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THE STYLE MAGAZINE FOR YOUR HOME DECEMBER 2020 £5

Make merry

Our essential guide to celebrating the season

PLUS expert advice on how to make it super st ylish

GIFT IDEAS FO R D E S I G N D E VO TE E S HOW TO COMMISSION BESPOKE FURNITURE TO C HERISH FOREVER

LUXU RY L I G HTI N G S P EC I A L The latest trends to brighten up your home

CHRISTMAS ISN’T CANCELLED!

Pack it full of

COMFORT & JOY

December 2020 NOW

19 News The latest launches and names to watch 29 Design hero Carl Auböck, the Austrian family ﬁrm with

a proud lineage that’s still creating covetable everyday objects

30 My cultural life Famed window dresser Simon Doonan 32 Architectural icon Spotlight on Chichester Festival Theatre, a groundbreaking brutalist triumph in West Sussex

35 Gifts for design devotees 55 of our favourite picks to hide under the tree for anyone who loves beautiful things

45 Made to measure Nothing beats a bespoke buy – we meet the craftspeople making the heirloom furniture of the future

Lighting 51 News Launches, trends and statement buys 59 The luminaries Behind the scenes at three

51 35 35

innovative brands leading the way in quality and design

63 Light fantastic Expert advice on how to achieve the perfect ambience in any room, from products to styling

67 Step change At home with Astep’s Alessandro Sarfatti 72 New heights Classic and contemporary lighting is the focus of our shoot showcasing Italian design

STYLE 83 Colour pioneer How former Vogue

editor-in-chief Diana Vreeland used bold red to reﬂect her formidable personality

84 The palette A sumptuous scheme of textures and shades inspired by Vreeland

86 Decorator index Holloway Li’s striking interiors have a sustainable edge

88 The Christmas experts Inspiration and tips, from wreath-making to gift buying

94 Decorate the season Ideas for festive PICTURE: VEERLE EVANS

style at home; baubles, wrapping and more

102 A window on Christmas We meet the creatives behind the festive displays at London’s luxury shopping destinations

106 Silent night Be inspired by designer 88

Oliver Gustav’s ethereal seasonal styling DECEMBER 2020 ELLEDECORATION.CO.UK 9

126

146

HOMES

114 Dreams of a white Christmas The minimalist interior of this Copenhagen home has been given a glamorous festive makeover

126 Fairy-tale ending A once-neglected Victorian townhouse in Somerset is now a family home ﬁlled with contemporary artworks

136 All is calm Embracing its roots as a religious retreat, this Cambridgeshire property has a pared-back, contemplative interior

146 From the ground up A colourful apartment in Milan reﬂects the creativy of its owners, founders of CC-Tapis

156 Memories in the making Crafted festive decorations add charm to this Amsterdam home

Escape

Finally

169 News The hottest new restaurants and shopping destinations, from London’s Nordic/Japanese concept store Pantechnicon to French-inspired eatery Maison François. Plus, we reveal why Scotland’s Isle of Skye should be on your staycation list

16 Subscriptions Never miss an issue

178

Nomadic state of mind As NoMad hotel lands in London, we take a look inside and reveal more design hotels in the capital

169

156

The covers Newsstand The grand dining room of this Copenhagen home is all set for a festive feast on p114. Photographed by Birgitta Wolfgang Bjørnvad/Sisters Agency Subscribers Elegant glassware and a vintage candleholder adorn the dining table on p114.

10 ELLEDECORATION.CO.UK DECEMBER 2020

182 Stockists Where to buy 194 Treasured Designer Bethan Laura Wood’s prized piece is a thoughtful gift that marked her ﬁrst major show

PICTURES: HELENIO BARBETTA/LIVING INSIDE, CLAIRE WORTHY/NEWTON + WORTHY, JELTJE JANMAAT/PHOTOFOYER, INDIA HOBSON/HAARKON

of ELLE Decoration with this great offer

From the Editor A

PICTURE: ANNA BATCHELOR

fter a year like no other, we’re all facing a Christmas that bears little resemblance to those that have gone before. In spite of there being fewer parties and far less certainty, it doesn’t automatically follow that the festive season will be less fun. If 2020 has taught us anything it’s that we have to be resilient, to learn to adapt and revise plans as the world around us changes. Normally, this is when we all put ourselves under ridiculous pressure to have the best time ever: the biggest tree, the most extravagant presents, the most popular event… My wish this year is that we give ourselves, and each other, a bit of a break. Rather than getting hung up on what we have less of, focus on the ‘more’. Try and be more considerate, more forgiving and tolerant. Inclusivity is key. In the past, the holidays may have driven us all to be rather too judgey and opinionated. Hands up, we’ve been guilty of that here at this magazine, too, vociferously telling you the right or wrong way to decorate your home or celebrate the festivities. But, this year ELLE Decoration is giving you free rein to do whatever the hell you like. If you want to fill rooms with twinkly lights and lametta-festooned trees, you go for it. Or follow the lead of Danish interior designer Oliver Gustav and embrace a moodier, more minimalist vibe –that’s equally valid. Maybe you don’t even celebrate Christmas at all. Why should you be left out? The team has packed this issue full of ideas and inspiration to suit whatever you are planning. You’ll find a cracking gift guide, plus advice on how to wrap it all up, and an exhaustive exploration of the best new lighting. There are gorgeous homes from around the globe, some festive, some not. We’re acknowledging that this time of year is intensely personal and filled with emotion. Above all, Christmas 2020 will be about remembering those we have lost, celebrating those we love, in whatever way we can, and hopefully looking towards more positive times ahead. During this turbulence I keep coming back to a quote from artist Vincent Van Gogh, which I have scrawled on a card on my desk: ‘I know nothing with any certainty, but the sight of the stars makes me dream.’ Surrounded by stars at this time of year, whether they’re shining bright or not, let’s all remember to keep on dreaming.

‘If you want to ﬁll rooms with TWINKLY lights and LAMETTA-festooned trees, you GO for it’

Editor

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NOW NEWS

/ SHOPPING/ OPINION/ TRENDS

Edited by K ATE WORTHINGTON

SOFTLY DOES IT

PICTURE: ANDREA FERRARI

Although the research and design process began more than a year ago, Baxter’s 2020 collection couldn’t be more in tune with the mood of the moment. The overarching brief for the range was to work with shapes and shades that were soft, reassuring and created a ‘sense of protection’ – something that many of us are in search of in one form or another right now. The star of the collection, Paola Navone’s ‘Milano’ sofa certainly ﬁts the bill, with its duvet-like upholstery and low-slung, 1970s feel. From £17,390, Silvera (silveraltd.co.uk).

DRIVING SEAT It took a year for Copenhagen-based Hee Welling to ﬁnd the right material for &Tradition’s new ‘Rely’ chair. Wanting to put sustainability at the forefront of his design, Welling eventually decided on recycled plastic from inner car components to make the chair’s ergonomic shell. Available in six colours and fabrics, its clean-lined, versatile design makes it ideal for multiple functions. From £195, &Tradition (andtradition.com).

Good service During Italy’s lockdown, Barnaba Fornasetti created a new addition to the brand’s iconic ‘Tema e Variazione’ series. Named ‘United with the World’, the plate’s proceeds will go to CMB Italia, which is helping vulnerable people during the pandemic. Around £173, Harrods (harrods.com).

SCREEN TIME Originally sketched in 1917 by painter and poet Giacomo Balla, the ‘330 Paravento Balla’ screen is available for the ﬁrst time thanks to Cassina. The latest addition to the brand’s ‘I Maestri’ collection, its designs are screenprinted onto both sides of its panels, while double-action hinges allow the piece to be folded in either direction. £7,140, Aram Store (aram.co.uk).

MULTITASKER Daniel Schofield’s new ‘Dover’ sofa for SCP ticks all the boxes for a flexible live-work space. ‘The design aims to be something that can be lounged in or worked at,’ explains the designer. ‘With the line becoming more blurred between work and home, I wanted to create something that could work for both without being too much of one or the other. The arm is designed to be firm enough to work on with a laptop or notepad, but soft enough to lounge on, too.’ From £4,326 (scp.co.uk).

NOW

PACKING A PUNCH

OUT OF THE BLUE

The new ‘Plint’ coffee table by Cecilie Manz for Takt is a ﬂat-pack piece that requires no bolts, glue or screws for assembly. Its two components are held together with leather loops and wooden pegs, and while it can be put together in minutes, it’s engineered to last. From £599 (taktcph.com).

French-Palestinian artist Maia Beyrouti – aka Moïo Studio – creates ceramics using a mixture of wheel-throwing and hand-building techniques. Her limited-edition ‘Modern Ancestors’ series of vases merges Beyrouti’s background in cultural and historical studies with her preoccupation with architecture. Made from stoneware, the pieces are ﬁnished with a cobalt lava glaze that renders the colour, density and pattern of each one unique. From £125, The Conran Shop (conranshop.co.uk).

PICTURE: MIKKEL MORTENSEN

BOLD FRONT

Norse Interiors’ new ‘Cane’ collection of doors cleverly disguise Ikea’s bestselling ‘Besta’ storage system, transforming the off-the-peg range into chic, bespoke-looking units. Featuring eco-friendly canework panels, the fronts come in nine colourways and two sizes, giving customers more scope to personalise their storage to suit their space. From £100 (norseinteriors.com). DECEMBER 2020 ELLEDECORATION.CO.UK 21

NOW

HEAVY METAL Tom Dixon’s latest collection gives a whole new meaning to the concept of modular furniture. We talk to the designer about his ambitious new work ‘I’ve been mucking about with modularity for a long time,’ says Tom Dixon. Modular design is nothing new, but the famously self-trained Dixon, who started his career welding found objects such as manhole covers and scrap metal together into chairs, has never been afraid of doing things differently and pushing ideas that little bit further. His new UK-made ‘Mass’ series, a five-piece collection of furniture and lighting made from extruded brass lengths, is a case in point, stripping the idea of modular design back to its most basic form and subverting the humble wooden plank. ‘Primitive and un-designed constructions use planks of wood in the most elegant way – it’s a very clear modular design language,’ he notes. Citing the likes of Lego and Meccano as an inspiration, each piece is built from the same brass plank and fixed together with hidden bolts, theoretically offering endless possible configurations. ‘It allows the opportunity to play, and I do kind of enjoy that – by making [modularity] part of the design, I can say: “Well, this is not finished, it’s just my suggestion.”’ Play formed a vital part of the design process, too, as Dixon tested the idea on his studio staff, inviting them to doodle

their own creations using the plank system. ‘That’s when I believed in the project even more, because they came up with some hideous, some ridiculous and some amazing solutions – as you would, because it’s just a building unit.’ Not many designers would happily relinquish creative control in this way, but it’s all part of Dixon’s plan for the evolution of ‘Mass’, from ready-made pieces to fully custom creations: ‘I really do hope we get to the point where we have a conﬁgurator online so that people can build their own things and get them made – that’s the goal.’ Table from £29,000 (tomdixon.net). From top Tom Dixon with his ‘Mass’ coat stand; the ‘Mass’ collection featuring a console, coat stand, table and bookshelves; the ‘Mass’ table photographed in the Dorset workshop where it is produced

22 ELLEDECORATION.CO.UK DECEMBER 2020

MAKING A MARK We touted Mac Collins as one to watch back in our August issue, and now the Nottingham-based designer has collaborated with Benchmark on his ﬁrst consumer collection. Adapted from his ‘Iklwa’ chair, which won the 2018 Cræftiga Award at The London Design Fair, the range of the same name comprises two lounge chairs and a side table. The chairs’ Afrofuturistic shapes are intended to empower the sitter and unite Collins’ African-Caribbean roots with British craft. Large chair, from £2,275; side table, from £835 (benchmarkfurniture.com).

THE SISTERHOOD Interior designer Sophie Ashby’s new retail offshoot ‘Sister’ is an eclectic mix of restored vintage pieces and limited editions – think patchwork cushions, antique candle holders and modernist-inspired daybeds. Vintage pottery, from £50 (studioashby.com).

Perfect match Danish brand Montana is known for its colourful modular storage systems, so its new collaboration with Swedish photographer and colourist Tekla Evelina Severin is a stroke of genius. Severin has introduced two on-trend colours to the brand’s palette: pastel ‘Iris’ and earthy ‘Masala’, which are available to mix and match on the ‘Montana Free’ collection of shelving units. From £1,568 (montanafurniture.com).

NOW

Inside story Ever wondered what the homes of David Bowie, Pablo Picasso and Ernest Hemingway looked like? Life Meets Art, a new book by design journalist Sam Lubell offers a peek into the private abodes of 250 of the world’s most creative people. Each interior shows not just how artists shape their spaces, but also reveals stories about the people who live, or lived, in them. (Phaidon, £39.95).

S AV E T H E D AT E Decorex International, Europe’s go-to interior design event, will be presented in an all-virtual

format this year. The three-day digital experience will include a programme of talks with designers and industry insiders, a virtual product directory and speed-networking sessions. 17-19 November (decorex.com).

PICTURE: PHAIDON

STONE cold CLASSIC London-based designer Michael Anastassiades’ ‘Half a Square’ table marks his ﬁrst collaboration with Molteni & C. ‘We’ve always ﬂirted with the idea of doing something together, but it had to be the right product,’ explains the designer. ‘I thought this table would be perfect because it’s technically challenging to achieve such a high level of quality – only Molteni could deliver this.’ Featuring precise geometry, subtle brass joins and a top of striking Verdi Alpi marble, it’s a piece that proves this alliance was well worth the wait. From £8,974 (molteni.it). DECEMBER 2020 ELLEDECORATION.CO.UK 25

NOW

Out of the woods

IN OUR GOOD BOOKS India Mahdavi has opened her third Paris space at 29 Rue de Bellechasse, not far from the Musée D’Orsay. Pitched as half-gallery, half-showroom, the space showcases selected works by a ﬂeet of intriguing designers hand-picked by Mahdavi, as well as her own limited-edition pieces. The ‘Bruno’ rotating book tower is one of the latest in-house creations and typiﬁes Mahdavi’s deft touch in balancing vibrant colour and bold shapes. Around £11,402 (india-mahdavi.com). 26 ELLEDECORATION.CO.UK DECEMBER 2020

NAME TO KNOW

Lola Lely With pieces stocked by The New Craftsmen and a new range for The Invisible Collection, this London-based designer is a rising star I would describe myself as a multidisciplinary designer as I’m curious about so many different processes and materials – my practice spans products, furniture design and craft. A lot of my work is centred around traditional crafts, such as woodwork, patchwork and textile dyeing, but I try to push the boundaries a bit and explore contemporary methods and technologies. I do that by collaborating with traditional industries and artisans and trying to ﬁnd ways to add something interesting and new. The outcome of my work is not always a product – sometimes, it’s about the learning and experimentation. At some point, there’s a collection at the end, but it’s the process it took to get there that’s the focus for me. I like to use materials where there’s variation. Working with the same shape by using different textures or colours is a nice way to try things out without having to design something all over again. I like the idea of the availability of a material dictating the number of pieces – I’ll make an edition of ﬁve of something in one colour or material, then the next edition will be slightly different. It’s not mass-produced, nor is it a complete one-off. My collection with The Invisible Collection came about after the founders, Isabel and Anna, discovered my work through The New Craftsmen and my collaborations with Pierre Yovanovitch. They’re magpies for design and ideas – they love the quality of the handmade but they also have a quirky sensibility, which I think resonates with my work. ‘Boro’ stool, £850 (lolalely.com). ‘Pink & Blue’ table, from £24,870 (theinvisiblecollection.com).

PICTURE: JONAS BJERRE-POULSEN

Designed to stimulate the senses and bring nature’s calming influence inside, Dinesen’s new ‘Dinesen Collection’ includes five pieces of furniture, a woody home fragrance and finished furniture planks and offcuts that can be used in multiple ways. Table from £3,821; bench from £1,176 (dinesen.com).

NOW

DESIGN HERO

CARL AUBÖCK The Austrian family who turned humble household objects into an art form Unlike most design heroes, Carl Auböck is not one person, but four people – each with the same name, together spanning a history that begins in pre-war Vienna and continues to the present day. The first Auböck – often referred to as Karl I, his name spelt with a K in contrast to his descendants – was a bronzesmith who opened his workshop in 1912. He made collectable animal statues that tapped into the era’s craze for ‘Vienna Bronzes’. The elegant townhouse his firm occupied is the same one where his great grandson, Carl IV, runs the family business and archive today, its craftsmen surrounded by beautiful wood wall panelling and black painted workbenches. For our purposes, however, the spotlight is on Carl Auböck II (1900-1957) and his son, Carl III (1924-1993). The former joined his father’s firm in 1919, while also studying drawing at Vienna’s Academy of Fine Arts. Here, he met Swiss painter

Carl Auböck III and Carl Auböck II, who worked together for nearly two decades

Above right Brass triangle bookends; Inset, left sculptural triangular bookends, all by Carl Auböck, £475 for a pair, Matches Fashion (matchesfashion.com) Below Walnut wood sugar pot and nickel-plated rope-bound tongs by Carl Auböck, £1,100, Sigmar (sigmarlondon.com)

WORDS:AMY BRADFORD

AUBOCK’S PATINATED BRASS PIECES TAKE PLAYFUL FORMS, YET STILL HAVE A WORKMANLIKE FUNCTIONALITY Johannes Itten, following him to the Bauhaus soon after, when Itten was appointed art master at the famous design school. This modernist influence signalled a new direction at Werkstätte (Workshop) Carl Auböck, which gathered pace after Karl I’s death in 1925. Carl II introduced materials like brass, cane, leather and wood to the Auböck catalogue and transformed its signature objets d’art into useful, contemporary household accessories. He also turned his hand to furniture, making ‘Tree Tables’ out of rough wood offcuts rescued from an industrial yard, with old iron pipes for legs. His work was design’s answer to Marcel Duchamp’s ‘ready-made’ sculptures – humble objects, such as bookends, paperweights, magazine racks, wine stoppers and watering cans, imbued with wit and elevated to the status of art. Auböck’s patinated brass pieces take playful forms – eggs, giant paperclips, waving hands and outstretched feet – yet they still have a workmanlike functionality. And, as Carl IV once told an interviewer: ‘All these objects could be held in one’s hand… They served a table culture and lifestyle that was communicative. They are conversation pieces.’ Carl III began working with his father in the early 1950s, having trained as an architect at the Massachusetts Institute of Technology, where he encountered a young Charles Eames and George Nelson. Back in Vienna, he steered the company towards a more industrial style – his ball-shaped clocks were influenced by Nelson’s timepieces for Vitra – and developed its global standing by collaborating with brands like Hermès, Christofle and Tiffany & Co. Father and son were always swapping ideas, and together produced over 4,500 objects. Today, Auböck designs have a cult following. Fans include Paul Smith and Nina Hertig of London gallery Sigmar, which sells Carl III’s bookends and S-shaped brass hooks that clasp easily onto a rail so can be moved as needed. Each one is still cast from the original moulds by Carl IV and his son Carl V, another architect who’s taking his place in the family dynasty. werkstaette-carlauboeck.at

Right ‘Vice Versa’ vintage ﬂoor lamp Below Brass paperweight by Carl Auböck, £155, Matches Fashion (matchesfashion.com) Above A vintage 1950s Carl Auböck magazine rack

DECEMBER 2020 ELLEDECORATION.CO.UK 29

NOW

1 M Y C U LT U R A L L I F E

SIMON DOONAN An arbiter of taste on what they’re reading, listening to and more

I was lucky to come of age in the 1960s. I saw Jimi and Joni and The Doors and all the greats. After that we had Roxy Music, Bolan and Bowie – I was a huge glam-rock devotee – and then punk and new wave. I was into all of it. If I had to choose one track, it would be When the Levee Breaks by Led Zeppelin (2). It’s totally heavy, man. The record that makes me instantly happy is The Arrival of the Queen of Sheba by Handel, which is extremely camp and always puts a smile on my face and a skip in my step. The books that have inﬂuenced me the most are by Edna O’Brien. As a teen, I was shocked that she was so candid about sex and the stuff nobody ever talked about – it was so very daring and

6 30 ELLEDECORATION.CO.UK DECEMBER 2020

liberating for my generation. I also love Muriel Spark, for her wicked sense of humour. I’m currently reading Jane Birkin’s new memoir, Munkey Diaries (5), which includes her time with Serge Gainsbourg. I’m reading it in French, which makes me sound very pretentious, but I have a Kindle, so I can touch a word and get an instant translation. Jane B is definitely a reckless contrarian – I’m loving it. My all-time favourite film is Midnight Cowboy (4). I saw it when it came out at The Odeon in Reading and fell in love with its depiction of New York – seedy and trashy but also glamorous. I knew I’d end up living there. I never miss an episode of The Guardian’s ‘Football Weekly’ podcast, which is informative, bonkers and very amusing. I’m a big footie fan and watch Premier League games every week. If I had been born a girl, I would definitely have become a WAG. I prefer smaller museums such as The Gustave Moreau museum (6) in Paris. You feel like you’re back in 19th-century Paris, hanging out with Proust and Oscar Wilde. I don’t collect anything. My husband [Jonathan Adler] is such a prolific potter and designer (3) that our house is already full. Thank God I’m not a hoarder. Festive traditions? I spent so many decades up to my eyeballs with Christmas zhoosh, that I love to be a spectator and see other people’s windows, like Faye McLeod at Louis Vuitton and David Hoey at Bergdorf Goodman (1). One of my favourite quotes is from Coco Chanel: ‘My life did not please me. So I created my life.’ I like it because it encourages us to take charge and reshape our own lives without seeking help or permission.

WORDS: CAT OLLEY PICTURES: JOE GAFFNEY, ALAMY, GETTY IMAGES

Three decades spent dreaming up witty and wild displays for much-loved New York department store Barneys has earned British-born Simon Doonan the moniker of ‘world’s most famous window dresser’, and a hand in decorating the White House for the Obamas’ first Christmas in 2009. Now a best-selling writer, fashion commentator and judge for US TV crafting competition Making It, his latest book, How To Be Yourself: Life-Changing Advice From A Reckless Contrarian (Phaidon, £9.95) is a rousing call for self-belief in the face of conformist culture. ‘When you see the world through an unconventional lens you will always enjoy the view,’ he says.

ARCHITECTURE / The imposing brutalist-designed theatre stands the test of time more than 50 years on; and, below, a corner of the impressive double-height auditorium

ARCHITECTURAL ICON

CHICHESTER FESTIVAL THEATRE, WEST SUSSEX, BY POWELL & MOYA One of the UK’s most radical theatre designs can be found in one of its smallest cities. Built in 1962, the Chichester Festival Theatre in West Sussex is just as revered for groundbreaking architecture as it is for its historic productions. With a hexagonal concrete structure held in place by tensioned steel cables, it pioneered a form of construction that had never before been seen in the country. At the same time, its projecting ‘thrust’ stage revived a centuries-old style of theatre that immersed audiences in the drama. The person responsible for the building was Leslie Evershed-Martin, a local optician and former city mayor. Having watched a television programme about the Stratford Festival Theatre in Ontario, Canada, he started to think about how an alternative type of stage could pave the way for a completely new type of theatre building. The thrust, as it’s called, projects outwards so that it is surrounded by the audience on three sides. It has its roots in Elizabethan theatre, as well as in the arenas and amphitheatres of the Ancient Greeks and Romans, but this was the ﬁrst UK example in more than 450 years. Evershed-Martin convinced local ﬁgures and businesses to donate the £105,000 needed for construction and approached architects Philip Powell and Hidalgo Moya to design the building. The pair were famed for housing and education buildings, but had 32 ELLEDECORATION.CO.UK DECEMBER 2020

never worked on a theatre before. Evershed-Martin saw this as a positive – he wanted them to bring fresh thinking to the project. A hexagonal auditorium was felt to be the best way to frame the thrust stage, being both good for acoustics and inexpensive to build. But it had to be achieved without any central columns, as they would have prevented every seat having uninterrupted views of the stage. The steel cables provided the solution. Set within the concrete columns around the perimeter and cranked tightly across the ceiling, they pull opposite columns together, countering the forces from the roof and walls. The structure is so strong, it is even able to support a dramatic concrete cantilever over the building’s entrance. With Laurence Olivier as its inaugural director, it didn’t take long for Chichester Festival Theatre to establish itself – although the auditorium contains 1,340 seats, just as much as any London venue, people queued through the night to secure tickets for its opening productions. More than 50 years on, the theatre is proving just as popular thanks to a recent renovation by architects Haworth Tompkins. New back-of-house facilities feature an orange-hued façade of Corten steel, contrasting with Powell & Moya’s rough concrete, while expanded foyer spaces showcase hand-painted ceilings and concrete ﬂooring inset with thousands of tiny seashells. cft.org.uk

WORDS: AMY FREARSON PICTURES: ALAMY , HAWORTHTOMPKINS/PHILIP VILE

A brutalist triumph that revolutionised British architecture and theatre production

‘Block’ tray, from £30, The Conran Shop (conranshop.co.uk)

‘Vista’ cushion in ‘Dark Blue’ by Ferm Living, £65, Amara (amara.com)

OF THE BEST GIFTS FOR DESIGN DEVOTEES Water bottle with ‘Teddy’ case, £105, Maxmara (maxmara.com)

From stocking fillers to statement pieces, our ultimate edit takes the stress out of Christmas shopping

‘Finesse Rock & Pop’ highball glass by Umut Karaman x Nude, £30 for a set of four, Nude (eu.nudeglass.com)

‘Curvy Planter’ in ‘Red’ by Pieces, £220, Mr Porter (mrporter.com)

‘Bicoca’ rechargeable lamp by Christophe Mathieu for Marset, £177, Silvera (silveraltd.co.uk)

‘Nimbus Table Mirror’ by Krøyer-Sætter-Lassen for Menu, £150, Nest (nest.co.uk)

DECEMBER 2020 ELLEDECORATION.CO.UK 35

‘Goddess’ porcelain dessert plate by La Double J, £250 for a set of six, Matches Fashion (matchesfashion.com)

‘Armance’ solid brass bookends by Les Few, £445, Alex Eagle (alexeagle.co.uk)

‘Mirror In Oak Veneer’ by Front for Swedese, £1,148, Skandium (skandium.com)

‘Mandarin; Bergamot; Rosemary; and Cedar ’ salt soaps by Dook, £9 each, Rose & Grey (roseandgrey.co.uk)

Limited edition ‘Longis’ pouf by Tom Pigeon x Roger Lewis, £245, Roger Lewis (rogerlewis.uk)

‘Amoeba’ brass key ring, £28, Alietum (alietum.co)

GIFTS FOR DESIGN DEVOTEES

‘ECH’ candlestick by UAU Project x Folks, approx £39, Folks (folks-folks.com) iPhone case in ‘Cornﬂower’, £39; and ‘wallet’ in ‘Peach’, £15, both part of ‘Couple System’, Nolii (nolii.com)

‘Cork’ bowls by Jasper Morrison, from £119 each, Vitra (vitra.com)

‘The Hot Teapot’ in ‘Orange’ by Neri & Hu for Paola C, £325, Monologue London (monologuelondon.com)

‘Patchwork’ personalised notebook by Hoste by Laura Jackson x Papier, from £19.99, Papier (papier.com)

‘Iris’ drawing compass, £90, Makers Cabinet (makerscabinet.com)

DECEMBER 2020 ELLEDECORATION.CO.UK 37

‘Haniwa’ vase, £515, Couverture & The Garbstore (couvertureandthegarbstore.com) ‘FJ Clock’ in ‘Black’ by Finn Juhl, from £374, Architect Made (architectmade.com)

‘Tura’ jug vase, £214, Lyngby Porcelaen (lyngbyporcelaen.com) ‘JS30’ bluetooth speaker with Kvadrat speaker fabric, £109.99, Georg Jensen x Philips (georgjensen.com)

‘Mill’ grinders, from £90 each, Tom Dixon (tomdixon.net)

Open Studio: Do-It-Yourself Art Projects by Contemporary Artists hardback book by Sharon Coplan Hurowitz and Amanda Benchley, £59.95, Phaidon (phaidon.com)

GIFTS FOR DESIGN DEVOTEES

‘Rosanna’ striped Murano glass carafe, £475; matching tumblers, £200 for a set of four, all Campbell-Rey x &You, &You (andyoulifestyle.com)

‘Dark Chocolate Brick’ by Brick Sixty x Lucocoa, £12.50, Brick Sixty (bricksixty.com)

‘Carlo’ side table in ‘Nero Marquina’ marble by Matthew Hilton, £2,796, De La Espada (delaespada.com)

‘Most Illustrious’ ceramic ﬁgures by Elena Salmistraro for Bosa, £523 each, Aram Store (aram.co.uk)

‘Sky’ framed silk screen print by Alex Edwards, £275, Artists & Objects (artistsandobjects.com)

‘Graphic JB Studio’ blanket by Begg x Co x John Booth, £760, Begg x Co (beggxco.com)

DECEMBER 2020 ELLEDECORATION.CO.UK 39

‘Frame’ stoneware planter in ‘Rainy Day’ by Broste Copenhagen, from £23, The Garden Society (thegardensociety.co.uk)

‘Sigi’ sparkly zig zag socks, £20, Genevieve Sweeney (genevievesweeney.com)

‘Offerings’ presentation dish in rosewood, £75, Caravane (caravane.co.uk) ‘Split Shift’ jumbo cushions, £200 each, Darkroom (darkroomlondon.com)

‘Breast Friend’ vase in marble, £410, Anissa Kermiche (anissakermiche.com)

‘Honeysuckle’ room spray, £82 for 150ml, Loewe (perfumesloewe.com)

GIFTS FOR DESIGN DEVOTEES

‘Rainbow Trivet’ in ‘Rose’, £16, OYOY Living Design (oyoylivingdesign.co.uk)

‘Ikeru’ low vase by Jaime Hayon, £81, Fritz Hansen (fritzhansen.com)

‘Chirp’ musical wooden bird, £45, Anden (madebyanden.com)

‘Blockprint’ tablecloth by Hugo Guinness x Daylesford, £50, Daylesford (daylesford.com)

‘Rinka’ plate by Kaneko Kohyo, £22, Liberty (libertylondon.com)

‘Moheim’ drinks trolley by Shigeichiro Takeuchi, £520, NiMi Projects (nimiltd.com)

DECEMBER 2020 ELLEDECORATION.CO.UK 41

Wooden ‘City in a Bag – Tokyo’, £12.95, Muji (muji.eu)

Organic cotton ‘Classic Bathrobe’, £169, Tekla (teklafabrics.com)

‘Kuro’ interior bowl by Philip Malouin, £40, Iittala (iittala.com)

‘Oyster Perpetual 41’ watch, £4,700, Rolex (rolex.co.uk)

‘Nude’ handmade soap dish in ‘Stone & Indigo’, £40, Liv & Dom (livanddom.com)

‘Mouro’ portable LED table lamp in ‘Jade’ by Patricia Perez for Case, £149, Heal’s (heals.com)

GIFTS FOR DESIGN DEVOTEES

‘Let’s Go Get Lost Together’ by Dave Buonaguidi 500-piece Artist Edition puzzle, £17.99, The Print Club London (printclublondon.com) ‘Yorkshire Sculpture Park Gin’, £40, YSP (ysp.org.uk/shop)

‘Aromatique’ candles £80 each, Aesop (aesop.com)

COMPILED BY: KIERA BUCKLEY-JONES

‘Kal’ wall calendar and metal hanger, £29, Kal (kal-store.com)

‘Pumpkin’ armchair by Pierre Paulin, £1,855, Ligne Roset (ligne-roset.com)

‘Folded’ candle holder by Pols Potten, £49, Arket (arket.com)

DECEMBER 2020 ELLEDECORATION.CO.UK 43

M ADE TO MEASURE Building on the growing zeitgeist that’s seeing us personalising our homes more, we’re turning to bespoke furniture. At this time of year, it also makes for a truly special gift. Here, six craftspeople explain the joy of a custom-made object Words DEBIKA RAY

Commissioning a piece of furniture for your home may sound extravagant, but there are plenty of practical reasons for doing so. You can create an object like no other that perfectly suits your needs, tastes, lifestyle and environment. You have full control over the materials that are used, so you can select ones that are sustainable, meaningful and rare. It’s an opportunity to spend your money on a maker you believe in, backing an independent creative business rather than a mass manufacturer. Beyond these cerebral considerations is a romantic one: a handcrafted object is more than the sum of its parts – each joint, curve and groove tells a story about a technique, skill or material. And when that object is made especially for you, you become part of that story and the piece becomes part of yours – an heirloom to treasure and pass on through generations. Here are six designer-makers who can help you realise your vision.

‘BESPOKE DESIGN REVOLUTIONISES A SPACE IN A WAY THAT READY-MADE NEVER CAN’

LOZI Founded by Soroush Pourhashemi in 2012, Lozi makes minimal wooden furniture by hand at its workshop in east London, offering clients a tightly curated range of finishes and details. Pourhashemi is an evangelist for bespoke design. ‘A beautiful piece of bespoke furniture can completely change people’s daily lives,’ he says. ‘It can simplify their routines, giving them more time, mental space and energy for more fulfilling aspects of their lives.’ His favourite project to date was at a one-bedroom flat of less than 18 square metres, for which the studio created a central piece of furniture that combined a kitchen island, day bed and sofa, storage, dining table and shelving in one. ‘Making the most of floorspace was essential,’ Pourhashemi says. ‘This is a perfect example of how bespoke design can revolutionise a space in a way that ready-made furniture never could.’ Beyond that, he adds, a bespoke object just feels different: ‘It’s like an extension of your personality; it’s something you want to talk about and keep for years to come.’ lozidesigns.com

Lozi founder Soroush Pourhashemi with his bespoke shelves; side board, right; and shelving unit, top. Shelving starts from £1,000

DECEMBER 2020 ELLEDECORATION.CO.UK 45

G A LV I N B R O T H E R S

‘EACH PIECE OF FURNITURE IS SPECIAL IN ITS MATERIAL AND NARRATIVE’ Matthew Galvin, of Galvin Brothers. Bespoke chairs from around £800

ALICE BLOGG ‘Some of my favourite commissions have been from tree to piece,’ says Alice Blogg, describing her process of working with customers’ own trees – felling, planking and waiting years for the wood to dry, before starting to transform it. ‘It’s a special story to use wood from their land and turn it into something that will last for generations.’ One example of this is ‘Found’, a 12-seater dining-room table made with holly, oak and beech from the client’s forest. Another was made for a client in London out of local ﬁeld maple. ‘The grain and movement in the wood is beautiful,’ she says. ‘The pieces of yew and cast bronze handles show the ﬁeld maple’s stunning grain even more.’ Communication is crucial to her process, helping her fully understand the client’s requirements. ‘I like to see the space where the piece will sit and what it will be used for, so I understand where the customer is coming from,’ she says. After that, a certain amount of faith is needed: ‘Let the designer-maker do their magic – we’ve done it before, so let us take you on a journey.’ aliceblogg.co.uk

Alice Blogg, and left, a planked tree. A bespoke sideboard, such as the one above, starts from £3,800

‘IT’S A SPECIAL STORY TO USE A PIECE OF WOOD THAT HAS COME FROM A CUSTOMER’S LAND’

PICTURES: INDIA HOBSON/HAARKON

‘It’s comforting to know that you have a unique piece of furniture that is special in its material and narrative, that is designed carefully and made with the dexterity and wit of fine craftsmanship,’ says Matthew Galvin, co-founder with his brother, Andrew, of East Yorkshire-based Galvin Brothers. Together they have built on their father’s six decades of joinery and cabinetmaking experience. When working on a commission, he says, he thinks about the specific location that a piece of furniture might sit in, as well as the stories and memories embedded in a person’s home. The client can select the timber they like best and witness its transformation from a raw material into a finished piece. ‘It also allows us to design and create something that has its own unique language and a conceptual narrative that connects it to the client. Often, we select special, rare and beautiful timbers to create something very distinct,’ Galvin adds. A project for interior designer Sophie Ashby for a new apartment building in Greenwich is a case in point. The brothers created a long dining table using boards from a local supply of Brocklesby ash and developed a flexible, modular seating system, including bespoke leather cushions and bolsters. Clever joinery allowed the work to be installed up tight staircases. galvinbrothers.co.uk

MADE TO MEASURE

B Y R O N & G Ó M E Z ‘The great thing about commissioning is that the whole process can be tailored to suit the client,’ says María del Mar Gómez, who founded Somerset-based Byron & Gómez with Charles Byron. The pair marry together traditional craft techniques with computer-modelling technology to give clients a clear idea of what their completed piece will look like. With commissioning, though, part of the magic is ending up with something that looks like nothing you’ve seen before. ‘No two trees are exactly the same – it would be a shame if they were,’ Gómez says. One of her favourite commissions had exactly this element of surprise. ‘We had worked with the client before, so we already had a good relationship. When he asked us to design a drinks trolley, we had the confidence to propose a few completely different things as well and he ended up choosing a sideboard with a curved tambour front, which fitted the brief but not in the way he was expecting,’ she says. ‘When you commission a piece of furniture, you end up with something that fits just right, that has a story and also stands the test of time.’ byronandgomez.co.uk

‘YOU END UP WITH SOMETHING THAT FITS JUST RIGHT AND STANDS THE TEST OF TIME’

Above from left Mariá del Mar Gómez and Charles Byron in the workshop; and their ‘Patria’ cabinet, £7,850

NAMON GASTON ‘The moment of delivery is often nerve-wracking for me, but my client’s delight and awe at their unique, handcrafted item makes me grateful to be able to do what I do,’ says furniture designermaker Namon Gaston, who is based near Edinburgh. The big reveal is invariably exciting, but the most rewarding part of a bespoke commission for both him and the client is working together to bring an idea to life. ‘I enjoy sharing the process and inviting clients to the workshop, explaining the intricacies of their piece,’ he says. For a whisky cabinet commissioned as a 50th birthday present, he made a ﬁfth-scale working model to convey how it might look. The ﬁnal object was made in a palette of Scottish materials, including sycamore, walnut and Durness marble. ‘Using these rare materials added intensity to the piece,’ Gaston says. More than that, a bespoke item of furniture is the physical embodiment of a personal sentiment: ‘A commissioned piece will feel part of your life in a way something from a shop never could.’ namongaston.com

PICTURES: YESHEN VENEMA, STUART M C CLAY

‘I LIKE SHARING THE PROCESS AND INVITING CLIENTS TO THE WORKSHOP, EXPLAINING THE INTRICACIES OF THEIR PIECE’

Namon Gaston, right, and above, his handcrafted chair, starting from £3,000

DECEMBER 2020 ELLEDECORATION.CO.UK 47

MADE TO MEASURE

JAN HENDZEL ‘A maker can help you realise your dreams,’ says London-based Jan Hendzel, whose studio balances technical complexity with wit and humour. Its clients range from architects and interior designers looking for a unique way to furnish their projects to individuals who haven’t been able to ﬁnd an off-the-peg solution – and it caters its service to the person involved, whether that means working from professional drawings or rough ideas jotted down on paper. ‘We encourage lots of conversation throughout the design process,’ he says. The studio prides itself on its eco-credentials – it started out using reclaimed timbers found within the city and continues to source all its wood sustainably through British suppliers. It also uses special commissions as an opportunity to experiment – as it did with a series of valet stands for Birch, the members’ club and hotel in Hertfordshire. Ultimately, a commission represents the relationship between a client and a maker. ‘The more clients understand about the process, the more satisﬁed they will be,’ Hendzel says. janhendzel.com

‘A MAKER CAN HELP YOU REALISE YOUR DREAMS… WE ENCOURAGE LOTS OF CONVERSATION’

HOW TO COMMISSION YOUR FOREVER PIECE C H O O S E C A R E F U L LY Every craftsperson has a distinctive aesthetic, so spend time trying to pinpoint a maker whose visual language you like. Social media, websites and word-of-mouth recommendations are a good place to start, but it’s always worth having a conversation to see if you click before committing to a piece. K N O W W H AT Y O U WA N T

Work out what you need or the problem you’re trying to solve, as well as the aesthetics and ethics you’re seeking. A maker should clarify how much input you can have in the ﬁnal design, how many times and when you can ask for changes, and how much these will cost. KNOW YOUR BUDGET

Decide roughly how much you want to spend and have a realistic budget. Some designers will suggest various options to help you narrow down your choice, but anyone you work with should be transparent about costs, so there are no surprises. Shop around for a better understanding. F I N D A WAY T O C O M M U N I C AT E

Your brief and the process can be as prescriptive or hands-off as you like, but be open about your expectations. Designers can use a mix of drawings, CAD, samples and progress photos to keep you informed and help you grapple with the options. Visiting a maker’s studio can be the most satisfying and effective way to understand each other. R E LY O N Y O U R MAKER’S EXPERTISE

They have been involved in many projects and will have insights and ideas that will help bring your ideas to life in the best possible way. Make sure you trust who you work with, then keep an open mind. Jan Hendzel’s bespoke designs include, from top, a valet stand for Birch, and this dining table and chairs. A similar bespoke dining set is £8,700

48 ELLEDECORATION.CO.UK DECEMBER 2020

LI GH TIN G NEWS

/ SHOPPING/ PEOPLE/ TRENDS

Edited by K ATE WORTHINGTON

Our guide to the latest lighting launches, luminaries to know about and the trends that will be shining bright this season

Star light

PHOTOGRAPH: TOMMASO DEL PANTA

Conceived in 1962 by American designer Bill Curry for his brand Design Line, the ‘Stemlite’ lamp was a pioneering design of its time, replacing the traditional shade-plus-base model with a sleek, ‘total look’ typology. Curry’s background in the aerospace industry clearly influenced its space-age lines and fluid form – the design was even used on the set of the original Star Trek TV series. It’s been out of production for more than 40 years, but Gubi is now resurrecting the light across five variations, including a floor lamp and pendant light. From £373 (gubi.com).

FINE FUSION Finely tuned, elegant furniture that fuses Asian and European sensibilities is Stellar Works’ speciality, and now the brand is applying the same approach to lighting with the launch of several new collections. ‘Haro’ (pictured), designed with long-time collaborator Space Copenhagen, takes its name from the aura of light emitted from its ﬂoating opal glass shade – the word means ‘halo’ in Japanese – and comes in four variations. From £264 (stellarworks.com).

Bright IDEA New brand Lights & Lamps is the brainchild of Niki Wright, who has honed his eye working behind the scenes designing and developing lighting for the British high street for over 15 years. Catering to an array of styles, from industrial to bohemian and everything in-between, Wright’s aim is to make striking, design-led lighting accessible for any budget while matching big-name brands on quality. ‘Ridotti’ raffia ﬂoor lamp, £100 (lightsandlamps.com).

Seven wonders Considered the precursor to his iconic ‘PH Artichoke’ design of 1958, Poul Henningsen’s ‘PH Septima’ is perhaps one of the designer’s most ethereal and poetic pieces. First exhibited as a prototype as early as 1928, its seven Italian borosilicate glass shades are ornamented with alternating clear and frosted sections, casting a warm and ambient glow that hides any glare – a quality that characterises Henningsen’s work. This autumn sees the lamp back in production thanks to manufacturer Louis Poulsen, which has modernised the pendant with brass components to complement the delicate glass layers. £7,645 (louispoulsen.com).

LIGHTING

TREND

IRREGULAR FORMS Add character with designs that focus on organic and innovatively imperfect shapes 1

1 ‘Paradox’ table lamp, £695, Jonathan Adler (jonathanadler.com) 2 ‘Knuckle’ table lamp in ‘Walnut’ with ‘Voroni’ bulb, £155, Tala (tala.co.uk) 3 ‘Mizu’ pendant in ‘Champagne’, from approx £287 per pendant, Terzani (terzani.com) 4 ‘38.3V Stem Floor’ lamp, £3,042, Bocci (bocci.com) 5 ‘Bolha long’ pendant in ‘Petrol’, £299, Heal’s (heals.com) 6 ‘Moons’ table lamp with ‘Bongo’ shade, £1,677, Porta Romana (portaromana.com) 7 ‘Hebe’ lamp by Ferm Living , £292, Design & That (designandthat.com) 8 ‘Gem’ chandelier, from approx £4,571, Giopato & Coombes (giopatocoombes.com)

DECEMBER 2020 ELLEDECORATION.CO.UK 53

TREND

MARBLE AND STONE The classical material gets a contemporary update with designs that play with striking formations 1

1 ‘Fellow’ lamp by Space Copenhagen, approx £762, Fredericia (fredericia.com) 2 ‘Geometric’ pendant by Boris Klimek and Lenka Damová, from approx £2,266, Brokis (brokis.cz) 3 ‘Mito’ ﬂoor lamp by Tom Fereday for Rakumba, from approx £7,023, Tollgard (tollgard.com) 4 ‘Swirl’ table lamp, £175, Soho Home (sohohome.com) 5 ‘Rosa’ pendant, from £997, Marc Wood (marcwoodstudio.com) 6 ‘Marble’ bulb, approx £581, Rooshad Shroff (rooshadshroff.com) 7 ‘Gioia’ wall light by Andrea Anastasio, from £936, Foscarini (foscarini.com) 8 ‘Dueppo’ table lamp by Mathieu Delacroix, £549, Ligne Roset (ligne-roset.com) 9‘Essentials’ table lamp in ‘Marble’ by Koen Van Guijze, approx £178, Serax (serax.com)

LIGHTING

4 OF THE BEST

PORTABLE LAMPS Bring the light with you wherever you go with these cordless designs

Full MOON Taking its name from the Cornish word for ‘moon’, Tom Raffield’s new ‘Loer’ pendant combines the brand’s signature steam-bent wood with mouth-blown glass. Its graceful, weightless appearance is accentuated by its sleek halo of ash, held in place by brass ﬁxings that reﬂect the soft glow of the spherical orb within. £345 (tomraffield.com).

‘Flowerpot VP9’ by Verner Panton, £145, &Tradition (andtradition.com)

‘Asteria’, £269, Dowsing & Reynolds (dowsingandreynolds.com)

GLOW GETTER Mario Bellini’s ‘Chiara’ lamp for Flos, designed in 1964, is back in production. Formed from a single rolled sheet of stainless steel, it’s topped with a wimplelike shade that gently diffuses light. ‘I don’t like lamps in which you can see the bulb, because they bother the eyes,’ says Bellini. Unchanged except for a new LED light source and the addition of a table lamp version, the design makes a statement whether switched on or off. From £325, Atrium (atrium.ltd.uk).

‘FollowMe’ by Marset, £171, Aram Store (aram.co.uk)

Recycle, reuse Salvage specialist Skinflint unearths vintage lights with fascinating stories. Its latest collection, ‘Industrial Heritage’ includes a haul from the Swan Lane Mills near Bolton, once home to the largest cotton spinning mill in the world, restored and fitted with LED technology. From £270 (skinflintdesign.com).

‘Mini Shitake’, from £795, Collier Webb (collierwebb.com)

DECEMBER 2020 ELLEDECORATION.CO.UK 55

NAME TO KNOW

STUDIO TOER The Eindhoven-based duo known for their interactive installations have designed a new light for Moooi. Here, we chat with founders Castor Bours and Wouter Widdershoven about their latest projects. Tell us about the idea behind ‘Flock of Light’. We took inspiration from the transient moment when a swarm of fireflies drifts. We are influenced by nature and the way these little creatures move. We want to share our fascination for the minimalistic natural phenomenon. In daylight, the ‘Flock of Light’ is translucent, but when it lights up, the composition of light points creates a lively dynamic – it’s a spatial play. Even if you move your head just slightly, the relationship between the different lights changes. The effect is something that keeps intriguing us. You frequently work with light – what do you like about it as a medium? Light is a great medium to play with because it has no weight. Rays of light fill the air, they move quietly. Their reflections and refractions are constantly changing, creating unpredictable effects. Pendant lights in particular hang in space – there’s a free playing field. This design was adapted from an installation – did you change it much? We domesticated the design by making it smaller and more refined than the site-specific installation. We wanted to create the maximum visual effect, so we composed an arrangement of light – perfectly balanced and artistic though suitable for a home. What are you working on next? Due to coronavirus, many exhibitions got postponed, which gave us time to focus on new work. We continue to look at natural phenomena, and carry out new experiments both in the form of products and for public installations. We can’t say too much yet, but it’s going to be big. From £550 (studiotoer.com; moooi.com).

Free style Unlike most brands, Vancouver-based Bocci puts its glass blowers at the centre of the design process, their experimentation literally shaping the outcome of the ﬁnal product. More unusual still, most of its artisans are female. According to Bocci’s manager of material exploration, Jay Macdonell, this could be the secret to the brand’s success: ‘When process is held captive by ego and is in a macho-driven atmosphere, not knowing is considered a weakness, while here we know it’s a strength. To explore the unknown requires acknowledging it exists.’ (bocci.com).

FINE VINTAGE A treasure trove of hand-picked objects dating from the early 1920s to the 1980s, Studio Laurin specialises in tracking down collectable Scandinavian and Italian lighting from illustrious names such as Bitossi, Skultuna and Orrefors. Glass, brass and ceramics are favoured materials, and all pieces come restored with UK wiring and the option of in-house sewn fabric shades – there’s also an array of low-ﬁ lighting options in the form of decorative candle holders and sconces. Vintage 1980s Bitossi lamp (pictured), approx £812 (studiolaurin.com).

LIGHTING

TREND

TUBES AND PIPES Turn up the contemporary dial with these ultra-sleek statement pieces 1

1 ‘Appareil’ medium lantern in ‘Bronze’, approx £1,450, Kelly Wearstler (kellywearstler.com) 2 ‘Tilt’ pendant by Zero Lighting, £512, SCP (scp.co.uk) 3 ‘Smile 3’ bulb by Samuel Wilkinson for Beem, £65, SCP (scp.co.uk) 4 ‘Milana’ pendant by Jaume Ramírez for Marset, £264, Aram Store (aram.co.uk) 5 ‘Metropol’ pendant by Sebastian Herkner for Rakumba, from approx £1,505, Tollgard (tollgard.com) 6 ‘Coordinates S4’ pendant by Michael Anastassiades for Flos, £3,434, Heal’s (heals.com) 7 ‘Deco’ chandelier by Norr11, £899, Design & That (designandthat.com) 8 ‘Giraffa’ table lamp by Pablo, £295, The Conran Shop (conranshop.com) 9 ‘Pipeline’ chandelier by Caine Heintzman, approx £16,995, Andlight (andlight.ca)

DECEMBER 2020 ELLEDECORATION.CO.UK 57

LIGHTING

The luminaries From an Italian stalwart to a bold start-up, these innovative brands are led by quality and design T H E S I S T E R C O M PA N Y

J ADAMS & CO Designed with materiality in mind, its pieces draw on Britain’s manufacturing heritage

PICTURES: DEPARTMENT TWO

If Will Earl had to choose two words to sum up the lighting ﬁrm he joined as design director last year, they would be ‘engineered elegance’. Though J Adams & Co was initially conceived as a younger sibling to the better known Bert Frank by its founders Adam Yeats and Robbie Llewellyn in 2016, it wasn’t until Earl’s appointment that its ﬁrst true collection was launched – just four months later. The bespoke capabilities of its factory in Birmingham’s industrial quarter can take full credit for connecting the duo with the designer, who had enlisted its 50 years of manufacturing expertise to fabricate custom lighting for London’s Rosewood Hotel and Chiltern Firehouse. ‘To me, “Made in Britain” means doing things properly,’ explains Earl, who splits his time between Birmingham and the London studio. ‘Everyone involved is on the same page when it comes to the quality level, and the result is something that stands up to scrutiny. I think that resonates globally.’ It’s as much a matter of precision as it is principle – every stage of the production process takes place at the factory, from the processing

From top Made from mouth-blown glass, ‘Nova’ is available in (from left) ‘Globe’, £468, ‘Wide Pendant’, £534, and ‘Tall Pendant’, £450; the striking ‘Vector’ pendant, £1,860; design director Will Earl; a craftsman at the company’s factory in Birmingham, where each piece is made by hand

of raw materials to the wiring, which grants the team total control over the end product. It’s no surprise then that such industrial pedigree has so expressly shaped its collection, which features sleek pendants, spotlights and lanterns contoured by hand in reeded glass and brass, though this season’s three new designs suggest a widening of scope. Celestial ‘Nova’, crafted from mouth-blown opaline glass, is a trio of spherical forms that can be displayed together or individually, while ‘Vector’ cuts a sharp contemporary silhouette as a wall, floor or ceiling light. Earl is eagerly awaiting the arrival of ‘Aragon’ next month. ‘It uses translucent alabaster stone as a light diffuser, which has such a luxurious depth to it.’ An alumnus of Lee Broom, Original BTC and lighting consultancy Mindseye, Earl’s understanding of form and materiality is as finely tuned as the tools that help make them reality. ‘There’s often a trade-off between something being decorative or functional, but we don’t work like that,’ he says. The masters of mid-century design are naturally an influence, but he is careful not to ‘oversaturate’ himself with the work of others. ‘I tend to take inspiration from unexpected places, be it a piece of jewellery or an architectural detail.’ Later this month, the studio opens the doors to its first showroom in London design hotspot Clerkenwell. Though Earl spent lockdown in a J Adams & Co gallery of his own – surrounded at home by early prototypes. ‘One of the perks!’ he adds. jadamsandco.com DECEMBER 2020 ELLEDECORATION.CO.UK 59

T H E O N L I N E R E TA I L E R

HOUSEOF This youthful lighting brand champions punchy, colourful pieces and a people-ﬁrst ethos

Clockwise from top left ‘Ring Ceiling Light’, £60; founders Michael Jones and Helen White; ‘Brass Sputnik Ceiling Light’, £230; ‘Task’ ﬂoor lamp in ‘Charcoal Grey’, £120; ‘Diffuser’ ﬂoor lamp in ‘Pink’, £140

a global pandemic less than a year after launch, or that Houseof would celebrate its first birthday in lockdown. Still, success has been swift, with pieces now stocked at H&M Home and online store Swoon, and a promise of more partnerships to follow in the spring. The brand’s vibrant designs are something of an antidote to musings about market conditions. Sculptural but rarely showy, this is lighting with architectural appeal – there are glowing globes strung on brass bars, serpentine curves and lozenges framed by peppy hues and matt finishes. White cites 1970’s Habitat under Sir Terence Conran’s eye as an influence, while Jones is inspired by the way Philippe Starck ‘can take something functional like a lemon squeezer and make it desirable’. One of their most striking forms is the futuristic ‘Diffuser Floor Lamp’, which sets one glowing disc behind another and ‘gives off a soft hue, like a pink sunset’ in White’s favourite colourway. Recently, she’s spotted a shift towards conical shapes, columns and ‘anything a little bit abstract that looks like a piece of art’, and is excited by the possibilities of resins and recycled materials. Sustainability will guide their agenda for the season ahead, alongside a potential international launch. ‘We’re working hard on cutting our carbon emissions as a brand,’ adds White. ‘That’s our big focus for 2021.’ houseof.com

PICTURES: DAV LOVATT

A brand born from the fading fortunes of BHS might not speak of immediate promise, but mention lighting and those in the know are likely to listen up. The former high-street stalwart cultivated a loyal following for its inspired lighting department, and it was here that Houseof founders Helen White and Michael Jones ﬁrst met, before striking out alone in the spring of 2019. Liberated by a lack of overheads, the pair have set out their vision for a lighting business that could ‘bring a start-up mentality to a stale industry’, with a small but mighty edit of smartly designed and eminently affordable ceiling, wall, ﬂoor and table lamps. Rather than rushing through an exhaustive range, Houseof focuses on limited production runs of exclusive designs and layers in a savvy level of customisation for its shoppers. Factor in plasticfree packaging and a near-obsession with consummate customer service – honed, says Jones, by an early stint at luxury fashion house Burberry – and it’s clear they’re wise to what customers want now. Retail, as they put it, that’s ‘responsible and credible’. ‘The beauty of our business is that it’s small and independent,’ says White, who is the designer and buyer to Jones’ website manager and marketer. ‘We can be agile and respond to market forces and changes.’ Lucky, that – few could have predicted a market force quite like

LIGHTING

T H E H E R I TA G E R E B R A N D

LODES

WORDS: CAT OLLEY PICTURES: GIOVANNI ROVERAN

Italian craftsmanship and innovation make this family affair a formidable force ‘Lighting is an integral part of the Tosetto family heritage,’ says Massimiliano Tosetto of the Venetian business set up by his grandfather Angelo in 1950. Seven decades producing exquisite Italian-made pieces has done little to dull the aspirations of this lighting dynasty. Now led by Massimiliano’s father Andrea, this year’s milestone birthday will mark a line in the sand between its previous life as Studio Italia Design and a new chapter as Lodes. Yet this is not a simple name change. A new internal workshop allows the 35-strong team to transition ‘from idea to product prototype in a matter of hours’, and two fresh designs have joined the Lodes line-up, which showcases an unfettered instinct for craftsmanship and composition. The portable and rechargeable ‘Easy Peasy’ table lamp by recently instated design curator Luca Nichetto is as playful and perfectly formed as its moniker suggests, while ‘Random Solo’ by collaborator Chia-Ying Lee is a cascade of lustrous orbs that builds on the concept of a previous hit beloved by Massimiliano. Soon to launch is collaboration Diesel Living with Lodes, which will see the youthful Italian fashion house release three exclusive designs and ﬁve revamped bestsellers in the new year. While decades-honed skill is hardly in short supply, Massimiliano hopes a culture of ‘keen curiosity and continuous evolution’ can propel Lodes into becoming one of Europe’s leading producers of decorative lighting. You might say it comes with the territory. Venice has long been the continent’s epicentre of artisanal glass production, and Lodes is rooted in location as much as in lineage. ‘The city is an eternal muse – an endless trigger of imagination,’ he effuses. ‘If you look at Venice with the eyes of a lighting maker, then you understand the power of light to completely change the perception of places you’ve seen hundreds of times. The interplay of light, fog, water and wind creates unique atmospheres.’ Its historic importance as a trading hub is not lost on Massimiliano, who draws on the image of ‘cultures, peoples and traditions intertwined through the centuries’ as a prompt to remain creatively open. On a more pragmatic note, he cites lighting as a key ally in life interrupted by lockdown, where exposure to natural light is diminished and circadian rhythms disrupted. It’s a reminder that this isn’t how they would have liked to relaunch – a series of digital events replaced a grand unveiling in Milan at the eventually scrapped Salone del Mobile – but there’s a sense that it would take a lot more than a year like this to topple the Tosettos. lodes.com

Clockwise from above Managing director Massimiliano Tosetto, whose grandfather founded the company in 1950; ‘Random Solo’ by Chia-Ying Lee, from approx £126; created in 1985,this design is from the company archives; ‘Easy Peasy’ portable and rechargeable lamps by Luca Nichetto, from £222 each

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PROMOTION FOR SKINFLINT

IN THE GREEN ROOM How the interiors industry is designing a more sustainable future, from lighting to textiles Green is far more than just the paint colour du jour. Increasingly, it’s a key principle at the heart of progressive designers, meaning that beautiful homes don’t have to come at the cost of sustainability. One brand pushing this ethos forward is Skinflint, a lighting company that restores and resells high-quality salvaged pieces dating from the 1920s to the 1970s. Buying vintage over new is, of course, a big tick on the sustainability checklist, but Skinflint is taking things a step further with the launch of its Full Circle initiative. Focused on the idea of a ‘circular economy’ – reusing and regenerating products rather than further depleting the world’s finite resources – this product buy-back scheme allows customers to exchange their lights at any point after a year of ownership for 50 per cent credit towards a future purchase. Whether wall, table, floor or pendant lights, these items will

From top Retro Czech pendant lights, from £180; 1950s Eastern Bloc industrial pendants, £330, and EDL machinists work lights, £930; munitions store pendant light, £600, all Skinflint (skinflintdesign.com). Vintage floor cushion, £45, Yesterday Today (yesterdaytodaydesign.co.uk). ‘Andalucia’ Paloma rug, from £130, Weaver Green (weavergreen.com)

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be repaired and recertified so that they can be resold globally; a much more eco-friendly option than simply being thrown out in the midst of an interiors overhaul. Yesterday Today is also challenging overconsumption by adapting vintage textiles into contemporary pieces, giving craftsmanship a new lease of life and avoiding waste. The environmentally conscious small business, created by Bella Dunne, was born out of a love for one-of-a-kind features, with everything from upholstered lampshades to embroidered cushions on offer. Each object is made using secondhand or deadstock fabrics, many with a historic heritage. Devon-based textiles brand Weaver Green has taken the fight against plastic to the next level, creating blankets, rugs and cushions from plastic bottles that would otherwise end up polluting the world’s oceans. These bottles are sourced from developing countries, where plastic recycling infrastructure is lacking, and made into yarn. The result? Textiles that are remarkably soft, but durable enough for both indoor and outdoor use. Crucially, these products are also recyclable at the end of their lives. In the face of an environmental crisis, it can feel hard to make a difference as a consumer. However, by supporting forward-thinking companies that champion sustainability, we can all help to shape a greener world – and have a chic vintage lamp to show for it, too. To discover more about Skinflint and its eco-friendly Full Circle initiative, visit skinflintdesign.com

WORDS: SOPHIE HINES INTERIOR PICTURE: MEGAN TAYLOR/BROOKE COPP-BARTON

THE FOCUS IS ON A ‘CIRCULAR ECONOMY’, IN WHICH PRODUCTS ARE REUSED AND REGENERATED

LIGHTING

LIGHT fantastic How you illuminate rooms within the home can transform the way they look and feel. Our four experts share their advice, from creating ambience to sourcing vintage pieces ESTER BRUZKUS ARCHITEKTEN

PICTURES: JAMES JOHN JETEL, JENNY VAN SOMMERS, ROBERT RIEGER

WALDO WORKS Tom Bartlett founded Waldo Works, an architecture and interior design studio in London’s Clerkenwell, nearly 20 years ago and is known for his use of colour and refined, modern spaces. Here, he shares his lighting tips for different areas of the home (waldoworks.com). When choosing pendant lighting for above a kitchen island, make sure it’s pointing down onto the surface so that it functions as a task light. Also, look at the proportions of the island versus the light fitting. I tend to avoid multiple pendants (the Starbucks effect): it’s best to spend the money on a single, really good one. When it comes to lighting around a bathroom mirror, aim for a warm halo effect rather than anything clinical. We tend to use wall lights, shaded or obscured, and a downlight to the basin and the front of the face fitted with a non-glare shield. Low-level lighting is also helpful. Avoid downlights straight on to the head as they show up hair dye, roots and baldness. Downlights are great for specifics – art, a chair, a basin – but not for a whole space. In a sitting room, for instance, you need lots of light sources and shadows, and a good mix of lamps, task lights and glow should achieve that. Lampshades can be a mystery: the size, shape, height, colour and fitting all need to be considered. Take the lamp with you and decide what to buy by trying various shades on it. The colour of the lampshade will affect the light, so stick to warmer fabrics.

‘DOWNLIGHTS ARE GREAT FOR SPECIFICS, LIKE ART OR A CHAIR, BUT NOT FOR A WHOLE SPACE’

Since setting up her architecture practice in 2002, Ester Bruzkus has become known for interiors that playfully contrast materials and forms. Here, she and her business partner Peter Greenberg talk us through lighting for open-plan spaces (esterbruzkus.com). The most important thing about lighting in general is that it reinforces the architectural idea of a space but it also needs to create the right atmosphere. In an open-plan living room, it’s crucial to make areas within the overall space, and have different possibilities for when you’re eating, watching a film or cooking. Don’t be too even with lights – you want diversity and contrast. One way of doing this is by having light at varying heights, such as table lamps, floor lighting and lighting integrated into the ceiling in different directions. Consequential light creates ambience. For instance, at home, we have an LED strip light on the floor of the living room area behind the curtain. It sits in a cavity on the top of the heating grill by the window. You can’t see where the light comes from, but the effect makes the space feel bigger. If you have an outside area connected to your living space, create an additional zone by using outdoor lighting. If it’s not lit up, then in the evening, you only see your own reflection. With lighting, it becomes part of the space.

‘DON’T BE TOO EVEN WITH LIGHTS – YOU WANT DIVERSITY AND CONTRAST’

From top left Waldo Works’ Canaletto penthouse project in London with its careful mix of light sources; this open-plan apartment in Berlin designed by Bruzkus features statement lighting in the kitchen

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LIGHTING

HUMBERT & POYET

‘A STATEMENT LIGHT DOESN’T HAVE TO BE BIG – IT JUST HAS TO BE CENTRAL TO A SPACE’

An attention-grabbing chandelier in one of Humbert & Poyet’s residential projects

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A carefully chosen table lamp adds texture to this London townhouse designed by Thurstan

THURSTAN James Thurstan Waterworth, former European design director at Soho House, set up his interior design studio Thurstan two years ago. He is known for mixing antiques with custom pieces, and here, shares his tips on vintage lighting (thurstandesign.com). When sourcing vintage lighting, online auction houses are a good place to start. One platform worth a look is The Saleroom (thesaleroom.com) – it’s home to multiple auction houses that sell vintage pieces. Don’t be put off buying a light that’s rickety, or has wiring that doesn’t work. This just means you’re more likely to get it for a good price. An electrician can rewire a light in a very short period of time, and it doesn’t cost much at all. Fundamentally, lighting is practical, but it can also be just as important as an art piece. I wouldn’t have too many showstoppers in a room: if you have a chandelier, it’s the ﬁrst thing you’ll see, so it’s best to complement it with more subdued pieces. I like to mix lighting styles, but also to think about texture – wood, metal, ceramic, polished, handmade – and what that brings to a space. People underestimate how powerful a lampshade can be but if you use a vintage fabric, such as a pale linen or colourful Ikat, it adds an extra layer of interest.

‘DON’T BE PUT OFF BUYING A RICKETY LIGHT – YOU’RE MORE LIKELY TO GET A GOOD PRICE’

WORDS: EMMA LOVE PICTURES: DAMIAN RUSSELL, FRANCIS AMIAND, SIMON BROWN

Interior architect Christophe Poyet and architect Emil Humbert teamed up 13 years ago to create Humbert & Poyet, a Monacobased studio whose work ranges from residential homes to restaurants. They also have their own lighting and furniture collection. Here, the duo offer their advice on how to create plenty of atmosphere with lights (humbertpoyet.com). Usually, we use light to create a very intimate ambience or a sense of drama. For the latter, you need to think of light as a sculptural object that will catch everyone’s attention. Also, a statement piece doesn’t necessarily have to be big – it just has to be central to a space. It’s all about balance, so try pairing a huge ceiling light with something sleek and minimal, such as a downlighter on the wall or a light from a cornice that highlights the architecture. Play with scale to create the mood you want in your room. For instance, in the living room, you might have one main ceiling light, but the addition of a ﬂoor lamp next to an armchair will evoke a sense of cosiness. Think about the colour of the light itself. With LEDs, there are many variations, from warm white to amber. By playing with the hues, you can create a mood depending on whether it’s for a workspace, a dining room or a bedroom. You can have the most beautiful feature light in the world, but if you put the wrong bulb inside, it won’t look right.

LIGHTING

STEP CHANGE For Alessandro Sarfatti, co-founder of lighting brand Astep, his home, like his brand, is inspired by the opposing pulls of heritage and innovation Words CLARE SARTIN Photography BIRGITTA WOLFGANG BJØRNVAD/SISTERS AGENCY

Alessandro and his wife Yasmin in the extension of their Copenhagen home. The timepiece, on the stone wall behind them, is the ‘Sunﬂower Clock’ by George Nelson for Vitra

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anging proudly in the dining room of Alessandro Sarfatti and Yasmin Edgecombe’s home in Copenhagen is the pendant light that started it all: the ‘Model 2065’. It’s a recognisable piece for anyone who is aware of Alessandro’s lighting brand Astep, but for him it is more than a success story. It’s a direct link to his past and future. This version, an original designed by his grandfather in the 1950s, has been with Alessandro for 30 years or more, travelling with him as he made the move from his native Italy to the Danish capital. ‘It is the blueprint for the very ﬁrst piece by Astep,’ he says. ‘Yasmin knows how important it is to me and really wanted to put it in the collection. It made history for me.’ Youngest in a three-generation line of lighting entrepreneurs, Alessandro is the grandson of renowned designer Gino Sarfatti, who launched his lighting brand, Arteluce, in 1939. Legend has it that the family passion was ignited when, while studying naval engineering, his grandfather was forced by WWII to leave his education and begin working in a lighting store in Milan. One day, a customer really liked a vase and asked if it was possible to turn it into a light. ‘He not only sold the vase, but fell in love with his work,’ says Alessandro, whose father, Riccardo, also caught the bug – ‘I have to assume it’s in the blood,’ he jokes. After Gino sold Arteluce to Flos in 1973, Riccardo set up his own company, Luceplan, in 1978. Perhaps it was familial destiny then that Alessandro, like his father and grandfather before him, would set up his own lighting brand. After he stopped working for Luceplan in 2013, he met friend and co-founder Nicholas Zambetti, a former Apple engineer, at a dinner party in Copenhagen. Just one year later, Astep was born. The two men shared an interest in innovation so, as well as reissuing and modernising Alessandro’s grandfather’s substantial

ASTEP’S LIGHTS SPEAK TO THE PILLARS OF ‘DESIGN, TECHNOLOGY AND SUSTAINABILITY’ back catalogue of designs in collaboration with Flos, it was also important to the pair that Astep work with contemporary creatives on totally new ideas. The latest of these, the ‘Pepa’ wireless lamp by Francesco Faccin, is made entirely from wood – you rotate its carefully crafted shade to turn it on and off. All the lights in the Astep collection, new and old, speak to what Alessandro calls the company’s three pillars: ‘design, technology and sustainability’. It’s a trinity that has also influenced his home, which showcases the brand’s lights at every turn. As well as the ‘Model 2065’, there’s a ‘Model 1063’ floor lamp, also by his grandfather, and a ‘Nox’ table lamp by Alfredo Häberli, to name just a few. The third house Alessandro and Yasmin have renovated in just two years, this home, situated in a family-friendly corner of the Seating area In the extension (above and opposite, top), this cosy corner is home to a ‘Slow’ lounge chair and ottoman by Ronan and Erwan Bouroullec for Vitra and an ‘H&H’ bookshelf by Paolo Rizzatto for Danese. Astep’s ‘Model 548’ table lamp by Gino Sarfatti sits in the foreground Dining area The ‘Model 2065’, another lamp by Alessandro’s grandfather, hangs above the table by Jasper Morrison for Maruni and ‘CH33P’ chairs by Hans J Wegner for Carl Hansen & Søn. An ‘HK’ pitcher by Henning Koppel and ‘Bernadotte’ jug by Prince Sigvard Bernadotte, both for Georg Jensen, sit on the table (left) Kitchen The sleek cabinetry is by Boffi and the ceiling light is the ‘Tip of the tongue’ by Michael Anastassiades Living room A ‘VV Cinquanta’ floor lamp by Vittoriano Viganò for Astep stands by the ‘Suita’ sofa by Antonio Citterio for Vitra. Above is the ‘606 Universal Shelving System’ by Dieter Rams for Vitsœ

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LIGHTING

city’s Østerbro district, required new walls, new floors and a new bathroom. ‘It was a 360-degree project,’ he recalls. It is the wooden staircase, though, masterminded by Yasmin, that is the most striking addition. Its architectural, floor-to-ceiling slats allow natural light into the narrow three-storey property. The interior, much like Astep’s collections, is a combination of the sleek, minimalist best of the Scandinavian and Italian aesthetics. ‘Husband and wife don’t always agree,’ says Alessandro, ‘but on taste and furniture Yasmin and I always do. Decorating is the easiest thing for us besides having children – and we have plenty of those!’ They have four, in fact. Filippa, 22, and Kajser, 20, from Yasmin’s previous marriage, as well as Benjamin, 11, and Isaac, nine. Filippa has moved out, but it still makes for a busy household. When things get noisy, you’ll find Alessandro reading at the desk in his bedroom. His latest literary fix is Factfulness by Hans Rosling, which discusses how the data on how long we live, our ability to cure diseases and live comfortably suggests that, on average, we have never had it better. It’s an ideal read for a man who is, by nature, an optimist. ‘Astep is about taking a step forward,’ he says, but it’s also about all of the tiny steps that have got us to where we are today. ‘All of the curious, bright, courageous people.’ For him, lighting was a calling. ‘My grandfather did it, my father did it, and I like to think I can, too. I have the natural knowledge and passion. Really, Astep is a tribute to evolution.’ astep.design Staircase A strikingly architectural addition, this design features floor-toceiling slats that allow light to filter through Bedroom A Hästens bed sits under the original beams and ‘VV Cinquanta’ suspension lamp by Vittoriano Viganò for Astep Bathroom Lava stone tiles by File Under Pop surround the Agape tub. The sink is also from Agape, while the wall lamp is another from the ‘VV Cinquanta’ collection by Vittoriano Viganò for Astep See Stockists page for details

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NEW HEIGHTS

Classic and contemporary lighting are on an equal footing this season, illuminating Italian designs that are continually climbing to the top of the style stakes Styling ARIANNA LELLI MAMI AND CHIARA DI PINTO/STUDIOPEPE Photography ANDREA FERRARI in collaboration with COSTANZA MANZONI

From left ‘Bloom’ armchair, from £3,242, Turri (turri.it). ‘Pebble’ coffee tables by Lanzavecchia + Wai, from £942, Living Divani (livingdivani.it) On tables ‘Bon Bon’ glass vases by Helle Mardahl, from £315 each, Matches Fashion (matchesfashion.com).‘Rays’ table lamp by Marta Bakowski, £1,074, Roche Bobois (roche-bobois.com). ‘Grande Soffice’ modular sofa by Francesco Binfaré, £12,290, Edra (edra.com)

Opposite, from left ‘Cliff’ occasional tables (also far right) in ‘Marino’ and ‘Oceano’ by Matteo Zorzenoni for Novamobili, from £700 each, Go Modern (gomodern.co.uk). ‘Gogan’ armchair in ‘Powder Pink’ by Patricia Urquiola, £3,468, Moroso (moroso.it). ‘Aria’ vintage pendant lights by Marco Sforzin. ‘Dinuovo’ handblown glass objects (on floor) by Uufie + Jeff Goodman Studio, £685 each, Rossana Orlandi (rossanaorlandi.com). ‘Romeo Compact’ armchair by Antonio Citterio, from £5,960, Flexform (flexform.it) On table Vintage pink vase by Giovanni Gariboldi, from a selection, Compasso Design (compasso-design.it). Brown vessel, from a selection, Ceramiche Milesi (ceramichemilesi.com) This page, from left ‘Suitcase Line’ armchair in ‘Oil Green’ by Rodolfo Dordoni, £4,130, Minotti (minotti). ‘Paracar’ 1960 vintage floor lamp by Zanotta, approx £2,269 with matching table lamp, Compasso Design (compasso- design.it). ‘Button’ side table by Barber & Osgerby for B&B Italia, £2,743, Chaplins (chaplins.co.uk)

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From left ‘Keeton’ armchair by Andrea Parisio, from £2,465, Meridiani (meridiani.it). ‘Point’ pouf, from £337, Quinti (quinti.com). ‘Orchid’ ﬂoor light by Rainer Mutsch for Axo Light, £993, Holloways of Ludlow (hollowaysoﬂudlow.com). ‘Piaf’ modular sofa in ‘Kasmir Lilas’ by Baxter, £16,620, Silvera (silveraltd.co.uk). ‘Daruma’ table lamp by Sergio Asti for Fontana Arte, from £289, TwentyTwentyOne (twentytwentyone.com)

Opposite, from left ‘Origin’ armchair by Makoto Kawamoto (not available in the UK). ‘Elinor’ table by Claudio Bellini, from £4,345, Pedrali (pedrali.it) On table Handmade vessels, from a selection, Ceramiche Milesi (ceramichemilesi.com). ‘Siro’ light by Marta Perla, from £950, Oluce (oluce.com). ‘Gelly’ pouf by Massimo Castagna, £1,510, Henge (henge07.com). ‘Svasato’ stool by Verter Turroni, price on application, Imperfettolab (imperfettolab.com) This page, from left ‘Eclipse’ bench in ‘Beige’ leather by Andrea Bonini, from £3,063, Turri (turri.it). Lacuna glass lamp by Studio Furthermore, £5,550, Nilufar (nilufar.com). Lagoa armchair in ‘Thesium 27’ by Zanini de Zanine, £1,586, Tacchini (tacchini.it)

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ST YLE D E C O R AT I N G

/ M AT E R I A L S / I N T E R I O R D E S I G N / I D E A S

STYLING: KIERA BUCKLEY-JONES PICTURE: 3OBJECTIVES

Edited by KIER A BUCKLEY-JONES

CHRISTMAS DECORATING STARTS HERE… All the inspiration and ideas you need for the festive season From top Candy stripe ribbon, £14.50 for 20m, Cox & Cox (coxandcox.com). ‘Books Toasted’ gift wrap, £2 per sheet, Tate (shop.tate.org.uk). ‘Charleston Scumble’ gift wrap, £2.50 per sheet, Cambridge Imprint (cambridgeimprint.co.uk). ‘Naked Ladies’ gift wrap by People I’ve Loved, £5 for 3 sheets, 1973 (1973.uk). ‘Collage’ gift wrap, £4.75 for 3 sheets, Wrap (wrapmagazine.com)

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STYLE

Vreeland in her Park Avenue apartment in 1979. The designer, Billy Baldwin, was given the brief to create ‘a garden in hell’

COLOUR PIONEER

DIANA VREELAND

WORDS: KASSIA ST CLAIR PICTURES: HORST P HORST/CONDE NAST VIA GETTY IMAGES

The former ‘Vogue’ editor-in-chief whose fondness for bold red reflected her formidable personality In the famous photograph of Diana Vreeland (above), she smiles 1940s, people wanted escapism. Her ‘Why don’t you..?’ column for down the lens, regal and supine, in a room that is a veritable Harper’s Bazaar, her first job there, was ridiculous, extravagant symphony of red. From the crimson chinoiserie walls, lacquered and an immediate sensation. ‘Why don’t you… own 12 diamond doors and vermilion chairs to the slash of scarlet on her lips. Her roses of all sizes?’ ‘…Rinse your blond child’s hair in dead champagne daring decorating choice, although unashamedly theatrical, really to keep it gold, as they do in France?’ ‘…Use pineapples for decoration?’ did reflect her preference. (She had her office at the Metropolitan She brought the same vim to her later, more exalted roles. As Museum’s Costume Institute decorated in fashion editor, she worked with photographers the same hue.) ‘Red,’ she once said, ‘is the great such as Louise Dahl-Wolfe and Richard Avedon, ‘RED IS BRIGHT, clarifier: bright, cleansing and revealing. It shooting couture in a whole new way, CLEANSING AND makes all colours beautiful. I can’t imagine presenting style like art. ‘Vreeland,’ Avedon becoming bored with red – it would be like REVEALING… I CAN’T later said, ‘invented the fashion editor. Before her, it was society ladies who put hats on other becoming bored with the person you love.’ IMAGINE BECOMING society ladies.’ Not that she shied away from Vreeland’s dizzyingly successful career in fashion – she spent 26 years at Harper’s Bazaar, making the most of her society connections BORED WITH RED’ nearly a decade as editor-in-chief at Vogue and legendary charm. Vreeland enticed stars, and 14 years at The Met – was born from an unhappy childhood. old and new, onto her magazine’s pages: Mick Jagger, the Kennedys, Her parents, especially her mother, favoured Diana’s younger sister, Wallis Simpson, Jane Birkin and Twiggy. She was also extravagant and were not shy about letting their daughters know it. ‘Parents,’ – it was this that got her fired from Vogue – but, as she would have Diana wrote, ‘can be terrible.’ Like many miserable children, she undoubtedly said, some things are not worth compromising on. At was prone to flights of fancy, a trait she carried with her into any rate, she refused to learn the lesson. At The Met’s 1976 Diaghilev adulthood. Her autobiography, DV, features a childhood in Paris exhibition, she insisted that Chanel’s ‘Cuir de Russie’ perfume be involved with the Ballet Russes; she was, in fact, raised in New York. used to scent the air to get visitors in the mood. She remained, right Still, her boundless creativity, her sense of style and theatricality, up to her death, fascinating, memorable, stylish and fun-loving. was a match for the moment. During the dreary 1930s and war-torn And naturally, like her signature colour, she was never boring. DECEMBER 2020 ELLEDECORATION.CO.UK 83

T H E PA L E T T E

RADICAL RED Be inspired by Vreeland’s love of this vibrant colour and create a sumptuous layered scheme. Chinoiserie ﬂorals, plush velvet and smooth silk are counterbalanced by touches of ebony

9 1 ‘Ikko’ velvet in ‘Ruby’, £76 per m, Anthology (stylelibrary.com) 2 ‘Dust’ verre églomisé in ‘Petrol’ and ‘Rust’, from £890 per sq m, Studio Peascod (studiopeascod.com) 3 ‘Twill’ fabric in ‘Claret’, £51 per m, Harlequin (stylelibrary.com) 4 ‘Lyric II’ dupion silk in ‘Redwood’, £53 per m, Sanderson (stylelibrary.com) 5 ‘Artemis Climbing Walls’ wallpaper in ‘Black’, £185 for 4m roll, House of Hackney (houseofhackney. com) 6 ‘Red Ombre’ leather panel, £1,950 per sq m, Fameed Khalique (fameedkhalique.com) 7 ‘De Heem Floral Bouquet Scenic Midnight’ wallpaper mural by Jan Davidsz from the ‘Ashmolean Museum’ collection, from £40 per sq m, Surface View (surfaceview.co.uk) 8 ‘Frith’ cut velvet in ‘Pimento’, £72 per m, Designers Guild (designersguild.com) 9 ‘Grande Select’ engineered oak ﬂooring from ‘The Italian Collection’, £75.54 per sq m, Havwoods (havwoods.co.uk) 10 ‘Greta’ rug by Kasthall, from £426 per sq m, Sinclair Till (sinclairtill.co.uk) 11 ‘Rothko’ chenille in ‘332842’, £97 per m, Zoffany (stylelibrary.com) 12 ‘Tarazona’ velvet in ‘Scarlet’, £45 per m, Designers Guild (designersguild.com) 13 ‘Red’ aluminium foam in resin decorative wall surface, £1,300 per sq m, Fameed Khalique (fameedkhalique.com) 14 ‘Colours 20 Smalto’ glass mosaic tiles in ‘SM17’, £203 per sq m, Bisazza (bisazza.it) 15 ‘Tapis d’Avignon’ rug in ‘Grenat’, £1,200 per m (140cm wide), Roger Oates (rogeroates.com) 16 ‘Hoxton’ gloss porcelain tile in ‘Black’, £46.67 per sq m, Mandarin Stone (mandarinstone.com)

STYLE

T H E PA I N T S 4

Our pick of the most daring shades 5

‘Incarnadine’, £47.95 for 2.5 litres, Farrow & Ball (farrow-ball.com)

‘Oriental Red’, £37 for 2.5 litres, Craig & Rose (craigandrose.com) 10

‘Baked Cherry’, £47 for 2.5 litres, Little Greene (littlegreene.com)

‘Very Well Red’, £50 for 2.5 litres, Paint & Paper Library (paintandpaperlibrary.com)

COMPILED BY: KIERA BUCKLEY-JONES PICTURE: 3 OBJECTIVES

‘Beso’, £38 for 2.5 litres, Graham & Brown (grahamandbrown.com)

‘Strawberry Jam’, £50 for 2.5 litres, Designers Guild (designersguild.com)

16 ‘Venetian Red’, £51 for 2.5 litres, Zoffany (stylelibrary.com)

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D E C O R AT O R I N D E X

HOLLOWAY LI Who are they? Alex Holloway and Na Li met as apprentices at design studio Michaelis Boyd, where they found themselves working together on the design for Soho Farmhouse (Li designed the main barn, while Alex was responsible for the gym). Unwittingly, before that they had followed similar paths, both studying at The Bartlett School of Architecture. ‘We set up our own separate practices in 2015, but shared an office space and started to collaborate informally,’ explains Holloway. ‘We built confidence in each other, aligning on aesthetic, work ethic, and spirit, so we made the partnership official in 2018.’ They now specialise in luxury hospitality projects, but have also designed homes. What’s their style? Modern and opulent, with theatrical flourishes such as decorated ceilings and dramatic lighting. Holloway says this look was shaped by the ‘pomp and ornament’ of his Catholic schooling and, later, his love of clubbing. ‘We like to create impactful interiors with a strong narrative,’ he reflects. ‘We’re very inspired by art and film, and our designs often centre around a key moment that has a filmic quality.’ Director Stanley Kubrick’s penchant for symmetrical vistas and the detailed stage sets of performance artist Matthew Barney are cited as key influences, along with the London landscape. ‘Often, we find ourselves working on buildings with a long history, and we like to play with the conflict between old and new,’ says Li. What are their recent projects? Though their studio is still young, the duo has a prolific output, influenced, says Holloway, by The Bartlett’s notoriously high-pressure work ethic. Last year, in collaboration with designer Martin Brudnizki, they designed Linnaean, a wellness store, spa and café in Battersea’s Embassy

Gardens, which they covered floor-to-ceiling in plants and botanical patterns, in tribute to the Swedish naturalist after whom the venue is named. They’ve also created the Marylebone home of a Chinese calligrapher and art collector, which is perfectly pitched between traditional and modern. Inspired by oriental philosophy, they filled the Edwardian space with dark woods, rich jade greens and a host of antiques, contrasting these with modern details like brass lighting and herringbone-tiled walls. What are they currently working on? A rooftop bar extension for The Hoxton hotel in Shoreditch, and their first hotel projects as sole architects: Bermonds Locke, which opened in Bermondsey in September, and Wunder Locke, launching in Munich next year. Both are outposts of the Locke apartment-hotel concept. The London venue, in an abandoned office block, is inspired by the cabin architecture of Joshua Tree National Park in California. ‘We’ve tried to capture its psychedelic experience by using a metal-dipping technique to create an iridescent finish on the steel bar and wall panelling,’ says Holloway. ‘It echoes the desert sky. The sun and moon are also recurring themes.’ They’ve used lots of waste finishes, including recycled concrete, reflecting a growing interest in eco design. ‘We want all of our work to have an element of reuse or upcycling, but sustainability can also be about low-cost, locally sourced materials,’ says Li. ‘Alex and I would love to do a project where everything we use is recycled.’ They say: ‘We think of ourselves as chameleons – we’re happy to work to different briefs, as long as we are free to design with imagination.’ hollowayli.com

WORDS: AMY BRADFORD PICTURES: NICHOLAS WORLEY, EDMUND DABNEY

Inspired by art and cinema, this young, London-based duo create striking interiors with a sustainable edge

STYLE

Opposite A studio room at London’s Bermonds Locke From top Dressed in desert tones, the bespoke beds at the hotel are woven from blackened rebar with a linen canopy; the Chinese calligrapher’s house in Marylebone; rust-hued banquettes are paired with Carl Hansen chairs at restaurant Omar’s Place in Pimlico; ﬂoral chic at wellness salon Linnaean

THE LITTLE BLACK BOOK Every project has its own unique list of suppliers and craftspeople. Part of making it special is ﬁnding the right mix and match M AT E R I A L S

'WE LIKE TO CREATE IMPACTFUL INTERIORS WITH A STRONG NARRATIVE'

Contrasting natural materials with unexpected industrial ﬁnishes, such as polished stainless steel, is one of our favourite design tricks. We love collaborating with Clayworks to develop bespoke applied plaster ﬁnishes, which give more texture than you can achieve with typical wall paints. The team are incredibly helpful and will develop bespoke colours, too. clay-works.com FURNITURE

EXPERT ADVICE Holloway Li on how to make a statement with decorative finishes 1 Mirrors can add wonderfully playful touches to a room, creating the illusion of a larger space. The master of this technique was architect Adolf Loos – he inspired us to create an infinity effect using layers of mirror in the bedroom of a hotel we’re designing. 2 Dichroic film, which creates an iridescent rainbow effect, is great for adding a splash of colour-changing wizardry to a space. It works by sandwiching the film between two layers of glass, which you can then use to construct dazzling partitions, or a statement shower screen. 3 We love tiles, and one of the most creative specialist manufacturers we work with is DTILE from the Netherlands (dtile.info). It allows you to fully tile any shape or surface in one continuous expanse. We also like Matter of Stuff (matterofstuff.com) for unusual designs. 4 If your bathroom doesn’t have any natural light – like many of the hotel bathrooms we work on – fluted glass is a lovely way to introduce transparency while maintaining privacy. You can use any kind of textured glass for the same effect – Preedy Glass (preedyglass.com) has a great range.

We often work with Dodds & Shute, a supplier of the best sustainable designs by brands such as Another Country, Sebastian Cox and Very Good & Proper. It will help you to ﬁnd a supplier or product to suit any need or budget. doddsandshute.com LIGHTING

We look for unique pieces that will add character to a space. Heathﬁeld & Co designs bespoke lighting for our projects, and also sells sculptural ready-made designs in glass, alabaster and wood, as well as lampshades in every imaginable shape. heathﬁeld.co.uk FA B R I C S

East London designer Beatrice Larkin creates wonderful merino wool fabrics, cushions and throws in monochrome geometric designs. We’re collaborating with her on bespoke bed throws and cushions for one of our hotel projects. beatricelarkin.com

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THE CHRISTMAS EXPERTS From buying gifts to wrapping presents, our insiders have all the inspiration and advice you need for a stylish festive season Words NATASHA GOODFELLOW

HOW TO FIND PERFECT PRESENTS

JOE PETCHELCO, Founder, Arddun Stores To my mind, a good gift is always something surprising and unexpected. I like to give gifts that people can use and experience and enjoy – something that they might not buy for themselves, be that one-off ceramics or beautiful, luxurious bath towels. Both our families have birthdays around Christmas, so if my partner and I don’t plan ahead we’re in big trouble. We’re always sourcing things for the store, so if we see something that we think would be perfect for someone, we’ll buy it there and then. Explore your local high street. There are so many independent stores where you’ll ﬁnd something different. Do visit in person, too. Not all products make it online, especially if they’re unique. Every brand we work with is thoughtful about the environment and the footprint they leave. I like to think our gifts can make people think a bit and push them in a direction they might not normally go. The best gift I’ve been given were some socks from my partner. We lived in Australia for three years and I was fascinated by the ibis birds – which the locals call ‘bin chickens’ as they go through the trash. He’s a graphic designer and drew some beautiful birds which he had embroidered on some socks for me. He’d gone to so much effort, and they cost very little. Good presents needn’t cost the earth. All I want for Christmas is… to see my friends and family in one place. arddunstores.com JOE’S CHRISTMAS R E C O M M E N D AT I O N S Array, Stoke Newington, London (arraystore.co.uk) has a really personal selection of menswear and homewares. Harvey Nichols, Knightsbridge London (harveynichols.com). The food hall here is a favourite destination, particularly for gifts for my dad. P Franco, Clapton, London (pfranco. co.uk). I love this wine merchant. I always ask them to choose things for us.

Right, from left ‘Small Box’, £65; ‘Small Cup’, £45; ‘High Cup’, £65, all handmade by Lucas Le Roy at Arddun Stores

STYLE

A selection of Katie Leamon luxury cards, stationery and gift wrap

HOW TO MASTER THE ART OF WRAPPING

KATIE LEAMON, Founder, Katie Leamon

I love wrapping presents. Ever since my late teens it’s been ‘my time’ at Christmas. We’d go to see my nieces in a nativity play and then I’d go home and have a few hours watching a Christmas ﬁlm, drinking mulled wine and wrapping gifts. It was heaven. There’s no point doing it beautifully for my children – a delicately placed bow is just another obstacle to getting to the toy inside – but I still make an effort for people who I know will appreciate it. I like to bring in natural materials where possible; so I might tuck in a sprig of holly or a bit of rosemary at the last minute. It helps to have space to wrap, and things like good-quality tape dispensers, too. That said, if I have time I’ll use ribbons instead. Not all paper can be recycled. I avoid metallic papers and anything with a lot of glitter. Put awkwardly shaped presents in a box – it makes wrapping so much easier. I love the look of a pile of boxes beautifully tied with ribbon. Or you could do as my partner Ruairi does and wrap gifts in tin foil. As he says, there’s no need for tape, it’s shiny and kind of Christmassy, and you can use it to cook the dinner with afterwards! All I want for Christmas is… snow. My three-year-old really wants to build Olaf from Frozen. katieleamon.com

K AT I E ’ S C H R I S T M A S R E C O M M E N D AT I O N S nancyandbetty.com has a fantastic collection of beautifully designed, eco-friendly, UK-made crackers. strawlondon.co.uk My sister bought me some beeswax tapers from here. The tissue-paper wrapping was as beautiful as the candles. Royal Botanic Gardens, Kew (kew.org). A visit to Kew at Christmas to see the lights is a family tradition.

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H O W T O M A K E A S TAT E M E N T W R E AT H

WILLOW CROSSLEY, Floral stylist For me, wreaths are not just for the front door. I love them on interior doors and hanging from the walls or ceiling, and use flat ones for the table… I’m all for having them everywhere. The bigger, the better, though do remember you’ll need it to fit on your door. Ours normally goes up in mid-December; it’d be much earlier if I weren’t so busy decorating other people’s houses. I buy copper rings and pack them full of damp moss (secured with reel wire), but pre-made moss bases are available, too, which are a great idea if you’re short on time. A traditional wreath might start with branches of spruce or pine, but you can do amazing things with eucalyptus and ruscus; gypsophila and asparagus fern, or even plants like muscari, which have the most incredible scent. Dig them up from the soil or remove from their pots, keeping the bulbs attached, and bind them in, pushing them into the moss for moisture. Wreaths are up for a long time, so plan accordingly. Roses – if you have to have them – won’t last well, while dried materials such as straw flowers and seed heads (nigella, lunaria, teasels) are always going to be easier, and you can use them year after year. Dried hydrangea heads are a dream if your wreath will be hung in the dry. Outside, they’ll turn brown and soggy. All I want for Christmas is… I should probably say world peace, but what I’d really love is a holiday in the sun. willowcrossley.com; createacademy.com

‘WREATHS ARE UP FOR A LONG TIME, SO PLAN ACCORDINGLY. ROSES WON’T LAST WELL…’ WILLOW’S CHRISTMAS R E C O M M E N D AT I O N S

Willow suggests making wreaths for both internal and external doors

PICTURE: TOM G PHOTO

notanotherbill.com My brother’s website has presents for people of all ages. It’s brilliant for men, who are often hard to buy for, and you can personalise everything. matildagoad.com Lampshades, ceramics, linen – I adore everything on Matilda’s site. Burford Garden Company, Oxfordshire (burford.co.uk) has the most incredible Christmas department and is also really good for men’s clothing.

STYLE

H O W T O C R E AT E A F E S T I V E M O O D

EBI SINTEH, Co-founder, Our Lovely Goods

E B I ’ S C H R I S T M A S R E C O M M E N D AT I O N S Travelling Basket, Edinburgh (travellingbasket.co.uk) is a really well-curated, beautifully decorated shop selling handmade items. wearenomads.co.uk I often find unique gifts on this online shop filled with finds from the owner’s travels to Africa and beyond. Treen, Edinburgh (shoptreen.com). I like knitwear and have my eye on a couple of things from this vegan fashion store.

Candles are key at Christmas for Ebi and his family Above Scented candles by Our Lovely Goods in ‘Winter Spice’, ‘Into the Woods’ and ‘One Evening’, all from £20

Music makes such a difference to the atmosphere of the house, and as soon as December hits we seem to have music on 24/7. We love a little bit of Christmassy jazz – Nat King Cole or Louis Armstrong – as well as the cheesy classics and, of course, music with a nod to our heritage: some Afrobeats, Highlife and Afro Jazz. There’ll always be candles on the Christmas table. Eating by candlelight is something we do throughout the year, it just makes things feel a bit more special. We sometimes light a candle at breakfast, too – usually when my daughter is at nursery and I have a moment to breathe. Try mixing different types of candles to create an atmosphere. We like to use a selection of container candles, beeswax tapers and tealights, which look great on a mirror or in a mirrored tealight holder to bounce light around the room. It’s not just about the light they give off, think about the fragrance, too. I grew up with scented candles at home and, when I started making my own, I loved experimenting and seeing the moods different scents can create. Warm, spicy smells like cinnamon and orange zest are classics for Christmas, while the clean, woody fragrances of pine, bergamot and clove also work well. All I want for Christmas is… I’m pretty happy with anything but this year I’m mainly looking forward to our second daughter, due in early December. ourlovelygoods.com

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STYLE

H O W T O D E C O R AT E S U S TA I N A B LY

KITTEN GRAYSON, Founder, Kitten Grayson Flowers Decorating allows you to create an atmosphere for people to make amazing memories in. When I was little, we always used to go and see The Nutcracker ballet in the run-up to Christmas and that’s been a huge inspiration for the work I do today – I try to evoke that sense of enchantment. I like to use lots of wild, natural materials – garlands of hops, foraged berries, dried hydrangea heads or grasses – but used in a very considered way. Every piece of foliage or flower is beautiful in itself and we want to highlight that. I always find it so painful seeing Christmas trees lining the streets in January so, for the last few years, we’ve found fallen branches in our local forest that we either put in a stand or suspend from the ceiling, and decorate with gorgeous ribbons, baubles and fairy lights. That idea of sustainability is also behind our new Everlasting Installation service in which we use dried flowers to create bespoke pieces of floral art that are designed to last for years rather than days. It’s easy to dry your own flowers. Hydrangeas, dahlias, straw flowers, statice, gypsophila and roses all dry well. Just hang them, freshly picked, upside-down somewhere airy and out of direct sunlight. Just a few in bud vases running down the table can give a really dramatic effect. All I want for Christmas is... It’s been a tough year so I’m just looking forward to being with my family and having time to reflect. kittengrayson.com

KITTEN’S CHRISTMAS ADDRESS BOOK Petersham Nurseries, Richmond, Surrey (petershamnurseries.com) is always a huge source of inspiration. I love the interiors, the antiques, and the constant connection to nature. The Conran Shop, London (conranshop.co.uk) is always innovative, playful and forward thinking – it’s a fun place to ﬁnd unusual gifts. Liberty, London (libertylondon.com) is great for that London festive experience. Visiting the Christmas ﬂoor is always wonderful.

PICTURE: DAVE WATTS

Decorations made using dried ﬂowers can last years, says Kitten

92 ELLEDECORATION.CO.UK DECEMBER 2020

DECORATE THE SEASON Dust off your baubles and deck the halls, here are 19 ideas to inspire your festive schemes this year Words KIERA BUCKLEY-JONES

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WRAPPED IN RED Give traditional red a bold new look by pairing it with the subtle hues of orange. Opt for wrap with a matt ﬁnish, tie with natural paper ribbon and add handmade decorations. Reduce waste and throw in reusable ‘Furoshiki’ – the Japanese art of cloth wrapping – which is a gift in itself. 1 ‘Striped Fan’, £12.50, Paper Dreams (paper-dreams.co.uk) 2 Dip-dyed rosette garland, £16, Toast (toa.st) 3 Reusable gift bag, £20 for a set of 3, Forever Wrap Store at Etsy (foreverwrapsstore.etsy.com) 4 ‘Red Stars Most Wonderful Time’ paper, £8.75 for 4 sheets, Clara and Macy at Not On The High Street (notonthehighstreet. com); big white paper ribbon, £6, Paperchase (paperchase.co.uk) 5 ‘Dandelion’ paper in ‘Rose and rust’, £2.50 per sheet, Cambridge Imprint (cambridgeimprint. com) 6 ‘Frequency’ paper in ‘Orange’, £3 per sheet, Esme Winter (esmewinter.co.uk) 7 ‘Furoshiki’ wrapping cloth, £15; and 8 hand-marbled decoration set, £9.95, both Toast (toa.st) 9 ‘Dots’ in ‘Rust’ furoshiki gift bag by Lucinda Newton-Dunn for Link Collective, £37, Pantechnicon (pantechnicon.com) 10 ‘Dancers’ paper in ‘Orange/red’, £3 per sheet, Esme Winter (esmewinter.co.uk); red ribbon, from a selection, Paperchase (paperchase.co.uk)

STYLING: KIERA-BUCKLEY-JONES PICTURE: 3OBJECTIVES

STYLE

Simply does it Create a focal point at a drinks party with an oversized yet understated twig and ﬁr cone wreath. Layer your table in soft, earthy tones with linen, candles, bowls and coloured glasses – perfect for a pared-back celebration. ‘Amber’ tumbler, £11; and martini glass, £14.50; ‘Hammered’ glass, £12, all Broste Copenhagen at Nordic Nest (nordicnest.com). For similar linen tablecloth, try ‘Gracie’ tablecloth, £107, The Scandinavian Shop (scandinavianshop.co.uk)

RUSTIC TOUCH For a simple but striking centrepiece, use tapered candles. Arrange along the length of the table, with candle holders nestled among fragrant ﬁr branches. British beeswax candles, from £8 for a set of 4; ‘Bingley’ brass candlesticks, from £16 each, both Rowen & Wren (rowenandwren.co.uk)

STILL life No room for a tree? Create a festive vignette by decorating a branch stood in a coloured vase. For an extra layer of magic, scatter baubles beneath it and add your favourite scented candles. ‘Glass Bottle’ vase, £19.99; baubles, from £1.99 each; candles, from £3.99 each, all H&M Home (hm.com/home)

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Countdown to Christmas

Add a personal touch with an advent calender made of photographs and handwritten notes that are signiﬁcant to your nearest and dearest. Display the 24 cards on plywood or a canvas frame, covered in a fabric background of your choice. Number each photo on the reverse and arrange in a random order, decorate with string or ribbon across the surface and then secure with a pin or peg.

HEARTH OF THE HOME

CURATED OBJECTS You don’t need to buy new Christmas decorations every year. Dress the table with existing mismatched candlesticks, low vases, heirloom decorations and simple white table linen. For a cosy yet sophisticated yuletide touch, introduce candlesticks in different colours and display hand-picked dried ﬂowers from your garden.

KRISTA KELTANEN/LIVING INSIDE, LOU ARCHELL

Introduce long-lasting scent and colour by hanging fresh, fragrant eucalyptus across the mantelpiece, using Command ‘Hooks’, then secure with wire. Alternatively, hang a faux option like Cox & Cox’s ‘Succulent & Eucalyptus Garland’, £45 (coxandcox. co.uk). Finish by layering with a subtle beaded wooden garland – Marquis Weaves at Etsy sells one for £33.78 (etsy.com).

STYLE

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NATURE trail Go green, with contemporary patterned wrap in sage, forest and gold, tied up with raffia ribbon. Scatter eco-friendly paper decorations for a thoroughly modern twist 1 ‘Festive Foliage’ garland, £12.50, Meri Meri (merimeri.co.uk) 2 ‘Christmas Greenery’ paper set, £4.75, Clara and Macy at Not On The High Street (notonthehighstreet.com); raffia ribbon, £6.50 for 90m, Nancy & Betty Studio (nancyandbetty.com) 3 ‘Landshapes’ paper, £4.75 for 3 sheets, Wrap (wrapmagazine.com) 4 ‘Seed Olive’ paper, £2.50 per sheet, Cambridge Imprint (cambridgeimprint.co.uk); ‘Mistletoe’ tag, £6 for 8, Riﬂe Paper Co (riﬂepaperco.com) 5 ‘Loop’ paper, £5 for 3 sheets, 1973 (1973.uk); ‘Swiss Velvet’ ribbon in ‘Forest’, £6.50 for 3m, Ola (olastudio.co.uk) 6 Racoon ornament, £24, Jonathan Adler (jonathanadler.com) 7 Patterned paper, £5 for 2 sheets, Ola (olastudio.co.uk) 8 ‘Squares’ paper, £3 per sheet, Daylesford (daylesford.com) 9 ‘Kraft bauble decoration’ by House Doctor, £12.95 for 3, Trouva (trouva.com) 10 ‘Tiny Trees’ paper set, £4.75, Clara and Macy at Not On The High Street (notonthehighstreet.com); ‘Christmas Tree’ metal decoration, £2.95, Rex London (rexlondon.com) 11 ‘Christmas Tree’ paper, £9.95 for 5 sheets, Nancy & Betty Studio (nancyandbetty.com) 12 ‘Cone Honeycomb Tree’, from £10, Paper Dreams (paper-dreams.co.uk)

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STYLING: KIERA-BUCKLEY-JONES PICTURES: 3OBJECTIVES, KRISTIN PERERS, QUADRILLE/WORM

WILD wreath Get in the festive spirit by making your own wreath. For this loose and natural arrangement, use branches of fir and sprigs of ivy. You’ll need a willow frame (try floristrywarehouse.com or littlecraftybugs.co.uk), floral shears and twine. It’s a good idea to make it outside, or on newspaper, so you don’t make too much mess. Begin from the top and work clockwise, focusing on one area at a time. Slowly tie in sections with twine, pausing after each to check you’re getting the right amount of coverage. DECEMBER 2020 ELLEDECORATION.CO.UK 97

All that GLITTERS If you’re going to have a Christmas tree, then make sure it’s the star attraction. Add lights and then drip from head to toe with vintage lametta tinsel –Lion’s Home has a good selection (lionshome.co.uk). You won’t need much else as the reﬂective foil will pretty much light up the space. To source a real tree, try Pines and Needles (pinesandneedles.com). Its website has a directory of London stockists and deliver countrywide. To dispose of your tree responsibly, visit your local council’s website for recycling drop-off points.

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JOY TO THE WORLD

1 Silver garland, £15, Meri Meri (merimeri.co.uk) 2 ‘Balloon Animal’ bauble, £8, The Conran Shop (conranshop.co.uk) 3 ‘Building Blocks’ paper, £4.75 for 3 sheets, Wrap (wrapmagazine.com) 4 ‘Sausage Dog’ paper, £7.50 per roll, Meri Meri (merimeri.co.uk) 5 ‘Honeycomb Ball’ decorations, £20 for 10, Paper Dreams (paper-dreams.co.uk) 6 ‘Party Time’ paper, £5 for 3 sheets, 1973 (1973.uk) 7 ‘Festive Stripe’ paper, £8 per roll, Riﬂe Paper Co (riﬂepaperco.com); ribbon, from a selection, Paperchase (paperchase.co.uk); and ‘Silver Sparkle Star’ tag, £8.25 for 6; 8 ‘Candy Cane’ paper, £7.50 per roll, both Meri Meri (merimeri.co. uk) 9 ‘Greek Goddess Bubblegum’ decoration, £12, Rockett St George (rockettstgeorge.com) 10 ‘Pink & Gold Milan’ paper, £5 for 3 sheets, 1973 (1973.uk) 11 ‘Abstract’ paper, £3 per sheet, Studio Sophie (studiosophie.co.uk); ‘Iridescent glitter star garland spool’, £12, Meri Meri (merimeri.co.uk)

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STYLING: KIERA-BUCKLEY-JONES PICTURES:3OBJECTIVES, POLLY WREFORD

Brighten the mood and embrace gift wrap that will make you – and your recipient – smile. Playful patterns and kitsch baubles in joyous colours remind us that this is the time for having fun.

STYLE

HEAVENS ABOVE Handmade paper-cut snowﬂakes, single ﬁr branches, dove decorations and glass baubles make for a whimsical display hung above a dining table. Tie at varying levels with string or ribbon for full effect and remember the lowest ones need to be above head height so that guests don’t bang into them.

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PICTURES:RICH KENWORTHY, KRISTA KELTANEN/LIVING INSIDE/ STYLING BY KRISTA KELTANEN AND SANNI TUNTURIPURO

The advent wreath originates from 19th-century Germany, when Pastor Johann Hinrich Wichern built one for children using an old cart wheel and candles, which he lit each day until Christmas. Find a hanging kit at Manufactum (manufactum.co.uk).

POM-POM PARTY Create maximum impact by going all out with a huge collection of paper honeycomb decorations. Fill from ﬂoor to ceiling in unused alcoves, within a window frame or in an empty bookshelf. Display from the ends of curtain rails, or suspend on each corner of a ﬁreplace – the possibilities are endless! ‘All White Paper Decorations’, from £1.25 each; ‘Paper Fans’, from £2.50 each, all RE (re-foundobjects.com)

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WELCOME HOME A large, dramatic wreath on your front door will give your home a suitably grand entrance. You could purchase a lavish design from a professional florist such as The Real Flower Company (realflowers.co.uk), or choose to embellish a plain florist-bought wreath. Create an intoxicating scent by adding dried oranges, cinnamon sticks or sprigs of rosemary or lavender, and spray with water every now and again to ensure the wreath stays fresh.

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GOLDEN GLOW Rather than opting for classic gold, indulge in soft browns, nudes and shades of warm caramel. Select papers with graphic patterns in this elegant palette for a deﬁnite Christmas-cliché-free zone.

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STYLING: KIERA-BUCKLEY-JONES PICTURES: 3OBJECTIVES

7 1 Paper petal garland, £16, Toast (toa.st) 2 Ceramic decoration with gold lustre by Francesca Kaye, from £25, Anthropologie (anthropologie.com) 3 ‘Black & White Dashes’ reversible paper, £13.50 per roll, Cox & Cox (coxandcox.co.uk) 4 Origami star, £16 for six, Toast (toa.st) 5 ‘Waves’ paper, £5 for 3 sheets, 1973 (1973.uk) 6 ‘Aeand Rust’ paper, £2.50 per sheet, Kinshipped x AEAND (kinshipped. co.uk); ribbon, from a selection, Paperchase (paperchase.co.uk) 7 ‘Honeycomb Ball’ decoration, £9.50 for 2, Rockett St George (rockettstgeorge.co. uk) 8 Ceramic decoration with gold lustre by Francesca Kaye, as before 9 ‘Sequence’ paper, £4.75 for 3 sheets, Wrap (wrapmagazine.com) 10 ‘Grid’ paper, £2.20 per sheet, Kinshipped (as before) 11 ‘Nudes’ paper, £2.50 per sheet, Wanderlust Paper Co (wanderlustpaper.co) 12 ‘Mosaique’ paper, £4.75 for 3 sheets, Wrap (wrapmagazine.com); bow, from a selection, Paperchase (paperchase.co.uk)

STYLE

18 FROST BITE Often simplicity is the best way forward when it comes to Christmas decorating, so go for clear glass baubles such as these icicles, handcrafted in Liverpool. Hang on a tree for a touch of frost-like elegance that can be enjoyed for years to come. ‘Eliah’ recycled glass icicles, £12 for three, Rowen & Wren (rowenandwren.co.uk)

FINISHING TOUCH An effective yet easy way to inject a festive touch in a hallway is to wrap green foliage around a bannister with highlights of copper leaves. Complete with a simple, loose silk bow.

PICTURES:RAMBLING RENOVATORS, HECTOR SANCHEZ

Family TREE Create a tree of memories using treasured photographs of family and friends. Especially poignant for remembering lost loved ones, or those who can’t be with you this year.

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A window on Christmas The creative minds behind some of the most showstopping retail displays in the world reveal what goes into their festive concepts

J A N E T WA R D L E Y, H E A D O F V I S U A L D I S P L AY

My role is extremely exciting. When I ﬁrst joined in 1996 as window display manager, we only had one store. Since then, there have been a lot of developments to the business. I’ve been lucky enough to work in window display for various companies for 37 years. Inspiration is everywhere. The catwalks play a role in showcasing the key trends and I still use references from old magazines that I hoard, across fashion, interiors, architecture and lifestyle. I try to avoid sourcing ideas from the internet, because nowadays everyone has access to these images and you feel like you’re seeing the same thing over and over again. In display, your favourite scheme is always the next one. It is exciting working on the next project and seeing it come to life, which is one of the reasons I love this job so much. In my office, I have a whole shelving unit full of folders with photos of windows that have been created in my time at Harvey Nichols – there are too many to choose just one favourite! It really is a team effort to put a window display together – on average, it takes 20 weeks from conception to launch, and a week to complete each install. The Christmas windows are our biggest displays of the year, so we are already planning next year’s while ﬁnishing the install of the current year – we work incredibly far in advance.

One of the biggest challenges is ensuring that our displays offer something new. Christmas is the only time when we are working to a similar brief to our competitors, which is why we never celebrate the festive season in a traditional way and will instead look for new ideas that celebrate the brand’s sense of humour. For me, a Christmas window needs to have different layers of interest and detail so viewers are rewarded when they look deeper into the theme, and they must have a feel-good factor. Obviously, this has been a very different and difficult year for everyone, so we’ve come up with a concept that reﬂects that. This Christmas, the scheme is based less on trends, the runway or gifting product. Instead, there’s more emphasis placed on typographic messages that we hope will make our customers smile, done with the usual Harvey Nichols playfulness, of course. When it comes to decorating at home, I would encourage people not to be scared to experiment, as this can be where the best ideas come from. I mostly use the same decorations each year, but I put them together in new combinations and use them in different rooms, so each space looks fresh and unique. After Christmas, I always see if there are any bargains in the sales that ﬁt in with my existing decorations and add a new element to my collection for the following year. harveynichols.com

PICTURES: HARVEY NICHOLS

HARVEY NICHOLS

STYLE

ALEX WELLS-GRECO, C R E AT I V E V I S U A L D I R E C T O R

HARRODS

From top Last year’s ‘Kingdom of Christmas’ snow-ﬁlled windows; visuals for this year’s concept featuring ‘out of this world’ gifts

PICTURES: BRUNELLO CUCINELLI/HARRODS

As creative visual director, I am responsible for Harrods’ visual identity throughout the store and in the windows, as well as brand takeovers and pop-ups. Since childhood, I’ve had a particular ﬁxation on design and creative presentation, and after graduating from design school in Milan, this passion only grew. In a normal year, our team would work at least 15 months in advance to establish our Christmas concept, but naturally, this year it has been slightly different. Throughout our initial lockdown period, I decided to rethink the concept of the window schemes and adapt the style to a more ‘out of this world’ theme, offering our Christmas customers a form of escapism. Relevance is key to making sure we come up with different ideas, as well as always ensuring that we challenge ourselves to work with new mediums – our recent fashion partnership with Nick Knight and the SHOWstudio team has been especially memorable. We created a digitally-led window display, which was a ﬁrst for Harrods and was a real showstopper. Once we’ve decided on the theme, the fun part begins! Our 3D visualisers and windows team work together to create moodboards before exploring how the idea can be applied across all 45 windows, all the while ensuring that the concept is adaptable enough to allow us to collaborate with our brand partners. Our Christmas creative for 2020 is focused around gifting. We’ll be encouraging our customers to discover the most exceptional gifts and experiences that Harrods has to offer, so for our Christmas windows, I wanted to expand on this idea and create a future world where we have travelled into space to source the perfect present. The most rewarding part of the process is the unveiling of the windows – seeing how our customers react is really exciting. harrods.com

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STYLE

LISA CLEMENGER, VISUAL CONCEPT MANAGER

LIBERTY I head up the visual concept department – it’s our job to design and produce visual stories to support Liberty’s evolution, from campaign creative to press days, events and collaborations. I see myself as the guardian of Liberty’s eccentricity and quirky style. I’ve always been creative. I went to art college and loved curating the end-of-year shows. I also trained as a ﬂorist while working my way up the ranks at Liberty – I started as a Saturday girl, across many departments. When Faye McLeod (now head of creative for Louis Vuitton) joined as head of creative we hit it off immediately. She was full of ideas and I just wanted to be involved with it all. Liberty is in my blood – I can’t help but love the place. A Christmas window always has to be magical, be inclusive and evoke excitement and happiness. A story is always our starting point. It could be about Liberty’s wonderful heritage, or the store’s amazing architecture. This year, we felt it needed to be about community and togetherness.

‘THIS YEAR, WE FELT THE CONCEPT NEEDED TO BE ABOUT COMMUNITY AND TOGETHERNESS’

WORDS: KATE WORTHINGTON PICTURES: LIBERTY LONDON

From top Illustrated animals took over the building for 2018’s festive windows; last year’s magical levitating tree in the store’s atrium; visuals for 2020, themed around ideas of hope and peace

Last year’s scheme was one of the most exuberant I have delivered. The atrium held a giant levitating tree, which was a huge success. We extended the creative story throughout the whole of the store, so it was a really immersive experience for customers. Another scheme focused on the quirky personalities of the Liberty staff and their passions for collecting. We had windows dedicated to fridge magnets, vintage cameras and even cats’ whiskers, which summed up the eccentricity of Liberty as a whole. My favourite past Christmas scheme, though, was a beautiful sculptural display depicting a stream of wooden sledges racing through the white sky and ﬁnally crashing into a heap in the last window. We had our 2020 Christmas concept formed back in February, but, as we all know, the world changed and the concept didn’t feel right any more. Our design director hand-drew some illustrations for silk scarves at home during lockdown, and they immediately rang out as the starting point for the Christmas concept – heartfelt, warm and emotional. The designs take archive images and icons that signify hope, peace, love and togetherness. They’re also a unique Liberty mash-up of 18th-century etchings and 1960s Carnaby Street psychedelia. I hope the display gives people a moment of calm, fun and warmth – especially important this year. libertylondon.com

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SILENT NIGHT

Christmas doesn’t have to be an explosion of tinsel and baubles. At Oliver Gustav’s Copenhagen showroom, the interior designer offers a more contemplative take on decorations

Oliver Gustav was 17 years old when he celebrated his ﬁrst Christmas. Growing up in a family of Jehovah’s Witnesses, he had seen other children at his school cutting out paper hearts to turn into festive garlands but had been taught that traditions such as these were wrong – dangerous even. So, when sat around the Christmas tree with his boyfriend’s parents, the same year he’d conﬁded his sexuality to his father and been expelled from the church and life as he knew it, the young Gustav found it hard to join in the frivolity. ‘Since then, I’ve gotten pretty good at it,’ says the now 40-yearold interior designer and creative consultant of Studio Oliver Gustav, whose decorations for his showroom in Copenhagen have become legendary. ‘I love Christmas now, but I have my own take on it.’ Today, he spends the festive season with his in-laws in North Jutland, where the days are especially long and dark. ‘To me, Christmas is a melancholy time where it’s blustery and wild outside

and the trees are bare,’ he says. ‘My universe is minimalist and so is my Christmas.’ Not a fan of the tackier side of the season, Gustav wanted to create an aesthetic that would act as a balm to our hectic lives where, he says, ‘we always have a mobile phone in our hands’. For him, December is a time, ﬁrst and foremost, for contemplation. ‘There is no need for decorations to scream,’ he explains. ‘There’s so much else in life that does that.’ Call his aesthetic dark or gloomy, though, as many have, and you’d be wrong. ‘I have actually been a little sad about that description,’ he says. ‘That’s not how it feels when you sit in it. I have created a temple where people can recharge.’ ‘I often hear stories about others who have grown up in extreme conditions and later need to be rebellious, jumping into something just as extreme. That’s not me,’ he says. ‘What I needed was a place to stand still. A place where there is peace.’ olivergustav.com

WORDS: SARA MARIA GLANOWSKI

Photography ANDERS SCHÖNNEMANN

Antique bronze sculptures and a star Christmas ornament (also opposite) add a calm festive touch to a dark wood dining table by Oliver Gustav. Above is a â&#x20AC;&#x2DC;Highwireâ&#x20AC;&#x2122; pendant by Apparatus. The armchair is by Gustav and in the foreground is an aluminium stool by designer Jan Janssen

Opposite A ‘Queen’ armchair by Oliver Gustav is paired with a berry-hued linen pillow. Beside it is an imposing sculpture by multidisciplinary artist Ursula Nistrup, and in the background is a metal Christmas tree decorated simply with a variety of silver and gold ornaments This page An antique Chinese table is given the festive touch with a tree of foxed-glass baubles. The classic dining chair is by Gustav, and on the wall is ‘Aluminium Fragment’, circa 1958, by Jean Prouvé

‘THERE’S NO NEED FOR DECORATIONS TO SCREAM. THERE’S SO MUCH ELSE IN LIFE THAT DOES THAT’

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‘TO ME, CHRISTMAS IS A MELANCHOLY TIME WHERE IT’S BLUSTERY AND WILD OUTSIDE AND THE TREES ARE BARE’

Opposite The ‘Longues’ module from a modular sofa, and an ‘Emma’ armchair, both by Oliver Gustav, create the perfect tranquil corner. On the wall is a ‘Circuit’ light by Kevin Josias and on the far left plinth is an artwork by Michel Mouffe This page Although sombre to many, the decoration in the bedroom creates a haven-like feel for Gustav. Linen bedspreads add a rustic touch and, beside the bed, a terracotta lamp adds texture next to an ancient Egyptian sculpture Oliver Gustav furniture is all price on application; enquiries via olivergustav.com. Christmas items are available to purchase at shop.olivergustav.com

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HOMES COPENHAGEN

/ BRUTON/ HEMINGFORD GREY/ MILAN/ AMSTERDAM

PICTURES: JELTJE JANMAAT/PHOTOFOYER, BIRGITTA WOLFGANG BJØRNVAD/SISTERS AGENCY

Edited by CL ARE SARTIN

Whatever your normal opinions about the C word (whisper it, ‘Christmas’), this year is definitely going to be a bit different. The events of 2020 have given many of us a greater AP PPR EC CIATIO ON of our homes. They have become offices, schools, playgrounds and, occasionally, have felt a little like prisons, but now is the time for them to transform into M AGICA L places of comfort, joy and celebration. Necessity dictates that CHR ISTMA S is likely to be a more intimate affair this year, but that doesn’t mean it can’t look fabulous. There’s the all-out GLITZ and GLA MOUR of design store owner Pernille Hell’s apartment in Copenhagen (p114), the homemade CHA R M of a family home in Amsterdam (p156) or the quiet, elegant cosiness of the Cambridgeshire abode belonging to AU Bespoke founder Anna Unwin and her dog Sid (p136). Plus, they may not be dressed for the SEA SON, but the welcoming ambience of the Victorian townhouse in Bruton (p126) and Milan flat owned by the founders of rug experts CC-Tapis (p146), should excite even the most FESTIVE-phobic of design fans.

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hristmas isn’t the only big celebration this year for Pernille Hell. She’s also toasting the 20th anniversary of her much-loved design store and creative studio, Sacrecoeur, which is based in Charlottenlund, just north of Copenhagen. Combining vintage furniture and modern art, largely originating from France and Italy, it reflects its owner’s style and is a step away from the pared-back Scandinavian norm. Nowhere is that more obvious than the apartment that Pernille shares with her daughter, Josefine, and their dog, Selma. Located in Frederiksstaden, with views of the Danish capital’s famous Marble Church, her home resembles a set from a Federico Fellini film – all glitz and glamour, yet marvellously monochrome. Contemporary sculptures and vintage pieces in glass and brushed steel clamour for attention beneath the traditionally high ceilings. And, during the festive season, the luxury is dialled up even further. Pernille’s December traditions are very much centred around telling a story and creating ambience. She finds joy in surprising people. This year, guests will be greeted by a magical candlelit scene with a space-age twist, courtesy of neon and tube lights. ‘My fascination with neon and light art made it an obvious choice for this Christmas theme. It is like a snow-white design fairy tale,’ she explains. The effect of the lights is heightened by the collection of 20th- and 21st-century furniture that decorates this festive scene like decadent ornaments. Each item – whether a three-metre-long ‘Doge’ table by Carlo Scarpa, a revolving ‘TGR’ coffee table by Willy Rizzo or a Serge Mouille floor lamp – has been handpicked by Pernille. Alongside these gem-like discoveries, she adds her studio’s own sculptural designs, including the ‘Piano’ screen and ‘Loop’ clothes hanger, as well as its classically inspired The Blues sculptures. ‘My passion for vintage design, art and history keeps me innovative and inspired, and I translate that into my shop and home,’ says Pernille. ‘It is more about capturing an atmosphere than finding a specific style.’ For her, that means hunting out pieces that speak to your heart so that you will cherish them forever. ‘Imagine throwing all of your furniture, lamps – everything – up in the air, and allowing them to land randomly,’ she challenges. ‘If you have carefully selected every object, it should still work.’ ‘The world, in many ways, seems smaller than ever, but it is eternally full of new and old designs waiting to be discovered, dusted off and used again,’ she adds. ‘I think our time is ground-breaking in terms of the diversity of aesthetics and eras expressed in our homes – everything is allowed as long as it is done in style.’ sacrecouer.dk Portrait Pernille and Josefine with The Blues sculpture, a bronze piece painted white, by Sacrecoeur Studio, which stands guard next to the door Dining table A ‘Pipistrello’ lamp by Gae Aulenti for Martinelli Luce (top left) and Achille and Pier Giacomo’s ‘Taccia’ lamp for Flos (bottom left) light each end of the three-metre-long glass ‘Doge’ table by Carlo Scarpa for Cassina. Its decorated with a wealth of glassware and vintage stackable candleholders by Caesar Stoffi for Nagel, which create striking centrepieces. Postcards from the Rodin Museum in Paris are placed around the table for guests to write wise words on – one of Pernille’s traditions. Each guest gets to take home a card after they’ve been read aloud

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Dining room Vintage chairs by Gio Ponti, reupholstered in sheepskin, and a stool from the ‘Sit-eat-see’ collection by Blinkenberg & Scheel surround the ‘Doge’ table, all came from Sacrecoeur Design Store. The ‘Piano’ screen is by Sacrecoeur Studio. The Christmas tree is decorated in glass ornaments, candles (ready to be lit when gifts are exchanged) and rope lights. Beside it, the ‘Steel No. 1969’ table, also by Sacrecouer Studio, acts as a bar, with a bowl by Italian silversmith Lino Sabbatini. The ﬂoor lamp is a vintage design by Serge Mouille from 1956

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Living room A revolving ‘TGR’ steel coffee table designed by legendary photographer Willy Rizzo in 1970 stands at the centre of this space. It’s available from Sacrecoeur Design Store, as are the ‘Platner’ table by Warren Platner for Knoll and the Gustavian-style sofa from the 1900s. Next to the sofa is a vintage side table, on which sits a ‘Bilia’ table lamp by Gio Ponti for Fontana Arte. By the window stands a polished steel object, which acts as a stylish mirror, and a ‘No. 1969 bench’, both by Sacrecoeur Studio. The ﬂoor lamp is a vintage Serge Mouille design

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Kitchen Made of reﬂective brass and glass, the island is a vintage design. ‘Bertoia’ bar stools by Harry Bertoia for Knoll, a glass vase by Tapio Wirkkala and a framed print of a famous photograph, shot by Richard Avedon for Vogue (above), complete this glamorous space Hallway This area is dominated by a sculptural room divider and blue mirror, both part of the permanent ‘Les Volets’ collection by Sacrecoeur Studio

Bedroom The lacquered headboard and pale pink dividers are all from the ‘Les Volets’ collection by Sacrecoeur Studio. A ‘Tulip’ side table by Eero Saarinen for Knoll serves as a bedside table, while two ‘Steel No. 1969’ tables by Sacrecoeur Studio also occupy the vast space (opposite). On the one by the window is a ‘Gatto’ lamp by Achille and Pier Castiglioni for Flos. The chairs are antique and the ‘Loop’ clothes hanger is by Sacrecoeur Studio See Stockists page for details

This Victorian townhouse in Somerset has been transformed by owners with an eye for style, substance and storytelling Words HANNAH NEWTON Photography CLAIRE WORTHY/NEWTON + WORTHY

Living room The ‘Blackthorn’ wallpaper by William Morris for Morris & Co provided the starting point for the scheme. An embroidery by British artist Des Hughes hangs above the ﬁreplace, which is decorated with Edmund de Waal ceramics. The velvet sofas are both from Sofa.com, as is the yellow accent chair. On the antique sideboard behind the teal sofa are a pair of table lamps from Pooky Library Adjacent to the living room, this space has a contrasting mid-century aesthetic. The ‘677’ table by Robin Day for Hille, designed in 1952 for London’s Royal Festival Hall, is used as a desk, while the shelves (seen above, through doorway) are the ‘Royal System’ by Poul Cadovius, available at Dk3

‘I like to have a narrative for everything I do, so I imagined this property as a wealthy merchant’s home,’ says Ed Workman, CEO of country house hotel The Newt in Somerset. ‘We are all storytellers,’ he adds. His four-storey Victorian townhouse, located close to The Newt in the small-but-significant village of Bruton, certainly has a past worthy of a tall tale. Once a butcher’s shop, it has also served as a vet’s surgery and a school. All these incarnations may have given the place history, but, sadly, by the time Ed and his wife Alice moved in, all of its original features had long since been ripped out. Fortunately, the building still had good bones. From the street it may look rather humble, but step through the wide front door and you’re greeted by a light-filled hallway hung with paintings by Alice’s grandfather, the notable 20th-century British artist Cavendish Morton. Continuing the artistic thread in her family, Alice works for Hauser & Wirth as its senior director of cultural centres Europe. She and Ed both confess that their jobs infiltrate home life. The couple regularly host dinner parties, cooking for the international artists and art-world friends who come to Bruton to exhibit and buy. Devoted to entertaining, their ground-floor living room was conceived to feel, ‘rich and lively,’ says Ed. New cornicing was

installed, as well as a chimney breast and ﬁreplace, to link the property to its roots. The Victorian-style features contrast beautifully with the couple’s passion for contemporary art. It is the handmade William Morris wallpaper, though, that was the starting point for the look of this room, inﬂuencing everything from the choice of jewel-like shades of upholstery to the cushions and lampshades. ‘We wanted the space to feel soft and luxurious,’ adds Ed. ‘What I learnt at The Fife Arms [the Scottish hotel he oversaw in his previous job, handling the international expansion of Hauser & Wirth] is that if you are brave enough to just keep adding (up to a point), a room just becomes more and more comfortable.’ Downstairs in the basement, things are more family oriented, but no less stylish. This is where Ed, Alice and their son Arthur, four, spend the majority of their time, so Ed designed it to be ‘clean, modern and calm’. A bespoke Devol kitchen leads into a dining room and, beyond that, a cosy snug. It’s entirely open-plan, perfect for keeping an eye on the latest addition to their family – Alice has recently given birth to their second child, Pippin. Another chapter in the story of this decorative and detailed home. hauserwirth.com; thenewtinsomerset.com

Library An original Roy Oxlade painting hangs above the vintage sofa, which has been reupholstered in ‘Tweed’ from Bute Fabrics. A vintage rug and Ercol ‘Originals’ coffee table complement the comforting quality of Farrow & Ball’s ‘Book Room Red’ Portrait Alice and Ed in their basement kitchen, which was designed by Devol. The brass wall light is from Graham & Green and, on the back wall, a series of paintings by Neill Fuller frame the door to the garden

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Snug A large chaise sofa from Sofa.com and a striped Ikea rug create a colourful and welcoming sitting area in the open-plan basement. The couple picked up the pair of mid-century armchairs at auction. Hanging above them on the far wall are contemporary paintings by British artists Phyllida Barlow (left) and Bridget Riley (right) Dining room The walls are painted in Farrow & Ball’s ‘Pink Ground’ – the perfect foil for the typographical print by British artist Richard Long. Another Country’s ‘Dining Table Four’ is paired with vintage Habitat chairs. The lampshade is also a classic Habitat design

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Hallway Original paintings by Alice’s grandfather, Cavendish Morton, decorate this gallery-like entrance Bathroom Located at the top of the house, this space is painted in Farrow & Ball’s rich and warming ‘India Yellow’. For a similar roll-top bath and basin, try Burlington Bathrooms. The wall light is from Zangra

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Bedroom The wallpaper is ‘Stony Point 1972’, designed by the Grantchester Pottery for Common Room. Above the Ercol bed are ink-on-paper artworks by the couple’s friend Kate Hawkins, who founded Common Room. Alice and Ed installed an ensuite bathroom and created a panelled wall (opposite), which is painted in Farrow & Ball’s ‘Drawing Room Blue’. On it hangs a painting by Cavendish Morton, Alice’s grandfather. The red palette-shaped side table is a vintage piece designed by Lucien de Roeck for Bois Manu in 1958 See Stockists page for details

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ALL IS CALM Pared back, soulful and timeless, this Cambridgeshire haven is a lesson in combining sustainability with minimalism and a quiet sense of occasion Words ALI HEATH Photography MICHAEL SINCLAIR Styling HOUSE OF GREY

Living room Bespoke sofas from Caravane, reupholstered in linen, and an oversized rug from Larusi give this space a textural warmth. Statement antiques from AU Bespoke, including a marble coffee table, continue the reﬁned palette, while a ‘Mirror Ball’ pendant light by Tom Dixon adds a touch of glamour. The rustic bowl on the table, also from AU Bespoke, is ﬁlled with decorative crystals

B Portrait Homeowner Anna sits at her bespoke dining table in front of specially commissioned canvases by British artist Oliver Hilton Dining room Anna loves to entertain so had a huge marble top made for two vintage marble bases to create a table large enough to accommodate guests. The antique parquet ﬂoor, salvaged from the old MI5 building in London, enhances the seamless ﬂow between the main dining and living spaces. The chairs are a vintage Danish design, upholstered in sheepskin, and the mirror is also second-hand, all from AU Bespoke. Another ‘Mirror Ball’ pendant light by Tom Dixon hangs above

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eauty is more than skin deep at Anna Unwin’s Cambridgeshire home: a former religious retreat in Hemingford Grey that greets you with an immediate sense of calm and understated sophistication. Its symmetrical Georgian proportions play host to a collection of one-off design finds, all selected with the keen eye that has made her antiques and textiles shop, AU Bespoke, a favourite choice of interior designers, boutique hotels and private clients. ‘Restoring the original bones of the house with integrity was as important to me as the aesthetics and functionality,’ says Anna. ‘When sourcing furniture and accessories, I’m drawn to soulful old pieces – repurposed for modern living, their sense of story always resonates.’ After swapping the streets of London for life in the countryside 10 years ago, with her husband, Willie McDougall, and their three girls – twins Olive and Flo, 12, and Betty, 11 – Anna has slowly transformed this space from austere, 22-bedroom monastic retreat to stylish five-bedroom family home. ‘The sheer scale of the 790-square-metre property meant taking our time to finesse the internal layout and to thoughtfully source,’ she explains. ‘It gave me the freedom to imagine and create.’ Throughout the house, off-white backdrops are complemented by a few considered pieces. There’s the covetable parquet floors reclaimed from the old MI5 building in London, 400-yearold thick stone fireplaces from a dealer in France, Italian travertine tables and mid-century modern lighting, as well as abstract art and heavy antique textiles. ‘Curating aged finds within a minimalist scheme adds a contemporary edge that new, on-trend collections never quite deliver for me,’ says Anna. In the kitchen, pale pink bespoke cabinetry is complemented with an artful mix of luxury materials, including brass, copper, foxed glass and natural granite details, while in the living room bespoke linen-covered sofas, bought 20 years ago from Caravane, set the tone for this property’s inviting palette of cream and white. It’s a colour scheme that lends itself to Christmas, but Anna’s same minimal aesthetic applies to the festive season. Think oversized branches of fir, a handmade wreath and waxed brown paper parcels, finished with rustic string – simple, foraged, natural, recyclable. ‘During the renovation, sustainable choices became a way of life,’ says Anna, who is an advocate of hunting out designs that have a style capable of transcending time and trends. ‘I love that my customers increasingly value this aesthetic too,’ she adds. ‘Choose pieces well and you will love them forever.’ aubespoke.com

Family room Monochromatic hues and cosy textures continue in this relaxing space, which is enjoyed by Annaâ&#x20AC;&#x2122;s long-haired dachshund, Sid. The expansive corner sofa and matching pouf are from Sofa.com and the bespoke triptych artwork hanging on the wall is from House of Grey. The cabinets were made by a local carpenter, and similar ceramic table lamps are available at AU Bespoke

‘THE SHEER SCALE OF THE PROPERTY MEANT TAKING OUR TIME TO THOUGHTFULLY SOURCE. IT GAVE ME THE FREEDOM TO IMAGINE AND CREATE’

Details Christmas decorations in this home are typically pared back (above), with unadorned spruce branches displayed in a plain brass vase – this one in fact made from old brass ammunition shell casings. Anna likes to ﬁll vintage wooden bowls (left) with curiosities, including crystals and an ammonite fossil

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Breakfast area Located at one end of the kitchen, this striking marble table and mid-century modern Danish chairs, reupholstered in vintage sheepskin, are all from AU Bespoke. The painting was a gift from Anna’s father and is by French artist Astrid Steenbrink Kitchen Bespoke cabinets painted in Farrow & Ball’s soft-pink ‘Calamine’ are paired with foxed mirror wall tiles – try Rough Old Glass for similar – to create an elegant feel. The brass pendant lights are from Habitat

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‘I’M DRAWN TO SOULFUL OLD PIECES – REPURPOSED FOR MODERN LIVING, THEIR SENSE OF STORY ALWAYS RESONATES’

Bathroom A sleek, marble-panelled bath from CP Hart creates a sanctuary-like feel in this space, which is heightened by the antique bust and mirror from AU Bespoke. The bathmat is from Davey Home and the cheese plant was picked up at Petersham Nurseries

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Main bedroom Bespoke linen cushions and an antique marble side table (opposite) from AU Bespoke add a touch of luxury to this restful space. The artwork resting on the bedside table is a vintage ďŹ nd. A sofa from Caravane is placed in a cosy lounge area, complete with a foxed glass mirror and 1970s Italian marble coffee table, both from AU Bespoke. The pendant lampshades are from Tine K See Stockists page for details

Words and production CHIARA DAL CANTO Photography HELENIO BARBETTA/LIVING INSIDE

Home to the founders of innovative rug brand CC-Tapis, this Milan apartment exemplifies their distinctive style

FROM THE GROUND UP

Living room The colours of the tapestry – a family heirloom that dates back to the 1800s – complement the shades in the ‘Double Slinkie’ carpet by Patricia Urquiola for CC-Tapis. The velvet ‘Strips’ sofa by Cini Boeri for Arﬂex is joined by a ‘Klara’ rocking chair, also by Patricia Urquiola, this time for Moroso, and pink ‘Elettra’ armchairs by BBPR for Arﬂex. The pouf is by Lorenza Bozzoli Design and the coffee table is the ‘Platner’ by Warren Platner for Knoll

elcya Chamszadeh and Fabrizio Cantoni met when they were studying hospitality management at the Ecole Hôtelière in Lausanne, Switzerland. Careers in the hotel industry followed, but then the couple decided it was time for a change. It was while living in Strasbourg, where Nelcya’s father owned a traditional Persian carpet shop, that the idea for CC-Tapis began to take shape. Established in 2001, the company, now based in Milan, is renowned for its contemporary and colourful take on rugs. Perhaps the signature flair of their designs is a result of their diverse backgrounds: Fabrizio is English on his mother’s side and Italian on his father’s, while Nelcya has an Iranian father and French mother. Or maybe it’s their wide-ranging passions, which run the gamut from architecture to fashion, taking in classical elements and rock ’n’ roll exuberance. Either way, that same freedom of expression is on display in their home. The apartment, just a short walk from the CC-Tapis head office on Milan’s Piazza Santo Stefano, is situated in a newly renovated historic building. ‘It was originally the site manager’s office and the last one to be sold,’ recalls Nelcya. ‘In our opinion, it had taken time to sell because of its long and narrow shape.’ What other buyers had seen as a negative, Nelcya and Fabrizio turned to their advantage. The slender corridor that welcomes guests into this home has been turned into a concentrated representation of Fabrizio’s imagination. Posters, photos and objects collected over time are displayed in a psychedelic mélange, and feature everyone from David Bowie and Jeff Koons to Queen Elizabeth II and The Muppets. ‘Colours represent us and we love them in all their combinations,’ says Fabrizio, but, away from the artworks, this apartment is an unexpectedly blank canvas. Architecture and interior design company Studio MILO, tasked with making the most of the property’s unique dimensions, decided on a gallery-like look: white walls, floors and ceilings. The minimalistic backdrop is only broken, rather dramatically, in the kitchen, where pink onyx – a tribute to Nelcya’s favourite colour – makes a big impression. Throughout the living areas, which run one into the other in this open-plan space, the decision to keep things simple ensures the attention remains firmly on the art and, of course, the rugs. The piece that represents the heart of this home, though, is the hand-knotted, late-19th-century Persian tapestry that hangs in the living room. A gift from Nelcya’s grandfather to her parents, it has now been passed on to her. ‘He was a very unique person,’ she says, ‘and this tapestry is a beautiful memory that never ceases to move me.’ Fabrizio would like to enhance its beauty, perhaps by adding some lighting, but he is yet to convince her. After all, for this couple, important decisions are always made together. ‘Normally,’ Nelcya explains, ‘Fabrizio makes extensive selections, from which extreme proposals can sometimes emerge. Afterwards, we come together to reduce that down to a shortlist and find a common conclusion.’ It’s a collaborative process that has served them well, at work and at home. cc-tapis.com; studio-milo.com

‘COLOURS REPRESENT US AND WE LOVE THEM IN ALL THEIR COMBINATIONS’

Portrait Fabrizio and Nelcya in front of the ‘Multileg Showtime’ cabinet by Jaime Hayon for BD Barcelona. The table lamp is the ‘Pipistrello’ by Gae Aulenti for Martinelli Luce Opposite The yellow side table is the ‘Zig Zag’ by Pols Potten

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Dining area Sitting beneath a ‘Model 2109’ chandelier by Gino Sarfatti, reissued by Astep, is an Eero Saarinen ‘Tulip’ table for Knoll and ‘Little Tulip’ chairs by Pierre Paulin for Artifort. On the table is a marble ‘Triangoli’ bowl by David/ Nicolas for Editions Milano, a Jonathan Adler vase and a pink globe by Kristjana S Williams. The artwork is by Anja Niemi. Leading through to the study area are three pieces from CC-Tapis’s ‘Rug Invaders’ series. A vintage yellow lamp designed by Verner Panton sits atop an antique secretaire and the velvet armchair is from the ‘Pastilles’ collection by Studiopepe for Tacchini

POSTERS, PHOTOS AND OBJECTS COLLECTED OVER TIME ARE DISPLAYED IN A PSYCHEDELIC MÉLANGE Kitchen A celebration of powder pink, realised in onyx and lacquered wood, this room was designed by Studio MILO. The ‘Shiva’ vase is by Ettore Sottsass for BD Barcelona and the ceramic rabbit is from Paul Smith. The wall lights are the ‘Altea’ by Astro Lighting Hallway A ‘Love’ wallhanging by Paul Smith for The Rug Company (above) sits in the middle of this explosion of creativity and colour. On the shelf are satirical busts by American graphic artist Frank Kozik. Amid the fun (right) you’ll ﬁnd a ‘Piggy’ skateboard by Paul McCarthy, a small Balloon Dog sculpture by Jeff Koons and a signed The Night painting by Damien Ligier (bottom)

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THE COUPLE’S WIDE-RANGING PASSIONS TAKE IN CLASSICAL ELEMENTS AND ROCK ‘N’ ROLL EXUBERANCE

Dressing area On the wall (above ) is a ‘Flower’ cushion by Japanese pop artist Takashi Murakami. The rug is part of the limited-edition ‘Archer’ collection by Taher Asad-Bakhtiari for CC-Tapis. Studio MILO designed the bespoke round mirror (right) and the ‘Rabbit’ table lamp is by Front for Moooi. On the ‘Slinkie’ runner by Patricia Urquiola for CC-Tapis sits a pouf by Lorenza Bozzoli Design Main bedroom Designed by Studio MILO, the headboard features cushions upholstered in fabric by Arﬂex and built-in bedside tables. Among the selection of art is Mandrill by Italian artist Saverio Polloni, who is known for his animal paintings. The rug is the ‘Feathers Freeform’ by Maarten De Ceulaer for CC-Tapis See Stockists page for details

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MEMORIES IN

THE MAKING Handmade decorations crafted from seasonal greenery give this Amsterdam home a cosy charm that’s ideal for an intimate family Christmas Words CLARE SARTIN Photography and production JELTJE JANMAAT/PHOTOFOYER

Living area Pine branches and a homemade candleholder created from wooden blocks are used to decorate the original ﬁreplace. The chair is a vintage Ercol design, the basket is from Dille & Kamille and the Persian carpet was found at a ﬂeamarket in Amsterdam

hile Sanne Hop’s eldest children – Ole and Hannes – are busy at school, her two youngest – Pippa and Kaatje – can be found hard at work, making Christmas decorations by hand at the dining table. Freshly picked sprigs of holly, eucalyptus and fir are worked into charmingly simple wreaths, garlands and table settings. ‘I always decorate my home with flowers and branches,’ says Sanne, but at this time of year, the Amsterdam home the historian shares with her husband, Wim de Boer, an art director, takes an even more comforting turn. Every corner is tastefully dressed with greenery; no tinsel here – the couple avoid plastic wherever possible. All of the children’s toys unwrapped on Christmas Day will be wooden or made from natural sources. For Sanne and Wim, this is an ethos, not just an aesthetic. ‘We try to provide our children with an environment that expresses happiness, calmness and an appreciation for beautifully made things,’ explains Sanne. That translates into a restrained palette of wood, ochre yellow and clay-like tones. ‘The four of them already add enough colour into our lives,’ she jokes. It was after the birth of Kaatje, their youngest, that the couple decided to rent this two-storey apartment in the centre of the Dutch capital, having outgrown their old home on the Amstel River. It may be a temporary abode, but the love they have shown this 17th-century building has improved it for future families. ‘The former tenant had half-removed the carpet from the stairs and the staircase was left with a sticky surface, so we cleaned, sandpapered and painted it,’ recalls Sanne. She and Wim also removed two walls to link the once-tiny kitchen to the open-plan living area on the ground floor, adding new white Ikea cabinets. Plywood underlay has been used on the floor throughout – a practical choice that achieves a no-nonsense rustic look. ‘Fortunately, the property has a lot of character,’ says Sanne. When it comes to finding furniture, she favours pieces with a story. ‘I like the idea of giving things a new home,’ she explains. ‘I have a favourite stall at the Waterlooplein fleamarket. The salesman has a tale about everything he sells. Recently I bought a beautiful Persian carpet and a cane chair.’ One of her favourite purchases, though, is the vintage French iron bed in Kaatje’s room. ‘It has wheels, so when she wakes up in the middle of the night and wants to sleep with us, we can roll her bed into our room.’ This may only be a temporary abode for Sanne, Wim and their clan, but the memories that are being made here will last a lifetime. ‘Christmas is a time of being together as a family,’ says Sanne. ‘It doesn’t matter where you live. The season makes every home cosy.’

Living area Next to the mid-century sofa by Danish architect and designer Peter Hvidt, which Sanne found online, is a vintage cabinet from 1917 by Cees Braakman (left). The wooden side table (also left) is from Woodchuck. The vintage dresser (above, on the right) is from Meutt and the ceramic wreath above it is a handmade piece by Kat’s Creations

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‘Christmas is a time of being TOGETHER AS A FAMILY. It doesn’t matter where you LIVE. The SEASON makes every HOME cosy’

Dining area Two white chairs from Ikea, a 1950s high chair by Kibofa and a vintage Cees Braakman-designed seat for Pastoe surround the ‘Grut 1’ table from SlowWood. The enamel pendant light is from Rotterdambased shop Pantouﬂe and Sue Pryke designed the ‘Mr & Mrs’ teapot Above During the festive period, the dining table is always beautifully decorated. The ceramic plate is from Bloomingville and the wooden one is from Sissy-Boy. Sanne made the candleholder from clay, while the tree decorations are from Dille & Kamille Kitchen The cabinets are from Ikea. Wooden coat hooks by Iris Hantverk – available at Arket – are used to hang utensils, including scissors from Hay. The wooden board is from Ask og Eng and the wooden plates and bowls are from Sissy-Boy. Wim inherited the still-life painting

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The couple’s sustainable ETHOS translates into a restrained PALETTE of wood, ochre yellow and CLAY-LIKE tones

Bathroom Sanne and Wim did little to update this simple space except adding accessories in their signature palette. The bamboo shelving unit is from Ikea and the hooks were designed by Iris Hantverk – available at Arket Main bedroom Kaatje’s space, attached to her parent’s room, features vintage wallpaper from Swiet. Just seen is Kaatje’s antique French bed, which the couple roll into their room when she can’t sleep

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Main bedroom The wooden ‘Frame’ bed, designed in collaboration with Jantine and Vivian from April and May, is by Loof. It’s dressed in sheets from Timeless Linen and a rust-coloured bedspread from Catsandboys. The pendant light is from Bloomingville and the ‘Foldin’ shelves are from Emko

‘ We try to provide our CHILDREN with an environment that expresses HAPPINESS, CALMNESS and an appreciation for BEAUTIFULLY made things’ Ole’s room The shelf unit is a vintage piece, while Ole’s desk is the ‘Tom Table’ from sustainable kids’ brand XO-inmyroom and the chair is a mid-century piece by Pastoe Pippa and Hanne’s room The two middle children share a bedroom, but with beds tucked on either side under the eaves, it’s big enough to give both their space. Hanne’s rattan bed is from Maisons du Monde See Stockists page for details

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/ C U LT U R E / H O T E L S / R E S TA U R A N T S Edited by CAT OLLEY

Sister ACT The canniest retailers know shoppers want more than a lifeless showroom, but few can claim a space quite so sensational as the new Sister Jane Townhouse in Notting Hill. The fashion brand called on London studio Sella Concept to create its new headquarters, which includes a showroom, restaurant and roof terrace, all showcasing a knack for soulful, 1970s-inspired interiors with a dash of wit â&#x20AC;&#x201C; think mirrored changing rooms, a hexagonal brass-topped bar and playful custom designs paired with vintage pieces by Gio Ponti and Guzzini (sisterjane.com).

Sister Jane Townhouse in Londonâ&#x20AC;&#x2122;s Notting Hill features a restaurant and roof terrace alongside its showroom

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FRENCH connection Entrusting a Brit with a handful of France’s most beloved brasseries may have seemed a gamble, but designer John Whelan’s radicalyet-respectful makeovers have now earned him his first project on home soil – striking new St James’s restaurant Maison François. Starting this time from scratch, Whelan (with studio The Guild of Saint Luke and spirited restaurateur François O’Neill) has amplified an interior inspired by a modernist church in Germany with ‘the right dosage of postmodernism’, opting for gridded walnut ‘pews’ to seat diners, arched recesses in homage to Spanish architect Ricardo Bofill’s towering cement factory restoration La Fabrica, and linear sconces that ‘cut through the more traditional elements like a light sabre’. The menu may feel more familiar – all the French classics are accounted for, along with a dessert trolley – and wine bar Frank’s downstairs will pacify the choosiest drinkers with a list of 250 bottles. With this first under his belt, Whelan is resolute that Londoners will always have an appetite for the brasserie format: ‘It is the best expression of dignified, unfussy dining that has ever been created.’ maisonfrancois.london

Designer John Whelan (below) took inspiration from a modernist church for the interiors of Maison François

MEET THE DESIGNER JOHN WHELAN

He may be the go-to guy for a French fixer-upper, but there’s more in the pipeline for the British creative How did your career as a designer begin? I worked in advertising in Paris before setting up a handful of nightclubs housed in historic monuments – thus fashioning a design portfolio almost by accident. Things took a different path when a brasserie group owner (who was clearly not risk-averse) entrusted me with the restoration and redesign of a number of iconic brasseries throughout France. What do you see as the key ingredients of a brasserie? First of all, scale. Grandeur adds a sense of occasion, without sacrificing the fun – brasseries should be bustling and buzzy. I was delighted when François O’Neill declared to me his intention to make Maison François a fun environment, in contrast to some of the stiffer establishments in the area. Tell us about your studio, The Guild of Saint Luke... The studio takes its name from the ‘go-to’ name for guilds in medieval Europe. When artisans were stumped for an original name, they turned to ‘Saint Luke’, the patron saint of artists. It’s like a medieval ‘Joe Bloggs’! The set-up of the studio is virtual, and the collaborators tag in whenever they need to from wherever they feel like. I’m convinced that giving one’s creative team utter freedom is the way to get their best work. What’s next for you? We’re currently tackling some high-end offices in Paris and in talks with a couple of hotel groups. We’re keen for the glove to fit properly for our first hotel, as it did with Maison François, our first project in London. Once we start doing hotel projects, we might bring out the odd piece of furniture or lighting, as the transition then to residential is a natural one. gsl.works 170 ELLEDECORATION.CO.UK DECEMBER 2020

ISLE OF PLENTY Scotland’s magical Isle of Skye has become an unlikely destination for modern design, inspired by the drama of its unrivalled landscape

RESTFUL INTERIORS ACT AS A FOIL TO THESE PROPERTIES’ WINDSWEPT SURROUNDS

It would be fair to say that Skye need make little extra effort to attract visitors, such is its wealth of natural good looks. And yet there’s a smattering of spectacular places to stay, as a dearth of period properties has proved an unlikely force for architectural innovation. In their absence, creative types tend to stake out the most picturesque plots and do their own thing, usually with one of two award-winning architecture firms in tow: Rural Design and Dualchas Architects. (For an island of only 12,000 permanent inhabitants, it’s quite the architect to resident ratio.) High-profile projects include Grand Designs-featured Hen House and its lowimpact sister property Fiskavaig Studio, plus Harlosh’s larch-clad Black H, which featured on these pages in 2018. Most are designed to maximise views and minimise waste, with restful interiors that act as a foil to their windswept surrounds. Sarah Chesworth, who owns rental cottage The Crofter’s House, had initially wanted to build an architect-designed timber shelter but was deterred by the prohibitive logistics involved in overseeing the project remotely. ‘I went through a complete re-evaluation,’ she says, recalling the revised checklist. ‘Somewhere with character, that captured the historical context, was very small and near the sea.’ A derelict crofter’s house with walls a metre thick, dating from 1830, fit the bill for her vision of ‘a peaceful hideaway within the stunning rugged landscape, almost Scandinavian in feel’. No one could fault the result – the diminutive retreat has impeccable design credentials, including lighting by Louis Poulsen and Gubi, a Normann Copenhagen clothes rail and a healthy selection of HAY homeware. Yet it feels utterly at ease within its surroundings, just inland from a quiet bay where seals are spotted daily. Chesworth, who runs creative agency Felt in Glasgow, has produced quite the Skye portfolio, overseeing branding for luxury guesthouse

PICTURES: INDIA HOBSON/HAARKON, ANNE-SOPHIE ROSENVINGE, FELIX MOONEERAM

From top The Crofter’s House, set in rugged landscape; and its restful interior with white wood-panelled walls; the Black H holiday home by Harlosh

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Kinloch Lodge, Isle of Skye Sea Salt Company and new café Birch. The brainchild of Skye native Niall Munro, alongside parents and sister Sarah-Anne, Birch was inspired by trips to coffee mecca Melbourne. ‘I was keen to replicate that Melbourne café style on Skye, but with our beautiful, locally sourced products,’ he says. Though Birch could hold its own against any Hackney hangout, there’s a slower, quieter appeal in taking a pew at its handcrafted bench. And it’s not the island’s only stylish pit stop – at café and second-hand bookshop Bog Myrtle, you can now pick up an indie design magazine with your vintage paperback. ‘I’d met so many people who came to Skye looking for authentic, well-made craft and art,’ recalls Edinburgh native Jen Carter Pearson, who ﬁrst opened design-led store ÒR in 2016 as an outlet to sell her contemporary jewellery. Two years later, she’d snapped up a second premises, and now stocks homeware from established British designers such as Donna Wilson and Silvia K Ceramics alongside local makers: limited-edition linocut prints by Philippa Thomas, ceramics by Something to Cry About Studio and textiles from Westcoast Weavers. Next, she says, is an online shop, which is slated for 2021. ‘We also commission artists from all over the UK whose work we feel would connect to Skye,’ she says. ‘It’s a wonderfully inspiring place.’

PICTURES: OTAGO STREET COLLECTIVE, DAVID BARBOUR

Clockwise, from above Birch café; Jen Carter Pearson in her ÒR shop; where views look south over Portree; stylish eco house Fiscavaig Studio

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GOOD mix Ambitious new retail and dining arcade Pantechnicon homes in on Japanese and Nordic food, drink and design

From top Pantechnicon’s Eldr restaurant; the building’s historic façade; retail unit The Studio

With a shared instinct for beautiful materials and artful restraint, Japanese and Nordic design have something of a natural affinity. And it’s this confluence that was the catalyst for Pantechnicon, a new retail and dining hub set over five floors in London’s Belgravia. ‘I spent nine weeks in Japan and I didn’t scratch the surface,’ says co-founder and lead designer Barry Hirst, whose Open House Projects is the design arm of the hospitality business he set up with Stefan Turnbull. Further travels to Denmark and Finland sowed the seed for Pantechnicon’s two retail floors, The Edit and The Studio, which must house some of London’s coolest curations: think cult Swedish perfumes, Japanese eyewear, Danish sneakers and Finnish design objets. Many are exclusive to the UK, or are on their only bricks-and-mortar outing. Dining offers dual headline acts: Eldr, where Finnish head chef Joni Ketonen is on pickling and foraging duties, and Little Sachi, a 30-seat Japanese pop-up that previews the Sachi restaurant and cocktail lounge arriving next spring. Amateur mixologists can browse spirits and barware in boutique Japanese bottle shop Sakaya, or peruse a seasonal cocktail menu curated by bartenders-in-residence from Iceland and the Faroe Islands. Pantechnicon also boasts the UK’s first permanent outlet of Parisian haunt Café Kitsuné, with an in-house Japanese Ikebana florist and workshops and pop-ups soon to follow. Hirst and Turnbull are no strangers to big projects with big expectations – the pair also established capacious King’s Cross gastropub The Lighterman – but ambitions here are sky-high: they’re even in cahoots with the Japanese and Nordic embassies. It’s an appropriate fate for a building that started life as an arts and crafts bazaar – the word Pantechnicon is derived from ‘all’

‘ALL OF THE BRANDS WERE CHOSEN FOR THEIR STRENGTH OF DESIGN AND TIMELESSNESS’

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(pan) and ‘art’ (techne) – before reinventing itself as a fireproof storage warehouse for London’s high society. But fire cares not for marketing claims, and it went up in flames anyway in 1874, taking its illustrious cache of paintings and pianos with it. Thankfully, its stately row of Doric columns survived, and has been part of the fabric of this corner of the capital ever since. ‘There was almost an expectation to produce this grand London interior to reflect the façade,’ says Hirst, recalling early stages of the eventual five-year project, which started with a sensitive restoration by prestigious London architects Farrells. Instead, with in-house designer Darryl Claxton in tow, he let the design principles of Japan and the Nordics shape the space: ‘unnecessary adornment’ was out, and a concrete and timber backdrop inspired by Japanese architects Kengo Kuma and Tadao Ando devised. Hints of its former life – a historic rear staircase; brick arches now framing a cocktail lounge; a strip of restored plasterwork with gilded script in the main lobby – honour its storied heritage. While furnishings are dominated by Danish makers, this is no Nordic-by-numbers – there’s a hand-glazed custom bar by Made a Mano, lighting by Menuspace and furniture from Mater and Carl Hansen & Søn. ‘All of the brands were chosen for their richness of colour, their strength of design and their timelessness,’ says Hirst. His favourite space is not the hothouse-style roof terrace or the garden designed by Finnish horticulturalist Taina Suonio, but the bathrooms on the lower floor, which house ‘very zen’ compact cubicles within polished plaster arches. ‘The Japanese are the best at creating highly functional small spaces, so this is our little homage!’ It’s this sense of consideration that proves to be Pantechnicon’s master stroke. ‘Retail has become chaotic,’ says Hirst. ‘Our aim is to make the experience joyful once again.’ pantechnicon.com

Clockwise, from above left The 70-seater restaurant Eldr; the top ﬂoor roof garden with a bar and eating area, featuring a fully retractable electric glass roof; The Edit on the ground ﬂoor

‘Lyyli’ box by Katriina Nuutinen, £195

‘TY’ coffee cups by 1616/Arita Japan, £11 each

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‘Aymara’ cushion in ‘Pattern Cream’ by Form & Reﬁne, £113

‘Silphium’ perfume by Stora Skuggan, £115 for 30ml

‘Tokahu’ candle and holder set by Takazawa Candle, £52

WORDS: CAT OLLEY

PA N T E C H N I C O N P I C K S

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Nomadic state OF MIND With a sense of theatre worthy of its West End turf, NoMad lands in London with a splash There’s a certain frisson walking through the solid 13ft-high timber doors of the new NoMad London hotel in Covent Garden, knowing who has passed through them before you. Located in the former Bow Street Magistrates’ Court, built in 1880, many a famous name, from Oscar Wilde and the Kray twins to suffragette Emmeline Pankhurst, have been tried here. Even Dame Vivienne Westwood spent a night in its cells for breaching the peace in 1977. This month, the Grade II-listed building, neighboured by the Royal Opera House and Covent Garden’s famous cobblestone piazza, has been sensitively transformed by hotelier Andrew Zobler’s Sydell Group (who most recently partnered with Soho House’s Nick Jones for The Ned in 2017). ‘Since we opened NoMad in New York eight years ago, we’ve always had our eyes on London,’ says Zobler down the line from his office in the US city. The company also has hotels in LA and Las Vegas, but it took longer than expected to ﬁnd a building in the UK that could rival the old beaux-arts office block on Broadway. Bringing historic buildings back to life has long been Zobler’s forte, but with the long-neglected magistrates’ court he has had the chance to do something a little different.‘We’ve inherited older buildings before, but we’ve never created a new building within an existing one,’ he says, referring to the vast, light-ﬁlled three-storey atrium

PICTURES:SIMON UPTON, EMSIE JONKER

‘WE WANTED NOMAD LONDON TO BE BEAUTIFUL, BOHEMIAN AND EVOCATIVE’ restaurant space. Reminiscent of an Edwardian greenhouse, it was created in what was once the courtyard where police vans whisked in with arrestees for trial or incarceration. It has also proved the perfect canvas for playing out what Zobler describes as the NoMad design philosophy of mixing, cajoling and juxtaposing ‘the tensions of old fashioned, bohemian and modern while maintaining a sense of place’. For the London outpost, New York-based design studio Roman and Williams was tasked with bringing a light but sophisticated transatlantic touch to the interiors. Founded by Robin Standefer and Stephen Alesch, the duo previously collaborated with Zobler on the ﬁrst Ace Hotel in Midtown Manhattan and the quartet of Freehand hotels. ‘We wanted NoMad London to be beautiful, bohemian and evocative all at once,’ says Standefer, who recently, along with Alesch, masterminded the renovation of The Met’s British Galleries, which ± Opposite Soak up the historic atmosphere in this corner of the Magistrates’ Bar This page The sumptuous Royal Opera Suite (top) and its separate lounge (bottom) feature artwork by Catherine Denervaud; the building’s original 19th-century façade (centre)

DECEMBER 2020 ELLEDECORATION.CO.UK 179

opened in March. ‘The building is muscular and remarkable, so you’re embraced by its strength; the interiors are rich and textured and balance the bones.’ Roman and Williams has imbued a New Romantic verve to the collected and homely, yet implicitly glamorous, spirit of NoMad London. ‘We want people to feel comfortable and curious,’ Standefer continues, of the journey they’ve created through their use of richly hued damasks, velvets and mohairs (such as the hand embroidered Watts of Westminster archival ‘Pear’ damask that swathes the reception area), decorative millwork, intricately veined marbles and custom limed-plaster walls. The Fireplace Room shimmers with a gold-inﬂected hand-painted chinoiserie by Zuber; in the old courtroom, the French artist Claire Basler has trailed a moody, dusky cloudscape around all four walls. Arresting, dramatic art throughout the hotel, commissioned by French design studio Be-Poles, is a key ingredient of the NoMad magic.

In particular, the large, swirling abstract artworks by artist Catherine Denervaud, pay ﬁtting homage to Covent Garden. The end result throughout the hotel’s 91 rooms, two restaurants (overseen by Jean-Georges Vongerichten alumni executive chef Ian Coogan), numerous bars, library and event spaces, is ‘a little bit of New York meets London, a little bit of 1920 meets 2020,’ enthuses Zobler. Side Hustle, the hotel’s street-level restaurant and bar, boasts swarthy prohibition-era-bar-meets-British-pub leather-clad walls and banquettes, contrasted with modern Martin Parr photography. A late-night lounge downstairs, Common Decency, will open next March. Currently being decorated by scene painters from the Royal Opera House, it will be the after-midnight spot to imbibe one of the hotel group’s star mixologist Leo Robitschek’s famous dirty martinis while tucked into one of the snugs. ‘The tension of masculine and feminine references creates a powerful narrative,’ furthers Standefer, of the way furniture custom-designed by the duo sits seamlessly within the mix of handblown glass chandeliers and antique pieces sourced from Rupert Bevan and Jamb. Along with other nods to the building’s illustrious history, like the permanent museum space dedicated to showcasing the history of London’s ﬁrst professional police force, the Bow Street Runners, ‘there are lots of stories to discover and hopefully even more to create’, says Standefer. From £400 per night (thenomadhotel.com/london). Clockwise from top The Library bar at NoMad New York, with its antique spiral staircase; the chain’s LA outpost is set in a former bank and the original ceiling can be seen in the vast lobby; which is broken up into nooks and bars; hotelier Andrew Zoblar

WORDS: FIONA MCCARTHY PICTURES: BENOIT LINERO, ERIC MEDSKER

‘IT’S A LITTLE BIT OF NEW YORK MEETS LONDON, AND 1920 MEETS 2020’

ESCAPE

MORE CAPITAL GAINS With winter getaways in doubt, a weekend in a London hotel is an easy pleasure. Here are three to have on your radar

The Hoxton, Holborn Though the hotel itself is hardly new, returning guests will ﬁnd much of The Hoxton unrecognisable, following a major facelift that’s brightened a now larger lobby and added 46 rooms, a coffee bar and swanky 1970s-inspired events space The Apartment. The jewel in the crown is elegant new restaurant and wine bar Rondo, led by head chef Chris Gillard, who previously spent 15 years at cult favourite St John. No pressure, then. From £125 per night (thehoxton.com).

Nobu, Portman Square It’s only been three years since Nobu touched down in London with its industrial-tinged Shoreditch hotel, but its success has spurred a second across town. There’ll be more masterful minimalism at Nobu Portman Square when it opens this month, with Japanese craft-inspired interiors by David Collins Studio and Make Architects. The former had already designed the Nobu group’s Berkeley Street restaurant, which has now moved to its new home here. From £345 per night (nobuhotels.com).

The Mitre, Hampton Court

WORDS: CAT OLLEY

If you’re after a weekend in a country pad, but are reluctant to traipse beyond Oyster card territory, new five-star hotel The Mitre has a winning riverside locale, plus access to 1,000 acres of green space in the form of neighbouring Bushy Park. Interior designer Nicola Harding is no wallflower, and the hotel’s common spaces and 36 individually designed rooms feature her brilliantly British flair – a far cry from the wealth of staid, corporate options in the capital. From £200 per night (mitrehamptoncourt.com).

The Londoner Now set to open next spring, this 350-room behemoth in Leicester Square, designed by high-proﬁle duo Yabu Pushelberg, promises boutique sensibilities at scale (thelondoner.com). DECEMBER 2020 ELLEDECORATION.CO.UK 181

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TREASURED /

BETHAN LAURA WOOD I’ve always been a big fan of Fornasetti. When I ﬁrst exhibited at my gallerist Nina Yashar’s Nilufar gallery in Milan nearly 10 years ago, it was alongside Barnaba Fornasetti, and the whole team was so lovely. I knew I wanted to buy something from the shop to celebrate this big step in my career, but I was torn between a plate and a book – and couldn’t afford both. While the plate was amazing, I ended up buying the book as I knew it would be a useful reference for my work. When I told Nina, she bought me the plate to say congratulations. It’s a vintage piece, with the famous malachite pattern and a golden jug. I love the complexity of the malachite, which connects to the laminate marquetry of the ‘Moon Rock’ collection I was showing 194 ELLEDECORATION.CO.UK DECEMBER 2020

at the time – both are an interpretive pattern of a precious stone but in a less expensive material. It’s one thing to see an image or read about a piece in a book, but touching and understanding the nuances in the glaze and the textures is something different altogether. It has pride of place in my ‘Particle’ display cabinet that I designed during my residency at London’s Design Museum, so it’s on a pyramid of treasure! I collect a lot of objects – I could do this feature for days on end. But I’ll always remember how sweet it was that Nina understood my pain of being torn between the practical and a piece you really love. As long as I manage not to drop it, I intend to keep it for a long time yet. bethanlaurawood.com

WORDS: CAT OLLEY PICTURE: RICK PUSHINSKY

A gift to mark the British designer’s ﬁrst major show is the most loved of a vast collection