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AUGUST 2019 £4.80

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STYLISH YEARS

THE FORECAST A/W 2019 DISCOVER THE TRENDS SHAPING OUR HOMES THIS SEASON

SHOP THE EDIT

TH E MOST E XCITIN G N EW FU RN ITURE BUYS REVE ALED

SUSTAINABLE ST YLE

WHY IT’S CO OL TO BE KIND TO TH E PL AN ET

MADE IN CHINA

9 770957 894229

H I GH - EN D D ESI GN IS O N TH E RISE IN TH E EAST

IN THE KNOW

Looks, launches, innovations & the newest names

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TRENDS

AUGUST 2019 22 The revolution From tackling plastics to changing

50 The reopening Sweden’s National Museum’s

mindsets, it’s time to focus on sustainable design

refreshed look – and how you can mimic it at home

27 The lighting launch Doshi Levien’s ‘Earth to Sky’ 28 The new look Chubby design proves big is beautiful 30 The interior designer Discover Hollie Bowden’s

52 The technology Devices designed to disappear 54 The anniversary We celebrate Living Divani at 50 57 The bathroom update The faucet of the future 58 The collaboration Pierre Frey and Christian

LOOKS

THE EDIT

mix of Japanese minimalism, antiques and craft

33 The superpower There’s a wave of designers rising in the East – and they’re capturing the world’s attention

Astuguevieille’s fabrics born of artistry and friendship

60 The surface How 3D tiles are transforming walls 63 The extravagance Studio MTX’s haute couture

38 The innovation Stylish lights with a DIY approach 41 The ones to watch Scandi talents Färg & Blanche 42 The new landmarks Groundbreaking museums

window treatments are the ultimate indulgence

by the most inventive of contemporary architects

ahead of their time – are ﬁnally being recognised

46 The revival In the midst of a 1970s boom,

66 The big idea Up walls, on ceilings and in every

Gabriella Crespi’s designs are more relevant than ever

corner of the home, carpet is having a comeback

49 The furniture launch Brogan Cox steps into the

84 The mood Sculptural forms are dominating

spotlight with this season’s most colourful collection

the design scene, giving homes a gallery-like feel

75 The four interiors trends to try right

now! Introducing Indigo Blues, Pale Timbers, Nowhaus and Retro Futurism

64 The archive ﬁnd May Morris’s designs – always

165 Our pick of the best new designs from the Autumn/Winter collections AUGUST 2019 ELLEDECORATION.CO.UK 11

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HOMES

94 Potent pattern Quietly daring stripes and ﬂorals make a big impact 104 Blonde ambition With sustainability a growing trend, ethical pale-toned oak is the only choice for a warm, modern interior

116 Off the spectrum Conﬁdent clashing colours, as seen in this Milan apartment and gallery space, are key this season

126 Life in monochrome The timeless palette gets a modern update 136 Contemporary organic Luxury living takes a softer, natural turn 146 The big easy This Parisian home shows the charm of plump designs 154 Industrial bohemia Concrete and brick are paired with artisan details to perfect this season’s free-spirited take on minimalism

ESCAPE

176 The new frontier Explore Under, the sub-aquatic restaurant 179 The social scene London’s most exclusive clubs – with a conscience 181 The stopover Jewel Changi airport is transforming the travel experience with the addition of a wellbeing-boosting indoor forest

183 The hotel Why interiors fans should book a stay at The Standard 184 The restaurant Secure your table at the newly updated and hotly anticipated Emporio Armani Caffè and Ristorante

187 The garden Plan a trip to The Newt, Somerset’s horticulture haven 189 The cultural destination It’s time to head to the Kent coast, as the Carl Freedman Gallery moves to the artistic hub that is Margate

190 The culinary ethos How biodynamics is changing the way we eat 192 The getaway Why we’re heading to the eco-minded city of Oslo

FINALLY 18 Subscribe This month’s great offer for loyal readers

194 Stockists Seen something you love? Here’s where to buy it

202 The ﬁne print ‘Floral Print’ wallpaper by Gucci Décor

THE COVERS Newsstand This home by Pierre Yovanovitch (p146), shot by Jérôme Galland, shows the appeal of chubby design Subscribers As does the ‘Neotenic’ range by Jumbo on this exclusive cover. Details on p28

12 ELLEDECORATION.CO.UK AUGUST 2019

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ORCE F A FO S I

CHAN

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ILLUSTRATION: PAUL HOLLAND

Without change, the world wouldn’t move forward, learning and hopefully improving as it goes. The arrival of this issue coincides with London Pride, the capital’s annual celebration of LGBT+ rights and culture. If anything proves the power of positive change, it is this. Hearst – the company that publishes ELLE Decoration – will be marching in the parade on 6 July and I, along with my colleagues, will be there waving banners and shouting myself hoarse. This year’s event is even more powerful, as it marks the fifty-year anniversary of the Stonewall riots in New York, where violent protests erupted in the face of police brutality and acted as a catalyst for the modern fight for LGBT+ rights. While acceptance and tolerance have come a long way since then, there is still much to be done. Last month, two women were brutally attacked on a London bus simply because of their sexuality, and a recent report by The Guardian newspaper outlined that homophobic and transphobic hate crimes in England and Wales have more than doubled in the past five years. These are two facts that have particular resonance for me. Two years ago this summer, I myself was attacked with my boyfriend outside a gay bar in Liverpool.

Stood close, holding hands, smoking a cigarette, were we doing anything depraved or offensive? No. We were just two men in love, enjoying a night out. Yet, nine people saw fit to express their anger at our difference with their fists, beating and kicking us to the kerb. I spent a month in hospital, but – thanks to an incredible team of doctors and nurses, and loving friends and family – I came through it stronger, and more determined to never let bigotry and small-minded values triumph. I know I was one of the lucky ones. Some will say that the intro to a humble design and interiors magazine is hardly the place for politics or the overtly personal. I disagree. Given the chance, we should all leap onto any soapbox we can, no matter how small, and shout at the top of our voices about what matters, what means something to us and those around us. And so, hopefully without trivialising any of this, I present our latest biannual issue dedicated to transition. The pages in front of you are filled with the new, the unusual, what is to come – things some of you may find shocking, challenging even, but that, nonetheless, will become the new normal. Embrace change and diversity. Welcome difference, be inclusive, and do it all with love. Be proud. I know I am.

Editor

Follow me on

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Twitter: @ELLEDecoBen

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House of Hearst, 30 Panton Street, London SW1Y 4AJ Editorial enquiries elledecoration@hearst.co.uk (020 7312 4114) Homes submissions homes@elledecoration.co.uk EDITOR BEN SPRIGGS Creative Director Philippe Blanchin

Editorial Manager Bethan Ryder

ART Group Art Editor Roger Browning Art Editor Linsey Cannon Designers Jack Melrose, Victoria Smith Art Intern Laura Sheppard

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TRENDS A U T U M N / W I N T E R 2 019

THE REVOLUTION THE LIGHTING LAUNCH THE NEW LOOK THE INTERIOR DESIGNER THE SUPERPOWER T H E I N N O VAT I O N T H E O N E S T O WAT C H THE NEW LANDMARKS T H E R E V I VA L THE FURNITURE LAUNCH THE REOPENING THE TECHNOLOGY T H E A N N I V E R S A RY T H E B AT H R O O M U P D AT E T H E C O L L A B O R AT I O N T H E S U R FA C E T H E E X T R AVA G A N C E THE ARCHIVE FIND

PICTURE: JONAS LINDSTROM

THE BIG IDEA

Wall lights from Doshi Levien’s ‘Earth To Sky’ collection. For the full story, turn to p27

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THE REVOLUTION

SUSTAINABLE

Gallerist Rossana Orlandi at her ‘Guiltless Plastics’ exhibition, held during Milan Design Week

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TRENDS

DESIGN From tackling plastics to curbing our consumerism, creative minds are focused on stylish ways to save the planet

‘Underwater Landscape’ by Arsenio Rodriguez at Rossana Orlandi Gallery

PICTURES: VALENTINA SOMMARIVA, ALICE IDA SALERNI (STYLING), SIMONI FURIOSI

Words AMY BRADFORD

Over the past decade, the phrase ‘sustainable design’ has become an increasingly familiar refrain in our lives. To begin with, it just seemed like a really good idea; something we should all be supporting in whatever ways we can. But now the conversation is becoming urgent. The recently released Global Assessment report by respected UN research body IPBES (Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services), which combines the findings of nearly 15,000 international studies, reveals that time is running out to save the plants, animals and insects that support human life on Earth. Unless we change our lifestyles (and quickly), some unpleasant shocks lie ahead. This challenge was one of the main focuses at April’s Milan Design Week. Its prominence in the minds of designers served as an admission that the resources the industry consumes represent part of the problem. Gallerist Rossana Orlandi (left) focused the spotlight on plastics, one of the most controversial materials of all – according to the Royal Statistical Society, only around nine per cent of the plastic ever produced has been recycled. As part of her ‘Guiltless Plastic’ initiative, Orlandi showcased up-and-coming names such as German designer Alexander Schul, who repurposes polystyrene to make furniture, and Spaniard Alvaro Catalán de Ocón, whose lighting is made from plastic bottles. British duo Barber & Osgerby also addressed the limits of recycling by launching the ‘On and On’ chair for Emeco. Unlike many plastic products, which can only be reused a few times – sometimes as little as once – the duo’s chair can be repurposed indefinitely. It’s made from rPET, a new material that combines plastic bottles with fibreglass, and whose strength means that new chairs can be made from old ones. ‘Sustainable design should go beyond materiality,’ says Edward Barber. ‘Thinking about the way products are manufactured, packaged and shipped also needs be part of the solution.’ The amount of plastic in our oceans, in particular, has been making headlines of late, and, at Orlandi’s exhibition, designer Brodie Neill highlighted the issue with his ‘Capsule’ hourglass. Filled with microplastic granules collected from Tasmanian beaches, the piece critiques our throwaway culture and serves as a tribute to the environmental workers who clean up our marine landscape. ‘Designers need to be looking beyond raw materials and using waste ones, as they are now, unfortunately, in abundance,’ says Neill. ‘Waste can be redeployed with endless circularity. We have to consider the impact of materials at every stage of their existence; the methodology should be cradle-to-cradle.’ There’s a similar philosophy behind Danish brand Mater’s ‘Ocean’ collection, a reinvention of a 1955 range by Nanna and Jørgen Ditzel. Originally made of timber, it’s been reinvented using recycled fishing nets and new-generation bioplastics, which can be made from corn starch, eggs, algae or, in this case, charcoal. Other designers are seeking to reform our habits by making recycled plastic seem more precious than the virgin kind. Brighton duo Weez

Recycled ﬁshnets are transformed into the ‘Ocean’ chair by Mater

Coasters made from waste plastic by Weez & Merl Plasticiet produces terrazzo-like surfaces from recycled plastic

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Charlotte Kidger’s colourful tables and vessels are crafted from foam dust

Kartell’s classic ‘Componibili’ has been reinvented using plant-sourced bioplastic

Pheasant feathers are used in Bethan Gray’s ‘Feather’ side table Ross Lovegrove uses sustainable wood and natural latex in his new pieces for Natuzzi

24 ELLEDECORATION.CO.UK AUGUST 2019

& Merl make marble-esque tableware from salvaged plastic – the pieces are being used in a number of zero-waste restaurants. Dutch company Plasticiet’s recycled surfaces, meanwhile, resemble terrazzo and are crafted using all kinds of plastic, from buckets to garden furniture, while Londonbased designer Charlotte Kidger uses polyurethane dust, left over from industrial manufacture, to form her colourful composite tables. Normally the waste material would be incinerated or go to landfill. Even furniture brands such as Kartell, for whom plastic is a USP, understand the need for change. It has recently debuted a sustainable version of its classic 1967 ‘Componibili’ storage unit, made of bioplastic derived from plant sources such as sugar beet and waste cooking oil. The only visible difference from the original is the updated colour palette – it now comes in four on-trend pastels (left). Of course, plastics aren’t the only frontier in green design. Creative use of organic materials is just as important. Thus we’re seeing designs like Bethan Gray’s new ‘Eden’ furniture collection, created with ecosurface specialist Nature Squared, which uses by-products from the food industry, including pheasant feathers and shells, in its production. And, while many of us have grown accustomed to buying eco-friendly paints, Farrow & Ball is encouraging us to choose ethical wallpaper, too. Its new metallic patterns are made with sustainably-sourced paper and water-based pigments, and are 100 per cent recyclable. All of these initiatives form part of a concept called the circular economy, which seeks to minimise waste and ensure as much reuse as possible. It’s being applied to every aspect of life, from fast food (McDonald’s has replaced its plastic drinking straws with a recyclable paper version) to our cultural heritage (Paris architects Studio NAB proposed replacing Notre Dame’s lead and timber roof, destroyed in April’s fire, with a vast greenhouse and beehives). However, the circular economy won’t gain a foothold without individual sacrifice. As if to acknowledge this, Swedish tech company Doconomy’s new DO credit card – made, of course, from bio materials – tracks the carbon emissions associated with purchases, making owners aware of the impact of their consumption. They’re rewarded for ethical choices, but transactions are denied when they reach a designated carbon limit. But will all of this be enough to save the planet? There’s a swelling chorus of voices that say no. In fact, they argue, we just need to stop using problematic materials in the first place. ‘There’s so much reliance on this magic phenomenon of recycling but, frankly, I think it’s just an excuse to consume more,’ says Ross Lovegrove, whose new ‘Ergo’ collection for Natuzzi is made from sustainable woods and natural latex. ‘It’s better to consume less from the outset – organic materials make sense because of their intrinsic health benefits. In my own home, I live predominantly with beautifully crafted secondhand furniture, pieces made during times when things were more valued.’ Dutch designer Marcel Wanders takes a similar view. ‘Recycling ultimately legitimates consumption,’ he says. ‘Let’s not recycle what we can reuse.’ To make this point, Wanders’ contribution to Orlandi’s ‘Guiltless Plastics’ exhibition was a disposable PET plastic bottle (gifted to him by its designer, Ross Lovegrove), which he’d marked each time he’d used it – 200 times – and daubed with the word ‘REUSE’ in red. ‘As well as a materials problem, we have a psychological problem,’ he adds. ‘Most of the products that go to trash aren’t broken; people are just bored with them. Making things loved is a fantastic ecological step.’ We can all play our part by buying vintage and locally made products, and by seeking out the growing number of stores specialising in sustainable homewares – Wearth London, Home of Juniper and Urban Collective are some of the best. ‘Buying things that last is the best and easiest thing you can do for the environment,’ adds Tara Button, founder of eco website BuyMeOnce.com. She’s campaigning for products to be awarded a ‘longevity mark’. The notion flies in the face of global capitalism, which functions by making us constantly crave new things. Breaking that cycle is set to be design’s biggest challenge yet.

PICTURES: VALENTINA SOMMARIVA, ALICE IDA SALERNI (STYLING), SIMONA PESARINI

TRENDS

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‘SUSTAINABLE design should GO BEYOND materiality. How products are MANUFACTURED needs to be part of the SOLUTION’

The ‘On and On’ chair by Barber & Osgerby for Emeco is strong enough to be recycled again and again

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TRENDS

THE LIGHTING LAUNCH

‘EARTH TO SKY’ BY DOSHI LEVIEN Born of experimentation and passion, this collection displays the artistry of design

WORDS: BEN SPRIGGS PICTURE: JONAS LINDSTROM

British designers Nipa Doshi and Jonathan Levien have collaborated with many big-name brands since setting up their studio, Doshi Levien, in 2000. Their latest project, however, is a more personal one. The seven lights in the ‘Earth To Sky’ collection are all self-produced. ‘I was exploring the coming together of geometry and free forms, drawing ﬁne lines next to intuitive, sculptural shapes,’ says Levien. ‘Then, Nipa picked up a hole-punch, pierced one of the shapes and put a line through it. We instantly realised that we no longer had just a composition, we had an actual structure.’ The drawings were a starting point, with the duo then approaching craftspeople to turn their sketches into reality. All of the lights in the new range are formed by machines normally used for restoring the sophisticated bodywork of ‘E-Type’ and ‘XKI’ Jaguars, with each design made of at least two pieces of automotive-grade aluminium. ‘The project is a combination of space, light and form,’ adds Levien. ‘We started it in order to have complete freedom.’ The results of that creative liberty are remarkable. Prices on application (doshilevien.com).

‘I WAS EXPLORING THE COMING TOGETHER OF GEOMETRY AND FREE FORMS’ AUGUST 2019 ELLEDECORATION.CO.UK 27

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TRENDS

THE NEW LOOK

CHUBBY DESIGN Voluptuous proportions are in style and big is deﬁnitely beautiful

WORDS: KATE WORTHINGTON PICTURE: SALLY WILLIAMS

Lozenges, arches and curves have dominated in the design world even the most languorous of suppers. ‘Fat is being reclaimed of late, and now a handful of creatives and makers are taking as a beautiful thing for a chair to be,’ he says. ‘It’s really hard to things one step further and exploring a softer style, embracing design a seat that is comfortable, minimal and new looking, but playful, marshmallow-like forms and podgy shapes. Russian we super-reduced its form. The idea was to inﬂate the piece’s two designer Fedor Katcuba’s ‘Buzz’ chair is typical of the aesthetic, a main elements to make them as fat as possible, giving it character.’ piece of furniture distilled into the simplest of elements: one But could there be other, unconscious motives behind the move continuous squishy line upholstered in rich velvet. to fuller-ﬁgured furniture? Maybe it’s a reaction to the tough So what’s inspired this appreciation for political and socio-economic climate we’re ‘FAT IS BEING rotund, portly products? ‘My designs took facing, which has left us craving softness on this aesthetic due to my experiences and reassurance. Or perhaps it’s a small act RECLAIMED AS A of pregnancy and motherhood, when of rebellion, challenging existing notions of BEAUTIFUL THING FOR beauty and good taste – words like ‘elegant’ everything had to be well-rounded and falloffable,’ explains Faye Toogood, whose have historically been attributed only to A CHAIR TO BE. THE ‘Roly-Poly’ chair was one of the forerunners delicate forms when it comes to high-end IDEA WAS TO INFLATE of the trend. It was also practical concerns design. Whatever the reasons for the trend, that led Tom Dixon to create his ‘Fat’ dining if the covetable pieces in our edit (below) THE PIECE‘S TWO chairs, which are intended to closely hug are anything to go by, chubbiness is clearly MAIN ELEMENTS’ the body and provide comfort throughout the shape of things to come.

Clockwise from top left ‘Fat’ chair, from £725, Tom Dixon (tomdixon.net). ‘Tube’ chair, £8,003, Objects of Common Interest (objectsofcommoninterest.com). ‘Form Stool 2’ by Nort, £1,313, Monologue (monologuelondon.com). ‘Buzz’ chairs, £500 each, Fedor Katcuba (fedorkatcuba.com). ‘Smalto’ table by Barber & Osgerby for Knoll, £3,888 Aram Store (aram.co.uk). ‘Neotenic’ chair by Jumbo, from £9,042, Matter (mattermatters.com)

28 ELLEDECORATION.CO.UK AUGUST 2019

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THE INTERIOR DESIGNER

HOLLIE BOWDEN The decorating world’s hot new talent fuses Japanese-style minimalism with an inspired use of antiques and craft

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TRENDS

Up-and-coming interior designer Hollie Bowden says her style sits somewhere between maximalist Jacques Grange and minimalist Axel Vervoordt – a contrast, to say the least. ‘I like to mix things up,’ she says. ‘The juxtaposition of bare walls and big open spaces with theatrical statement pieces, complex textures and antiques is something I love. As is Vervoordt’s Japanese-inspired wabi-sabi aesthetic; I use a lot of pieces that have an organic, aged character.’ Her style is evident when you look at the serene villa (top right) she designed in Ibiza, and her subdued yet glamorous palette of stormy hues and marble at the headquarters of sake brand Heavensake (left). Bowden established her Shoreditch studio in 2013 (now with a team of six) and has already amassed an impressive list of projects in locations from London to the Hollywood Hills. Most are residential, but there are retail spaces in the mix, including a showroom for luxury leather goods brand Tanner Krolle. For her, it is key that every project tells a story. ‘My job is to build a world and direct a vision that suits my clients,’ she explains. ‘I believe your home informs your mood, so it’s important that you get the tone right.’

WORDS: AMY BRADFORD PICTURES: GENEVIEVE LUTKIN

‘MY JOB IS TO BUILD A WORLD FOR MY CLIENTS. YOUR HOME INFORMS YOUR MOOD, SO IT’S IMPORTANT TO GET THE TONE RIGHT’ As for where her diverse style comes from, it seems Bowden has her mum to thank. ‘When I was growing up, our house was always evolving,’ she recalls. ‘Mum would get bursts of inspiration and be compelled to revamp the place. I once woke up to ﬁnd my bedroom had been transformed around me.’ After taking an art foundation course, Bowden trained at the KLC School of Design in Chelsea and then worked for Oxfordshirebased designer Harriet Holgate, who introduced her to a quirky, classically English decorating style. Her biggest solo project to date is Es Cubells, a 1980s Modernist villa in Ibiza. The property is ﬁlled with warm neutrals and bespoke furnishings, including a moulded plaster bath designed to enhance the property’s ocean views. Bowden regularly produces such pieces; the Tanner Krolle store has a set of horsehair-covered cabinets and iron shelving. Her next project is an abode on the picturesque Isle of Bute, though Bowden dreams of designing a boutique hotel. ‘I would bring my love of creating homes to it,’ she muses, ‘but it would also give me scope to be more adventurous’ (holliebowden.com). Opposite A moody palette of monochrome marble and deep teal at the headquarters of sake brand Heavensake in London’s Chelsea This page, from top A redesigned country estate in Ibiza. The marble bathroom and calm living space in a private home in South Kensington, London

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PICTURE: PIERRE GRASSET

It’s almost unfathomable that China, the second largest economy in the world, with a population of 1.4 billion, is at an early stage of development in any ﬁeld. And yet, for all the country’s economic and technological power, its product and furniture design scene was almost nonexistent until recently. ‘China had a lack of design culture and history,’ explains Sugar Lee, deputy features director and digital content director of ELLE Decoration China. ‘Just ten years ago, we were thought to have no design scene at all.’ That opinion is being quickly reversed. This change in fortunes is thanks to the government’s ‘Made in China’ initiative of 2015, which pledged to reposition the country as a design superpower by 2025. The aim was to distance itself from the reputation of being ‘the world’s factory’ and emerge instead as a high-end manufacturer of quality products. Almost £2 billion was invested to support the creative industries. Previously, the norm for young Chinese designers was to study and set up practices overseas, but thanks to this new support, creatives are returning home, bringing global inﬂuences with them. The effects of these advances can take time to trickle down, but this year it felt as though the design world’s spotlight had swivelled east. China’s rise is gathering momentum. Pioneers of this new wave are Shanghai- and London-based Neri & Hu, one of the

MADE IN

The country once regarded as the world’s factory is in the midst of a creative revolution, with a new generation of designers attracting international attention Words AMY MOOREA WONG

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PICTURES: PEDRO PEGENAUTE, ANDREW RAWAT

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CHINESE DESIGN ON THE RISE 2014 Design Shanghai, the ﬁrst-ever design show in China, launches 2015 The Chinese government invests £2 billion in creative industries 2017 Neri & Hu win Designer of the Year at the ELLE Decoration International Design Awards 2019 Maison & Objet champions Chinese creatives with its Rising Talent award, and a major Chinese exhibition is part of Design Biennale Saint-Étienne

Previous page Traditional parasols on show at Biennale SaintÉtienne This page Chinese designers Neri & Hu and some of their projects, including (from top) New Shanghai Theatre, Canton Table restaurant, Mercato Shanghai and Le Meridien hotel in Zhengzhou

country’s most successful exports – the creative directors of furniture brand Stellar Works are, so far, the only Chinese winners of Designer of the Year at the annual ELLE Decoration International Design Awards (in 2017). The pair were guests of honour at this year’s Stockholm Furniture Fair and Canada’s Interior Design Show Toronto. Word of China’s design revolution was also on the lips of those at Maison & Objet fair in Paris, where six Chinese creatives were singled out for its Rising Talent award. ‘Chinese design today is like many flowers blooming together,’ says Fan Zhe, curator of a showcase dedicated to Chinese creativity of the past, present and future at the Design Biennale in Saint-Étienne. ‘The country is producing outstanding work, and there’s a huge demand for its individual pieces.’ ‘China has established itself as a major international player in design over the past five years, with the culture shifting towards innovation and originality,’ says Zhuo Tan, director of Design Shanghai. A relative newcomer on the design show circuit (launched in 2014), the event has flourished; this year it will play host to over 400 brands from 30 countries. ‘When we launched, we found only a handful of Chinese participants who were dedicated to furniture. In 2019, we had 60 brands – it shows how quickly China is absorbing the movement. The world is looking to us. It’s an exciting moment!’ But what of the ‘Made in China’ label that came to signify mass production and low quality? While Chinese architects were able to prosper thanks to rapid urbanisation, the design sector had remained weak. ‘There was no concept of brand, and no willingness to pay for independent creatives,’ explains ELLE Decoration China’s Lee. Designers were often imported, or looks simply copied. The recent boom is seeing those negative connotations turned on their heads. Now, the country’s infrastructure of incredibly efficient factories can be regarded as a huge advantage, with original designs able to be developed and produced at a fraction of the time and cost of that in the West. There is now an ever increasing group of young furniture makers, all hungry for their slice of the global interiors pie. ‘Many of them,’ say Neri & Hu, ‘see the Chinese stereotype of mass production as the driving force to do better. They’re striving to be more inventive to reverse this negative view’. The results are noticeable and, according to Zhe: ‘Forming a visual language that’s contemporary and characterised by our Chinese heritage is only a matter of time.’ Turn the page to see work by some of the hottest names in Chinese design AUGUST 2019 ELLEDECORATION.CO.UK 35

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S H E R RY X U , 8 H O U R

‘Free and imaginative’ is how Sherry Xu describes the work coming out of her studio, 8 Hour, which she founded in 2016 after graduating from the Shanghai Academy of Fine Arts. Her pieces are inspired by everyday life; the new ‘Clips’ seating collection (below) references the changing shape of the paperclip, with rounded upholstered pieces held on a looping steel frame. It can be seen at WeWork shared offices across Asia (8hourdesign.com).

XIMI LI, URBANCRAFT

Before founding Shanghai-based Urbancraft in 2016, Li worked for designers Andrea Branzi and Luca Trazzi in Italy, and spent six years as Neri & Hu’s chief designer. Inspired by Chinese heritage and Italian icons, such as Gio Ponti and Carlo Scarpa, his brand incorporates historic references into contemporary pieces – take the ‘By 3’ storage system (above), which fuses interlocking sections of glass, terrazzo and marble. And the future is bright: ‘Italian and Nordic ﬁrms are already talking with us about collaborations,’ he says (urbancraftdesign.com).

FRANK CHOU

Growing up in Beijing and working in Europe has informed the distinct east-meets-west aesthetic of the eponymous Frank Chou Design Studio, established in 2012. Chou’s ‘Middle’ chair is a highly modern take on traditional bamboo seats, while the ‘Combo’ modular system (below) is a reinvention of historic upholstery techniques, using wool, leather and a mixture of other fabrics. ‘As designers, we have a strong responsibility to lead, teach and ﬁght for a better future,’ says Chou (frankchou.com). MARIO TSAI

Tsai founded his Hangzhou studio in 2014, and his minimal style, with its small, poetic details – realised in monochrome and natural materials – has brought him to the attention of Chinese and European brands alike. He’s lent his simple, rounded forms to Danish ﬁrms Ferm Living and Woud, Oslo-based Northern and Italian lighting giant Flos, as well as several Chinese companies (mariotsai.studio).

Focusing on traditional Chinese materials to distinguish his pieces from mass-produced fare, Furong Chen was named Emerging Chinese Designer at Design Shanghai in 2015, just one year after founding his own brand, Wuu. Citing inspirations including Ronan & Erwan Bouroullec, Konstantin Grcic and Donald Judd, the studio has already collaborated with French-Chinese brand Maison Dada on the ‘Looking for Dorian’ mirror (right), and creates lighting, furniture and accessories (wuu.im). 36 ELLEDECORATION.CO.UK AUGUST 2019

PICTURE: XU XIAODONG

FURONG CHEN, WUU

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T H E I N N O VAT I O N

CUSTOMISABLE LIGHTING Bend them, shape them, any way you want them – these pieces give you the power to transform their look Inventive creatives are disrupting the lighting world with a do-ityourself approach. Their fluid designs can be tweaked, twisted and adjusted to form new shapes, altering the play of light and shade. One of the finest examples of this trend is ‘Interweave’, a concept by Italian brand Artemide and Dubai-based designer Pallavi Dean (above; artemide.com). The innovative lighting installation is composed of aluminium cylinders around which a malleable LED cord can be threaded. The piece touts total flexibility, with the size, number and placement of its tubes affecting the shape of the glowing line – it can even be fitted with speakers, sensors or projectors.

Combine your choice of the ‘Junit’ range’s eight geometric elements. Or pick a version curated by the designer, Julia Jessen. ‘Karma’, £220, Schneid (schneid.org)

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Get creative with more lights that can be personalised

Manipulate the fabric of the ‘Nuée’ (French for ‘thick cloud’), by Marc Sadler for Foscarini, to subtly change the way its light falls. From £1,817, Aram Store (aram.co.uk)

The ‘Lux’ pendant light by Cristina Celestino for Fendi Casa features a balancing system that allows you to easily adjust its glass sphere. From £2,500, Harrods (harrods.com)

Twist the bottom of the ‘Clam’ pendant, by Ahm & Lund for Fritz Hansen, and its shell opens to reveal the LED pearl hidden within. Available in 2020 (fritzhansen.com)

WORDS: CAT OLLEY

ENLIGHTENED THINKING

‘Flexible spaces promote a more conscious use of energy and the planet’s resources,’ argues Artemide chief executive Carlotta de Bevilacqua, highlighting the potential eco appeal of designs that can adapt to the needs of different rooms and moods, therefore reducing the desire to buy new pieces. ‘Designing lighting is more and more about creating an experience,’ adds de Bevilacqua. By offering reinvention post-installation (all without ever touching a toolkit or needing to call in an electrician), each clever piece can endlessly renew itself. Of course, the ‘Interweave’ isn’t the only chameleon of the lighting world – see below for our full edit.

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T H E O N E S T O WAT C H

FÄRG & BLANCHE

WORDS: KARIN OHLSSON-LEIJON PICTURE: JOHAN LINDSKOG

Meet the dynamic creative duo delighting the world (and each other) with their designs

Crispbreads seem an unlikely inspiration, but not for the freethinking French-Swedish partnership of Fredrik Färg and Emma Marga Blanche. The pair are the force behind ‘The Baker’s House’ (below), the exhibition staged in a 19th-century residence and former crispbread factory during this year’s Stockholm Design Week. The 12-strong collection of furniture and accessories it presented was the talk of the town, and rightly so. Blanche grew up in France, but the show’s atmospheric location is deeply connected to her Swedish roots. During the 19th and early 20th centuries, her family ran a crispbread (knäckebröd) factory in the capital’s Södermalm district. The elegant residence above – built by her greatgreat-grandfather in the 1880s – was where she spent her holidays.‘We’re telling the story of my family,’ says Blanche. New pieces include the ‘Julius’ armchair and sofa produced by Gärsnäs, tables inlaid with a star motif from the parquet ﬂoors, and the ‘Heart’ and ‘Knäckebröd’ lamps, both of which were inspired by the factory’s baked goods. Although Färg & Blanche design together, they approach projects very differently. Blanche is more theoretical, deconstructing the design process before sketching, while Färg likes to dive into the hands-on work. ‘You’re less nervous when there’s two of you,’ says Blanche, who met Färg a decade ago, when they were both exhibiting independently in Berlin. ‘I’d made a stool that contained powerful magnets. I couldn’t take it on a plane, so I requested a list of other Swedish exhibitors and asked whether I could hitch a ride with anyone. Fredrik said yes.’ Cue a roadtrip that turned into a romance, which blossomed into a creative partnership. Their studio was established in 2011 and, that same year, the duo burst onto the design scene as co-creators and participants in Stockholm Design Week’s ‘20 designers at Biologiska’ exhibition. Since then, they have created pieces for Johanson, Design House Stockholm and Northern, plus ceramics for Petite Friture. Their ‘A Stitch in Time’ textile collection for Bernhardt Design has just been released, too. ‘It’s in collaboration that innovation and ideas are born,’ says Blanche. What’s coming next? Nobody knows. ‘Our primary goal is to surprise one another,’ they conclude (fargblanche.com).

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THE NEW LANDMARKS

GROUNDBREAKING GALLERIES Designing cultural venues has always allowed architects to stretch their creative muscles, but these three projects prove there’s still room to surprise

RUBY CITY, Sir David Adjaye Spectacular cultural landmarks have become British architect Sir David Adjaye’s forte. He already has the award-winning National Museum of African American History and Culture in Washington DC and the Marian Goodman gallery in London under his belt, and his latest offering, the Ruby City in San Antonio, Texas, is set to open this October. Clad in crimson concrete panels inset with red glass

and mica that glistens in the Texan sun, the contemporary art centre’s design was inspired by the historic Spanish mission churches that are dotted around the region. Inside, it will showcase the collection of American philanthropist and artist Linda Pace. First imagined in a sketch by Pace, who became acquainted with Adjaye before passing away in 2007, the museum is a striking legacy (rubycity.org).

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NATIONAL MUSEUM OF QATAR, Jean Nouvel

WORDS: JAMES WILLIAMS PICTURES: DROR BALDINGER/COURTESY OF RUBY CITY AND ADJAYE ASSOCIATES, IWAN BAAN, DANICA O KUS

Having completed the Louvre Abu Dhabi museum in 2017, renowned Pritzker Prize-winning French architect Jean Nouvel has become the go-to talent for creating modern Arabic architectural wonders. His latest masterpiece, the National Museum of Qatar, which opened in Doha this spring, is a dazzling composition of circular forms. Its unique structure was inspired by desert roses – natural ﬂowershaped formations of sand and minerals that occur in dry arid conditions. ‘It’s an architecture created by time and the desert itself,’ says Nouvel of the beautiful natural phenomenon. The 539 sandy-hued interlocking discs that make up his homage are clad in glass-ﬁbre reinforced concrete, forming spaces of shade from the intense sun. Concealed within the heart of this modern space is the century-old palace once inhabited by the late Sheikh Abdullah bin Jassim Al Thani – the seat of government for 25 years – as well as Arabic and Persian artworks and artefacts (qm.org.qa). ➤

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THE SHED, Diller Scoﬁdio + Renfro and Rockwell Group

PICTURES: IWAN BAAN

‘THERE ARE GREAT INSTITUTIONS IN OUR CITY, BUT MANY OF THEM ARE ABOUT THE PAST. THE SHED IS ABOUT THE FUTURE’

Adaptable and expandable, with a colossal retractable roof, The Shed is the latest addition to the Hudson Yards development on the edge of the Chelsea district in New York’s Manhattan. Adding to the architectural delights of the elevated High Line park and the Vessel – British designer Thomas Heatherwick’s beehive-like structure – the new arts centre has been designed by New York-based studio Diller Scoﬁdio + Renfro and Rockwell Group. Its roof, made from a steel shell covered in a high-tech plastic, can extend on demand to almost double the size of the complex, catering to the needs of a whole host of performers and artists. The eight-storey building boasts two levels of galleries and a theatre, plus rehearsal and events spaces, and a 1,600-square-metre courtyard for open-air events and installations. ‘There are great institutions in our city, but many of them are about the past,’ says Jonathan Tisch, vice chairman of the arts centre’s board of directors. ‘The Shed is about the future’ (theshed.org).

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T H E R E V I VA L

GABRIELLA CRESPI As the affection for all things 1970s continues apace, this designer’s work, reissued by Milan’s hip Dimore Gallery, is more relevant than ever

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TRENDS

Light was fundamental to the work of Gabriella Crespi (1922–2017). It illuminates the sculptural planes of her brass, steel and lacquer tables, which feel still more lustrous alongside her space-age, mushroom-shaped Plexiglas lamps. In her hands, even humble materials – such as the bamboo she crafted into curvaceous furniture inspired by the silhouette of the rising sun – take on a glow. A capsule collection of Crespi’s work has just been reissued by Milan’s Dimore Gallery, whose founders Emiliano Salci and Britt Moran have collaborated with the designer’s daughter, Elisabetta, to revive tables and lighting created between 1970 and 1980. ‘Crespi inspires us because she was modern and daring,’ explains Salci. ‘Everything about her was sophisticated and unconventional.’ The relaunch – which includes ﬂower-shaped and geometric coffee tables reminiscent of Paco Rabanne’s futuristic couture – is timely for several reasons. Crespi’s style epitomises the louche elegance of the 1970s, a decade that currently fascinates the design and fashion worlds. Her return to the spotlight also reﬂects the trend for reviving work by forgotten names (Brazilian José Zanine Caldas and American Paul McCobb are currently experiencing similar comebacks). Plus, Crespi’s way of working is very much en

vogue: her pieces were all handmade by skilled craftspeople, using self-invented mechanisms that, for example, made table leaves and cabinet doors smoothly unfurl. Crespi herself was an alluring ﬁgure who now seems remarkably ahead of her time. Born into an aristocratic family, she studied ﬁne art and architecture – the latter a highly unconventional choice for a woman in midcentury Italy, especially one of her class. She then began making one-off objets for friends using precious woods and metals. Dior spotted them and snapped them up for its Paris boutique. A forerunner of today’s artisan-designers, Crespi showed great prescience in matters of taste. Her apartment in Rome contrasted ancient frescoes with her angular brass furniture – startling at the time, the combination would now be the last word in chic. Retiring at 65, she abandoned design and spent the next two decades living in a Himalayan retreat. ‘I have always considered my independence in my work as well as in my life as one of my biggest achievements,’ Crespi told the Wall Street Journal Magazine in 2015. Attitudes like that never go out of fashion (dimoregallery.com). From left ‘Fungo’ table lamps; ‘Cubo Tondo’ coffee table; ‘Eclipse’ coffee table, all by Gabriella Crespi, prices on application, Dimore Gallery

WORDS: AMY BRADFORD PICTURES: ARCHIVIO GABRIELLA CRESPI BY OLIVIERO TOSCANI, SIMONE FIORINI

‘CRESPI INSPIRES US BECAUSE SHE WAS MODERN AND DARING. EVERYTHING ABOUT HER WAS SOPHISTICATED AND UNCONVENTIONAL’

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THE FURNITURE LAUNCH

‘BARKER’ BY BROGAN COX

WORDS: BETHAN RYDER

Sebastian Cox’s partner steps into the spotlight, with this season’s most colourful and covetable range ‘Sorry for the delay in replying. We’re in the woods this afternoon ﬁnished the course, but Brogan didn’t, heading instead to London with unreliable signal,’ Brogan Cox emails. Tracking down Brogan, to work in advertising. She joined Sebastian’s business in 2012, partner of Sebastian Cox and co-director of the eco-friendly design learning on the job. ‘Composition and shape is what I really enjoy brand, is not easy – there’s the outdoor coppicing to do and newborn and that’s what I bring to the workshop,’ she says. daughter Sorrel to care for – but she can always ﬁnd time to talk For ‘Barker’, that approach was stripped back to basics; the concept behind each piece was to choose one shape, one joint and about her other baby: the new ‘Barker’ furniture collection . ‘It’s so nice to do a project of my own, and with one colour. ‘They began like children’s scribbles,’ my name on it,’ says Brogan of the range which explains Brogan – ‘a green circle, a strange blue ‘IT’S SO NICE TO takes her maiden name. It began with the small oblong, a red square and yellow rectangle.’ DO A PROJECT green ‘Emerald’ table that debuted at Decorex Crafted from sustainable English ash, all of the last year, and now ‘Barker’ exists as a four-strong designs celebrate construction, with the joints OF MY OWN, collection of bright, simple wooden pieces. ‘We’ve evident and the wood’s grain showing through AND WITH MY done some pop-up shops and I had noticed the water-based dyes. Inspired by medieval something glaringly obvious: we don’t have colour pigments (from which the pieces take NAME ON IT’ colour,’ she adds. ‘Green felt like a good place to their names), these are applied by hand. start. I suppose it’s a reaction to Seb’s work; clean and blocky and Creating the collection has given Brogan a taste for branching colourful. I had to add more pieces,’ she says. out – the studio recently produced ceramic tableware and more Until now, the pair have created almost everything together, plans are forming. ‘I would love to do tiles and wallpaper,’ she says. although Brogan leads the interior design projects, and limited- ‘We really try to put nature into people’s home and connect with edition gallery pieces are solely Sebastian’s work. They met at the raw materials. I’d love to introduce some wild and messy pattern University of Lincoln when studying a design Masters. Sebastian next.’ From £1,850 for an occasional table (sebastiancox.co.uk). AUGUST 2019 ELLEDECORATION.CO.UK 49

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THE REOPENING

NATIONAL MUSEUM

Sweden’s grande dame of an exhibition space has been given a facelift, and there’s more to love than ever before

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Stockholm’s National Museum has doubled its visitor numbers since reopening its doors last year. Proof, if it were needed, that the historic art and design destination’s £104 million renovation has been a roaring success. Swedish architecture practice Wingårds and restoration specialist Erik Wikerstãl led the project – a collaboration, they say, that ‘turned out better than anyone could have imagined’. Striking a balance between preserving and modernising, the space honours architect Friedrich August Stüler’s original design while simultaneously becoming one of the world’s most technologically advanced museums – think state-ofthe-art climate control and acoustic-attenuating stucco surfaces. As well as revolutionising the building, the work has also changed the way the collections are presented. Exhibition space has been increased (there are three times more artefacts on

WORDS: ALEX MOORE PICTURES: NATIONAL MUSEUM/BRUNO EHRS/PIA ULIN

M O D E R N A R T E FA C T S

display than before), the courtyards have been opened up and given Pompidou-esque glass roofs, while the façade has been reﬁtted with the same local Borghamm limestone Stüler used in 1866. ‘Now, more than 5,000 works of art and design are displayed on a timeline from the 16th century to the present,’ explains Susanna Pettersson, the museum’s director general. To complete the modernisation, more than 30 designers and 20 brands collaborated on pieces to complete the restaurant’s new look – almost all are available to buy. TAF Studio designed the ‘Atelier’ chair for Artek (above left), Örsjö Belysning and The Glass Factory made lights, Chris Martin and Mass Productions created the ‘Draft’ tables, and the covetable tableware is courtesy of Carina Seth Andersson and Design House Stockholm. The result is a celebration of modern Scandi design (nationalmuseum.se).

Take home a piece of the museum, with these specially designed buys

The ‘Kolonn’ vase by Carina Seth Andersson decorates the restaurant’s tables. Produced by Swedish glassworks Skruf, it is available at Artilleriet. From £29 (artilleriet.se)

Made from simple bent and varnished beech, the stackable ‘Avavick’ stool is by Katja Pettersson for Swedese. £402, Inform (informfurniture.co.uk)

‘Museum’ by TAF Architects for String is a neat shelf that’s perfect for displaying objets d’art or as a bedside table. £145, Utility (utilitydesign.co.uk)

Diners at the National Museum will fall for the clean lines of the ‘Ehra’ cutlery by design studio Note and Gense. £237 for a 16-piece set, Royal Design (royaldesign.co.uk)

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THE TECHNOLOGY

DISCREET DEVICES From transparent TVs to disguised speakers, technology is being designed to disappear

WORDS: TOM BAILEY

WITH DIGITAL DETOXES ON THE RISE, LESS INVASIVE TECHNOLOGY IS A WELCOME ADDITION TO OUR LIVES

Technology is disappearing before our eyes: streaming apps have replaced DVD players, wi-fi has banished cables and AI voice assistants have started to kill off buttons and screens. Enter the age of invisible technology, hidden in homes and everyday objects. Sonos has already tapped into this trend, teaming up with audio brand Sonance on a collection of ‘Architectural’ speakers – discreet panels that can be cleverly concealed in walls and ceilings. Amazon’s ‘Echo Wall Clock’ looks innocently analogue, but syncs with Alexa and doubles as an LED timer, while architecture firm Foster + Partners has joined forces with LG Signature on the world’s first rolling ‘OLED TVR’ screen, which emerges seamlessly from a fixed base. Ikea, meanwhile, has camouflaged its ‘Symfonisk’ hybrid speakers as a lamp and a floating bookshelf. Panasonic’s approach is yet more striking. It has teamed up with Swiss design brand Vitra to unveil the ‘Vitrine’ (below; panasonic.com/uk), a transparent OLED television concept that resembles a pane of glass in a handcrafted wooden frame. The result of two years of research, the screen transforms from a clear display to a first-class TV at the flick of a switch, with all of the electrical components and wires hidden within its thin frame. It seems the omnipresent black rectangles that have dominated homes for years are set to become a thing of the past. With digital detoxes now on the rise, less invasive technology – artfully designed to fade away when we want some peace and privacy – is a welcome addition to our lives, and living spaces.

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T H E A N N I V E R S A RY

LIVING DIVANI AT 50 This year marks half a century of the Italian furniture brand. We celebrate by looking at its seismic impact on the design world

Portrait (from left) Luigi Bestetti, Renata Pozzoli and their daughter, Carola Bestetti, sit on the ‘Metro2’ sofa designed by Piero Lissoni for Living Divani in 1999

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WORDS: AMY MOOREA WONG PICTURES: SIMONE BOSSI

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Founded in Milan in 1969 by husband-and-wife team Luigi Bestetti and Renata Pozzoli, Living Divani credits ‘a fixation on contemporary design and a touch of luck’ for its success. It was at just 26 years old that Bestetti decided to strike out from his family’s traditional furniture company and forge the modern brand we know today. Still honouring the principles that it established 50 years ago – elegant silhouettes and a considered colour palette – it’s now just as celebrated for its creative collaborations and the ageless outlook that’s allowed it to traverse half a century with ease. Bringing Italian design maestro Piero Lissoni on board in 1989 – a partnership that’s celebrating its own anniversary of 30 years – was a pivotal moment, solidifying Living Divani’s unique style. ‘I’ve seen the company completely transform,’ says the designer, who, upon joining the brand, set about overhauling its factory in Como, which opened in 1974, updating its materials and reimagining its visual identity. He also created some of the most iconic Living Divani pieces, such as 1995’s ‘Frog’ chair (above and left), now considered a forerunner to the subsequent vogue for low seating, and the ‘Wall’ sofa (left) of 2000, which was the brand’s first design without legs. ‘I pushed them to be more contemporary and, luckily, they believed in me and my crazy ideas,’ he says. Collaboration has been a mainstay of the firm’s identity, thanks in no small part to the vision of the founders’ daughter, Carola Bestetti, who joined the firm in 2004. The roll call of those who have contributed to the portfolio is a who’s who of the design scene – Arik Levy, Claesson Koivisto Rune, Giopato & Coombes, Nathan Yong, Victor Vasilev, Shiro Kuramata, Junya Ishigami and Lanzavecchia + Wai, to name but a few. Each designer is specially chosen for their ability to harmonise with the brand’s clean-lined aesthetic. At 50 years young, Living Divani continues to uphold its global reputation for creating fine furniture, with a range that now spans the entire home. For 2019, it has partnered with another impressive array of designers, both new and established, including David Lopez Quincoces, Keiji Takeuchi and Shibuleru, plus, for the first time, young Italian Leonardo Talarico, Milan-based Studio Klass and New York’s Stephen Burks. Of course, Lissoni has contributed too, with ‘The Uncollected Collection’ (chaise longue, right), a limited-edition range of chairs and tables that are part furniture, part sculpture. What now? ‘On to the next 50 years!’ says Lissoni (livingdivani.it).

‘I PUSHED THEM TO BE MORE CONTEMPORARY AND, LUCKILY, THEY BELIEVED IN ME AND MY CRAZY IDEAS’

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TRENDS

T H E B AT H R O O M U P D AT E

‘ALLURE BRILLIANT ICON 3D’ TAP BY GROHE WORDS: AMY MOOREA WONG

This futuristic piece of hardware shows the possibilities offered by cutting-edge design methods As technological advances continue to drive designers to push the boundaries of creation, the bathroom is the latest space to be revolutionised by 3D printing. Grohe’s ‘Allure Brilliant Icon 3D’ tap – the first of its kind in Europe – is composed of a staggering 4,700 printed layers of 0.06-millimetre-thick raw steel. Its design echoes the look of the brand’s ‘Allure Brilliant’ tap, but with a sharper profile that could not be forged by human hands. ‘We strive to create products that at first appear impossible,’ says Michael Seum, vice-president of design at Grohe. And, with its unique hollow form and razor-thin architectural lines, it does at

first seem hard to believe that water can flow through this tap. When it’s turned on, a stream appears as if from nowhere – an optical illusion made functional. ‘What is possible or not possible has become a question of perspective,’ continues Seum. As well as this design, Grohe has also reimagined the clean-lined ‘Atrio’ tap, with both pieces printed and then milled by machines, before being honed and finished by skilled craftspeople. Made to order, both taps can be personalised for any space, making each one completely unique. With production limited to just a few a year, they’re a real luxury. From £12,000 (grohe.co.uk). AUGUST 2019 ELLEDECORATION.CO.UK 57

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TRENDS

T H E C O L L A B O R AT I O N

PIERRE FREY X CHRISTIAN ASTUGUEVIEILLE The new ‘Coquecigrues’ collection is an energetic collision of styles born of a long creative friendship

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WORDS: KIERA BUCKLEY-JONES

WORDS: KIERA BUCKLEY-JONES PICTURES: LUCKY IF SHARP

Patrick Frey, the patriarch of fabric brand Pierre Frey, has been friends with Christian Astuguevieille for years. A design polymath, Astuguevieille (below) is the artistic director of Comme des Garçons Parfums and has designed jewellery for Hermès and Lanvin, but it’s his rope-covered furniture (stool, below) for which he’s most famous. Frey, meanwhile, is responsible for curating the extensive Pierre Frey archive – a resource used by designers and museums alike. The duo’s ‘Coquecigrues’ collection of seven wallpapers and nine fabrics marks the ﬁrst time they’ve worked together. A true collision of styles, it exudes the colourful joie de vivre of Pierre Frey and the dynamic energy and artistry of Astuguevieille’s work. The surreal ‘Les Coquecigrues’ print (right), for example, is an adaptation of a design kept at the Musée de la Toile de Jouy that dates back to 1792. To modernise it, the colours were intensiﬁed and the pattern enlarged by 300 per cent. For an even more contemporary take, there’s the ‘Symboles Les Coquecigrues M’ (far right), daubed with Astuguevieille’s graffitilike mashrabiya (a latticework often seen on Arabic buildings), the vibrant toile still visible beneath. ‘What pleases me,’ says Frey, ‘is that the collection is very French. It came from 18th-century French documents, and it is this classicism that Christian has expanded and recoloured, so that it becomes something else.’ From £192 per metre (pierrefrey.com).

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T H E S U R FA C E

THREE-DIMENSIONAL TILES Forget dull, f lat walls – designers are bringing ever more inventive and original texture to homes (and it’s not just for the bathroom and kitchen!)

We first admired the renaissance of 3D tiles last year at the opening of Harrod’s revamped Fresh Market Hall, where Cristina Celestino’s ‘Plumage’ design by Botteganove added glamorous texture. Since then, we’ve been treated to a growing number of innovative options, with the trend really making its mark during this year’s Milan Design Week at the ‘Perfect Darkness’ installation. Created by H+O (a collaboration between Josephine Akvama Hoffmeyer of Danish studio File Under Pop and Italian designer Elisa Ossino), the display showcased the possibilities available with tiles, presenting them as an exciting alternative to paint and wallpaper. When it comes to stretching the boundaries of this type of surface, few have done more than Finnish designer Jonas Lutz. For his surrealist ‘Guts’ tiles, he had to develop a new technique to create all of their bodily lumps and bumps. Lutz carved the shapes directly into plaster, then filled the cavity with liquid clay to make 20 different patterned moulds that all fit together to form a seamless pattern. ‘The name comes from the texture, but also from the name of the tool I used, which in Dutch is called a guts,’ he says. ‘It creates the feeling that you are inside the belly of a giant being.’ Of course, the avant-garde Italians are also spearheading this architectural tile revival. Venice-based Zaven has designed the vividly coloured ‘Rilievi’ range, inspired by the work of artist and activist Nino Caruso during the 1960s and 70s, while Marazzi has launched the ‘Eclettica’ collection, with its tasteful wave and diamond shapes. Whatever your style, from geometric to gutsy, there’s a design that will give your walls a new dimension.

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TRENDS

Opposite ‘Triangolo’ tiles, from £110.50 per square metre, H+O (hpluso.design) This page, clockwise from top left ‘3D Decor’ tiles by Zaven for Cedit, £129 each, Domus (domusgroup.com). ‘London Roundel’ tiles, £11.76 each, Lindsey Lang (lindseylang.co.uk). ‘Guts’ tiles, price on application, Jonas Lutz (jonaslutz.com). ‘Biscuit’ tiles, by 41 Zero 42, £103 per square metre, Domus (domusgroup.com)

WORDS: KIERA BUCKLEY-JONES PICTURE: PIM TOP

GEOMETRIC OR ORGANIC, CLASSICAL OR INNOVATIVE – THERE’S A TILE DESIGN TO SUIT ANY ROOM IN ANY HOME

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TRENDS

T H E E X T R AVA G A N C E

HAUTE COUTURE WINDOW DRESSING

WORDS: KIERA BUCKLEY-JONES PICTURE: CECIL MATHIEU

Blending fashion and function, it’s the new art form for the home, and textile design agency Studio MTX is leading the way

It’s no longer just the walls of your home that can accommodate unique artwork – windows are the new canvas. Paris-based company Studio MTX is pioneering this elevated form of window dressing, using architectural embroidery to create solutions that maintain natural light and offer privacy, while also being graphic and memorable. At this year’s Milan Design Week, the studio collaborated with furniture brand Sé at the Rossana Orlandi Gallery, layering ethereal silk panels to breathtaking effect. Composed to reﬂect the soft curves of Sé’s designs, the fabric panels (above) were outlined by brushed brass detailing that glints in sunlight. This is haute couture reimagined for the home, and Studio MTX is uniquely placed to bring fashion and art credentials to interiors. Established in 2013 as a directional division within Chanel’s embroidery atelier Montex – a workshop whose roots go back to 1939 – its aim was to redeﬁne, innovate and push the boundaries of what it’s possible to achieve with embroidery. The result is cool,

edgy designs that utilise traditional techniques of tapestry and weaving, integrating heritage materials such as ribbon, crystals and pearls. The studio’s most progressive projects include wood and plastic – it’s even woven glass tubes into fabrics. Now under the creative leadership of Mathieu Bassée, formerly of Hermès, Studio MTX is taking its experimental tendencies to new heights, collaborating with global brands, including Pierre Hardy, Issey Miyake and Didier Faustino, to create bespoke textile creations. Train to Rouen, an installation designed in partnership with artist Vikram Divecha, has even been displayed at the Louvre in Abu Dhabi, cementing the studio’s artistic expertise. The late Karl Lagerfeld has championed the brand’s fashion-forward style, commissioning a piece for a restaurant he designed in Macau. Want to turn your own windows into a work of art? The studio’s window dressings will soon be available in three sizes, installed as ﬁxed or moving panels (mtx-paris.com). AUGUST 2019 ELLEDECORATION.CO.UK 63

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TRENDS

THE ARCHIVE FIND

‘MESLETTER’ COLLECTION Morris & Co’s latest range of fabric and wallpaper draws inspiration from the intricate work of its founder’s daughter, May Morris May Morris (1862–1938) has ﬁnally emerged from the long shadow cast by her father William with the release of a new Morris & Co collection inspired by her designs. No mere needleworker, May, a fervent socialist, also designed pieces of jewellery, was painted by Dante Gabriel Rossetti, and elevated embroidery to an art form. As she once told

playwright George Bernard Shaw (with whom she was romantically involved): ‘I’m a remarkable woman – always was, though none of you seemed to think so.’ Style Library, custodian of the Morris & Co archive, does think so, however, and its ‘Mesletter’ range of seven embroideries, seven prints and ten wallpapers does much to restore May’s reputation. A reworking and updating of her designs to suit the contemporary home, it has the stylised flowers and birds characteristic of Arts & Crafts style, but with the detailed richness of embroidery, and a modern colour palette. May learnt her craft from her mother and aunt, revealing a talent that led to her overseeing embroidery at Morris & Co aged just 23. Her loose, organic designs were entirely ahead of their time, and offered a contrast to the repeat patterns of the day. The ‘Mesletter’ collection, named after the house in Orkney that housed her hangings, is a fitting tribute to May and to the other talented female needleworkers who stitched alongside her. Some designs are faithful copies of the original documents from the archive, others are interpretations and some are entirely new but reference her style. According to Rebecca Craig, head of design at Morris & Co, the new collection is a true celebration of ‘May’s commitment to her own creative vision and to her father’s ideals’. Not only does it validate her contribution to the Morris & Co brand and to the wider Arts & Crafts movement in general, but it finally offers us the chance to decorate our homes with the beautiful work of this onceforgotten star (stylelibrary.com). 64 ELLEDECORATION.CO.UK AUGUST 2019

Main image ‘Double Bough’ wallpaper, £115 per roll Fabric swatches, clockwise from top left ‘Morris Oak’, £49 per metre; ‘Morris Brophy’, £109 per metre; ‘Wilhelmina’, £69 per metre; ‘Morris Mesletter’, £295 for a three-metre panel

WORDS: CLARE GOGERTY PICTURES: ANDY GORE, ELLE DUNN

MAY’S LOOSE, ORGANIC DESIGNS WERE ENTIRELY AHEAD OF THEIR TIME, A CONTRAST TO THE REPEAT PATTERNS OF THE DAY

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THE BIG IDEA

CARPET EVERY WHERE No longer restricted to floors, the plushest and most fantastically patterned carpets are running wildly up walls, ceilings and into every room of the home Words KIERA BUCKLEY-JONES Photography HELENIO BARBETTA/LIVING INSIDE

Carpet-clad walls, like tasselled three-piece suites and cork tiles, were trends we thought we’d left behind, along with power cuts and strikes, in the sepia-tinted past. But style is cyclical and, as we reported in our February issue, we’re in the midst of a 1970s-inspired interiors boom. We’ve seen the return of cork and fringing, and now carpet is rolling back into every corner of our homes. At this year’s Milan Design Week, the decorative possibilities of carpet were on full display. For Studiopepe’s ‘Les Arcanistes’ installation, jewel-coloured examples covered the floors and crept up the walls, while Cristina Celestino’s ‘Planetario’ apartment (right) was a dreamlike paradise inspired by influential designers from the 1960s and 70s, particularly those with a penchant for fitted carpet – think Joe Colombo, Nanda Vigo and Willy Rizzo. Created in association with Italian flooring brand Besana Carpet Lab, the fantastical apartment showcased the new ‘Nebula’ design by Celestino, notable for its enhanced colours and subtle, 1970s-style iridescent effect. ‘In uncertain times, we often look to the more familiar and to textures which offer comfort, sanctuary or a sense of belonging,’ says Lorna Haigh, director of creative and marketing at rug and carpet brand Alternative Flooring. ‘There is something about the feel of soft carpet underfoot which is reassuring,’ she adds. And, with cutting-edge creatives like Celestino showing how it can be used in kitchens and bathrooms, as well as across ceilings (see following pages), there’s even more opportunity to enjoy its comforting, cocooning benefits (cristinacelestino.com; besanamoquette.com). Living room Carpet covers even the furnishings here, with a design by Besana Carpet Lab tying the sofa into the look. Celestino has arranged three colours of carpet and her ‘Nebula’ pattern to accentuate the curvaceous seating. The fabric on the sofa is by Rubelli

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Dining room Carpet covers the base of the Celestino-designed table, which is surrounded by ‘Botolo’ chairs by Cini Boeri for Arﬂex. The pendant light is the ‘Pulsar’ by Celestino for Esperia Kitchen A diagonal stripe of ‘Nebula’ carpet by Celestino for Besana Carpet Lab links this room to the living space. The ﬂoor lamp is the ‘Leila’ by Celestino and the ‘Gaspare’ pendant light is by Angelo Brotto, both for Esperia

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TRENDS

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Hallway A pink version of Celestino’s ‘Nebula’ carpet for Besana Carpet Lab covers the ceiling, drawing visitors’ eyes upwards to create a sense of grandeur. The light is the ‘Diva’ by Esperia, while the rug is formed from sections of carpet Bedroom The ‘Nebula’ carpet is also the focus; it’s even used inside the ﬁreplace. A neutral coloured carpet covers the undulous cladding on the wall. The ‘Lucilla’ and ‘Sassone’ lights are by Esperia

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The world of ELLE Decoration just got bigger!

Pick up the latest volume today to enjoy exclusive tours of the world’s most breathtaking rural homes. From Modernist coastal villas to hilltop castles and sun-drenched chateaux, there’s inspiration on every page

Order Volume 14 online at HEARSTMAGAZINES.CO.UK/ED-COUNTRY-14 or find it on sale at WHSmith and selected newsagents

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F E AT U R E

Introducing two NEW standalone magazines

Our newest title is a collection of guides to Europe’s most exciting cities, featuring undiscovered neighbourhoods, happening hotspots and places where urban architecture and nature sit side by side. Plus, there’s the definitive hotel guide for design-savvy travellers

THREE GREAT COVERS TO PICK FROM!

Buy the first volume online now at HEARSTMAGAZINES.CO.UK/ED-CITY or find it on sale at WHSmith and selected newsagents MONTH 2019 ELLEDECORATION.CO.UK 73

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LOOKS A U T U M N / W I N T E R 2 019

INDIGO BLUES PA L E T I M B E R S NOWHAUS RETRO FUTURISM

Edited by KIER A BUCKLEY-JONES

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THE LOOK

Indigo BLUES Deep inky and stonewashed hues are bringing the everyday beauty of denim to the home. Much like your favourite pair of jeans, it’s a look you’ll never tire of 1

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1 ‘Apparel’ fabric, £176 per metre, Kvadrat (kvadrat.dk) 2 ‘Spice’ shelving unit in ‘Monarch’, from £790, Montana (montana.dk) 3 ‘Camague’ fabric, £85 per metre, William Yeoward at Designers Guild (designersguild.com) 4 ‘Genesi’ tiles by Sartoria, £61.83 per square metre, Terratinta (terratinta.com) 5 ‘Woad’ paint, £45 for 2.5 litres, Little Greene (littlegreene.com) 6 ‘Funnel’ pendant light, £192, Mineheart (mineheart.com) 7 ‘Yale’ lounge chair by Jean Marie Massaud for MDF Italia, from £3,774, Aram Store (aram.co.uk) 8 ‘Avio’ sofa system by Piero Lissoni, from £11,124, Knoll (knoll-int.com) 9 ‘Buee’ glass vase, £84, Ligne Roset

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(ligne-roset-westend.co.uk) 10 ‘Mushroom’ vase, £59.50, Broste Copenhagen (brostecph.com) 11 ‘Rio Fragments’ needlepoint cushion, £158, Jonathan Adler (uk.jonathanadler.com) 12 ‘Dots’ cushion by Fine Little Day, £39, Couverture & The Garbstore (couvertureandthegarbstore.com) 13 ‘Colour Stories London Fields Lido’ rug, from £750, Floor Story (ﬂoorstory.co.uk) ➤

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THE LOOK

PALE timbers Beech, plywood, oak and maple are the materials of the moment – sustainable and sophisticated, they bring a quiet warmth to interiors 2 3

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1 ‘Great White’ paint, £46.50 for 2.5 litres, Farrow & Ball (farrow-ball.com) 2 ‘Oak’ screen by Hubsch, £217, Smallable (smallable.com) 3 ‘White Maple’ ﬂooring from the ‘Spacia’ collection, £39.99 per square metre, Amtico (amtico.com) 4 ‘Calamine’ paint, £46.50 for 2.5 litres, Farrow & Ball (farrow-ball.com) 5 ‘YB18’ pendant lights, £290 each, Yellow Broom (yellowbroomproduct.co.uk) 6 ‘Relic’ wallpaper in ‘Rune’, £216 per square metre, Calico (calicowallpaper.com) 7 ‘Roundish’ armchair by Naoto Fukasawa, from £1,083, Maruni (maruni.com)

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8 ‘Ring’ stool, £120, Zara Home (zarahome.com) 9 ‘Kami’ mug, £48, Such & Such (suchandsuch.co) 10 ‘Noka’ oak bed, £349, Made (made.com) 11 ‘Vakka’ box, from £167, Iittala (iittala.com) 12 ‘Eden’ mirror, £379, Heal’s (heals.com) 13 ‘Jut’ cabinet by Skagerak, £1,799, Haus (hauslondon.com) 14 ‘Batwa’ mango wood vase by Nkuku, from £40, Amara (amara.com) 15 Oak bowl, £55, Native & Co (nativeandco.com) 16 ‘Feather’ rug in ‘Heron’ by Ellinor Eliasson, from £287, Kasthall (kasthall.com)

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THE LOOK

NOWhaus In the wake of Bauhaus’s 100th anniversary, graphic patterns and primary colours – the school’s hallmarks – have been given a contemporary update 2

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1 ‘Cabana’ tiles in ‘Sunrise’, £69.94 per square metre, Claybrook (claybrookstudio.co.uk) 2 ‘Bauhaus’ plates, £89 each, Darkroom (darkroomlondon.com) 3 ‘Transfer’ artwork, from £150, Formworks (formworksstudio.co.uk) 4 ‘Dot’ pendant light by Foster + Partners for Lumina, from £856, Aram Store (aram.co.uk) 5 ‘Perse Grey’ paint, £49.50 for 2.5 litres, Paint & Paper Library (paintandpaperlibrary.com) 6 ‘Mazarine’ paint, £45 for 2.5 litres, Little Greene (littlegreene.com)

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7 ‘ISO-A’ side table by Pool, £290, Petite Friture (petitefriture.com) 8 ‘Zylinder’ teapot, £68; ‘Kreis’ mug, £24, both Design K Ceramics (designk.co.uk) 9 ‘Cotone’ sofa by Ronan and Erwan Bouroullec, £9,180, Cassina (cassina.com) 10 ‘Apollo’ chair, £3,350, Bohinc Studio (bohincstudio.com) 11 ‘Check’ cabinet by Elisa Ossino, price on application, SEM Milano (sem-milano.com) 12 ‘Bauhaus Edition’ rugs (four shown), from £255 per square metre, Reuber Henning (reuberhenning.com) ➤

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THE LOOK

RETRO futurism Today’s designers are looking to visions of the future from the 1950s and 60s, with sci-fi-inspired shapes and stones resembling the surfaces of distant planets

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1 ‘Globe’ ﬂoor lamp, £245, Soho Home (sohohome.com) 2 ‘Luna’ three-tier chandelier, from £9,796, Gabriel Scott (gabriel-scott.com) 3 ‘Lemon Spice’ granite, from £280 per square metre, Gerald Culliford (geraldculliford.co.uk) 4 ‘Remembering the Present Moment’ wallpaper, from £140 per roll, Beth Nicholas (beth-nicholas.com) 5 ‘Platinum Pale’ paint, £42 for 2.5 litres, Fired Earth (ﬁredearth.com) 6 ‘Neotenic’ chairs by Jumbo (two pictured),

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£12,761 each, Matter (mattermatters.com) 7 ‘Big Table 10th Anniversary Edition’ by Alain Gilles for Bonaldo, £11,000, Go Modern (gomodern.co.uk) 8 ‘Mini’ bowl, £62, Cabana (cabanamagazine.com) 9 ‘As Above, So Beneath’ sculpture, price on application, Zuza Mengham (zuzamengham.com) 10 ‘Fordite 2’ rug by Patricia Urquiola, from £8,697, CC Tapis (cc-tapis.com)

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define the d s e t esi et g u o SSI N O S AO TU

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IS EL

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From left ‘Sydney’ sofa by Jean-Marie Massaud, from £7,000, Poliform (poliform.it). ‘Composizione 74’ rug by Manlio Rho, from £7,525, Amini (amini.it). ‘Primitive’ coffee table by Massimo Castagna, from £1,723, Henge (henge07.com). ‘Nuage’ vase by Ronan and Erwan Bouroullec for Vitra, £130, Twentytwentyone (twentytwentyone.com). ‘Vulcano Corteccia’ vase by Paola Paronetto, £475, Artemest (artemest.com). ‘Artifex’ vase by Charlotte Juillard, £436, Ligne Roset (ligne-roset-westend.co.uk). ‘Mila High’ side table by Sebastian Herkner for Pulpo, from £1,279, Connox (connox.co.uk). ‘Coassiale’ light by Vittorio Venezia for Martinelli Luce, £599, Barry Perrin (barryperrin.com). ‘Primordial’ bookcase by Raphael Navot, £4,640, Roche Bobois (roche-bobois.com). ‘Pouf Round’, from £599, Ferm Living (fermliving.com)

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From left ‘Sitar’ chair by Enzo Berti, £1,560, Saba (sabaitalia.it). ‘Match Point’ side table by Omri Revesz for Baleri Italia, £605, Artemest (artemest.com). ‘Tavolo Basso 080’ coffee table by Dimore Studio, £10,096, The Future Perfect (thefutureperfect.com). ‘Journey’ table lamp by Signe Hytte for &Tradition, £270, Monologue (monologuelondon.com). ‘Stilla’ mirror by Serena Confalonieri, £770, Potocco (potocco.it). ‘Chief Chair’, £6,511, Cara Davide (caradavide.com). ‘Noce’ dining chair by Yabu Pushelberg, from £1,754, Henge (henge07.com). ‘North’ ﬂoor lamp by Arik Levy, from £582, Vibia (vibia.com). ‘Table En Forme Libre’ by Charlotte Perriand, from £7,452, Cassina (cassina.com). ‘Pura’ marble bowl by Angelo Mangiarotti, £1,428, Poltrona Frau (poltronafrau.com). ‘Simultanea’ vase by Valentina Cameranesi Sgroi, £338, SEM Milano (sem-milano.com). ‘Spade’ chair by Faye Toogood, £430, Please Wait To Be Seated (pleasewaittobeseated.dk)

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From left ‘Botolo’ chair by Cini Boeri for Arﬂex, £1,255, Twentytwentyone (twentytwentyone.com). ‘Dewdrops 07’ chandelier, from £5,767, Giopato & Coombes (giopatocoombes.com). ‘Arc’ dining table by Foster + Partners for Molteni & C, from £3,948, Chaplins (chaplins.co.uk). ‘Paco’ vase in ‘Honey’, £75, Federica Bubani (federicabubani.it). ‘Speckled Clay’ vase by HK Living, £49.99, Trouva (trouva.com). ‘Tellina’ table plinth by Chiara Andreatti, £144, Paola C (paolac.com). ‘Immaculate’ chair in elm, £1,971, Henry Timi (henrytimi.com). ‘Ultimate Bliss’ rug by Mae Engelgeer for CC Tapis, £9,600, Monologue (monologuelondon.com). ‘Torii’ stool by Gino Carollo for Porada, £1,750, Go Modern (gomodern.co.uk). ‘Wooden Cloud’ bookcase by Ronan and Erwan Bouroullec for Cappellini, £7,739, Clippings (clippings.com). ‘Dos À Dos’ chair by Pierre Paulin for La Cividina, £2,720, Artemest (artemest.com)

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From left ‘Wirering’ wall light by Formafantasma for Flos, from £620, Heal’s (heals.com). ‘Sanluca’ limited-edition armchair by Achille and Pier Giacomo Castiglioni upholstered in ‘Geophysical Waves’ fabric by Max Huber, £4,500, Poltrona Frau (poltronafrau.com). ‘Tenco’ side table by Carlo Ballabio for Porada, £1,172, Chaplins (chaplins.co.uk). ‘Insert’ side table, £489, Ferm Living (fermliving.com). ‘Pùka’ circular chair by Verter Turroni, from £4,000, Imperfetto Lab (imperfettolab.com). ‘Cal 3’ rug, £441; ‘Stone 1’ rug, £370, both by Nanimarquina, Ambiente Direct (ambientedirect.com). ‘Ring’ coffee table by Nendo, from £5,800, Minotti (minottilondon.com). ‘Eucalyptus & Acacia’ high carafe by Eva Claessens, £43, Serax (serax.com). ‘Edge’ vase by Skagerak, from £32, Nunido (nunido.co.uk). ‘Gallery Object’ marble tray, £290, Louise Roe (louiseroe.dk). ‘Akari’ ﬂoor lamp by Isamu Noguchi, £2,090, Vitra (vitra.com). ‘Floyd’ sofa by Piero Lissoni, from £6,483, Living Divani (livingdivani.it)

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HOMES A U T U M N / W I N T E R 2 019

P O T E N T PAT T E R N BLONDE AMBITION OFF THE SPECTRUM LIFE IN MONOCHROME C O N T E M P O R A RY O R G A N I C THE BIG EASY

PICTURE: KASIA GATKOWSKA/PHOTOFOYER

INDUSTRIAL BOHEMIA

Prints don’t have to shout to make a big impact. In this home, florals and stripes in soft colours demonstrate the growing appeal of quietly daring decoration Words TESSA PEARSON Photography DENISE BONENTI/LIVING INSIDE Styling BARBARA VERGNANO/SLOBS

POTENT

PAT T E R N

HOME TREND

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Guest room ‘Brocade’ wallpaper by Farrow & Ball stretches from ﬂoor to ceiling on one of the walls, while Cole & Son’s ‘Cambridge Stripe’ extends part of the way up. The blind is by C&C Milano, while the armchair’s upholstered in textiles by Dedar and Mark Alexander. The rug is from Tibet Stockist details on p194 ➤

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‘

Portrait Landscape architect Cristiana Ruspa Hallway This space features the vibrant ‘Pompom’ wallpaper by Natasha Marshall Opposite In the living room, period features, such as the ﬁreplace, have been painted white for a more modern feel Stockist details on p194 ➤

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nspiration for most of the patterns in this house came from the gardens,’ says landscape architect Cristiana Ruspa of her Turin home, located close to the River Po in the city’s Precollina district. It is this element of the natural, perhaps, that brings a sense of calm to what could be a very daring combination of prints – the striking and the subdued in perfect harmony. Indeed, Cristiana’s flair for layering colour and texture, gained while creating green spaces for clients with her firm Giardino Segreto (or Secret Garden), can be seen throughout the home she renovated for herself and her children – Filippo, Sofia and Letizia. Things were not always so serene in this 1930s property, though. ‘When we moved in, the house was full of dark wood and lacked natural light,’ she recalls. ‘I used a lot of white for the interior so that I could retain the period features, while making it a much more inviting place to be.’ Now, her four-bedroom home’s clean, bright scheme is the perfect foil for her expertly implemented mix of wallpapers and fabrics. Shades of green – ranging from pale and muted to vibrant and jewellike – combine with corals and soft pinks throughout the interior, while repeating floral patterns sit harmoniously alongside wide-set stripes. The overall effect manages to feel fresh and current, while also conveying an air of nostalgia that conjures up the old-world charm of 1930s summerhouses and garden rooms. Carefully selected furniture pieces from many different eras contribute to the modern-vintage aesthetic, curated by Cristiana in a bid to reflect the history of the building. ‘Why buy a period house only to destroy all the elements that give it character?’ she muses. ‘I needed to update the place to suit my taste and needs, but I wanted to retain its soul.’ giardinosegreto.com

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Living room The ‘Move’ sofa by Francesco Rota, ‘Ivy’ coffee table by Claesson Koivisto Rune, ‘Amable’ chair by Victor Carrasco and ‘Wind Low’ rug are all from Paola Lenti. The yellow footstool is a custom design Stockist details on p194

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THE CHARM OF SUMMERHOUSES AND GARDEN ROOMS

LIGHT, BRIGHT ROOMS AND HINTS OF GREEN CONJURE UP

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Dining room Cristiana found a local carpenter to build a custom-made table, around which she’s placed ‘Elsie’ chairs by Francesco Rota for Paola Lenti. The rug is by Galleria Battilossi. ‘Block Print Stripe’ wallpaper by Farrow & Ball has been used on the lower part of the wall, below artworks by Patrizia Guerresi Stockist details on p194

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SHOW THE STRIKING AND THE SUBDUED IN HARMONY

BOTANICAL AND STRIPED WALLPAPERS IN MUTED TONES

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Bathroom Ceramic tiles by Patricia Urquiola for Mutina cover a wall in the shower. On the ﬂoor is an antique Tibetan rug. The ‘Offcut’ stool is by Tom Dixon Bedroom ‘Meadow Sweet’ wallpaper by Morris & Co gives a vintage feel to this space, which features striped blinds made from Sunbrella fabric. The linen bedspread is by Atelier Adriana Fortunato Stockist details on p194

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Living room Style Wars 2014 by Russian artist Stepan Krasnov hangs in front of a pair of ‘Don Juan’ sofas from Christian Liaigre, a bronze ‘Aes’ coffee table by Barber & Osgerby for Hermès Maison and Pierre Jeanneret chairs. The ‘Jardin’ rug is by India Mahdavi for Cogolin and the ‘Scramble’ ﬂoor lamp is by Mauro Fabbro, from the Galerie Alexandre Biaggi in Paris Stockist details on p194 ➤

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HOME TREND

B L O N D E Ethically and aesthetically, the only choice for timber is pale-toned oak. It creates a warm welcome in this Parisian abode Words IAN PHILLIPS Photography STEPHAN JULLIARD/TRIPOD AGENCY Styling SARAH DE BEAUMONT

A M B I T I O N

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Kitchen Two bookcases with concealed sliding doors separate this space. The photographs are by Philip Lorca di Corcia and the ‘Shuffle MH1’ side table is by Mia Hamborg for &Tradition. Beyond, ‘A110’ lights by Alvar Aalto for Artek illuminate the marble counter Stockist details on p194 ➤

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THE TREND French interior designer Charlotte Macaux Perelman, the mastermind behind the inviting look of this Parisian home, believes that the current affection for blonde timber is down to much more than just a continued obsession with Scandinavian design. As she points out, there are ecological concerns that have led to this growing trend. ‘Darker woods, such as wenge and mahogany, have become much rarer in recent years, therefore it would be unethical to use them in large quantities today.’ When it comes to sustainable timber, the best choices are fastgrowing soft woods, such as pine, or oak from European forests where harvesting is monitored.

THE HOME

The design world’s AFFECTION for blonde TIMBER is due to more than a love of the SCANDINAVIAN look

Above An Italian 1950s armchair, Gino Sarfatti lamp and ‘Lalinde’ table from Sentou Dining area The Corian-topped table is a custom design which has been paired with ‘Ant’ chairs by Arne Jacobsen for Fritz Hansen and a ‘Coogee Cotton’ sofa from Sentou. A pair of ‘Marseille’ wall lights by Le Corbusier for Nemo and a photograph by Jean-Pierre Khazem hang above Stockist details on p194 ➤

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‘There’s a soul to every home, something to preserve,’ says Charlotte, whose approach to design is always to respect the history of a space. There is, however, an exception to every rule, and what interested her about this 230-square-metre apartment, which overlooks Paris’s Parc Monceau, was precisely the fact that there was nothing to salvage. The former owner had lived here for 42 years and redecorated rooms at different times, each in the tastes and fashions of the specific period. ‘It was all over the place stylistically’, Charlotte recalls. The project represents the most extensive demolition job the interior designer, who divides her time between her own studio and her role as co-creative director of Hermès Maison, has ever undertaken. ‘Nothing was left in place’, she says. Or rather, almost nothing. During the renovation, a ceiling with majestic mouldings – hidden for decades behind simple plaster panels – was revealed in the living room. Although it was painted brown and covered with dirt, Charlotte decided to celebrate this one original feature by modifying her initial plans. Instead of configuring several smaller reception rooms, she created one large open-plan living space, tailored to accentuate the ceiling’s dimensions. The apartment’s décor is typical of Charlotte’s style. She favours a rigorous architectural approach, with white walls, clean lines and natural materials – particularly wood and marble. The pale oak used for the flooring throughout was also used for the cabinetry, with Charlotte choosing to leave the timber untreated. ‘I wanted to preserve its natural honey tone’, she explains. Both of the apartment’s owners are art lovers (he is the grandson of an antique dealer; she formerly worked in the legal department of a well-known art foundation) and, for Charlotte, their collection brings a dose of fantasy to this home. It’s the ideal contrast to the elegant restraint of her design. studio-cmp.com

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This home’s ART COLLECTION brings a dose of FANTASY to the interior, in CONTRAST to its RESTRAINED, understated furnishings Above A bright painting by Bernard Frize greets visitors in the entrance hall. Below it, a ‘RAR’ rocking chair by Charles & Ray Eames for Vitra, a pair of ‘Lalinde’ tables from Sentou and a vintage Robert Mathieu ﬂoor lamp create a cosy corner Opposite In the office, a Lindsey Adelman chandelier hangs above a Jean Prouvé desk and the ‘Oria’ chair, designed by Spanish architect Rafael Moneo for Hermès Maison. The painting is another Pop Art piece by Stepan Krasnov Stockist details on p194 ➤

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Charlotte favours a rigorous ARCHITECTURAL approach to design, with WHITE walls, CLEAN lines and NATURAL materials – particularly WOOD and MARBLE Above This wall in the bedroom is clad with linen, which adds a softness to the interior. A portrait of Picasso by André Villers and a Gérard Garouste drawing hang on the wall above a vintage teak and cane bench by Pierre Jeanneret Bathroom Carrara marble reigns in this calm space, with two Takashi Murakami screenprints injecting a dose of colour above the bath. The stool is the ‘Butterﬂy’ by Sori Yanagi for Vitra and the tub is from Hidrobox’s ‘Beta Essential’ collection Stockist details on p194 ➤

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Bedroom Pillowcases and a blanket from Society Limonta have been teamed with a throw from Hermès Maison. The photograph above the bed is by David Levinthal, while the lights are vintage pieces by Robert Mathieu. The Moroccan rug is from Paris Berbère Stockist details on p194

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HOME TREND

OFF Colour confidence is key to creating a space

THE where clashing hues exist in harmony. This

SPECTRUM Milanese home-turned-gallery shows how it’s done Words KARA O’REILLY Photography MONICA SPEZIA/LIVING INSIDE

For Milanese interior designer Sophie Wannenes, the biggest pitfall to avoid when decorating is ‘using two very similar colours together’. This aversion to safe, expected shades should come as no surprise to anyone who has entered her gallery, PalermoUno, which she set up in her own apartment in the city’s stylish Brera district. ‘You make better colour choices if you know it’s okay to change your mind,’ says Sophie, whose own decisions demonstrate the current trend for clashing home hues. Her approach may be bold, confident and ahead of the curve, but it’s practical, too. ‘Choose the main entrance colour and start from there,’ she advises. ‘Make it neutral, so, for example, I picked a brick-like shade as it fits with most other tones. From there, you can select other colours you like, holding them next to it to see if they’re suited.’ Work on the gallery – where everything from the light fittings to the wall paint is for sale – began in September last year, and it opened in November. ‘Let’s just say I had to do everything pretty fast,’ says Sophie. The two-bed, two-living room, secondfloor apartment is classically Milanese, with high ceilings and parquet flooring. It’s a stylish canvas that’s given Sophie the space to be experimental. ‘I am never insecure when decorating,’ she says. ‘I trust my taste and follow my instincts.’ This confidence shows – Sophie has created an elegant space that packs a visual punch. ‘The colours are exaggerated because we want to impress,’ she says. ‘But I always like to be daring.’ A large part of Sophie’s motivation for establishing PalermoUno was to create a community as well as a place to display the work of designers she likes. The plan is to rearrange the gallery twice a year, with a special showcase for the annual design pilgrimage, the Salone del Mobile. ‘It’s about putting together many different creatives – some known and some unknown, but all very talented,’ she says. It’s a very personal project, but one that, luckily, has a wider appeal. ‘I noticed I had an eye for choosing objects and I love the idea that other people appreciate my selection.’ palermouno.it

Entrance hall Paints used throughout the apartment are all by Ressource – this shade is ‘Della Robbia Aubergine’. The table is a vintage piece, as are the statement mirrors. The rug is from Ilo Rugs and the light ﬁttings are the ‘Apollo’ by Pholc. The decorative objects on the table include items by Simona Cardinetti Stockist details on p194 ➤

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’WHEN DECORATING, I TRUST MY TASTES AND FOLLOW MY INSTINCTS’

Kitchen ‘Sebastian’ paint by Ressource covers the walls and cabinets. The table is vintage, as is the Pier Luigi Colli chair and the 1950s mirrors on the wall. The light ﬁttings are by Tala, while the ceramics and pieces of glassware are all from PalermoUno Dining room The walls are painted ‘Bleu Nuage’ and the ceiling ‘Thé de Chine’, both by Ressource. Sophie designed the table in collaboration with G-Lab Milano, while she sourced the rug in Morocco for PalermoUno. The chairs and cabinet are vintage. The light ﬁtting is by Bomma. Glassware includes pieces by Fferrone and Natalia Criado Stockist details on p194 ➤

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Living room The walls are painted in ‘Nuitée’ by Ressource. The sofa is vintage, decorated with cushions by Kirkby Design, and the chair is by Mario Milana. The marble side tables are from Marsotto Edizioni, while the ‘Ventus’ pendant lights are by Frama, and the rug from Ilo Rugs. Artworks by Victor Cadene hang on the wall Stockist details on p194 ➤

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‘YOU MAKE BETTER CHOICES IF YOU KNOW YOU CAN CHANGE YOUR MIND’

Yellow room The paint colour on the walls is ‘Jaune Raisin’ by Ressource. The screen (opposite) and sideboard (above) are both by Decorum. The marble table is from Marsotto Edizioni and the chairs are by Mario Milana. The pendant light is the ‘Gamma’ by Serena Confalonieri for Mason Editions, while the ‘Borgia’ brass candelabra on the table is by Carla Baz – try Bonadea Stockist details on p194 ➤

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PALERMOUNO’S OWNER, SOPHIE, HAS AN AVERSION TO SAFE, EXPECTED COLOURS

Bedroom Walls are painted in ‘Feuillage’ by Ressource. The curtain is a Kirkby Design fabric and the bedding is from Harmony Textile. The aluminium ‘Rivet’ bedside table is by Frama, while the lamp on the vintage chest of drawers (above) is the ‘Lotus’ by Serena Confalonieri for Mason Editions Stockist details on p194

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HOME TREND

Life in monochrome Black and white never goes out of fashion, but to keep it contemporary, take inspiration from this London home’s focus on geometric details Words TRISH LORENZ Photography MADS MOGENSEN Production MARTINA HUNGLINGER

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his mews house in the central London neighbourhood of Bayswater is home to architect Cooky Monseignat, her husband Nicholas and children, Theo, four, and Cat, eight months. The family moved here in 2017 after a two-year renovation process that saw them transform the traditional 170-square-metre home into a modern, monochrome space that channels the couple’s interest in art, taking inspiration from contemporary galleries. ‘My elder sister is a photographer and my younger sister a sculptor, so I’ve spent a lot of time in galleries,’ says Cooky. ‘They give me a sense of peace, with their minimalist white spaces. I wanted to partially recreate that at home.’ You enter the three-floor house via a small cloakroom framed by a ceiling-hung curtain, inspired by French brasseries that protect entrances with heavy drapes as a buffer against the cold air. This leads into the open-plan living and dining room, where a full-height, freestanding bookshelf defines the zones. Through an arched opening – which mirrors the shape of the large front windows – is an ebony-coloured kitchen and, to the right, a glazed extension that contains a home office. The children’s bedroom and playroom, as well as a guest bedroom and bathroom, are in the basement, with the main bedroom, bathroom and walk-in closet upstairs. Black and white is a classic, timeless colour combination, but it can sometimes feel a little starchy and cold. To avoid this, Cooky’s opted for a sophisticated tonal palette, utilising shades ranging from steel to charcoal to add depth and warmth. Dark-stained oak flooring and black joinery contrast with the pale grey sofa, slate-coloured curtains and white walls. There are plenty of on-trend geometric details, too, such as the chevron flooring, the gridded simplicity of the pattern on the dining table and the tiling in the bathroom. As in the galleries Cooky was inspired by, her home’s pared-back scheme allows the couple’s colourful art collection to shine. And there are some powerful paintings in this home, including the nude by Robert Stanley that hangs above the fireplace. The considered tranquillity of the interior extends outside, too. The house is at the end of the mews, so there is no through traffic, and Cooky has created a small garden for the family to enjoy. ‘We have an apricot tree, apple tree and a fig tree in large black glazed ceramic pots in front of the house. We can sit out here and forget we’re in central London.’ 128 ELLEDECORATION.CO.UK AUGUST 2019

Previous spread and opposite The living room sofa is secondhand and the coffee table a repurposed art plinth. A ‘Mobile Chandelier 9’ by Michael Anastassiades, available at Twentytwentyone, and a Serge Mouille ﬂoor lamp add graphic touches. The white tower bookcase is the ‘Sapiens’ by Sintesi Stockist details on p194

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Kitchen The units are bespoke and the black pots are from the ‘Barro’ collection by Ames Sala, while the artwork is by London-based Whitney McVeigh Dining area SuperStudio’s ‘Quaderna 2600’ table for Zanotta was the ﬁrst piece bought for this home. The light is the ‘Mimosa’ by Atelier Areti, and the painting is by Italian artist Romana Londi. Shelving by Rimadesio separates this space from the living room Stockist details on p194

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GEOMETRIC details keep this TIMELESS black and white colour SCHEME from feeling too cold and starchy

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‘Galleries give me a sense of PEACE, with their MINIMALIST white spaces. I wanted to partially RECREATE that at HOME’

Opposite The ceramic ﬂoor tiles in the kitchen were cut to exactly the same size as the parquet throughout the rest of the house Above Glimpsed through this window, the all-white scheme of the office, situated in a glazed extension, has an orderly look

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Bathroom Square white tiles, arranged in a grid pattern, are given an element of drama with contrasting black grout Bedroom White Company bedding and a throw by Toast are topped by cushions covered in fabric from Romo. The raffia cushion was a holiday ﬁnd in the Belgian town of Knokke-le-Zoute, while the wall light is by Vincent Devisscher for Atelier Moderniste Stockist details on p194

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SHADES ranging from steel to charcoal add a SOPHISTICATED tonal depth to this MONOCHROME palette

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HOME TREND

CONTEMPOR ARY

ORGA NI C

Luxury living is taking a softer turn, with designers offsetting clean lines and sleek materials with a more natural take on opulence Words RACHEL WARD Photography KASIA GATKOWSKA/PHOTOFOYER Living room Christophe Delcourt’s ‘Eko Meridienne’ sofa, Faye Toogood’s ‘Roly Poly’ chairs and the ‘Ad’ lounge chair by Arno Declercq sit beside a ‘Lob’ coffee table, also by Christophe Delcourt, and side table by Rick Owens. A ‘Spider’ light by Serge Mouille hangs above, while the rug is the ‘Egg Shell’ by Atelier Février Opposite This library corner features a ‘Teo’ table and ‘Lek’ sofa, both by Christophe Delcourt, and a ‘Stag T’ stool by Rick Owens. The ‘Image’ pendant light is by Vanessa Mitrani Stockist details on p194

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THE TREND When it comes to homes, luxury is no longer deﬁned purely in terms of sleek materials and architectural lines. In fact, high-end style is waking up to the calming inﬂuence of nature – from the irregular grain of timber to the sensual forms of furniture by the likes of Faye Toogood, Christophe Delcourt and Rick Owens. It’s a marriage of the best elements of ultra-modern design with softer touches. We’re labelling the look Contemporary Organic, and its relaxing and grounding effect is evident in this apartment’s interior, conceived by Konrad Kudraszow, the Polish-born founder of interior design gallery Kooku.

THE HOME

EVERYTHING HAS

BEEN SKILFULLY ARRANGED INTO STAGE-LIKE SET PIECES, CREATING ZONES OF CONTEMPLATION

Exterior The Złota 44 building by architect Daniel Libeskind Dining area The table, by Victoria Yakusha for her ‘Faina’ collection, is paired with a ‘Spade’ chair by Faye Toogood, a wooden ‘Mary’s’ chair by Matthew Hilton for De La Espada and a ‘Shibari’ ceiling light by Kateřina Handlová for Bomma. The rug is by Helmut Lang for Henzel Studio Stockist details on p194

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When Polish-American architect Daniel Libeskind designed Złota 44, a 52-storey residential tower in Warsaw, he was looking to capture the spirit of a city resurgent. Completed in 2017, it is now one of the most prestigious addresses in Poland, with its silhouette, inspired by the wings of a soaring eagle, symbolic of the capital’s renewed sense of freedom. Located on the 45th floor of Libeskind’s skyscraper, this 200-square-metre one-bedroom residence has been transformed by Konrad, whose company Kooku is known for sourcing unique pieces that have been handmade using raw materials. His rarefied designs bring a gentleness to this modern interior, lending the sharp lines of its concrete ceilings, American walnut flooring, travertine bathroom and black marble kitchen a more sensual quality. ‘I wanted to transfer the soul of a post-factory loft interior into this ultra-modern apartment,’ Konrad says of this space in which sculptural furniture made of wood, jesmonite and alabaster is paired with artworks by local creatives. In the living room, Jarosław Perszko’s marble wall sculpture offers a dynamic contrast to the items surrounding it. Everything has been skilfully arranged into stage-like set pieces, creating zones of contemplation. To harmonise the look, Konrad chose a limited palette of whites, blacks and earthy tones, with the only additional shades introduced organically through the vast windows. ‘I left the walls white to provide a neutral backdrop, but also so that they can be coloured with daylight – from bright white through to delicate beige and grey, and brilliant orange at sunset,’ explains Konrad. ‘Even 45 floors up, nature plays a huge role in this design.’ kookudesign.com

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‘I WANTED TO TRANSFER THE SOUL OF A POST-FACTORY LOFT INTERIOR INTO THIS ULTRA-MODERN APARTMENT’

Above A painting by Tomasz Baran hangs above the ‘Pechyvo’ cabinet by Victoria Yakusha for the ‘Faina’ collection. The rug is by Anselm Reyle for Henzel Studio and the long table is the ‘Til’ by Christophe Delcourt Kitchen The cabinets are bespoke, as is the walnut island topped with black marble. The white ‘Pilotis’ side table is by London-based designer Malgorzata Bany Stockist details on p194

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Opposite American walnut has been used for the parquet ﬂooring Bathroom Entirely clad in silver travertine, this space has a luxurious look. A ‘Whisper’ box by Nika Zupanc for Sé sit on the vanity Stockist details on p194

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Study The ‘Twi’ desk and ‘Oud’ chair are both by Christophe Delcourt, and the mirror above is the ‘Luna’ by John Eric Byers. A ‘Pulley & Pulley’ light by Jérôme Pereira – available at Kooku – provides illumination Bedroom Bedlinen by Faye Toogood for Once Milano brings a soft, natural texture to the ‘Suite Bed’ by Autoban for De La Espada. The striking ﬂoor lamp is the ‘Einstein Was Right’ by Jérôme Pereira Stockist details on p194

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HOME TREND

IG EASY

THE

Plump, curvaceous furniture is hot property and, in this home by interior designer Pierre Yovanovitch, it creates a friendly atmosphere Words BETHAN RYDER Photography JÉRÔME GALLAND

Living room A pair of Yovanovitch’s chunky ‘Asymétrie’ armchairs, available at The Invisible Collection, sit with a concrete coffee table by Matthias Kohn for Pierre Yovanovitch and a 1960s red lacquered side table by Tommi Parzinger from Eric Philippe gallery. The ﬂoor lamp is a vintage design by Alvar Aalto and the artwork is Cobra Baroc (2016) by Georg Baselitz, from Galerie Thaddaeus Ropac Stockist details on p194 ➤

ARTWORK: COPYRIGHT GEORG BASELITZ 2019

Comfort and colour are in plentiful supply in this two-bedroom apartment located in a 1950s property in Paris’s tranquil Les Invalides neighbourhood. Designed for a young French couple who both work in the fashion industry, and their young daughter, the home is the perfect example of Nice-born interior designer Pierre Yovanovitch’s eclectic approach. He is known for blending architectural elements with artisan-produced bespoke furniture, 20th-century design collectables and contemporary art. On paper, this could sound dry, but in reality his lively and inviting spaces are full of texture, materiality and cheerfulness – imparted by his own expressive designs. It’s hard not to feel affection for someone who christens their furniture and lights with names such as ‘Papa Bear’, ‘Oops’ and ‘ET’. A pioneer of the curvaceous and generous forms trending right now – the ‘Papa Bear’, for instance, designed in 2012, is a huggable teddy of a chair with plush ears – Yovanovitch honed his talents in residential projects after segueing from fashion (he was formerly a menswear designer at Pierre Cardin). ‘I want my designs to bring character to any space,’ he says. ‘I try to insufflate poetry into my work, so there is an element of playfulness in most of my pieces. This is what gives life to an interior.’ In this home, Yovanovitch has generated that energy by creating a ﬂuid, open-plan atmosphere while maintaining distinct rooms. It is an approach that is ideal for relaxed family living. At the heart of this layout is the living room, dominated by a capacious solid-oak sofa upholstered in Jouffre linen. ‘It required exceptionally skilled craftspeople to realise the piece’s complex shape,’ he says of the custom-designed piece. ‘I wanted to create a welcoming feel, and this sofa, with its curved shape, lends itself to conversation.’ The calming neutrals and natural textures of the living area are enlivened by the punchy dark teal and rust orange of Yovanovitch’s reassuringly chunky and enveloping ‘Asymétrie’ armchairs. By extending this colour combination throughout the rest of the apartment – the two shades are most notable in the kitchen, where they add a vivacious warmth – he creates a harmonious ﬂow, not to mention a home full of verve and personality. pierreyovanovitch.com

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Living room The curved sofa is a custom-designed piece. Behind it, a Tracey Emin artwork from Xavier Hufkens gallery hangs above a console table by Max Lamb. The ‘Question Mark’ ﬂoor lamp is a vintage piece from the 1950s, by Danish designer Svend Aage Holm Sørensen Stockist details on p194 ➤

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Dining area ‘Monsieur Oops’ and ‘Madame Oops’ chairs surround a walnut table, all by Yovanovitch. The artworks on the nearest wall are You Wanted Me (2016) by Tracey Emin from Xavier Hufkens gallery Kitchen A terrazzo table by Yovanovitch is paired with ‘Dining Clay’ chairs by Maarten Baas. Above the granite countertop hangs a ‘Plaster Cone’ pendant light by Rose Uniacke Stockist details on p194 ➤

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PIERRE YOVANOVITCH IS A PIONEER OF THE CURVY, GENEROUS FORMS THAT ARE THE CURRENT BIG TREND IN DESIGN

Bathroom The chunky dimensions of the travertine vanity unit contrast with the delicate ﬂuting of the oak panelling behind Bedroom Jean Royère’s 1949 ‘Elephanteau’ armchair, upholstered in purple mohair velvet, sits beside a vintage ﬂoor lamp by Paavo Tynell. The artwork above is Pregnant Woman (2008) by Louise Bourgeois, from Xavier Hufkens gallery. Armelle Benoit designed the bedside table for Pierre Yovanovitch Stockist details on p194

HOME TREND

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Industrial bohemia Concrete and exposed brick are no longer just for minimalists – paired with artisan textiles and greenery, they take a free-spirited turn Words EMMA LOVE Photography ANSON SMART

Living room The Lines of Conﬂuence 2 artwork by Judith Wright hangs above a ‘Tactile’ sofa by Vincenzo De Cotiis for Baxter. The rattan chair is by Sika Design Stockist details on p194

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lanting a fig tree in the centre of their cottage felt the most natural way for South African-born couple Natalie and Keiron Devlin to bring softness to the space’s industrial style. The home, in the Sydney suburb of Annandale, would look quite severe, with its exposed brick walls and concrete floors, were it not for the branches of the tree that reach up through the central stairwell towards a retractable glass roof. ‘From community gatherings to school lessons, somehow everything happens under a tree in South Africa, and we wanted our home to nod to that in a subtle way,’ explains Natalie of the statement greenery that sets the tone for this very contemporary take on urban chic. The original property, which the couple bought in 2010, came with several add-ons, but still felt too cramped for family life with their two children – Indigo, now 13, and Guinness, ten. Working with architects Welsh + Major, and later Arent & Pyke interior design studio, they knocked down the outer buildings and started from scratch, constructing a new section that now houses the galley kitchen and living area, as well as a third bedroom. ‘The brief to our architect was to create rough and mutable spaces that can perform a number of functions,’ recalls Natalie. ‘When it was built, our home was beautiful but very stark. It needed warming up in a way that didn’t detract from its rawness.’ To loosen up the house’s structure, Arent & Pyke used globally inspired artisan textiles. ‘Nothing too flouncy or frou-frou, though,’ says the interior design firm’s co-founder Juliette Arent. ‘We layered slubby, raw linens that offer softness while still being in keeping with the architecture.’ To this she added ambient lighting, handmade ceramics and artworks chosen organically over time. Colour has been used to inject personality, but the tones are muted – ‘olive, khaki and chartreuse, all hues that work beautifully with grey concrete,’ adds Juliette. The result is a grown-up refresh of the bohemian look. ‘There was something about the space that demanded texture,’ continues Natalie. ‘For me, our cottage manages to be interesting in a calm, relaxed way.’ welshmajor.com; arentpyke.com

Dining area ‘Beetle’ chairs by GamFratesi for Gubi are placed below artist Christian Thompson’s Untitled (Banksia Leaf) Portrait Homeowners Keiron and Natalie Devlin Opposite The ‘LC4’ chaise longue by Le Corbusier for Cassina sits beside an ‘Akari’ ﬂoor lamp by Isamu Noguchi for Vitra Stockist details on p194

156 ELLEDECORATION.CO.UK AUGUST 2019

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‘When it was built, our home was BEAUTIFUL but VERY STARK. It needed WARMING UP in a way that didn’t detract from its RAWNESS’

Living area A ‘Tivoli’ travertine-topped coffee table by Ten10 sits on a vintage rug. The sofa, upholstered in Belgian linen, was designed by Arent & Pyke, while the shelves above are a bespoke design in Tasmanian blackwood, steel and brass by architects Welsh + Major Stockist details on p194

158 ELLEDECORATION.CO.UK AUGUST 2019

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‘From community gatherings to school lessons, somehow everything happens UNDER A TREE in South Africa. We wanted our home to nod to that in a SUBTLE way’

Kitchen The bespoke cabinets are by Welsh + Major Courtyard ‘Palissade’ stools by Ronan and Erwan Bouroullec for Hay and a terrazzo table by Arent & Pyke Stairway A ﬁddle-leaf ﬁg tree grows towards the retractable glazed roof Stockist details on p194

AUGUST 2019 ELLEDECORATION.CO.UK 161

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Textiles in EARTHY TONES and original artworks bring an ARTISAN QUALITY to this home’s severe structure of concrete and EXPOSED BRICK

Bathroom For similar pencil tiles, try Fired Earth Bedroom A ‘Crosshatch’ chair by EOOS for Herman Miller sits below the I Had Searched Everywhere for My Love Except the Other Side of Death artwork by Leah Fraser. The bedlinen is by Society Limonta Stockist details on p194

162 ELLEDECORATION.CO.UK AUGUST 2019

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EDIT A U T U M N / W I N T E R 2 019

S O FA S LOUNGE CHAIRS S M A L L TA B L E S STORAGE DINING CHAIRS D I N I N G TA B L E S D E S K S & D R E S S I N G TA B L E S BEDS LIGHTING OUTDOOR FURNITURE

Edited by A MY MOOREA WONG

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Our pick of the world’s best new designs

S O FA S Comfort is taken to new heights this season, with plush fabrics, plump dimensions and even quilting

‘SOPHIE’ BY FEDERICA BIASI, £6,144, GALLOTTI & RADICE (GALLOTTIRADICE.IT)

‘BFF’ BY MARCEL WANDERS, £5,043, MOOOI (MOOOI.COM)

‘GENTLEMAN’ BY MARCEL WANDERS, AVAILABLE 2020, POLIFORM (POLIFORMUK.COM)

‘GOULD’ BY PIERO LISSONI, £7,946, KNOLL (KNOLL-INT.COM)

‘LE MARAIS’ BY STEFANO SPESSOTTO, £3,783, CALLIGARIS (CALLIGARIS.COM) ‘ARMAND’, £8,038, FLEXFORM (FLEXFORM.IT)

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‘CHEMISE’ BY STUDIO LIDO, £2,173, MY HOME COLLECTION (MYHOMECOLLECTION.IT)

‘SUZENNE’ BY CHIARA ANDREATTI, £2,328, GEBRÜDER THONET VIENNA (GEBRUEDER THONETVIENNA.COM)

‘YUMI’ BY NIELS BENDTSEN, £1,576, MOROSO (MOROSO.IT)

‘FLAMINIA’ BY CRISTINA CELESTINO FOR FENDI CASA, £4,440, HARRODS (HARRODS.COM)

‘CONTOUR’ BY BØRGE MOGENSEN, £1,518, CARL HANSEN & SØN (CARLHANSEN.COM)

LOUNGE CHAIRS Minimalist seating has become a thing of the past as pioneering designs champion curves, colour and pattern

‘ECHINO’ BY SEBASTIAN HERKNER, £863, ZANOTTA (ZANOTTA.IT)

‘BONSAI’ BY PAOLO GRASSELLI, FROM £1,059, BONALDO (BONALDO.IT)

‘ORFEO’ BY MAURIZIO MANZONI AND ROBERTO TAPINASSI, £2,290, NATUZZI (NATUZZI.CO.UK)

‘RE’ BY BEN WU, £3,861, LONGHI (LONGHI.IT)

‘METODO’ BY LEONARDO TALARICO FOR MDF ITALIA, £397, ARAM STORE (ARAM.CO.UK)

S M A L L TA B L E S The easiest way to add interest to a room, whether with structural shapes or mixed materials AUGUST 2019 ELLEDECORATION.CO.UK 167

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Our pick of the world’s best new designs

‘SELF BOLD’ BY GIUSEPPE BAVUSO, £5,594, RIMADESIO (RIMADESIO.IT)

‘BOLIDE’ BY MAURO LIPPARINI FOR ARKETIPO, £15,775, CHAPLINS (CHAPLINS.CO.UK)

‘EDEN ROCK’ BY SACHA LAKIC, £3,930, ROCHE BOBOIS (ROCHE-BOBOIS.COM)

‘MTM’ BY CARLO COLOMBO, £11,929, GIORGETTI (GIORGETTIMEDA.COM)

‘TESAURUS’ BY ANTONIO CITTERIO FOR MAXALTO, £12,093, B&B ITALIA (BEBITALIA.COM)

STORAGE Choose pieces that celebrate wood’s natural grain with innovative forms and modern marquetry

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DINING CHAIRS Ice-cream shades and soft lines bring a more playful mood to mealtimes

‘AISUU’ BY GINGER ZALABA, £798, WALTER KNOLL (WALTERKNOLL.DE)

‘REMIND’ BY EUGENI QUITLLET, £114, PEDRALI (PEDRALI.IT)

‘PLANET’ BY JEANBAPTISTE SOULETIE, £437, LA CHANCE (LACHANCE.PARIS)

‘ROUNDISH’ BY NAOTO FUKASAWA, AVAILABLE OCTOBER, MARUNI (MARUNI.COM)

‘FRAMES’ BY JAIME HAYÓN, FROM £823, EXPORMIM (EXPORMIM.COM)

D I N I N G TA B L E S Bold, structural lines dominate this season, creating spaces ﬁt for the most stylish of gatherings ‘FOREST’ BY CARLO COLOMBO FOR RUGIANO, £11,350, GLOBAL LUXURY LONDON (GLOBAL LUXURYLONDON.COM)

‘NETTUNO’, FROM £14,000, PAOLO CASTELLI (PAOLOCASTELLI.COM)

‘MARI CRISTAL’ BY PHILIPPE STARCK, £3,451, GLAS ITALIA (GLASITALIA.COM)

‘DOLMEN’ BY GIULIO CAPPELLINI, £13,715, CAPPELLINI (CAPPELLINI.COM)

‘WEDGE’ BY NENDO, £23,250, MINOTTI (MINOTTI.COM)

‘PARALLEL STRUCTURE’ BY MICHAEL ANASTASSIADES, £4,613, B&B ITALIA (BEBITALIA.COM)

AUGUST 2019 ELLEDECORATION.CO.UK 169

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Our pick of the world’s best new designs

‘VANITY’ BY STUDIO SOLIDO, £3,684, BONTEMPI (BONTEMPI.IT)

‘NINFEA’ BY NICCOLÒ DEVETAG FOR PORADA, £3,440, CHAPLINS (CHAPLINS.CO.UK)

‘WALL STREET’ BY ROBERTO LAZZERONI, £33,166, VISIONNAIRE (VISIONNAIRE-HOME.COM)

‘SIGMUND’ BY STUDIO ASAÏ FOR ARFLEX, £3,480, CHAPLINS (CHAPLINS.CO.UK)

‘GIANO’ BY GIUSEPPE BAVUSO, £8,821, ALIVAR (ALIVAR.COM)

D E S K S & D R E S S I N G TA B L E S Whether you’re working on your look or your career, luxurious materials and mirrored surfaces are essential

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BEDS Sleek lines and organic materials are key to a stylish night’s sleep

‘MADDOX’ BY LEONARDO DAINELLI, £5,519, LEMA (LEMA-UK.COM)

‘FLOYD-HI’ BY PIERO LISSONI, £3,646, LIVING DIVANI (LIVINGDIVANI.IT)

’TWELVE A.M.’ BY NERI & HU, £8,030, MOLTENI & C (MOLTENI.IT)

‘CRAWFORD’ BY TOM FEREDAY, FROM £3,276, STELLAR WORKS (STELLARWORKS.COM)

‘BYRON’ BY PIERO LISSONI, AVAILABLE NOVEMBER, PORRO (PORRO.COM)

AUGUST 2019 ELLEDECORATION.CO.UK 171

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‘57’ BY OMER ARBEL, £434, BOCCI (BOCCI.CA)

‘COORDINATES’ BY MICHAEL ANASTASSIADES, AVAILABLE 2020, FLOS (FLOS.COM)

‘OE QUASI’ BY OLAFUR ELIASSON, FROM £10,000, LOUIS POULSEN (LOUISPOULSEN.COM)

‘IVY’ BY LUCIE KOLDOVA, £2,250, BROKIS (BROKIS.CZ)

LIGHTING Functional works of art, these pendants shine brighter than the competition

‘WICKED’ BY ALAIN GILLES FOR VINCENT SHEPPARD, £698, HEAL’S (HEALS.COM)

‘MOON WALK’ BY MARNI, £690, LUISAVIAROMA (LUISAVIAROMA.COM)

‘GRAND LIFE’ BY CHRISTOPHE PILLET, £2,677, ETHIMO (ETHIMO.COM)

‘ZIGI’, £1,201, SUTHERLAND (SUTHERLAND FURNITURE.COM)

‘AMBIENT LINE’ BY SEBASTIAN HERKNER, £531, GLOSTER (GLOSTER.COM)

OUTDOOR FURNITURE Transform your garden, balcony or courtyard with cutting-edge contemporary designs 172 ELLEDECORATION.CO.UK AUGUST 2019

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ESCAPE A U T U M N / W I N T E R 2 019

THE NEW FRONTIER THE SOCIAL SCENE THE STOPOVER THE HOTEL T H E R E S TA U R A N T THE GARDEN T H E C U LT U R A L D E S T I N AT I O N T H E C U L I N A RY E T H O S T H E G E TAWAY THE FINE PRINT

Dining at The AllBright members’ club in Mayfair, London. For the full story, turn to p179

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THE NEW FRONTIER

UNDERWATER DINING As Europe’s ﬁrst sub-aquatic restaurant, Norway’s Under takes ﬁne cuisine to exciting depths

WORDS: CAT OLLEY PICTURES: INGER MARIE GRINI

Half submerged in the wind-whipped waters of the North Sea, just off the rugged coast of Lindesnes on Norway’s southernmost tip, Under looks like the world’s most modern shipwreck. The region’s rocky landscape proves a striking yet unforgiving home for Oslo-based architecture firm Snøhetta’s ambitious project for local hoteliers Stig and Gaute Ubostad. ‘It was important that the structure be integrated in a respectful way – we wanted it to look like it’s diving into the water,’ says Snøhetta’s Rune Grasdal. ‘During submersion, the structure floated on its own before being moved to its final position – that was the riskiest phase.’

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ESCAPE

‘UNDER PROVIDES A JOURNEY INTO THE UNKNOWN. GUESTS WILL BE GIVEN A UNIQUE OPPORTUNITY TO EXPERIENCE A SUBMERGED UNIVERSE’ Doubling as a marine research centre out of dining hours, Under’s colossal half-metre-thick curved concrete hull is bolted into the bedrock five metres below water level, in an area where the storms of the North Sea converge, bringing with them incredibly abundant biodiversity. Designed to slowly integrate with the wildlife, the structure’s rough exterior functions as an artificial reef for kelp and limpets, as well as playing host to the many cameras and other measurement tools that will document life underwater. Inside, an imposing Norwegian oak staircase leads down to a welcoming, cave-like interior, dominated by a vast floor-to-ceiling window. The textile-clad ceiling deepens from sunset pink to a rich cerulean blue as you descend. ‘Under provides a journey into the unknown. Guests will be given a unique opportunity to experience a submerged universe,’ says Grasdal. The seafood dishes are served on ceramics crafted from local sand and the 40-seat dining room sits under a constellation of hundreds of LED lights that, when adjusted, illuminate the conditions outside. In Norwegian, ‘under’ means both ‘below’ and ‘wonder’ – a fitting name for this architectural achievement (under.no). AUGUST 2019 ELLEDECORATION.CO.UK 177

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ESCAPE

THE SOCIAL SCENE

MEMBERS’ CLUBS WITH MISSIONS

1 T H E C O N D U I T M AY FA I R

Pioneering the new, more altruistic, way of attracting members, this club, which opened last year, describes itself as ‘a home for a diverse community of people passionate about social change’. It hosts events around the themes of gender empowerment and sustainability, with talks on subjects such as ‘how to shake up philanthropic giving’. The venue’s serious green credentials are woven into its very fabric, too, with the hemp-based plaster that covers many of the walls providing more efficient insulation and improved air quality. From £1,800 per year (theconduit.com).

London’s newest, most exclusive venues are more about what you believe than who you know

2 H O M E G R O W N M A RY L E B O N E

The cooler little sister to members’ club Home House, this venue’s raison d’être is to be the catalyst new entrepreneurs need to build their empires. There are bedrooms, pitching suites, restaurants and lounges, while a programme of talks (speakers include self-starters such as Kelly Hoppen) provides inspiration. Even its colourful interior – the work of Russell Sage Studio – is specially designed to help you get down to serious business. From £1,500 per year (homegrownclub.co.uk).

3 T H E A L L B R I G H T M AY FA I R

‘There is a special place in hell for women who do not help other women,’ said former US Secretary of State Madeleine Albright. This feminist call to arms is what inspired the AllBright clubs, the second outpost of which opened recently (another is planned for LA soon). Designed by Suzy Hoodless, the Mayfair branch takes a holistic approach to women’s careers, with wellness treatments offered alongside programmes such as its ‘AllBright Academy’. Monthly ‘pitch days’, which pair entrepreneurs with potential investors, are another highlight. From £1,150 per year (allbrightcollective.com).

WORDS: KATE WORTHINGTON, CAT OLLEY PICTURE: NEIL KENYON

4 ARBORETUM COVENT GARDEN

This newly opened venue sees itself as a place where people who care about the planet can convene. Sustainability runs to its very core – all food and drink on site is seasonal and locally sourced, while the deli serves only plant-based fare. The focus isn’t just on the environment, though, with mental wellbeing also important. Interiors take a leaf from the club’s name, featuring green walls and plants to promote tranquillity, while perks include pods for meditation, as well as skill-building workshops and events. From £950 per year (arbor-etum.com).

SUSTAINABILITY, DIVERSITY, FEMALE EMPOWERMENT AND ENTREPRENEURIAL SPIRIT – CARING IS THE NEW SOCIAL CAPITAL

2 AUGUST 2019 ELLEDECORATION.CO.UK 179

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ESCAPE

T HE ST OPOV E R

JEWEL CHANGI AIRPORT

WORDS: CAT OLLEY

A departure lounge like no other, Singapore’s new sanctuary is a triumph for aviation and architecture Once the epitome of bland, functional style, airports are getting a fresh look as a new wave of pioneering design elevates layovers with statement landscaping – and it’s transforming the travel experience. Leading the way is the ambitious complex at Singapore’s Jewel Changi Airport, an innovative design by Israeli-Canadian architect Moshe Safdie. In a bid to create a ‘paradise garden’ that visitors would come back to again and again, Safdie crafted the ‘Forest Valley’. This huge indoor garden, complete with the world’s tallest indoor waterfall, sits at the heart of the airport’s newest terminal – a distinctive glass dome, criss-crossed with steel supports that took five years and almost £1 billion to build. ‘The Jewel complex juxtaposes nature with a vibrant marketplace, dramatically extending the concept of it as an urban centre,’ says Safdie. Nature is introduced with some 900 trees and 60,000 shrubs. Two walking trails climb up through five levels of palm-dotted greenery to the Canopy Bridge, a dramatic glass-bottomed platform suspended 23 metres above the terminal. And at the centre of this spectacular indoor forest is the airport’s showstopper, the ‘Rain Vortex’. The 40-metre waterfall funnels natural rainwater down into the airport lounge’s irrigation system. Adding another dimension to Safdie’s inventive take on what an airport can offer is the capacity for play at Jewel, where, alongside airy terrace restaurants and refreshed retail spaces, you’ll find the Discovery Slides – toted as Singapore’s first large-scale interactive sculpture – a hedge maze and a mirror room. ‘The world-class shopping and dining, seamlessly integrated with lush foliage, fulfils the needs of increasingly discerning travellers for a meaningful, experiential journey,’ says CEO Hung Jean, pointing to a new era for airport design. Considering Singapore’s nickname as ‘the City in the Garden’, there seems no better introduction to the country than this verdant sanctuary ( jewelchangiairport.com). AUGUST 2019 ELLEDECORATION.CO.UK 181

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ESCAPE

THE HOTEL

THE STANDARD For fans of Brutalist architecture and playful interiors, there’s no better place to stay in London Located directly opposite St Pancras railway station, this is the US-based Standard hotel group’s ﬁrst international outpost and the most exciting opening in London’s everevolving Kings Cross Quarter. The Brutalist property it occupies, formerly an office block and public library, has been heightened by a new glass extension, which will host a restaurant and club accessed via a bubblelike external elevator. The building’s concrete façade was a major plus for the team behind the project, who wanted to, in the words of the group’s chief executive Amar Lalvani, ‘preserve and enhance its beauty’. Tasked with creating its 266 rooms and public areas, American interior designer Shawn Hausman was equally enthused by the venue’s history. ‘There’s a lot of reference to the 1960s and 70s in The Standard’s hotels, but this was one of the first times we’ve actually had a property from that period.

WORDS: CAT OLLEY

‘THERE’S A REAL LIGHTNESS AND SENSE OF HUMOUR TO THE STANDARD. IT DOESN’T TAKE ITSELF TOO SERIOUSLY’ The architecture plays an important part in the rooms and their identities.’ There’s a mix of design references in the interior, with 1970s-style grooved ﬁr and walnut panelling sitting alongside bold, modern terrazzo – Lubna Chowdhary’s ceramic wall tiles in the reception (top right) are a highlight. Facing the gothic red bricks of St Pancras, visual tributes to London’s transport system feel right at home, from Mondrian-esque blocks of pillar-box red and royal blue to subway tiles and linear motifs reminiscent of patterns seen on the Underground. ‘There’s a real lightness and a sense of humour to The Standard,’ says Hausman. ‘It doesn’t take itself too seriously – playfulness is important.’ The designer also ﬁnds charm and inspiration in Kings Cross’s somewhat chequered past. ‘The potential naughtiness that the area was once known for is something we’ve fully embraced.’ (from £305; standardhotels.com). AUGUST 2019 ELLEDECORATION.CO.UK 183

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T H E R E S TA U R A N T

EMPORIO ARMANI CAFFÈ & RISTORANTE Secure your table at Milan’s newly updated and hotly anticipated eatery, overseen by Giorgio Armani himself Long-time haunt of the Italian fashion set, Milan’s Emporio Armani Caffè & Ristorante in the Quadrilatero district has a new look. Its soft, iridescent tones, metallic finishes and clean lines are very much in keeping with the brand’s spirit. ‘I was inspired by elements from the 1930s, the period the building dates back to,’ explains Giorgio Armani, who has been closely involved with the historic venue’s refurbishment. ‘The layout and colour scheme create an elegant and contemporary look. I wanted it to be a welcoming space,’ he adds. The café, which sits together with Armani’s flagship store and hotel, gets an additional touch of glamour with large, dark terrazzo tiles – a modern nod to traditional Venetian flooring – and gleaming brass trims. In this luxurious setting, customers can devour sweet treats made by the in-house pastry chef and ‘Armani/Dolci’ delicacies by famed chocolatier Guido Gobino, all while relaxing on armchairs and banquettes upholstered in lustrous blue, green and red Rubelli fabrics. Come evening, brunch and lunch are exchanged for aperitifs – often accompanied by live DJ sets. Upstairs, the formal restaurant (right) and Champagne bar are adorned in the same elegant palette of glistening green and blue, while slender glass panels decorated in a palm leaf print from the ‘Armani/Casa’ collection create an intimate feel. The menu comprises light Italian and Mediterranean fare, such as spaghetti with tomatoes from the Mount Vesuvius region and saffron risotto: classics with a twist – nothing less than you’d expect from Armani (armani.com/restaurant/it).

‘THE LAYOUT AND COLOUR SCHEME CREATE AN ELEGANT, CONTEMPORARY LOOK. I WANTED IT TO BE A WELCOMING SPACE’

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WORDS: ROSARIA ZUCCONI AND FRANCESCA BENEDETTO PICTURES: GIORGIO POSSENTI

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ESCAPE

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THE GARDEN

THE NEWT This redesigned country estate seals Bruton’s reputation as a horticultural haven

WORDS: NATASHA GOODFELLOW

Possibly the biggest news in the British gardening world since Dutch plantsman and author Piet Oudolf opened his ‘Field’ at Hauser & Wirth in Somerset’s Bruton, is the makeover of Hadspen House – just a ten-minute drive down the road. The 300-acre estate, now named The Newt, was already attractive to the green ﬁngered: once the home of garden writer Penelope Hobhouse, it was then tended by Sandra and Nori Pope, renowned for their colourful planting. Now under the ownership of Koos Bekker and Karen Roos, the duo behind famously chic farm, hotel and restaurant Babylonstoren, near Cape Town, the venue has been stylishly transformed. similarly to the South African mothership, where the eight-acre kitchen garden inspires the entire offering, The Newt’s gardens and apple orchards have been placed at the heart of the project. Their seasonal produce informs the look of the hotel, located within the honey-hued walls of the Grade II-listed Georgian manor house, as well as the restaurant’s menu. An apple-tree maze occupies the ‘Parabola’, the curved walled garden, plus there’s cider making and a museum to explore. With historically-inspired formal gardens, not to mention a spa, pool and shops stocked with local delights, from West Country cheese and meats to ceramics, candles and prints by Somerset-based artists, The Newt promises to be a destination like no other. Gardens open 10am–6pm, £15 (thenewtinsomerset.com).

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T H E C U LT U R A L D E S T I N AT I O N

CARL FREEDMAN GALLERY

WORDS: CAT OLLEY PICTURE: OLLIE HARROP

Swapping Shoreditch for the seaside, this iconic arts space has found fresh inspiration

‘MARGATE IS GOING THROUGH AN AMAZING TRANSFORMATION, LED BY A GROWING ART COMMUNITY’

Margate’s evolution from tired seaside bolthole to lively home of the arts is freshly buoyed by its latest cultural landmark: the newly relocated Carl Freedman Gallery, which opened in Shoreditch in 2003. ‘Margate is going through an amazing transformation, led by a growing art community,’ explains Freedman, the gallery’s founder. ‘The new home is a fantastic opportunity for us to present larger-scale solo exhibitions by our artists as well as more expansive curated shows.’ Set back from the bustle of the seafront, behind the Old Town, the cavernous gallery – part of what was once the headquarters of Thanet Press – houses three exhibition spaces, an apartment and a huge, 929-square-metre upper ﬂoor dedicated to Freedman’s printing business, Counter Editions. Offering high ceilings and copious space uninterrupted by columns, the former commercial site looks set to be a coveted address for creatives, with Tracey Emin’s new studio currently under construction next door. The Carl Freedman Gallery’s inaugural exhibition, ‘Man in the mouth of a cave’ (until 25 August), is a solo show celebrating expressive new works from painter, poet and ﬁxture of the Kent arts scene Billy Childish. It’s a wonderfully local start for a venue that promises to celebrate the very best of contemporary British and international talent (carlfreedman.com). AUGUST 2019 ELLEDECORATION.CO.UK 189

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T H E C U L I N A RY E T H O S

Organic farming and food is widespread now, but just a few decades ago, you’d have to go considerably out of your way to ﬁnd it. The movement’s roots can be traced to the beginnings of biodynamic agriculture, an approach developed in 1924 by Austrian scientist and philosopher Rudolf Steiner – although it can be argued that many farmers around the world had followed similar practices before that. Like organic farming, biodynamic growing strictly prohibits the use of chemical fertilisers and pesticides, but it also goes a few steps further than that, treating farms as balanced organisms that can sustain themselves, with waste being recycled to feed plants and animals. It adheres to a horticultural calendar, used to indicate optimal sowing, pruning and harvesting times. Not only does this approach beneﬁt our ecosystem, but the quality of the produce it yields is so good, it’s sought after by the country’s 190 ELLEDECORATION.CO.UK AUGUST 2019

top restaurants and cooks, including Nigel Slater and the Hemsley sisters. Acclaimed chef Skye Gyngell was an early advocate, sourcing ingredients for her London restaurant Spring from Fern Verrow, a biodynamic farm in Herefordshire run by grower Jane Scotter. Gyngell is also at the helm of the kitchens at Heckfield Place in Hampshire, which is currently in the process of converting its gardens and on-site farm to biodynamics. Aiming to be fully certified next year, Heckfield will be the first biodynamic hotel in the UK. For its contemporary European dishes (above), Peckham-based restaurant Levan teams up with allotment growers who use biodynamic principles on a small scale. ‘The plots are so local that the tomatoes can still be warm from the sun when they arrive,’ enthuses chef Nicholas Balfe. With around 5,000 biodynamic farms worldwide, you can expect to see it on a menu near you soon.

WORDS: KATE WORTHINGTON PICTURE: MATT RUSSELL

BIODYNAMICS Top chefs are tasting the beneﬁts of this age-old method of growing food

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Oslo’s streets bathed in sunshine

Fuglen coffee shop

T H E G E TAWAY

OSLO

Those in the know are heading to this eco-minded Scandi destination, named 2019’s European Green Capital. And, with an index-topping quality of life, a trip to Norway’s ﬁrst city is sure to raise a smile

WHERE TO STAY Norway’s largest hotel, Clarion Hotel Amerikalinjen

Hotel The Hub, boasts an urban rooftop garden, where it grows greens for its local produce-championing restaurant Norda (from £190 a night; nordicchoicehotels.com). For a stay inspired by the glamour of ocean travel, there’s Hotel Amerikalinjen, located in the former Art Deco home of the Norwegian-America cruise line. The building was designed in 1919 by architects Andreas Bjercke and Georg Eliassen, and the new hotel nods to its heritage, with Norwegian Hadeland Glassworks, which designed glassware for cruise ships in the 1950s, supplying the bar (from £170 per night; amerikalinjen.com). For a more traditional stopover, The Grand Oslo, whose Nobel suite plays host to the winner of the eponymous prize each year, is the last word in luxury, with a powder pink lobby and Murano glass chandelier (from £163 per night; grand.no).

BREAKFAST & LUNCH

Kollekted By Oslo Opera House

Fuglen (known locally as ‘The Bird’, thanks to its logo) has been expertly making coffee using beans from local roasteries since 1963. Its wooden interior sports a bevy of mid-century Norwegian accessories and furniture, which are also for sale (fuglen.no). For baked goods, it has to be Handwerk. The bakery uses only organic, natural ingredients (even its own yeast) to create delicious breads including Puffen, Kamelåså, Durum and sweet sourdough (handwerk.no). If you’re stopping for lunch, the plant-based bowls at Nordic Foodprint offer a near-zero carbon footprint, thanks to organic ingredients sourced from small local farms (nordicfoodprint.com).

WINE & DINE

From vegetables gathered at Losæter’s urban allotments to seafood caught fresh from Norway’s venerable waters, it’s easy to eat like the locals. In fact, if you dine at slick eatery Maaemo – ancient Norse for ‘Mother Earth’– you’ll ﬁnd Losæter’s rose petals on the artful plates of the city’s only three Michelin-starred restaurants. On the set menu, delicacies such as scallops with fermented celeriac or well-smoked reindeer broth are given a contemporary edge (maaemo.no). For ﬁne dining with a twist, Rest uses food waste to concoct imaginative dishes such as cod with crisped bread, Jerusalem artichokes and fried leek roots (restaurantrest.com). And, for an evening tipple, sit among exposed

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Norda at Clarion Hotel The Hub

Futura Classics

copper piping at vintage-inspired bar Himkok, the recent winner of the World’s Best Sustainable Bar award, thanks to its links with local farms and the on-site distillery (himkok.no).

ARTS & CULTURE With the city’s Green Capital title comes a programme of eco exhibitions. Visit ‘Be Prepared’, a thought-provoking exhibition on weather and climate change housed at the museum beneath the world’s oldest ski jump, Holmenkollbakken (skiforeningen.no/holmenkollen). Get your bearings atop another of the city’s heights – the sloped roof of the Snøhetta-designed Opera House, which offers panoramic views of the Oslo fjord (operaen.no). From there, head to Astrup Fearnley Museet. Designed by architect Renzo Piano, it exhibits works by the likes of Andy Warhol and Francis Bacon (afmuseet.no). For your green ﬁx, explore Frogner Park and its 212 Gustav Vigeland sculptures, highlighted this year by an exhibition celebrating 150 years since the artist’s birth. You can ﬁnd more of his work indoors at the Vigeland Museum (vigeland.museum.no).

SHOP

Oslo is a fantastic place to track down sustainable secondhand buys. Scandinavian design is championed at lighting and mid-century furniture specialists Futura Classics, but you’ll also find pieces from further afield (futuraclassics.no). Continue your hunt at Utopia Retro Modern, whose quirky showroom is full of hand-picked homeware, art and collector-baiting rarities (utopiaretromodern.com). Flying the flag for contemporary Nordic design is cool curated store Kollekted By. Its concrete-clad home in the lively Grünerløkka district is as minimalist as the furniture, ceramics and skincare on offer (kollektedby.no).

The Vigeland Museum Astrup Fearnley Museet

WORDS: CAT OLLEY PICTURES: GETTY IMAGES.EYEEM, IVAR KVAAL, EINAR ASLAKSEN, KYLE MEYR, INGER MARIE GRINI, FRANCISCO NOGUEIRA

ESCAPE THE CITY

Before making a break for the surrounding countryside, discover the Vøyenfallene waterfall that sits, surprisingly, right at the city’s centre. Head just beyond Oslo’s boundaries and you’ll ﬁnd the forest-fringed Sognsvann lake. It’s frozen over in winter but busy with hikers and picnickers during summer. An hour’s drive north west is Kistefos Museum, an eccentric fusion of sculpture park, art gallery and industrial mill. From September, visitors can enjoy Danish architect Bjarke Ingels’ hotly anticipated indoor gallery space/bridge, which twists impressively across the river (kistefos.museum.no).

To discover more designsavvy destinations, get your copy of ELLE Decoration City, the style bible for urban explorers – buy it online now from hearstmagazines.co.uk/ed-city

The Grand Oslo hotel

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CLARIFICATION: The June issue’s ‘Surrender to serenity’ and ‘Creative vision’ houses were both produced by Rosaria Zucconi

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ST YLISH INTERIORS Create your dream living space with our inspiring collection WILLOW & HALL SUMMER SALE NOW ON Willow & Hall are celebrating summer with 10% off all sofa beds, sofas and armchairs in their summer sale. As a reader of Elle Deco they’re also offering you an exclusive 5% discount on any items not already on sale. All you need to do is use the code ELLE31719 at the checkout by 31st July. Willow & Hall’s collections are all handmade in Britain by skilled craftsmen, to a design speciﬁcation of your choice. Customising your item is easy – simply choose from over 200 beautiful fabrics, pick your perfect seat cushions and, if ordering a sofa bed, you can select from three luxury 14cm deep mattress options: open sprung, pocket sprung and memory foam. All items come with a 25-year wood frame guarantee; are delivered within four to ﬁve weeks for design your own items and from three days for available now items; and Willow & Hall offer a no quibbles free returns policy. Explore the entire range at willowandhall.co.uk, visit the London showroom in person or via a live video appointment or call on 0208 939 3800.

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Skills and strategies for those with a passion for interior-design who want to turn their passion into a profession. Award-winning designer and educator David Losasso has created a series of intensive masterclass study units aimed at potential interior designers who want to take their interest and passion onto the next level – to make it their living. Visit the website or email david@losasso.co.uk for more information

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steel reinforced natural hardwood doors entrance doors internal feature doors garage doors oversized doors passive house certified doors made and designed in the UK

urbanfront.com info@urbanfront.co.uk +44 (0)1494 778787 For beautifully handcrafted contemporary handles visit pushpull.co.uk

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THE FINE PRINT

‘FLORAL PRINT’ WALLPAPER BY GUCCI Launched in 2017, Gucci Décor’s aim was to extend the romanticism the fashion house was famous for into people’s homes. And, with its new ‘Floral Print’ wallpaper, it continues to fulﬁl that purpose. Designed by French ﬁrm Antoinette Poisson – titled in honour of Louis XV’s mistress and patroness of the decorative arts Madame de Pompadour (the label takes her middle and maiden names) – the pattern is pure luxurious whimsy, with Gucci’s iconic logo hidden amid its bugs and blowsy blooms. ‘Floral Print’ wallpaper, £315 per roll, Gucci Décor (gucci.com)

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