is a wholly owned subsidiary of News Limited (ACN 007 871 178). Copyright 2020 by NewsLifeMedia Pty Ltd. All rights reserved. ISSN 0042-8035. 2 Holt Street, Surry Hills, NSW 2010. Tel: (02) 9288 3000. Email: mail@vogueliving.com.au. Website: vogueliving.com.au. Postal address: Vogue Living, NewsLifeMedia, Level 1, Locked Bag 5030, Alexandria, NSW 2015. Melbourne: Level 9, 40 City Road Southbank. Tel (03) 9292 3208. Brisbane: 41 Campbell Street, Bowen Hills, Qld 4006. Tel: (07) 3666 6910. Fax: (07) 3666 6911.
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AD Beatrice Rossetti - Photo Federico Cedrone
Nicole Franzen P HOTOG RAP HE R This New York-based photographer, who shot our profile on design specialist Athena Calderone, the founder of lifestyle site EyeSwoon (page 51), unearths inspiration in everything from her love of cooking to “creative people, design, art, nature and light”. Much of her work involves travelling around the world capturing interiors, food and hospitality venues through her lens. As a result of the pandemic, her creative pursuits have been scaled back to projects within driving distance of her home. “Working with Athena is always a treat,” she says. “I’ve had the pleasure of working with her for many years now and we shot her book, Live Beautiful, together. She has an incredible eye.” @nicole_franzen
James Tolich
PH OTOGRA PH ER New Zealand-born James Tolich began his photography career in Sydney at the age of 18 on a break from university. He has since lived and worked in New York and Paris, where he’s shot for some of the world’s leading publications, such as US Vogue, and brands including Nike, Valentino and Hermès. He now calls Sydney home. For this issue, Tolich lent his unique eye for colour to ‘Flights of Fantasy’ (page 35), ‘Full of Wonder’ (page 44) and ‘Cast in Stone’ (page 76). Photographing kids Francesca and Charlie in Sydney’s Royal Botanic Garden was a highlight. “They were both so engaging and delightful to work with,” he says. “The images really reflect it. There is such a natural ease to them — I am thrilled with the result.” @jamestolic
Jérôme Galland
P H OTO G RA P HE R After a decade documenting the works of the Louvre Museum’s antique departments, Paris-based photographer Jérôme Galland made the move into shooting architecture, interiors, gardens, travel, portraits and still life and hasn’t looked back. His images now regularly grace the pages of AD France, Le Monde and L’Express Styles, and his sharp, graphic vision is called upon to illuminate the work of architects and luxury brands from Hermès and LVMH to a story for this issue. In ‘True to Form’ (page 126), he showcases designer Pierre Yovanovitch’s stunning estate in Provence. Galland reveals his inspiration as “lines, shapes and simple places”, an understated approach that echoes his creative process, which is to “always try to follow the light.” @jeromegalland
Joanne Gambale W RI TE R Born in London, bred in Yorkshire and now based in Sydney, Joanne Gambale began working with Vogue Living in 2007 as chief sub-editor. For this issue Gambale, who currently freelances as a writer and sustainable wardrobe stylist, penned ‘Enchanted Spirit’ (page 90) about a garden-inspired home in northern Sydney. “I have a very busy brain so, with writing, I come up with a good hook then just let the words flow before whittling that down to something tight and cohesive,” she says of her creative process. “With styling it’s the same; I don’t plan too much — I just work, let the moment take me, go too far and then pare it back.” @joannegambale 18
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E D I TE D BY VE R I TY M AGDAL I N O. P HOTO GRA P HE R S: S EA N SL ATT E RY (JAME S TO LI CH ) , E MI LY J O HN STO N (N I COL E FRAN Z E N ), AVA DU PARC (JÉRÔM E GA LLAN D ), JE NNY EVA NS (JOA N N E G AM BA LE )
Contributors
PUBLISHED BY CONDÉ NAST CHIEF EXECUTIVE OFFICER Roger Lynch GLOBAL CHIEF OPERATING OFFICER AND PRESIDENT, INTERNATIONAL Wolfgang Blau GLOBAL CHIEF REVENUE OFFICER AND PRESIDENT, U.S. REVENUE Pamela Drucker Mann U.S. ARTISTIC DIRECTOR AND GLOBAL CONTENT ADVISOR Anna Wintour CHIEF FINANCIAL OFFICER Mike Goss CHIEF MARKETING OFFICER Deirdre Findlay CHIEF PEOPLE OFFICER Stan Duncan CHIEF COMMUNICATIONS OFFICER Danielle Carrig CHIEF OF STAFF Samantha Morgan CHIEF DATA OFFICER Karthic Bala CHIEF CLIENT OFFICER Jamie Jouning CONDÉ NAST ENTERTAINMENT PRESIDENT Oren Katzeff EXECUTIVE VICE-PRESIDENT — GENERAL MANAGER OF OPERATIONS Kathryn Friedrich CHAIRMAN OF THE BOARD Jonathan Newhouse WORLDWIDE EDITIONS FRANCE AD, AD Collector, Glamour, GQ, Vanity Fair, Vogue, Vogue Collections, Vogue Hommes GERMANY AD, Glamour, GQ, GQ Style, Vogue INDIA AD, Condé Nast Traveller, GQ, Vogue ITALY AD, Condé Nast Traveller, Experience Is, GQ, La Cucina Italiana, L’Uomo Vogue, Vanity Fair, Vogue, Wired JAPAN GQ, Rumor Me, Vogue, Vogue Girl, Vogue Wedding, Wired MEXICO AND LATIN AMERICA AD Mexico, Glamour Mexico, GQ Mexico and Latin America, Vogue Mexico and Latin America SPAIN AD, Condé Nast College Spain, Condé Nast Traveler, Glamour, GQ, Vanity Fair, Vogue, Vogue Niños, Vogue Novias TAIWAN GQ, Vogue UNITED KINGDOM London: HQ, Condé Nast College of Fashion and Design, Vogue Business BRITAIN Condé Nast Johansens, Condé Nast Traveller, Glamour, GQ, GQ Style, House & Garden, LOVE, Tatler, The World of Interiors, Vanity Fair, Vogue, Wired UNITED STATES Allure, Architectural Digest, Ars Technica, basically, Bon Appétit, Clever, Condé Nast Traveler, epicurious, Glamour, GQ, GQ Style, healthyish, HIVE, La Cucina Italiana, Pitchfork, Self, Teen Vogue, them., The New Yorker, The Scene, Vanity Fair, Vogue, Wired PUBLISHED UNDER JOINT VENTURE BRAZIL Casa Vogue, Glamour, GQ, Vogue RUSSIA AD, Glamour, Glamour Style Book, GQ, GQ Style, Tatler, Vogue PUBLISHED UNDER LICENSE OR COPYRIGHT COOPERATION AUSTRALIA GQ, Vogue, Vogue Living BULGARIA Glamour CHINA AD, Condé Nast Traveler, GQ, GQ Lab, GQ Style, Vogue, Vogue Film, Vogue Me, Vogue Business in China CZECH REPUBLIC AND SLOVAKIA La Cucina Italiana, Vogue GERMANY GQ Bar Berlin GREECE Vogue HONG KONG Vogue HUNGARY Glamour KOREA Allure, GQ, Vogue, Wired MALAYSIA Vogue Lounge Kuala Lumpur MIDDLE EAST AD, Condé Nast Traveller, GQ, Vogue, Vogue Café Riyadh, Wired POLAND Glamour, Vogue PORTUGAL GQ, Vogue, Vogue Café Porto ROMANIA Glamour RUSSIA Vogue Café Moscow SCANDINAVIA Vogue SERBIA La Cucina Italiana SINGAPORE Vogue SOUTH AFRICA Glamour, GQ, GQ Style, House & Garden THAILAND GQ, Vogue THE NETHERLANDS Glamour, Vogue, Vogue Living, Vogue Man, Vogue The Book TURKEY GQ, Vogue, Vogue Restaurant Istanbul UKRAINE Vogue, Vogue Café Kiev Condé Nast is a global media company producing premium content with a footprint of more than 1 billion consumers in 32 markets. condenast.com VOGUE LIVING subscription rate for 6 issues (1 year) post-paid is $49.95 (within Australia). Copyright © 2020. Published by NewsLifeMedia. All rights reserved. Reproduction in whole or part without permission is strictly prohibited. NewsLifeMedia is a licensed user in Australia of the registered trademarks. VOGUE LIVING, VOGUE and GQ have been granted the exclusive right to use those trademarks in relation to magazines published by NewsLifeMedia by the proprietor of the trademarks. Printed in Australia by Ovato Print Pty Ltd. Distributed by Ovato Retail Distribution, call 1800 032 472.
FURNITURE & HOMEWARES | INTERIOR DESIGN | PROPERTY STYLING | DESIGN SCHOOL WWW.COCOREPUBLIC.COM.AU
T Francesca (left) and Charlie dressed in head-to-toe Gucci for our ‘Full of Wonder’ style feature (page 44). Photographer James Tolich showing his camera to Francesca.
THIS PAG E , F RO M TOP LE F T
here is no getting away from the fact that 2020 has been an incredibly challenging year for everyone. From those on the frontlines trying to keep us all safe to decimated creative, hospitality and travel industries to those who experienced a second lockdown in Victoria and separation as state borders closed, the pandemic has wreaked havoc in unexpected and far-reaching ways. For us here at Vogue Living, we’ve tried to offer a place of refuge and escape from the COVID-19 storm by curating issues featuring the very best of the world’s design talent and interiors. It’s a privilege to be able to do this but the ability to create this magazine stems from the simple notion of home, of being lucky enough to have a place to call one’s own. And this year in particular, we’ve all been turning to our homes for comfort and respite, and discovering there’s a special quality as to why a home feels like home. So, in this last issue for 2020, we’re finishing the year by celebrating the magic of the everyday. As Michelle Ogundehin states in her opening essay (page 31), “we started to fix ourselves by fixing our surrounding environments, realising that far from being frivolous, home-making is fundamental to our wellbeing.” We turn the focus on some of the magical elements life has to offer. There’s the heartwarming delight of children in our ‘Full of Wonder’ story (page 44) — that’s my daughter Francesca playing dress-ups in Gucci for the shoot. There’s also the captivating power of art to weave stories, stir souls, and provoke thought with our feature on contemporary First Nations artists (page 60). The creative force behind our cover story, interior designer and serial renovator Athena Calderone (page 51) also talks us through the art of creating a home. “When one seemingly singular choice leads you to the next and suddenly you have this wonderful, cohesive space — it’s pure magic.” She is describing how to make a home feel just right by design. Our houses are more than just a place to stash our belongings — this year they have become offices, classrooms, nurseries, at-home cafes and restaurants with backyard parks. And spending an increased amount of time in our homes has also shown that they are vital, valuable spaces that should reflect and nurture our own selves. I hope this issue inspires you to uncover the magic in your home.
EDITOR 24
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P HOTO G RA PHE RS: M IC HA EL NAUMO F F (PO RT RA IT ) , JA ME S TO L IC H (F U L L OF WON D ER) . HAI R & M AK E- UP: C L A IR E T H OM S ON
Editor’s letter
Objects for Interior life
Objects for Interior life
Objects for Interior life
#TheCassinaPerspective Capitol Complex table, chair and office chair designed by CRS Cassina Hommage Ă Pierre Jeanneret cassina.com
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VLview
The
MAGIC
of the everyday When it comes to our homes, it’s more important than ever to tap into the simple pleasures in life and the exercise of making a home that nurtures and re-energises us. Rethinking what we have, rather than what we lack, could be the key to creating more daily enchantment. By Michelle Ogundehin Photography by Victoria Zschommler
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his year, life as we knew it was interrupted. We found ourselves both collectively tested and questioning, as never before. Not least on the purpose of the home itself, as it was forced to play the part of school, nursery, office, gym, and even restaurant. Nevertheless, while the prompt may have been unprecedented, such a domestic reappraisal was long overdue. For too long, home for many has been little more than a place to get ready to leave in the morning, and crash back into at night; its importance as a place of restorative rest and active play sorely overlooked. Enforced lockdowns across the globe demanded the objective recognition of the profound impact of our surroundings on our physical and mental wellbeing. And so, despite the economic turmoil and despair of a tragically still-accruing death toll, it’s possible to admit that this moment gifted us a chance to rethink how we live, if not, who we are. With our lives stripped
back to the minimum, we were compelled to reassess our priorities. And this was essential because the best homes spring from a thorough understanding of the self (or the client, if designing for someone else). Simple pleasures previously taken for granted were now recognised as priceless — being outdoors, silence, gardening, baking, hugs. Meanwhile, the distractions of non-essential shopping and other immediate gratification rituals paled into insignificance. By and by, we began to understand what we truly valued, the things that lent life everyday magic. Certainly, it’s a truism that often we do not see what is right in front of us, so fixed are our minds on either maintaining the status quo or being elsewhere. And yet it’s hardly surprising. For many people the pace of contemporary life had become unsustainable. Even before COVID-19, rates of chronic disease were rising worldwide ›› Nov/Dec 2020
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VLview ‹‹ and according to mental health organisation Heads Up, one in five Australians has taken time off work in the past 12 months because they felt stressed, anxious, depressed or mentally unhealthy. Life was moving too fast for most of us to stop and check where we were heading. Sadly, it took a global pandemic to oblige the necessary introspection. Only once work was involuntarily halted, international borders required to close, travel curtailed and holidays cancelled, was the overwhelming need for a major reset acted upon. Should it really have been such a revelation to discover hitherto unknown delights on our doorsteps? To realise the need to reconnect with our communities or help our neighbours? To remember the pleasures of profoundly analogue pursuits like board games, jigsaw puzzles and growing vegetables? After all,
into what we have, rather than dwelling on a perception of lack, we can not only be more creative and inventive, but more content. That we must have the courage of our convictions. And that we’ve had a chance to free ourselves from the siren call of the constant upgrade and to realise that we do not need as much as we think to live a meaningful life. Instead, we need only things of meaning. Perhaps now then, a next normal based on principles of ecological sustainability and self-economy, fairness, increased family time and respect for the elderly doesn’t seem quite so far-fetched? Could it be too that our cultural romance with high-density city living has also been shattered with the solace, space, gardens and birdsong of the suburbs looking a lot more appealing? However, as the American philosopher Fredric Jameson once sagely noted, “It’s easier to imagine the end of the world than the end of capitalism.” Inevitably then, there will be a reactive surge of consumerism as
“We’ve realised that we do not NEED AS MUCH as we think to live a meaningful life. Instead, we need only THINGS OF MEANING”
campaigning for the flexibility of working from home had already been vociferous — luxury fashion houses could have cut the number of shows they held at any time, the fashion calendar has always been irrelevant in the real world — just as consciously choosing a better work/life balance has always been an option. Be that as it may, the bedroom wall we’d always considered papering at last got done. That squeaky door hinge sorted. The wardrobe cleared and the bathroom ceiling repainted, but not plain white; instead a glorious mustard, because why not? In short, we started to fix ourselves by fixing our surrounding environments, realising that far from being frivolous, home-making is fundamental to our wellbeing. And in this way the idea of an interior that actively participates in the health, if not rehabilitation and healing, of its inhabitants finally gained mainstream traction. Hand in hand with this came an increased appreciation of the transformative power of decoration — small really could be made to feel more spacious, underwhelming switched to uplifting and dingy made delicious, all with paint, wallpaper, colour and fabric alone. The key was to abandon adulation of so-called trends, in favour of freestyling your way to happiness at home. Looking ahead then, the challenge as the world starts to spin once more, is to hold onto what we have learned — that if we lean 32
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we are once more tempted to gorge on everything that has been forbidden. The far-flung and the new will again appear exotic, just as our desire for an indulgent ‘treat’ will return. And that’s OK. Although my biggest hope is that there will be a major value shift in our attitudes to such consumption. An awareness that every time we make a purchase, we advocate for the provider to stay in business. And that something loved, if repaired and re-used, can be as good, if not better, than something new. Turning towards a more mindful perspective might drive the market as we inform ourselves about provenance, supply chains and the principles of makers and retailers, and ask ourselves, ‘Do these tally with my personal ethics?’ In this way, shopping will become more akin to curating. A process of searching out those items, which, we truly believe, we might cherish for the long term, whether fashion or homewares, and which authentically tell our stories — who we are and what we stand for. The result? We focus more fully on living with purpose, and the purpose of our homes is understood to be the provision of sustenance and support. And in that, lies an immense opportunity for us to get back to a future. VL @michelleogundehin Michelle’s book, Happy Inside: How to Harness the Power of Home for Health and Happiness is available now.
Sarah Cottier & Ashley Barber, Gallerists, Sarah Cottier Gallery, Sydney. Paola Lenti Spezie day bed & backrest, Cocci side table & Berry ottoman. Magis Deja Vu mirror. Sculpture Wompoo Jamie North, 2016 Sarah Cottier Gallery. #seededece dedece.com
P HOTO GR AP HE R : JA ME S TO LI C H. ST Y LI ST: J O SE PH G A RD N E R
shop style
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VLoves
FLIGHTS OF
FANTASY
Revel in the fun of functional investment pieces that weave personality and art into the fabric of everyday life with intriguing forms and timeless craftsmanship that captivate the imagination. Photographed by James Tolich Styled by Joseph Gardner
VLoves
T H I S PAG E Broached Recall medium monolith, POA, from Broached Commissions; broachedcommissions.com OPP O SI T E PAGE Rocky rocking chair, $14,000, from Alm; studioalm.com
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VLoves
The VL edit
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SYDNEY 02 9906 3686
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Handmade culinary architecture. Designed and created for you in France, since 1908. www.l a co r nue.co m. au
Available at
VLoves
Dionysus shoulder bag, $3635, from Gucci.
wonder
Creative director Alessandro Michele has delved into archival Gucci designs and re-imagined pieces for a new generation, creating future heirlooms worthy of display and desire.
Photographed by James Tolich Produced and styled by Joseph Gardner
STY LE ASSI STAN T: R E BE CCA SHA LAL A
Full of
Chiavari chair with embroidered tiger, $4185; Horsebit 1955 Fake/Not duffle bag, $3670; and Jackie 1961 hobo bag (on ground), $2690, all from Gucci. Charlie wears jumper, $2100; shirt, $950; shorts, $1300; and beret, $675, all from Gucci; gucci.com.au Nov/Dec 2020
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VLoves Gucci Liberty bag, $3670, from Gucci; gucci.com.au
Nov/Dec 2020
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VLoves
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Francesca holding GG Marmont mini bag, $2655, from Gucci. Francesca wears cardigan, $805; shirt, $280; pants, $1130; boots, $800; and brooch, $755, all from Gucci. Charlie holding G and check wool throw blanket, $1470, from Gucci. Charlie wears jumper, $2100; shirt, $950; shorts, $1300; shoes, $1515; and beret, $675, all from Gucci; gucci.com.au
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M E L B O U R N E M A D E S U P E R N AT U R A L S K I N H E A LT H TO O L S
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art design people
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PROFILE
Athena Calderone An innate and considered sense of style informs everything this creative does, whether its cooking a meal for her family or decorating her home. By Verity Magdalino Photographed by Nicole Franzen
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n Greek mythology, Athena is not only the goddess of war and wisdom but also the patron of handicrafts. If there was a 21st-century reincarnation for crafting stunning interiors and culinary delights, Athena Calderone, the eloquently spoken Brooklyn-based designer, chef, author and founder of online lifestyle site EyeSwoon certainly fits the bill. An interior design graduate of New York’s Parsons School of Design, the trained dancer launched EyeSwoon in 2011 with the aim of sharing her favourite recipes and interior styling tips with friends. Since then Calderone has published two books — the first, Cook Beautiful, garnered a lauded James Beard award for photography. The most recent, Live Beautiful, documents what Calderone describes as “the alchemy of creation” in the homes of designers and creatives, including her own. She also has her own podcast, More Than One Thing. Here, we talk to Athena about her journey from dancer to design diva, and the four-storey, threebedroom 19th-century Greek Revival townhouse in Cobble Hill, Brooklyn, where she lives with her husband, Victor — an international DJ and music producer for the likes of Madonna, Beyoncé and Sting — and their teenage son, Jivan. I grew up in a small suburban town in Long Island, New York, just 30 minutes from New York City and yet a world away. As a child, I did not have an awareness of art or culture, but I was always creative. I studied dance in college, and in a way I can see the similarities between dance and design. They are both wordless expressions of the self that trigger an emotional response from the viewer, and involve interacting with space and form. My appreciation for design began as a child growing up in our modest ranch-style home in
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VLife Long Island. My mum would rearrange the furniture on a weekly basis. I’d often walk into a room, only to find the layout flipped. It was exciting to be a bystander of these transformations and experience the ways in which a layout, a colour or a piece of furniture could completely alter a space. I certainly attribute my reverence for beauty to my mother. Over the past 20 years, I have owned and renovated eight homes. Some may find the thought of ping-ponging around Brooklyn — as we have — to be unsettling. But for our family of three, it just feels natural and exciting. Every home has allowed me to strengthen my architecture and design muscles. I love to reinvent a space. I get silly excited by the all-encompassing research. I find the scavenging and collecting of objects downright thrilling. I fixate on the problem-solving until I find resolution, and I crave the knowledge these renovations offer me. Most of all, I love the journey. It’s exhilarating, if you allow yourself to be led. EyeSwoon was years in the making. I have always been a creative but found myself isolated at home in my mid-twenties after I had a baby; my husband Victor travelled often, and I spent most of my days in my Brooklyn apartment with a newborn. I was bursting with this creative energy and I didn’t know where to put it. Most people define themselves and their careers out in the world and outside the home. For me, it was the exact opposite. Once I started channelling my artistic eye into my space, it became this amazing playground — a place to create, to design, to express myself. My home unified my passions for design, cooking, and beautiful things. ››
VLife ‹‹ When it comes to interior inspiration, I love all of the rule-breaking going on right now — the embracing of personality, rather than the following of a formula. I feel that the best design happens when you don’t have a plan and allow yourself to let a room unfold. When one seemingly singular choice leads you to the next and suddenly you have this wonderful, cohesive space — it’s pure magic. Ninety per cent of the furniture in my home is vintage and that was certainly intentional. I love a clash of cultures in decor. My townhouse is mostly a mix of Italian and French antiques from the 1940s through to the ’70s. But I also sprinkled pieces from the 18th century here and there to drive home a sense of history and a little grit. This, along with a neutral but textural palette — from upholstery to wood tones to plaster walls — finishes the space. I find that you can achieve harmony beautifully using only a series of neutral palettes. The contrast of whites, creams and harsher blacks just engages the eye. We collaborated with Elizabeth Roberts Architects and began to dissect our specific desires and needs as a family. My first step, and one I would encourage every homeowner to take, was to create a comprehensive floor-by-floor, room-by-room list of our collective and individual needs. Every minute detail was added to this program — the ideal location for each room and its purpose in the home. Compiling this list was really helpful in understanding how to divvy up the space. Dream big on this initial list; you can always scale back. The accumulation of each and every piece in my home was a granular alchemical experiment of trusting my eye. ‘Don’t think, just go’ became my mantra. I scoured Chairish, 1stdibs, auction sites, eBay, Instagram and estate sales. I obsessively emailed dealers, while aesthetic wanderlust found me on planes throughout Europe to claim these pieces I did not know I needed so desperately in my life until I saw them. These unique elements — an alabaster light fixture, a Peruvian vessel, a diminutive 1830s wooden Swedish chair — once united, began to speak their silent language. I love the kitchen. It is the coming-together of my overlapping passions of food and design. With this space, I tried to find the sweet spot where use and efficiency beautifully collide with decor. The long kitchen shelf not only holds all of my plates, platters and glassware; it is also a place for me to express my love of vintage. I mingled in decorative objects like the petit rattan lamp, vintage sculpture, artwork and gilded mirror. You should not rob a functional space of decorative elements. A fear of staining ›› Nov/Dec 2020
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VLife ‹‹ would never keep me from using beautiful marble. I love the ‘life’ of a kitchen, ring marks and all! A home holds emotion. I am fascinated by the way memories are imbued in the things you collect. Every piece in a room, even the room itself, has a story, and people feel that as soon as they step into the space. Design is an emotional thing. You enter a room and maybe you can’t quite put your finger on why, but suddenly you feel calm, or relaxed, or intrigued, or even inspired. My home is my place of inspiration. It is where I work and conceive ideas but it is also where I find calm and decompress. Most of all it is where I build memories with my family. The pandemic has inspired me to teach and share more through my social channels, particularly IGTV. People want and need to love their homes more, and I want to help them do so. I want to encourage people to look at their homes through a new lens. Revamp, restyle and ‘re-appreciate’ what they already have.
“Design is an emotional thing. You enter a room and maybe you can’t quite put your finger on why, but suddenly you feel calm, or relaxed, or intrigued, or even inspired” ATHENA CALDERONE
Not seeing my mum and dad [during lockdown] has really been hard for me. And I really miss restaurants. Also, my husband is a DJ, so he is obviously not working, and while I love spending more time with him now that he’s not on the road, the financial repercussions have been challenging. But honestly, I have loved this focused and precious time spent with my husband, son, and our new puppy, Tuco. We have never been together more, laughing more, cooking more, and in nature more. VL eye-swoon.com Watch Athena Calderone host a virtual culinary experience as part of Vogue Living’s 3 Days of Design on our YouTube channel; youtube.com/ voguelivingmagazine 58
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TH I S PAG E, CLOC K WI SE F R O M TO P on the terrace, sofa from RH; vintage French chairs. In the main bedroom, bed from RH; 1950s French bench; chandelier by Angelo Lelli; artwork by Struan Teague. In the office, table by Angelo Mangiarotti; Faina Toptun armchair from Perspective; vintage floor lamp. Details, last pages.
VLife ART
DREAMING OF MIND AND SOUL Black art in the white cu restricts to no one style o perspective on cultural i as these contemporary Indigenous artists prove Collectively they are div exemplars of conceptua innovation, difďŹ cult disc and technical deftness, represent the endless va of First Nations art. By Annemarie Kiely
Aboriginal and Torres Strait Islander readers should be aware that the following article contains details of people who have passed away and may cause distress. T HE SE PAG E S, F R O M RI GH T
Sally Mulda and Self Portrait, both by Thea Anamara Perkins. 60
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THEA ANAMARA PERKINS
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t’s been a couple of big years for Thea Anamara Perkins, the Sydney-based artist with a seasoned CV that warrants ditching the descriptor ‘emerging’. She’s already plumed her cap with feathers of distinction, claiming a second short-listing in the 2020 Archibald Prize after finalist honours as a first-time entrant in 2019 with a portrait of Christian Thompson. Perkins stripped the self-referential artist of his costume schtick and cast him afloat in sugary pink deserving of his self-described “feminine Virgo moon-rising energy”. She won the Dreaming Award (for a young and emerging artist) in the 2020 First Nations Arts Awards, sharing the Sydney Opera House stage with such illustrious company as curator and artist-activist Djon Mundine OAM, who was honoured with the Red Ochre Award for Lifetime Achievement. And bragging rights warrant for figuring as a finalist in the Brett Whiteley Travelling Scholarship, for scoring inclusion in the 2019 Tarnanthi Festival at the Art Gallery of South Australia (AGSA), and for counting among the anointed few granted residency at The Clothing Store Artist Studios in Sydney’s Carriageworks. But for Perkins, an Arrernte and Kalkadoon woman whose aestheticism seeds between the polarities of Alice Springs and Sydney — the compass points for family — the most meaningful accolade came with the 2020 win of the 41st Alice Prize for her painting Tent Embassy. Describing a moment of political and personal potency — said by prize jury member and director of the AGSA Rhana Devenport to “convey both familial tenderness and profound historic change in this country” — it is Perkins’ portrait of close family and the face of courage. “The inspiration for my painting is a treasured family photo of my grandfather Charles Perkins and aunt Rachel Perkins taken during a land rights protest outside Old Parliament House in Canberra,” says the artist of her beloved activist “Pop”, who she remembers as devoting every waking hour to his people. “My grandfather was born at The Bungalow [then the Alice Springs Half-Caste Institution] in Mparntwe. This image is reflective of the way that politics was personal for my grandfather, and that he dedicated his life to the fight for justice for our people.” Touted as a potential reinvigoration of realism, Tent Embassy with its seemingly solarised forms fulminating in “the colours of 1970s radicalism”, unashamedly pulls from the canon of Western portraiture. “But it’s the beguiling slide into confronting themes,” says Perkins of an “easy-access” portal through which she has taken the rhythms, colours and lush brushstrokes of Central Desert Art. “Portraiture is a really clear way to communicate what I want to say about Aboriginal people… it’s an opportunity to convey the beauty, kindness and love when so much misrepresentation repeats across media.” Confessing to a mix of art crushes that include Gordon Bennett — “so ahead of his time, the way he broke down the archetypes of Aboriginality,”; Emily Kame Kngwarreye — “she is like my Picasso”; and Caravaggio — “I just love his dramatic chiaroscuro”; Perkins considers the potential of now relative to her art practice. “It’s interesting, after one discourse dominating, one lens offering to view the world, I feel like we are shifting into a new era,” she says. “I’m actually very excited to be hearing a greater complexity of voices. “But it doesn’t matter who you are,” she adds of the chaos we are now enduring collectively. “We are all shaken up, disrupted, being made to think deeper about what we want our lives to be and we have this chance right now to change. It just can’t be business as usual into the future.” @anamara_art edwinacorlette.com Nov/Dec 2020
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VLife CHRISTIAN THOMPSON AO
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TH ES E PAGE S , CLO CKW I S E F R OM BE LO W
Enchantments - Letter to Ferdinand von Mueller (2018); Echo II (2014); Subconscious Whispers (2018); Premonitions (2019); Hold Onto Me (2019); all works by Christian Thompson.
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s a self-described itinerant for whom transience is the norm Dr Christian Thompson AO admits to feeling a bit antsy tethered to his Collingwood home, courtesy of COVID-19 lockdown. But he’s nothing if not adept at shifting shape and mindset to meet the impositions of strange micro-cultures — a function of being “a military kid” and living life on the move. Speaking down the line at the end of another ‘Blursday’, Thompson, a Bidjara man of the Kunja Nation of central western Queensland, casts back to being the inaugural Charlie Perkins Scholar in 2010 and completing his fine art doctorate at Trinity College, University of Oxford, where he admitted as one of the two first Australian Indigenous students in the University’s 900-year history. “I felt like I’d entered a completely different universe,” he says of wanting to seize the moment for his people in a ‘hallowed’ place said to be built by ‘proud and godly kings’. “But I slotted in easily, felt like I’d always been there.” His quick acclimation came also from the Pitt Rivers Museum, an Oxford department containing over 500,000 anthropological and archaeological objects ordered by type. Invited to develop work in dialogue with the museum’s Australian photographic collection, Thompson pulled material and meaning from its evolutionary ‘progressions’, producing the series, We Bury Our Own. Consisting of eight large-scale selfportraits and a video installation that worked the cultural binary of black and white with a monochrome matter-of-fact, the works frame Thompson in costumed inscrutability either dressed for death, or maybe a dissing of Oxford’s academic attire. His eyes close under the weight of object; symbolic gesture insinuating both Western antiquity’s coin payment into the afterlife, and the Aboriginal belief that a photo can steal the soul. “I wanted to generate an aura around this series, a meditative space that was focused on freeing oneself of hurt,” he explains of his “spiritual repatriation” of archived objects, “employing crystals and other votive objects that emit frequencies that can heal, ward off negative energies… and importantly, transmit ideas.”
Agreeing that it exudes the sweetness and kindness that Perkins was at pains to capture, Thompson admits to finding it strange to view himself via the eyes of another. But that long hard look through a different prism is everybody’s reality right now, he avows, adding that COVID-19 has sharpened the focus on social inequities and racial injustices. “In moments like this I live my Aboriginality — the very real physical repercussions of falling into a high-risk health category. So, let’s be realistic about what Aboriginal means,” he says, insisting that concept can dance around identity and history but collective Australia has to drill down to quantifiable measures. “I think we really have to let go of the Industrial Age and start imagining the kind of future we really want. I think that’s exciting.” @christianthompsonartist sarahscoutpresents.com; messums.com
P HOTO GR AP HE R : I MAGE S CO U RT ESY O F TH E A RTI ST AN D ME SSU M S, LO N D O N; G A
“I never see myself in photos. I disassociate and see them as if looking through a photo album — ‘Oh, that was when I was living in Amsterdam and that was when I did my mentorship with Marina Abramović” CHRISTIAN THOMPSON
Nov/Dec 2020
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DANIE MELLOR
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he big-living American author Ernest Hemingway and the Book of Ecclesiastes might seem like odd bedfellows, but artist Danie Mellor draws on their shared certainties in the title and temporal concerns of his latest exhibition, The Sun Also Sets. Taken from a biblical line and the name of Hemingway’s acclaimed 1926 novel about post-war dissipation and the powers of nature — those four small words prime for Mellor’s visual missive on lost generations, life cycles and the meaningless of man within their endless repeat. “I point to that specific period of late colonialism; that time of fundamental change for Aboriginal people,” says Mellor of the late 19th century when early ‘modernism’ in all its so-called civilising and mechanising guises began its impact on Indigenous cultural practice, land and family lives. “But at the same time that sense of deep remembering, foregrounding the fact that we can’t escape the cycles of life — we are part of an intrinsic plan.”
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Speaking from his studio in Bowral, NSW, by dint of travel restrictions impeding access to his source material in Queensland’s Atherton Tablelands (home to his maternal Mamu and Ngadjon ancestors) and his exhibition launch in Melbourne, Mellor laughs at the irony of talking about life’s intrinsic plan when it has put paid to his. “Yes, the stakes are in some way different this year,” he says in light of COVID-19 messing with general art practice and the promotion of it. “I had a full year of projects scheduled and had to put all forward focus on work, but in really unintended ways, the impact of the pandemic has tied in with my broader themes of loss, separation, distance and timelessness. The circumstance of now has unfolded interesting relationships and reinforced how interconnected we are to the world around us.” These revelations conceal in the sepia seductions of The Sun Also Sets, large works that montage infrared photography, archival film and painting. Their conflation of past, present and future — an evanescing of all time explained by the ‘Everywhen’ in Indigenous culture and explored by quantum physics — calls the viewer to consider the framing, translating and transformation of history through a colonising lens. “Some moments from archival photographs are reimagined and re-imaged as paintings,” says Mellor of the personal and historic yellowed visages that he ››
P HOTO GR AP HE R : AN DR E W CU RT I S, I M AGE CO U RTE SY O F THE N ATI O N AL G A LL ERY O F AU ST RAL I A
T HIS PAGE , F R OM TOP Landstory (2018) by Danie Mellor, part of the collection at the National Gallery of Australia; artist Danie Mellor.
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P HOTOG RA P HE R: AN DR E W C U RTI S, I M AGE CO U RTE SY O F THE ARTI ST AND TO LAR NO G A LL E R I E S
“The circumstance of now has unfolded interesting relationships and reinforced how interconnected we are to the world around us” DANIE MELLOR
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T HE F IN E S T LU X U R Y O U T D O O R F U R NI T U R E SPEC IF I C A L LY C R E AT ED TO END U R E AUS T R A L I A’ S C L I M AT E
Showroom 4/24 Young St Neutral Bay, NSW 2089 02 9949 9466 Open 7 days 10am - 5pm
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BROOK ANDREW
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T HE S E PAG ES , FR O M B ELO W artist Brook Andrew, artistic director of Nirin, the 22nd Biennale of Sydney; This Year: Three Zones (2020) by Brook Andrew.
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hat are you working on now?” The question elicits an exasperated laugh from Brook Andrew and the answer: “This Year”. It’s not a facetious response to the havoc wreaked on his 2020 diary by COVID-19 and its deferral of the 22nd Biennale of Sydney for which he was the first Indigenous artist lead, nor its dismissal of his plans to finish a doctoral thesis at the University of Oxford. No, ‘This Year’, as Andrew explains, is the title applying to the art he has completed during its chaotic term; a title that could apply to any year and carries the niggling inference that nothing really changes. “I mean, are we still dealing with the same old issues over and over?,” he says with a ready roll call of Black Lives Matter, climate, queerness, gender, border issues, the women’s movement, land rights, globalisation, anxiety and art still viewed through the eye of Europe. “Why don’t all these things have a balance of representation? Is every year to remain the same? If we are going to talk about race, let’s talk about economics, we have to be specific about what it means for us here and that includes the power of objects — where do they come from and who really knows?” The question of inherited histories burying in innocuous forms is driving his thesis research but has arguably always ordered Andrew’s thinking. He harks back to his eureka strike in the solitude of museum archives, where he first encountered the “phantoms” of ethnographic photo collections. “They would have been taken by anthropologists or photographers who sold those images on to institutions,” he says. “But they didn’t record any names. So there are all these silent unnamed, orphaned photos. For all I know, they could be of my great-grandparents.” Growing up in Sydney’s western suburbs, Andrews recalls his first consciousness of an exclusionary culture at 15, when, he “suddenly awakened” to the reality that his mother was not represented by broader culture. “She is Wiradjuri, comes from a big family of about seven, and we would go over and join the entire mob every weekend — it was very much a foundation of my growing-up,” he says of an inclusiveness that absorbed his father, the only child of Scottish Jewish parents. “We didn’t know anything about the history wars because everything was so silent then, but something was missing — my people weren’t figuring in the mainstream.” Andrew recalls the rancid words issuing at university that his admission was a function of his father’s whiteness; a put-down that he absorbed into the persona of the “trickster” — the magician who makes art that doesn’t scare people away but messes with mindsets. His graduating art-school work White word I (1993), a diptych repeating ‘white words’ alongside the racist rant ‘coon’ on a black-and-white velvet canvas, was his first notable sleight of hand. Where it delivered the velvet-gloved gut punch that got him noticed, Sexy and Dangerous (1996) — a tricking-up of the sepia-tinted Aboriginal warrior typecast with saturated colour and consumerist text — propelled him into the stratosphere. It marks the moment when his co-opting of Western narratives started to zigzag (quite figuratively in the Wiradjuri dendroglyph tree pattern) between the poles of black and white. “But this goes beyond colour,” he says of a world that is now collectively fighting a common enemy, congealing into the collages of This Year. “I’ve just been smashing together cut-outs, fashion shots from magazines, newspaper clippings and archived bits — looking at issues around environment, history, abstraction, decontextualising the image of a woman pouring milk into her eyes after tear gas releases at a protest, painting into it, colliding stories, clashing a headline that reads ‘Racism in Italy Hits Holocaust Survivor’ next to an article about an ‘Arctic River Running Red’.” What Andrew sees when he stands back and looks at the graphic mayhem of 2020 through his Magic Eye is the three-dimensional chimera of familiar pattern and movement shaping. “Is humanity shifting or fixing?” he asks. “Or is history just doomed to repeat?” @brook_andrew_artist tolarnogalleries.com; roslynoxley9.com.au
VLife “Why don’t all these things have a balance of representation? Is every year to remain the same? If we are going to talk about race, let’s talk about economics, we have to be specific about what it means for us here” BROOK ANDREW
Nov/Dec 2020
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Untitled 1 (2020) by Vincent Namatjira.
T HIS PAG E
t takes a lot of paperwork, a light plane and a long four-wheel drive to find artist Vincent Namatjira at Indulkana in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the remote north-west of South Australia. But once there, the content and colours of the artist’s canvas make high-chroma sense. The red dirt, the dry creek beds, an impossibly blue sky, the creep of global branding, the optimistic vitality of the community and its cast of cartoon-like characters all flesh out with a dynamism that funnels straight into Iwantja Arts. Naming after a nearby creek that is the establishing source of the community and the Dreaming site of the Tjurki (Owl), this art centre — one of 10 Indigenous-
owned and -governed arts enterprises that make up the APY Art Centre Collective — is the pulsing hub to which Namatjira plots his passage every morning. Within its lo-fi, laughter-filled sanctum, he renders the faces of past and present, brushstroking with a parodist’s wit and a want to “strip away their power”. Namatjira mashes politics and pop culture with the hyper-localised concerns of remote life and a good laugh. “My friend Tony Albert recently called this tactic ‘guerrilla humour’, which I like,” he says. “If you can make them laugh, then hopefully you can get them to pay attention and think about the serious side, too.” Such fantastical and figurative departure from the usual dot abstractions of desert style begs the ‘why?’ “My father-in-law, Kunmanara (Jimmy) Pompey was an artist at Iwantja Arts, one of the important old tjilpi [senior men] here,” explains Namatjira. “Unlike most of the old fellas, who are dot-painters, he was a figurative painter, [drawing] from his ››
P HOTO GR AP HE R : I MAGE CO URT ESY O F THE ARTI ST, I WANTJA ARTS AN D THI S I S N O FA NTASY
VINCENT NAMATJIRA OAM
VLife
“I can’t really explain how important art is to me; art changed my life, that’s for sure. I used to have not much direction or purpose — painting has opened up doors for me and created opportunities that I never knew existed” VINCENT NAMATJIRA
T HI S PAGE , F R OM L EF T
Untitled 2 (2020) diptych by Vincent Namatjira; Queen Elizabeth & Donald (2018) by Vincent Namatjira, shown at Art Basel Miami Beach 2018.
captures the white countenance of control across dead-eyed politicians, fat corporates, cartoonish colonisers and tea-drinking royals. “People often tell me they think I’ve painted the Queen in an unflattering way — but I’m just painting her as she is,” he says of the royal who met his greatgrandfather in 1954. “She’s an old lady, you know? So she should be treated with a bit of respect. But at the end of the day, she’s just a normal person and I find the way some revere the Royal Family a bit weird! I wish there was the same level of respect and recognition for this country’s Indigenous leaders, past and present.” Speaking to his obsession with the structures of power and his wanton drop of Donald Trump into his pick-up truck in select painting, Namatjira reflects on what he would say to the so-called leader of the free world should that scenario ever eventuate. “Listen, your presidential power doesn’t count here, OK!” he says with a laugh, adding that he shares a birthday with Trump. “We have our own law, our own leaders — this is our land.” VL thisisnofantasy.com
P HOTO GR AP HE R : I MAGE S CO U RT ESY O F TH E A RTI ST, I WAN TJA ARTS AN D THI S I S N O FA N TASY
‹‹ memories of being a stockman and a travelling musician — cowboys, horses, country singers and guitars. He was an inspiration for me when I was starting out, showing me that Aboriginal painting didn’t have to just be dot painting.” His interest in art lay dormant until he settled in Indulkana and indulged the advice of his artist wife Natasha to try painting at Iwantja Arts. Namatjira, now 37, takes tally of heeding her words. There’s his win of the 2019 Ramsay Art Prize, several Archibald Prize short-listings, a 2020 Medal of the Order of Australia and the 2018 showing of his work at Art Basel Miami Beach in the US, which Namatjira describes as busy and loud, with crazy traffic and all-night sirens. “The servings of food are huge,” he says. “I came back and the first thing my partner said was ‘How much you been eating over there?’” Describing each day’s entry into the studio as a step onto the battlefield, Namatjira tries to sound-bite his feelings about painting. “I can’t really explain how important art is to me; art changed my life, that’s for sure,” he says. “I used to have not much direction or purpose — painting has opened up doors for me and created opportunities that I never knew existed.” Sourcing early aimlessness back to his mother’s death and his forced removal as a six-year-old from family in Hermannsburg to foster care in Perth, the artist says he grew up knowing nothing about his great-grandfather Albert Namatjira. He refers to the acclaimed watercolour artist — the first Aboriginal granted conditional Australian citizenship in 1957 and imprisoned in the last year of his life for supplying alcohol to a ‘noncitizen Aboriginal’. The two artists never met, but Namatjira claims to feel his ancestor’s presence in his practice. And that “presence” he advises, is now committing to the pages of a children’s book, because “every kid should learn about their story in school.” Shrugging off the weight of his legacy, Namatjira says that where his great-grandfather glorified the purple haze over red mountain ranges of Arrernte Country in watercolour, he is determining his own path with portraiture that seemingly polarise into two exclusive camps. One characterises the heroic faces of Indigenous leadership, while the other
B E S P O K E TA B L E WA R E B R O U G H T T O Y O U B Y FA I R FA X & R O B E R T S GƑūŞ ƥ Ě ūŞĚ ūIJ GîĿƑIJîNJ ʨ ¤ūċĚƑƥƙ ƭƙƥƑîŕĿîɫƙ Ƒƙƥ ŠĚ ŏĚDžĚŕŕĚƑ ČūŞĚƙ ƥ Ě ĚƎĿƥūŞĚ ūIJ ĚŕĚijîŠČĚ ØĚ ĿŠDŽĿƥĚ Njūƭ ƥū ēĿƙČūDŽĚƑ î DžūƑŕē Dž ĚƑĚ ŠĚ îƑƥ ČƑNjƙƥîŕŕĿƙĚƙ ĿŠƥū ČūŠƥĚŞƎūƑîƑNj ƥîċŕĚDžîƑĚ îŠē Dž ĚƑĚ /ƭƑūƎĚîŠ ČƑîIJƥƙŞîŠƙ ĿƎ ċƑĿŠijƙ NjūƭƑ ƎĚƑƙūŠîŕ ēĚƙĿijŠ DŽĿƙĿūŠ ƥū ŕĿIJĚ 'ĚƙĿijŠ NjūƭƑ ċĚƙƎūŒĚ ƥîċŕĚDžîƑĚ ČūŕŕĚČƥĿūŠ DžĿƥ sū ȂȊ
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DESIGN
Cast in stone
From Elizabeth Taylor to Zendaya, Bulgari’s hypnotic Serpenti collection has captured the attention of some of the world’s most powerful women and become synonymous with beguiling femininity. Vogue Living talks to Bulgari creative director Lucia Silvestri about the soul behind the glamour.
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T H ESE PAGES
Serpenti High Jewellery white gold and diamond necklace, POA, from Bulgari.
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VLife
ucia Silvestri loves gemstones. The creative director and chief gems buyer for Italian luxury jeweller Bulgari has spent much of her 40-year career as a modern-day treasure hunter, seeking out the most radiant of diamonds, rubies, emeralds, sapphires and glittering bijoux from far-flung corners of the globe to create some of the world’s most incredible jewellery. The way Silvestri describes the sparkle, the depth, even the sound a handful of gems make as they tumble, clinking against each other from a cloth bag onto her work table verges on the poetic. “Listen,” she whispers. “I love the sound. For me, it’s like music… I could spend hours looking inside a stone. You can see life inside. You can see a meadow or a wood, leaves; you can even feel the wind if you look carefully. There is a marvellous depth — a world inside. I absolutely love it.” The world of Bulgari — which spans a multitude of collections of fine jewellery, watches, handbags and fragrances, 300 boutiques and a series of luxury hotels from London to Shanghai with new sites due to launch in Paris next year, Rome and Moscow in 2022, and Tokyo in 2023 — started out as a small store on Via Sistina in Rome, founded by Greek silversmith Sotirio Bulgari. The family-owned and -run company — which in 2011 was acquired by French luxury group LVMH — has in that time, built a reputation for bold designs, vibrant colours and supreme quality in both its craftmanship and most specifically, its selection of gemstones. Of all Bulgari’s storied collections, it’s perhaps Serpenti with its emblematic snake motif, tightly coiled Tubogas watches and, more recently, rainbowbright handbags that most vividly captures the seductive, daring spirit of the Roman jeweller. It’s an ethos realised in 1948 with a spiralling bracelet-watch in gold, and made famous by the inimitable Elizabeth Taylor — who adorned her wrist with a diamond-and-emerald-encrusted Serpenti bracelet-watch during the filming of Cleopatra in 1962. “The only word Elizabeth knows in Italian is Bulgari” is the oft-quoted quip from the actress’s co-star (and off-screen lover), Richard Burton. From Diana Vreeland in the 1960s and Grace Jones in the ’80s to high-powered stars Zendaya and Naomi Scott — the new faces of the luxury brand in the 21st century — Serpenti has come to symbolise a sense of feminine power. “Serpenti is inextricably bound to those women that made history something to be remembered,” says Silvestri. “They break the rules and capsize conventions — they follow instinctively their inner selves, their spirit of freedom.” It’s a description that aptly suits the vivacious and charming Silvestri who, as a biology student, leapt at the chance to work with Sotirio Bulgari’s grandsons Paolo and Nicola, when her father, who worked with the family at the time, alerted her to a vacancy at the atelier. Today, as creative director of a team of 20 including eight designers, Silvestri works from the light-filled Bulgari headquarters at Lungotevere Marzio in Rome. “It is no coincidence ››
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“I just need to see a building or a sidewalk or the colours of the sky to give me a thousand inspirations. Our Roman background, which is unique in the world, still fascinates our international clientele” LU C I A S I LV E ST R I
‹‹ that I am here in a very bright space,” says Silvestri of her gleaming fourth-floor studio. “This is very important when I have to select the gemstones. “Our clients know the world of Bulgari through the stones. It is important for us that they understand that there is a continuous challenge that goes beyond the design of each jewel,” says the creative director, who describes just one occasion when it took almost two years to find two drops of emeralds at precisely the right weight for a client. “The search for top quality stones can last a long time — behind this there is a great passion.” What also distinguishes Bulgari, says Silvestri, is the desire to experiment with new creative solutions. “There’s a natural elegance,” she says, “and a certain aesthetic versatility that best expresses a purely Italian style that is bold, yet sophisticated, contemporary and stylish.” Indeed Italy, and more specifically, Bulgari’s Roman heritage is the very essence of the brand and a subject particularly close to Silvestri’s heart. “I was born and raised in Rome and I wouldn’t change it with any other city in the world,” she says. “Rome is a city that you can never stop discovering. I adore walking in the gardens… I adore the terraces, where you have this incredible view of the city with the roundness of its churches and cupolas, and such a unique light.” The shapes and tones of the Eternal City inform the jewellery design. “I just need to see a building or a sidewalk or the colours of the sky to give me 78
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T HI S PAG E, F ROM L EF T
Elizabeth Taylor was a Serpenti fan, wearing a bracelet-watch during the filming of Cleopatra in 1962; actress-singer Zendaya is one of the new faces of Bulgari.
a thousand inspirations,” says Silvestri. “Our Roman background, which is unique in the world, still fascinates our international clientele.” This magnetic allure is more than apparent in the Serpenti collection, which Silvestri evolves each year with new additions, one of the most recent being the Serpenti Seduttori — a single-strap edition of the iconic wrap bracelet-watch designed to reflect the ever-changing lifestyle of Bulgari’s savvy clientele. The Seduttori joins the successful 2017 launch of the Serpenti Viper jewellery — a joyful, stackable series of bracelets, rings, earrings and necklaces with stones such as malachite, onyx and carnelian — in its appeal to a younger generation intent on expressing a new kind of everyday glamour. Inspired by the signature serpent motif, the new pieces are designed to imitate the natural beauty of a snake’s scales. “The spellbinding effect is created from precious jewels and metals, and interpreted in countless ways,” says Silvestri. “It appears in diamonds for a full pavé bracelet; is carved into scales for a pink gold ring; as a net designed to lightly encircle pavé diamonds around the wrist; or as angular markings created in precious stones atop the snake’s head.” Perhaps the most demanding aspect in the production of new jewellery pieces, says Silvestri is conjuring a distinctive design that is also adaptable to wear on any occasion. “It’s one of our greatest challenges,” she says. “We strongly believe in our values of creativity and quality which made — and are continuing to make — Bulgari’s identity and style. But of course each of these values must be reinterpreted, must always surprise, and be in constant evolution for women that are never the same.” VL bulgari.com
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P HOTO GR AP HE R : AN SO N SMART
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VLiving
in the kitchen of this Sydney home, pantry joinery by Arent&Pyke; decorative vessels from Curatorial+Co.; Casa handmade tiles (on recessed cavity splashback) from Onsite Supply + Design; walls painted in Dulux Water Rock. Turn the page for the full story. TH I S PAG E
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ENCHANTED SPIRIT
T HES E PAGE S the new rear extension of this Sydney home includes a living area, dining area and a main bedroom; landscaping by Thomas Ellicott from Concept Green. Details, last pages.
By Joanne Gambale Photographed by Anson Smart
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f it was a viable option, Ewan Morton and Margo Harbison would have invested in a luxury tent, such is their passion for the 2400-square-metre garden they share with their daughters in Sydney. Instead they embraced a more metaphorical approach. On family holidays Margo’s sister, architect Polly Harbison, would sketch ideas for an extension to replace the 1950s lean-to on their Federation house. The unusually long garden was everything to the couple, and they wanted to feel as if they were living in it. So was born the Garden Room, a space more suited to a Luca Guadagnino film set than here among the battle-axe blocks of Sydney’s North Shore. “The garden has a grove of trees in the middle and a heady mix of flowers in every shape and colour,” says Harbison. “They wanted their house to have a similar combination of rich colours and textures yet with the same feeling of calmness.” Colour, texture and calm are collectively what interiors studio Arent&Pyke do best, and so the firm was engaged to collaborate with Polly. “Collaboration as a concept and word is so heavily overused today,” says the studio’s co-founder Juliette Arent Squadrito, “but this project really had a wonderful collaborative spirit to it that felt so natural, so joyous.” Builder Stefan Zandt and Arent&Pyke’s Genevieve Hromas and SarahJane Pyke were much involved in the project, but none quite like Ewan and Margo, herself a painter so especially intrigued with the questions of colour. “Stefan balked a little at the short list of 38 colours for brush-outs,” says Harbison, “but Margo, being an artist, completely understood the importance of the smallest variations in shade and tone.” Her sister, meanwhile, conceived a single storey that would connect the home to the garden by way of spatial manipulation. “A sequence of increasing scales create this sort of warped perspective effect to really draw the garden into the house,” she explains. The floors are stepped down to the garden level and culminate in a fourmetre-high space, increasing in width as well as height. “During construction,” says Harbison, “as the drama of these heights revealed themselves, Ewan — who is six foot six — felt short for the first time in his life.” Daughters Emma, Alice, and Eloise have all inherited Dad’s tall genes. Now they have the original house to themselves, but stay connected via a communal meeting place. “We wanted the kitchen in the middle to connect the family,” says Morton. It also finds connection to the garden via a northfacing courtyard, and the area forms a sort of threshold between the old and the new. ››
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T HESE PAGE S in the kitchen designed by Arent&Pyke and produced by Zandt Building, BassamFellows Tractor stools in White Oak from Living Edge; splashback, benchtop and island in arabascato vagli marble from Granite & Marble Works; custom Arent&Pyke stippled ďŹ nish island insets in Dulux Nimrod; Perrin & Rowe tapware from The English Tapware Company; Baccman Berglund Line handles from Casson; Santa Margherita terrazzo oor tiles from Classic Tiles.
“THE VOLUMES ARE OVERWHELMINGLY BEAUTIFUL AND THE FLOORS IMMEDIATELY ADD A TAPESTRY OR LEGACY” JULIETTE ARENT SQUADRITO
T H IS PAGE in the living area, vintage coffee table, tapestry armchair and vintage leather screen, all from The Vault Sydney; custom paisley cushion with fringe detail and Akari Light Sculpture UF3-DL oor lamp by Isamu Noguchi from Arent&Pyke. O P P O SI T E PAG E in another view of the kitchen, pantry joinery by Arent&Pyke; decorative vessels from Curatorial+Co.; Casa handmade tiles (on recessed cavity splashback) from Onsite Supply + Design; artwork by artist unknown.
‹‹ This transition is poetic; the moment the timber floors morph into green terrazzo tiles is akin to Dorothy’s arrival in Oz. “There was something missing,” says Arent Squadrito when asked about the bold floor tiles, “the romance or spirit we were after. I showed Margo a reference image of an Italian loggia with bordered and checkerboard terrazzo floors. Her beaming smile showed me we were on the right track.” Larger tiles are laid in bigger areas and the whole achieves an Italian-summerhouse feel. “The volumes are overwhelmingly beautiful and the floors immediately add a tapestry or legacy,” says Arent Squadrito. “Polly is so wonderfully open. She always delighted in our suggestions as it allowed her to view the house in a different light.” The warm, rich palette continues in the joinery, the cabinetry and on the walls. “We wanted rough rendered walls that were absolutely not white but sludgy grey-green,” says Arent Squadrito. Tones of tourmaline and emerald lead to the dramatic outdoor shower — Morton’s only specific request. External sliding screens and doors protect the space or are recessed into the metrethick walls for full immersion in the garden. “I have just bought 270 lilium bulbs that I’m about to plant for summer display,” says Morton about his passion. “I have pretty much every gardening book ever published.” Alongside those are his World of Interiors magazines, and its grand eccentricity was the first bullet point on the brief — much to the delight of the Arent&Pyke team, which was able to stay true to theseaspirations because priorities and compromises were balanced. “Many of the ideas we presented to Ewan and Margo were highly conceptual and may have been challenging for some clients,” says Arent Squadrito, “but they had such trust in the process and our vision. Ewan encouraged us to push him more, and as the build progressed and budgets got tight, they knew how to pause on some components so as not to skimp on others — such as the solid rosso levanto marble stairs.” Morton’s reservation about the expensive calacatta over a Carrara marble benchtop didn’t last long. “I decided I’d rather do it well and sit on milk crates,” he says. “The big thing is trust.” Harbison agrees: “This is the core success of the project: everyone shared the aspiration to make the house an artwork. The spaces are really a series of compositions.” And how is this collaborative installation to live in? “I am happy to go out of here in a box,” says Morton. Until then, he and Margo will keep delighting in the neverending gardening tasks and the daily joys their new home brings. VL arentpyke.com pollyharbison.com.au 96
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in another view of the living area overlooking the garden, De Padova Raffles sofa by Vico Magistretti from Boffi; Margherita chairs by Franco Albini for Vittorio Bonacina from Arent&Pyke.
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“A SEQUENCE OF INCREASING SCALES CREATE THIS SORT OF WARPED PERSPECTIVE EFFECT TO REALLY DRAW THE GARDEN INTO THE HOUSE” POLLY HARBISON
T HE S E PAG E S in the dining area, De La Espada Elliot dining table by Jason Miller from Spence & Lyda; Thonet S 32 cantilever chairs by Marcel Breuer from Anibou; terracotta urn from MCM House; walls painted in Dulux Water Rock.
TH I S PAGE in the main bedroom, bed linen and bolster cushion from Ise; Tizio lamps by Richard Sapper from Artemide; walls painted in Dulux Pebble; vintage tapestry from Arent&Pyke. O P PO S ITE PAGE in the bathroom, custom joinery by Arent&Pyke; vanity bench in Verde Tinos marble from Granite & Marble Works; basin from Candana; Perrin & Rowe basin set from The English Tapware Company; high-gloss ďŹ nish vanity drawers in Dulux Nimrod; walls painted in Taubmans Jandakot (seen in cabinet reection). Details, last pages.
ART OF
REINVENTION Transforming a Brooklyn loft into a sophisticated yet approachable family home became the launching pad for architect Giancarlo Valle’s eponymous interior design and furniture studio. By Verity Magdalino Photographed by Michael DePasquale and Martina Maffini
AD DI T I O N AL T E X T: KU RT G STA P E LFE LDT
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“I love bringing in historical design moments, which to me ground my inclination towards contemporary concepts. I like to take a historical element and push it though a lens that makes it relatable today� GIANCARLO VALLE
in another view of the living area, red-stained pine window bench, upholstered in fabric from Le Manach, enquiries to Milgate; custom sofa, upholstered in fabric by Holland & Sherry, enquiries to Milgate; red velvet stool and folding screen from Studio Giancarlo Valle; armchairs by Gio Ponti; rug from Stark. T HE SE PAG ES
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in the study, desk by Pierre Jeanneret; custom bookshelf from Studio Giancarlo Valle; vintage French butcher’s block stool; photograph of Yves Saint Laurent’s office by Gilles Bensimon (on floor). 106
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aking changes in life is very rarely easy and while it can be daunting, change can also provide opportunity. For Brooklynbased architect Giancarlo Valle a shift in professional direction has worked out rather well. After more than a decade with some of America’s best-known architectural firms where he worked on projects like the expansion of the San Francisco Museum of Modern Art, Valle decided to move into interior design. The catalyst for the launch of his fledgling studio in 2016 was this three-bedroom Brooklyn home, which he designed for himself and his family. Valle’s 200-plus square-metre loft, which he shares with his wife, Architectural Digest style director Jane Keltner de Valle, and their two children, was shaped around his family’s needs but it was also used as an opportunity to fill a gap in the architect’s professional life, which he felt was always missing. “After working as an architect on large-scale projects, when I worked on my own home I felt that it was the perfect time to become an interior designer and close the loop,” he says. “I thought that there was an opportunity to combine all aspects of design and do something like the people I respected — people I had grown up studying — like Frank Lloyd Wright for example. So that’s kind of the niche I’ve carved out for the studio. We like to take on projects where we get to work on several aspects.” For this personal project, the challenge was taking an industrial space and turning it into a welcoming home. “The building was an old cardboard factory,” says Valle. “In the early 1920s, this part of Manhattan was a centre for manufacturing. In order to accommodate the machinery, the buildings had to be extremely stable so this structure is cast-in-place concrete, which means there are no cavity walls and the columns are massive. At the “Colour for me time [it was built], this was the tallest cast-in-place building in the United States.” is about memory After buying the apartment in 2014, with its open-plan living areas and and emotion. It can soaring concrete ceilings that peak at a little over three metres, Valle set about be highly personal. redefining the spaces within the existing floor plan by adding built-in features I love how, simply such as bookshelves in the study and custom ceiling-to-floor joinery in the through colour, kitchen. Colour also plays a key role. “Colour for me made the loft livable — one is transported it was more than colour blocking — it helps scale a room and give depth,” says to an emotion that Valle. “I think I’m pretty spare when it comes to colour but when we go for it, is different for it becomes very intentional.” everyone” Throughout the home there are cues that reveal the Valle philosophy — as a GIANCARLO VALLE designer and as an individual. Born in San Francisco to Peruvian/Italian parents, Valle feels connected to his South American roots as well as his European ties, which express in the furniture he’s sourced by great masters like Gio Ponti and Le Corbusier — and the furniture which Valle now designs. “What started as a passion project now takes up a large portion of my time,” says Valle. “I like to think of a room as being filled even if there are no people inside, that the furniture has a presence, a personality. “When I was growing up, my father travelled to Africa often and so we always had carved wooden furniture in our home as well as pieces from South America — Mexico and Peru,” continues Valle. “I was always surrounded by a lot of almost primitive furniture. I think that’s been an underlying influence in the work, a return to this elemental quality but then done in these modern materials, which for me are often relatively new.” This recall to Valle’s past is found in the use of uncomplicated motifs like the wavy form of a red-stained pine window bench in the main living area. It’s a pattern repeated throughout the home — the fruit of a research study where Valle and his team tracked the use of similar motifs from Inca stone carvings through to African art, Art Deco and today’s computer-generated curves. It’s this ability to find a connection between varying eras and styles, which is what, in part, makes Valle’s home special. “We strive for a kind of effortlessness that is refined but also laid-back,” he says. Having a partner who understands this link also helps. “She is the voice of reason,” says Valle of his wife. “I can go deep into one concept or another but she always brings it back in a very important way. Design at its best is about conversation and the marriage between what you can control and that which you cannot. The combination of these two directions is what we strive for… not trying to control everything but giving in to what you can.” VL giancarlovalle.com
“I like to think of a room as being filled even if there are no people inside, that the furniture has a presence, a personality” GIANCARLO VALLE TH E S E PAGE S in the dining area, custom maple dining table from Studio Giancarlo Valle; chairs by Pierre Jeanneret from Chandigarh, India; Myrna wall mobile lamp by Ladies & Gentlemen Studio and Studio Giancarlo Valle; artwork by Christopher Astley; other artworks by artists unknown.
Down the RABBIT hole British architect SALLY MACKERETH looked to Alice in Wonderland to conjure the eye-catching makeover of old Dickensian-era stables near London’s King’s Cross station. By Ian Phillips Photographed by Stephan Julliard O P P O S IT E PAGE in the sitting room of this London home, Groovy lounge chairs by Pierre Paulin for Artifort; 1960s Hollywood Regency-style chair found in Miami; 1960s bamboo-framed palm tree mirror screen found in a Paris flea market; 1960s lamps with Murano glass bases found in Italy.
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T H E SE PAGE S in another view of the sitting room, sofa by Ico Parisi upholstered in silk from Dedar; Cumulus sofa (on right) from Heals, upholstered in green wool from Dedar; Architettura Trumeau cabinet by Piero Fornasetti; 1970s Italian travertine triangular nesting tables; metal screens (behind sofas) found at a Paris ea market; Serpente rug by Piero Fornasetti for Roubini Rugs.
in the kitchen courtyard, homeowner Sally Mackereth with 1960s Italian outdoor travertine table; Re-Trouvé outdoor chairs by Patricia Urquiola for Emu, enquiries to Ke-Zu; circa-1970s majolica ceramic plate (on wall) found in Florence. O P PO S IT E PAG E in the ground-floor corridor that leads to the kitchen and study, cats Cedric Bartholomew (CB) Riley (in foreground) and Kusama. TH I S PAGE
“It appealed because it was hidden. I was looking for a property you could enter almost through a secret garden” SALLY MACKERETH
O
ne of Sally Mackereth’s architectural heroes is John Lautner, whose place in history was guaranteed thanks to a series of James Bond-like homes he built in Los Angeles and Palm Springs. “He was the master of playful,” says Mackereth, who founded her award-winning architectural practice, Studio Mackereth, in 2013. “I think somebody called it ‘Martini Modernism’. I believe that when you do private homes, there has to be a sense of joy.” There is certainly a touch of exhilaration to much of her own work. In a house in London’s Little Venice, she installed a winch and winding gear in the main bedroom so the client could hoist his television up and down. Her own weekend retreat used to be a lighthouse on the coast of Norfolk, England, which was mentioned in Robinson Crusoe, and her primary residence today — a fivebedroom, 500-square-metre home — is similarly spellbinding. It is located close to King’s Cross train station in what was originally a pair of stable blocks built in the 1870s for Midland Railway. Mackereth had actually driven past the building for years. “I was always intrigued by it,” she admits. “It appealed because it was hidden. I was looking for a property you could enter almost through a secret garden.” At one stage, it had been owned by a scrap-metal dealer; at another, it served as an art space. By the time she acquired it, the property was in a severe state of dereliction. Her approach to its renovation and transformation was both to pay homage to its past, but also to transport it into the 21st century. “I wanted to retain some of its characterful aspects but also add much more contemporary elements that heightened the sense of Dickensian London due to the contrast,” she explains. ››
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TH I S PAGE in the ensuite, custom calacatta verde marble and polished brass vanity; tapware from Vola; Albermarle black-stained timber folding screen from Studio Mackereth; 1950s mirrors by Gio Ponti, enquiries to Cult for reissued piece; Disc and Sphere lights from Areti. O P P OS IT E PAG E in the kitchen, calacatta verde marble benchtops; tapware from Vola.
in the main courtyard, Cast 001 table and chairs from Studio Mackereth. O P P OS IT E PAGE in the dining area, 1970s travertine table by Willy Rizzo; 1950s Medea chairs by Vittorio Nobili for Fratelli Tagliabue; Cherry Lamp ceiling light by Nika Zupanc for Qeeboo; early-19th-century Belgian tapestry. T H I S PAG E
“There’s a child in all of us that loves the thrill of the unexpected” SALLY MACKERETH
‹‹ She salvaged cobblestones from inside the old building and laid them in the courtyard. She kept a series of arched windows, with parts of the brickwork missing where equine teeth had taken a nibble. “Nowadays, my two cats perch on the sills, tormenting the birds,” quips Mackereth. She also added a 20-metre-long arcade to the house’s main facade, framing its arches in black steel. “They’re sort of like eyelids to each aperture,” she says. The first floor, meanwhile, was created by the addition of a monolithic glass box, which breaks markedly with the more traditional aesthetic of the ground level. At its centre is a patio planted with tree ferns, topped by an oculus that is open to the sky. “I can watch the moon and stars through it,” she says, “or even check the weather in the morning. In winter, it’s quite magical when the snow falls through it.” Mackereth wanted a similar sense of enchantment in the rest of the house. One of her inspirations was Lewis Carroll’s Alice’s Adventures in Wonderland. “There’s a child in all of us that loves the thrill of the unexpected,” she says. She adores things that are out-of-scale, such as the huge bird-shaped dressing room handles. Her bedroom off the living room, meanwhile, is accessed via a concealed door — an element she often integrates into her projects. “It’s like in grand houses and palaces, where there would be a secret passage from the King’s chamber to the Queen’s chamber,” she says. “They’re all over Versailles. It’s that sort of moment where you go from one world into another.” Her choice of furnishings is at once refreshingly unique, theatrical and vibrant. She avows a love of colour and is a fan of the whimsical creations of Piero Fornasetti, as witnessed in the living room by the trompe l’oeil drinks cabinet and rug decorated with a slithering snake motif. Another of her signature traits is to mix high and low — signed pieces like the vintage Pierre Paulin chairs with flea market finds — and to come up with some wonderfully quirky combinations. One of the best can be found in the dining area, where an august early-19th-century Belgian tapestry has been paired with a ceiling light in the shape of two cherries. “They’re very silly and make the tapestry appear not so serious,” she says. The influence of the natural world is also very much in evidence, such as the jellyfish made from bright orange netting, which hang under the arcade. “They twist in the wind,” she says. “It’s almost like they’re floating up to the surface of the sea.” The very first night Mackereth spent in the house, she initially thought she was hallucinating when awoken by the sound of a cow mooing and a horse neighing. “I really didn’t understand what was going on because this is central London,” she recalls. Much to her relief, it turned out that she had not slipped down a rabbit hole. Instead, she discovered the garden of the Royal Veterinary College is located right next door. VL studiomackereth.com
in the courtyard underneath the oculus on the first floor with a view of Mackereth’s son Oscar’s bedroom. In the bedroom, Fornasetti Senza Tempo Nuvole wallpaper from Cole & Son, enquiries to Radford. O PP O SI T E PAGE in the dressing room with a view into the ensuite, Martinique banana-leaf patterned wallpaper. In the ensuite, towel warmer from Vola; shower in green Moroccan zellige tiles from Emery & Cie. Details, last pages. T HI S PAGE
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TRUE to form
The perfectly imperfect nuances that underline all of Pierre Yovanovitch’s designs have revitalised a former farmhouse set on his grand estate in the south of France. By Annemarie Kiely Photographed by Jérôme Galland
I
n a design firmament glittering with luminaries Pierre Yovanovitch’s star shines blindingly bright. It exerts a strong gravitational pull — on both media and society’s upper milieu — makes deep space fit for human habitation, and is the body around which spheres of influence increasingly orbit; meaning VIPs tap him to shape their schtick into perfectly imperfect rooms. They range in sway from chef Hélène Darroze who trusted only Yovanovitch to translate her Michelin-starred provincialism into a palate-cleansing prettiness at The Connaught in London, to the Pinault clan, founding owners of the French luxury Kering Group. Even Danish architect du jour Bjarke Ingels recently teamed with Yovanovitch to parlay the structural bravura of The XI — two luxury apartment towers twisting through New York airspace — into equally fearless penthouse interiors. But the astral analogies apply best when it reveals that Yovanovitch, a self-trained interior designer, formerly presided over prêt-à-porter menswear for Pierre Cardin — the design polymath who rocketed 20th-century fashion into space. Certainly, the couturier’s forward thinking and mastery of line are legible in Yovanovitch’s oeuvre, but where Cardin objectified NASA’s exploration into outer space, Yovanovitch plumbs the depths of inner space and proves string theory — time past, present and future co-existing simultaneously. Or so his latest project, La Ferme, would suggest. A 19th-century farmhouse that he flipped into five-star guest housing at his residence Château de Fabrègues in the south of France, La Ferme absorbs into the magic of a 36-hectare estate that still pulses with the history of the Fabrègues family, the owners since the 12th century. It appends to a 17th-century chateau — the turreted-type looming in romantically dark fairytale — and forms the latest chapter in a pageturning narrative that started for Yovanovitch back in 2009. Speaking from his Paris office, Yovanovitch avows that at no stage was he looking for a country house when he found Fabrègues’ realestate listing and felt compelled to visit it. “I thought I had arrived at the edge of the world,” he recalls of a passage through old fields and a portal in time to stand facing its ethereal wonder. “Fabrègues radiated a comforting sense of isolation. I know the region well as I grew up in Nice, so the estate ended up being a very natural fit.” But that fit — frayed and loose in its foundations — required a willingness to wrap in what the designer terms “a certain romanticism and the suspension of all disbelief”, as modest
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renovations escalated into major repairs and structural reinforcements to a chateau found resting on nothing but clay. “We ended up having to renovate almost everything… The surrounding land had no garden, no path, nothing but pine and oak trees,” he says, crediting “master” landscape artist Louis Benech with the seeding of painterly fields of Provençal plantings, a yew tree labyrinth and the fairytale framing of the chateau with woodlands. “It was certainly an ambitious undertaking, but there was a magic to the property that I was entranced with.” Noting that the first-stage refurb of the barn-like structure incurred part removal of its upper floors to create space and clear room for a terrace, Yovanovitch says he left La Ferme’s key walls in leaning profile to preserve their soul. Within their tilting boundaries he worked all amenity, adding eight colour-drenched bedrooms and crafting a kitchen that nods to the pottery-making history of nearby Vallauris in a patchworked ceramic wall by artist Armelle Benoit. “Geometry, colours are what should [be in] a rustic room with this typical farmhouse beam ceiling,” he says of a decor determined by the earthiness of structure. The kitchen’s art-infused utility seeps into a living room furnished with flea market finds, antiques and some of Yovanovitch’s furniture — typically overscaled objects ordered with a levity of line. The resultant confusion of periods is made coherent with reduced materials, minor details and a snaking line of grey larchwood sofa plumped with soft pink upholstery and sited under the eyes of Stephan Balkenhol’s sculpture. “I love the large scale of the artwork,” says Yovanovitch as he expounds on art being central to his design. “The eyes watching are captivating”. Responding to an effort to glean his design sympathies and downtime activities, Yovanovitch concedes to exhibiting a little of the severity and harmony of 16thcentury architect Andrea Palladio, confesses to a love of Donald Judd’s purity of volume and precision, notes some commonality with Memphis Group’s twists, and declares a deep appreciation of Le Corbusier’s tonal sensibilities. “These are colours we don’t find anywhere else,” he says. “I always keep Corbusier’s colour chart by my side.” As for recent music rotations and readings, it’s Jessye Norman performing Richard Strauss’s Four Last Songs and Albert Camus’s sizzling 1944-1959 correspondence with his lover Maria Casarès, all of which circles discussion back to philosophy, Fabrègues’ inner space and the following Camus wisdom: “To create is to live twice”. VL pierreyovanovitch.com
T HI S PAGE in the dining room, French chairs and table, circa 1960; console by Axel Einar Hjorth, circa 1942; 1960s mirror found in Vallauris; 1970s French dish; terracotta pavers; artworks (1995) by Marcel Robelin. O PP O SI T E PAG E the extensive gardens of Château de Fabrègues feature a maze designed by Louis Benech.
the swimming pool on the grounds of Château de Fabrègues. in a first-floor guest bedroom, 20th-century French timber bench; wicker pendant lamp from Pierre Yovanovitch Mobilier; custom wall colour by Pierre Yovanovitch and Mériguet Carrère; The Failure of Reason #2 (2002) photograph by Sam Samore. Details, last pages. T H IS PAGE
OP P OS IT E PAG E
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in a child’s bedroom in a Brooklyn home, custom canopy bed from Studio Giancarlo Valle. Turn to page 102 for the full story and product details.
TH IS PAG E
P HOTO GR AP HE R S: MI C H AE L DE PA SQUA L E AN D MARTI N A MAF FI N I
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POSTSCRIPT
Whether you’re creating unforgettable experiences indoors or out, do it in style with these must-haves.
BATHE Add a splash of luxury to your bathroom with a sleek twin shower set. The Neu 2.0 range by Aquas features stunning shower sets that are available in five chic finishes, including Brushed Gold (left). The generously-sized 250mm overhead showerhead can be smoothly diverted to the three-spray hand shower with the simple push of a button. Sophistication combined with practicality never looked so chic. Visit bathe.net.au
COCO REPUBLIC Showcasing the natural beauty of stone, the Otto table lamp has an eyecatching aesthetic that’s sure to turn heads. Coco Republic’s reputation for creating contemporary yet timeless pieces is renowned, and the Otto lamp is no exception. The zigzag-cut travertine base is visually striking from all angles and lends itself to interior styles from mid-century to modern. For a further look at the latest collection, go to cocorepublic.com.au
THE VENUES COLLECTION There’s no better place to celebrate special moments than at an iconic venue. The Venues Collection offers all-inclusive event packages at sophisticated Sydney locations, such as Campbell’s Stores at The Rocks and 12-Micron in Barangaroo. Book now to create an extraordinary occasion, one you and your guests will never forget. Visit thevenuescollection.com.au
fit for any living space. Refined construction details include a metal base softened by leather webbing under the seat cushions, creating a unique, striking look. The Flexform Gregory sofa embodies Fanuli’s signature combination of sophistication, elegance and warmth. Visit fanuli.com.au
MADE IN ITALY Newly patented in Australia, the Dynamic Splashback
MS MUSA Brimming
from Made in Italy helps create a practical kitchen. Fitted with integrated dimmable LED lighting and magnetic capability, the surface bears moveable holders to ensure utensils, spices and other items are always at hand. Available in toughened glass or porcelain. Visit madeinitalykitchens.com
with an exclusive collection of objets d’art, lighting, home decor and feature furniture like the Fornasetti Farfalle table (left), Ms Musa is a hub for unique and unexpected finds. Selected for those who like to express an individual aesthetic, the collection is curated to push design boundaries and challenge the norms in distinctive style. Discover more at msmusa.com.au
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FORNASETTI A whimsical place where craftsmanship meets design, producing timeless handmade creations that inspire imagination and bring beauty to the world. Hand crafted by master artisans in the Milanese atelier and available at Ms Musa.
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Helen Ansell’s vibrant paintings capture the spirit of native Australian flora and fauna. Inspired by the wild desert landscape, Helen resides in the heart of the Wildflower Country which influences her work. Her Fine Art Print Collection is available online.
AUDREY GACHET Luxury homewares, handcrafted in Australia & France. @audreygachet
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