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C O N T E N T S a u g u s t 66 I N S I D E R 6 FROM THE EDITOR Editor in chief Piet Smedy welcomes you to the Women Shaping Design issue 11 INSIDER In studio with Caitlin Warther and Wendy Dixon, the design duo behind Water Dixon 18 ART The all female vanguard of African art from curators and historians to artists and makers 24 TRAVEL The Dian Fossey Gorilla Fund and Ellen DeGeneres unveil a spectacular new campus in Rwanda 26 BOOKS This month, we sharply focus on the work and philosophy of two leading designers with equally elegant monograms 2 H O U S E & G A RD E N AU G U ST 2 02 2 D E S I G N 31 DIRECTIONS A first look at the latest fabric, wallpaper and r ug collections 40 SHOPPING From celebrating the Art Deco movement to spotlighting maximalism 45 GARDENS Chelsea Flower Show is back. After a pandemic enforced break of three years, the greatest flower show on earth staked its claim once a gain on the grounds of London’s Royal Hospital 50 KNOW HOW Landscape designer FranchescaWatson advocates for embracing Nature’s disarray and imperfect beauty 82

Over the past few years, the Californian designer has emerged as one of the leading forces on the global interiors scene In this exclusive inter view with House & Garden, Brigette talks about how a series of happy accidents led to the founding of her eponymous studio, why not having r ules is the only r ule she follows and the simple considerations that make a house a home SUMARI KRIGE When it came to designing her home, the La Grange Interiors CEO took the same approach she always does when creating spaces: carefully addressing the homeowners’ needs through an eclectic, always considered composition of texture, tone and individuality 76 WINTER GARDENS Our doors often close on the garden over the colder months of the year under the misconception that little is going on. The mesmerising new book, Winter Gardens, reveals the life and beauty behind a world so often disregarded as dormant 82 SUMMER THORNTON The American designer ’ s ma gical reima gining of a ’30s herita ge apartment in Chica go is equal parts playful and polished, embracing bold colours and fantastical patters and murals for a transporting interior scheme 92 TESSA PROUDFOOT By playing with scale, era hopping and finding fresh partnerships, this Joburg herita ge home has been coaxed into the here and now, living its next chapter with an air of easy sophistication THE COVER: Brigette Romanek, p54 Photographed by Michael P. H. Clifford.

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3AU G U ST 202 2 H O U S E GA RD E N P H O T O G R A P H : E L S A Y O U N G T H O M A S L O O F K A R L R O G E R S , S U P P L E D S U B S C R I B E To Condé Nast House & Garden and receive 8 ISSUES for only R390 0800 204 711 kznsubs@inl.co.za 31T H E E D I T 54 BRIGETTE ROMANEK

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P I E T S M E D Y, E D I T O R I N C H I E F @ p i e t s m e d y N E W S L E T T E R Sign up to our weekly newsletter I N S T A G R A M Go behind the scenes @houseandgardensa T A B L E T Read us on the go. Download your copy from zinio.com W E B S I T E Follow our daily posts houseandgarden.co.za F A C E B O O K Join the conversation @HouseGardenSA P H O T O G R A P H S E B A S T I A N V O I G T W f r o m t h e e d i t o r Welcome to t he s e cond Women Sh a pi n g D e si g n i s s ue T he l a s t t i me I i nt ro duce d t h i s i s s ue, I pref a ce d it by s a y i n g t h at t he obje c t i ve w a s to s ta r t conver s at ion s a rou nd t he i nter s e c t ion s of gender ident it y, de si g n a nd p ower a nd to ke e p h a v i n g t hem lon g a f ter Au g u s t. Wel l , ve r y re cent l y, I w a s h a v i n g one of t hos e conver s at ion s w it h a not her i nc re d ible wom a n , B oit y a s el f m a de, one wom a n empi re i n her ow n r i g ht a b out t he ver y t h i n g t h at t h i s i s s ue i s a b out: t he m a c h i n at ion s of p ower, w ho sh a re s it a nd w ho hold s onto it g u a rd i n g it t i g ht l y. She told me how, e ven a s a s ucce s sf u l wom a n a nd a wom a n of colou r h a v i n g t he p ower to s p e a k f re el y, op en l y a nd to b e he a rd w a s f a r f rom a g i ven T h at e ver y moment of autonomy a nd b ei n g s e en a s a n e q u a l h a d to b e h a rd won . It i s c le a r t h at h a v i n g a s e at at t he ta ble i s not enou g h we ne e d a w hole ne w ta ble Br i get te Rom a nek emb o d ie s for me t he ver y b e s t of w h at t h i s i s s ue i s a l l a b out O pt i m i s t ic, i nq u i sit i ve, a d vent u rou s a nd i n s pi r i n g , u n a p ologet ica l l y her s el f a nd d a zz l i n g i n p er s on a l it y S o much s o t h at w hen I s p oke to her f rom my loa d she dd i n g d a rkene d l i v i n g ro om one Fr id a y e ven i n g a fe w mont h s ba c k , her me ga w at t pre s ence l it t he ro om t h rou g h my sm a l l l a ptop s c re en I h a d a pproa che d Br i get te a nd her te a m mont h s a go a b out t he i s s ue, a nd not on l y d id she a g re e to b e a pa r t of it, but she a nd her te a m a l s o move d mou nta i n s a nd t i me z one s to m a ke it h a pp en ( Word to t he w i s e, c ros s cont i nenta l cover sho ots a re no jok i n g m at ter) T he re s u lt i s e a si l y one of my f a vou r ite cover s Ever We ne e d women l i ke B oit y a nd Br i get te a nd t he i nc re d ible pione er s , c re at i ve s a nd c h a n gem a ker s fe at u re d i n t h i s i s s ue b e cau s e t he y re pre s ent t he sh i f t i n g t ide, t he re a l c h a n ge t h at g r a du a l l y fi l l s t he h a l l s of p ower, mov i n g t he ne e d le i n ou r s o c iet y c los er to s omet h i n g t h at lo ok s l i ke e q u it y. A s w it h a ny a n nu a l , Ho u se & G a rd e n ’ s Women Sh a pi n g D e si g n i s s ue h a s b e come a m a rker i n t i me for u s , a moment to refle c t, ta ke s to c k a nd lo ok a he a d . We h a ve come a lon g w a y, but a s t he l i ne go e s , t here a re m i le s to go b efore we sle e p I hop e you w i l l ta ke t he jou r ne y w it h u s

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A New Form of Ultimate Luxury A quintessential luxury limousine, the Mercedes-Maybach reflects the exclusivity of the marque and its superior products

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30 years of quality service 32 showrooms countrywide 2 year kitchen guarantee 0861 327 9543 www easylifekitchens co za Proud member of Kitchen Specialists Association Your vision. Our expertise. The pe r fect kitchen. “What an awesome experience we had with Easylife Kitchens, Boksburg Thanks to Sonja for helping us design the dream kitchen we always wanted I love my kitchen, it’s very functional Sonja and the installation team made sure that we were happy, every step of the way Easylife Kitchens is the company to use if you’re looking for your dream kitchen Thank you, Easylife Kitchens!” Nicci Nortje Boksburg

P H O T O G R A P H K A R L R O G E R S THE SCOOP ON SHOPPING, ST YLE, DESIGN & C ULTURE I N S I D E R 1 1AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A WATER DIXON FOUNDERS CAIT WARTHER AND WENDY DIXON WITH ZIGGY, A TOY POODLE, AT THEIR STUDIO IN CAPE TOWN

THE BO KAAP SHOWROOM, WORKSHOP AND OFFICE OF WATER DIXON

The process of creating these pieces uses the principles of surface chemistr y and metallurgy, with Cait and Wendy combining two chemicals to create spontaneous and catalytic reactions, the remnants of which are captured in the layers of colour and brass on the surface of the glass. ‘Our works are a combination of technology, science and magic We think of it as modern alchemy,’ says Wendy ‘We developed the process ourselves over the past three years, and it has become our signature ’ Cait admits that the journey has been one of trial and error, playing with different chemical solutions and combinations until achieving the desired result. ‘There is interesting synchronicity in that we need sets of two: metals, Part alchemy, part metallurgy, the cosmic inspired work of studio Water Dixon is an out of this world collectable design offering

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he stor y of Water Dixon is a series of fortunate events, a happy collection of auspicious coincidences you could even say it was written in the stars that led to the founding of perhaps one of the most directional artisan studios to emerge in recent years Co owned by Cait Warther and Wendy Dixon, their eponymous ish practice has brilliantly car ved out a whole new niche in the collectable design space that of mirror and light based sculpture

Though neither had a traditional art background, their creative collaboration and experimentation with various mediums would result in their mirror based work, the first of which was an installation at the Spier Light Art Festival ‘It really felt like kismet,’ says Wendy ‘From there, our studio took shape and evolved into a business and art practice ’

Both Joburg raised, Cait, an English and Philosophy major at the University of Edinburgh before studying Architectural Lighting Design and Interior Design at Parsons, and Wendy, who has a background in brand communication and graphic design and holds a postgrad in business studies, met through a mutual friend

1 4 H O U S E & G A RD E N AU G U ST 2 02 2 ‘ O u r w o r k s a r e a C O M B I N A T I O N o f t e c h n o l o g y , s c i e n c e a n d M A G I C . We t h i n k o f i t a s m o d e r n A L C H E M Y ’ W E N DY D I XO N CAIT AND WENDY CREATE THE COSMIC INSPIRED PIECES BY APPLYING CHEMICAL REACTIONS ONTO GLASS SURFACES chemicals, us both,’ she says ‘It truly still feels like magic to us as the metals react.’ Before occupying their current studio at 120 Church Street in Cape Town’s vibrant Bo Kaap neighbourhood, the pair kept a smaller space nearby, above a popular deli ‘We very quickly outgrew our space above the deli, and when we had our second solo exhibition with Everard Read in November 2020, we desperately needed space to expand,’ says Wendy. As luck would have it, a much larger space just across the road, in fact became available when the previous owners, e com wine merchants Port2Port founders Nic Pudel and Tammy Tinker Pudel, moved out ‘They had done a beautiful job with outfitting the space, which mostly worked well for us too,’ says Cait. ‘Today, we use the space as a showroom, office and workshop ’ It is the ideal working galler y to display their ever changing oeuvre, with many of the works named for constellations or galaxies Andromeda, Cassiopea and Cygnus among them. ‘We are fascinated by space and natural phenomena The same metals and minerals in space are found, in trace amounts, in our blood and our lungs They are the same metals we use to make our mirrors,’ says Wendy The pair’s newest series of mirrors, Supernovae, has a base layer of copper, a base metal found in exploding stars ‘Somehow, the reactions of the chemicals on the surface of the mirrors resemble phenomena in space ’ Water Dixon waterdixon com

P H O T O G R A P H B A N D A S T U D I O / B E N A N D E R S M I C H A E L P H C L F F O R D Never miss a beat – your daily dose of architecture, design, art and culture news and interviews straight to your device DON’T MISS AN EDITION SUBSCRIBE TO HOUSE & GARDEN ON ZINIO FOR YOUR MONTHLY DIGITAL DESIGN AND DECOR FIX, AND SAVE UP TO 40% ZA.ZINIO.COM ONLINE 1 5AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A Facebook HouseGardenSA Instagram houseandgardensa Pinterest housegardensaF OLL OW US HOUS E A N D G A R D E N.C O. Z A

SWITCH TO DIGITAL With a digital subscription, you will never miss an issue of GQ, Glamour or House & Garden. HERE’S HOW 1 DOWNLOAD THE FREE ZINIO OR MAGZTER APP AND CREATE A NEW ACCOUNT. 2 SEARCH FOR YOUR FAVOURITE MAGAZINE , CLICK SUBSCRIBE , AND PAY. 3 ONCE YOU’ VE PAID FOR YOUR SUBSCRIPTION, CHECK OUT AND HEAD TO YOUR LIBRARY. 4 YOUR DEVICE MUST BE CONNECTED TO THE INTERNET TO ACCESS YOUR PURCHASED SUBSCRIPTIONS. (DON’ T WORRY, YOU CAN DOWNLOAD ISSUES TO READ OFFLINE ) 5 YOU CAN ADJUST YOUR DOWNLOAD TO STANDARD MAGAZINE FORMAT OR BOOK-STYLE TEXT. HAPPY READING! FOLLOW US ON SOCIAL MEDIA GQ Instagram @GQSouthAfrica Twitter @GQdotcoza Facebook @GQSouthAfrica GLAMOUR Instagram @Glamour SA Twitter @Glamour SA Facebook @GlamourSouthAfrica HOUSE & GARDEN Instagram @houseandgardensa Facebook @HouseGardenSA

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WIN: One House & Garden reader could win a 4 night stay for two sharing a Premier Suite, including breakfast daily, valued at R53 500. Visit houseandgarden co za to enter

SPECIAL OFFER: Readers qualif y for a 12 per cent discount when making a new booking, quoting TM CNHG The offer is valid for stays between 1 August and 19 December 2022 , and includes full breakfast and WiFi. T&Cs apply. For reservations, call 021 794 5535 or email reservations@ collectionmcgrath.com

The unique location of The Marine, within walking distance of many of Hermanus’s attractions, including pristine beaches, the tidal pool, restaurants and art galleries, is one of its greatest assets. Back at the hotel, guests may relax at the swimming pool, enjoy a spa treatment , or indulge in delicious culinary delights at the Pavilion restaurant High Tea and sundowners are served in the revamped Sun Lounge & Bar, where the popular Bottomless Bubbles and canapés on the first and last Friday of every month is the per fect way to ease into a great weekend

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The Marine is an iconic landmark in the charming seaside town of Hermanus. Surrounded by fynbos, the hotel overlooks Walker Bay, famous for some of the finest landbased whale watching in the world Part of The Liz McGrath Collection, The Marine, like its sister hotels, The Plettenberg and The Cellars Hohenort , is a proud member of Small Luxury Hotels of the World. The hotel has an inherent culture of impeccable hospitality, extending a warm welcome to all, including families with children and well behaved dogs Recently renovated (with beautiful, modern facilities installed) without losing its old world charm, the hotel offers 40 elegantly appointed rooms and suites. These include 10 Luxury Doubles with Sea View and 10 Premier Suites with magnificent sea views from where guests may be lucky enough to watch pods of dolphins and whales as they frolic in the bay below.

From moveable exhibitions to curating, nail art and illustration, this year ’ s cohort is a multifaceted representation of women visionaries conquering the design space on the African continent and abroad WON M E SHIN AP G D E SI G N T E X T E S I H L E M N G I N I P H OTO G R A P H S F I I F I A B B A N , K A R L R O G E R S A N D A N TO N I A S T E Y N

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Take us through your background. I grew up between Ghana, Germany and England, studied Russian and politics and worked at the United Nations before doing a master’s degree in African Art Histor y I have always been interested in the intersection of arts and politics or society, i e the impact and resonance art can have, whether through my writing, films or art historical and curatorial work You have made award winning films that have been shown at Tate Modern, Los Angeles County Museum of Art ( LACMA) and The New Museum. What inspired you to explore merging filmmaking with these noteworthy museums?

I would say that ever ything is about community: reach out to people, nurture relationships, ask for help and advice; without other people, it is impossible to move for ward. People guide us, give us valuable criticism, support us and inspire us, so build your communities early and grow them as you keep growing. Take us through your background. I am from a township where many great Black art practitioners and intellectuals descend, including actors and playwrights Dr John Kani and Winston Ntshona, political stalwart Vusi Pikoli, and my great grandfather, visual social historian and modernist George Pemba Growing up in New Brighton, Gqeberha (formally known as Port Elizabeth), I was fortunate to have witnessed artists, collectors, composers, writers, critics, activists, intellectuals and persons of interest who indulge in discourse together An obser vant, creative child, I would impersonate what I had witnessed for my uncle Bobo Pemba My family not only encouraged those moments but would find ways to stimulate my thirst for creative outlets I saw my great grandfather paint and understood the importance of art because of how precious he was about his materials, canvases and storing art I knew I wanted to love something as much as he did and make people feel how I felt when watching a play, listening to a great album or visiting a museum. Where did your love for curating as a form of design start? I was an an art monitor in primar y school for two years, taking care of art, storage and materials rooms I took pride in my job and during art classes loved assisting the art teacher in showing my classmates how to protect their materials and artworks I spent most breaktimes in the art room, not because I lacked social skills or friends, but I really loved art Fast for ward eight years, I had a solo exhibition at Rococo Studio Galler y when I was 19 of photographs I had taken in Cape Town I enjoyed putting the exhibition together more than I did being the artist The gallerist Der yck van Steenderen advised me to explore curating as a potential career move. I did not give it much thought, convinced the only impactful way of engaging with art was to be an artist.

You are renowned for bodies of work that sought to establish better understanding of cultural contexts in the global discourse. In these changing times, what more would you like to see done to champion this cause? More that is truly relativistic Even though there is much conversation around themes of decolonising at the moment, it is still within the predominant Western paradigms. I think the intriguing conversations and movements right now are happening within the so called Global South: new paradigms, ways of thinking, being and seeing I think that when these surface and take up as much room as the ones we currently know of, i.e. when more voices contribute to the world’s chorus, things will start to get interesting

The fact that museums and galleries, as we know them from the West, only really appeal to a small segment of our society, yet art and culture are per vasive for ever yone My underlying question was how do we engage with as many people as possible, find out what is of cultural value to them and then see how together we can create models of resonance and expression

I started making films after working with the legendar y filmmaker Chris Marker and was inspired by the poetic nature of his films the way he could create these film essays out of fiction, philosophy and travelogues, and still make them watchable It became another way for me to express and translate the incredibly rich realities I was witnessing What aspects or paradigms are integral to the work you curate? The interdependence of all things as we see them in our indigenous knowledge systems In them, art is not separate, but connected to education, knowledge of nature, the mind and the soul. I love this integration not just in content but also in form, through the use of sustainable materials, such as earth and bamboo, in the design of exhibitions Through your work in the museum space, you have been innovative and taken museums to new heights by introducing Mobile Museums across Accra, Ghana, showcasing significant works of painting, film and oral history to various communities. What was the drive that brought these projects to life?

N A N A A N E L I S A O F O R I A T T A AY I M M A N G C U C U R ATO R A N D A R T H I S TO R I A N F O U N D E R O F U N D E R T H E A E G I S A N D C U R ATO R

What advice would you give a young emerging diasporic artist, curator or designer facing barriers when trying to get their work recognised?

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Your remarkable exhibitions, ‘BODYLAND’ and ‘Everything Was Beautiful and Nothing Hurt’, included distinct work from various talented diasporic artists, which still receive sterling reviews. What is next for you in curating significant Black portraiture? My curatorial interest is exploring intersectional African identities, challenging established paradigms and drawing connections between the historical and the contemporar y Conceptually linking historical, traditional, modernist, contemporar y African art while holding space for a polyphony of ideas and positions that expand globally

If Black portraiture becomes the central theme in my next exhibition, then I will continue to explore it even further

Naturally, I am drawn to art that speaks to me and reflects people who look and think like me When did you realise it was possible to open doors for yourself and others? And that you were capable of achieving your aspirations through curatorship? I have suffered enough rejection to permanently bruise my ego, but I also developed the resilience to do it on my own regardless of public opinion Rejection is never easy, and the bruises left are lasting. I tr y not to let it distract me from my work With ever y opportunity I get or create, I bring in five artists whom I believe in I am proud of my contribution to the lives of the artists I have worked with and grateful to them for their impact on my journey The real dream is to impact the lives of Black children who do not have art or design as a subject in high school due to limited resources What sort of artists do you want to work with? Those who are resourceful, strategic and imaginative Talent in this countr y and on this continent is not lacking, but what is in short supply is the financial backing artists require to impact a larger audience So, what I look for is an artist who can be resourceful with what they have, develop skills that will expand their practice, and think about the longevity of their career. I am a support structure and caretaker of their work I cannot force discipline and strategic thinking; only lead by example.

Where would you like to see the shift with regards to advancing young, emerging curators?

Young and emerging curators are in this business of putting on a show and have a remarkable ability to capture their generation’s spirit. They do not need our permission; all they need is our support

The galler y and fair system is a crucial part of our ecosystem, and many careers would not be where they are if such structures did not exist However, I hope the rules for participation bend a little because there are talented curators who do not work for galleries, and there are gifted artists who do not have a fine art background. This should not be a rule that prevents necessar y and important artwork from being seen Today, when women are breaking through in various industries, is it necessary for them to be classified as ‘female’ curators instead of simply acknowledging them? I cannot speak for all women, but I have a feeling that there is a reasonable amount of women who are less phased by the inclusion or exclusion of the word ‘female’ in their job title and more concerned about equal opportunities, equal pay and respect as intellectual and creative curators.

I think nail art is subjective and particular, so perhaps limitations are based on a client’s preferences and the wearability of the art

J A I M I E D E K L E R K N A I L S B Y B O O N , N A I L A R T I S T A N D T E C H N I

Nail art is growing, with many people interested in experimenting with it. Where do you see it going? Identity and expression are crucial. I see people making social and political commentar y with their nail art and pushing aside gendered barriers of clothing, beauty and society The more people that wear nail art just because they love how it makes them feel, the more freedom we give ever yone wishing to access it without fear of violence or judgement or having to explain themselves. Any art has its limitations, so when it comes to nail art, where do you draw the line between too much and conventional types of designs, especially considering the Eurocentric standards of doing nails?

Take us through your background. I was born in Zimbabwe and lived there until I was 14, after which I moved to Cape Town. I studied politics and languages at university and then worked in a travel agency before I fell into the world of nails I am an artist, nail artist and musician. I am C I A N obsessed with dogs, tattoos and fashion. I love good food and being out in nature

What intrigued you about exploring nails as an artistic expression?

I have always loved painting and drawing, having grown up in a ver y creative and artistic family, so I have always been passionate about art My partner’s mom, Erika Breytenbach, encouraged me to tr y it, as did a colleague at my travel job who had started painting nails I took a nail art class with Nails by Matthew and fell in love with it! I love the idea of creating insane, beautiful works of art on tiny canvases I love to see what boundaries I can push within myself, how steady my hand can be, and how I can help someone express themselves It is my favourite thing ever!

What advice would you offer young, emerging nail artists who want to advance themselves? Set boundaries on your time and be war y of hustle culture it may help boost your business but lead to burnout. Charge what you are worth Research and measure against what other nail techs charge When starting, we tend to charge way below our level of expertise Start small and grow accordingly Do not punish yourself by being afraid of how long it takes to do a set communicate with your clients, and you will be fine Lastly, have fun with it, experiment and explore. Follow other artists and reach out to them if you have questions Most of the time, people in this industr y are willing to help.

There are also perceived limitations on earnings and what we, as nail technicians, feel we can charge. I have heard many complaints about other spaces because ‘they do not offer nail art’, but so many of those salons or studios work on commission, resulting in technicians not earning for a set of nails but the number of clients they can get in their seats. So it makes sense to me that maybe they shy away from complex styles because, in this industr y, time truly is our money. And it can feel uncomfortable and terrifying to charge high rates for what we do, even though our work is deser ving of it.

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Take us through your background. Growing up as the youngest of four children and the only girl, I would see my older brothers doing certain things that people around me would say were reser ved for boys alone My brothers and I would have none of it, and I would participate in the same activities they did. As I grew older, this perception did not change much But I was determined that it should And I wanted to inspire other girls to do the same I was told that girls and women (especially Black), do not start businesses in male dominated industries. I was told that girls and women (again, especially Black) do not become street artists, especially in South Africa, where the rate of violence against women is alarming I have subverted both these stereotypes I am inspired by the visual aesthetic of Africa, both contemporar y and traditional So, I set out to preser ve and celebrate it, representing the unrepresented by exploring South Africa’s creative identity through my craft Why illustrating? I am driven by a desire to be the voice I often missed and longed for In university, we seldom learned much about Black, female, South African illustrators Upon obtaining my degree in Visual Communication, I experienced great difficulty finding illustrators whom I could model my career That was not because incredibly talented Black women artists do not exist in South Africa, but they are often not offered the same notoriety as their white or male counterparts. I wanted to be this representation for the next generation of young Black illustrators, especially those who are women, as our challenges are extremely specific I am responsible for using the influence I have gained to elevate others from underrepresented communities and pay homage to those who have inspired my stylistic and conceptual approach.

K A R A B O P O P P Y I L L U S T R ATO R , G R A P H I C D E S I G N E R A N D S T R E E T A R T I S T

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You are known for working with leading brands. When did you realise you could monetise your illustrations? I have never consciously set out to make a living from my art, but because I am determined to continue creating, it was important for me to understand that to do so, I would need to cohere my desire to create within the demands of ever yday living. It just so happens that since the beginning of my career, I have had the privilege of working with individuals, brands and companies such as Apple, Instagram, Greenpeace, Sony Music, the University of California, The Wall Street Journal and Black Coffee. I feel over whelmingly humbled to bring a shared vision to life and benefit from it financially What is some of the best advice you would give someone in your industry to stay motivated and push boundaries? Talent is vital but cannot stand on its own It works better combined with business skills, dedication and collaborating with people with whom you share similar views Create the spaces you want to be in and tell the stories you feel are unheard the world needs more of that. Do not let fear stop you, whether of failure or worr ying about whether things will work out. Hold onto what you believe is your purpose, so use that to guide you

2 4 H O U S E GA RD E N AU G U ST 2 02 2 A N I M A L k i n g d o m T E X T F R E D A B E R N S T E I N P H OTO G R A P H S C O U R T E SY O F T H E D I A N F O S S E Y G O R I L L A F U N D With the help of Ellen DeGeneres, the Dian Fossey Gorilla Fund unveils a spectacular Rwanda campus dedicated to education and conservation

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The design collaboration was so successful, Dr Stoinski reflects, ‘that we went all in’ That meant hiring two relatively new divisions of the architecture firm, MASS. Build and MASS. Made, to construct the campus and create its furniture and fixtures Those tasks employed some 2 300 workers, 99 per cent of them Rwandan At the end of their employment, many received certificates listing the skills they had learned. ‘The quality of the construction is second to none, ’ says Michael Ellen, a design lover known for her spectacular homes in Southern California, did make a few suggestions. One was that the complex should include a market for local artisans Another was that the roofs be lushly planted to complement their surroundings Ten x Ten, a landscape architecture firm in Minneapolis, collaborated with MASS’s landscape team on the grounds and green roofs, which together required some 250 000 plants (all native) Other green moves included a rainwater har vesting system, a constructed wetland for wastewater treatment, and using mainly local materials, such as the volcanic stone that clads exterior walls ‘Farmers consider it a nuisance,’ notes Emily To some people, the buildings, with their thick, cur ved roofs and circular skylights, suggest pebbles in a river; to others, clouds gathering around the peak of a volcano, or the volcanoes themselves But whatever they evoke, if they help save gorillas from disease, poaching and habitat loss, they will be among the most important buildings in the world. Says Ellen, who is ending her long running TV show this year: ‘ As soon as I record my last program, I am headed to Rwanda I am sure there will be some tears ’ Dian Fossey Gorilla Fund gorillafund.org

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MASS, co founded in 2008 by Alan Ricks and Michael Murphy, grew out of their work building a hospital in northern Rwanda The firm, which maintains a base in Boston, now has an office in Kigali, Rwanda’s capital, with more than 100 employees (the majority Rwandan) and close ties to the 13 year old program at the University of Rwanda School of Architecture and Built Environment Several of its graduates worked on the DeGeneres campus along with MASS design director Emily Goldenberg. ‘They are training a new generation of architects; we are training a new generation of scientists’ says Dr Stoinski of the similarities between MASS and the Fossey Fund ‘We love that they are nonprofit and that they want their projects to have a larger social impact.’

Now a 60th birthday present from her wife, Portia de Rossi, has helped under write the Ellen DeGeneres Campus of the Dian Fossey Gorilla Fund: a 12 acre complex dedicated to gorilla conser vation. It is named for the TV star and her idol, Dian Fossey, the self taught naturalist, who may have single handedly saved the mountain gorillas from extinction before she was murdered in 1985

Before Ellen and Portia stepped in with what Ellen calls her ‘most expensive birthday present ever ’ , the Fossey Fund staff worked out of makeshift quarters, including a kitchen doubling as a lab Today there is housing and a fully equipped laborator y, classrooms for visiting students and a museum complete with a 360 degree theatre Designed by MASS Design Group, the complex, anchored by three main buildings, is more than just efficient People who see the campus think ‘the place looks important, so what they are doing must be important,’ says Dr Tara Stoinski, president, CEO, and chief scientific officer for the Dian Fossey Gorilla Fund ‘The architecture will elevate the whole field of conser vation ’

ewer than 100 people a day are permitted to trek into the mountain gorilla habitat in Rwanda’s Volcanoes National Park But for those who do, ‘it is the most life changing experience,’ says Ellen DeGeneres, who first visited the region in 2015. Visitors are not allowed to approach the animals, but a silverback (mature male) once bumped into her sister in law by accident ‘I was so jealous,’ Ellen recalls ‘It is thrilling to be that close to them but knowing they do not want to hurt you. ’

Ellen has considered Dian a hero since childhood, when she saw her on the cover of National Geographic ‘Now my name is next to hers, and I have a legacy that to me is more important than anything I have done in show business ’

2 6 H O U S E & G A RD E N AU G U ST 2 02 2 P H O T O G R A P H S : M A T T H I E U S A L V A I N G / S A B E L N O L A N C O U R T E S Y O F T H E A R T I S T A N D K E R L I N G A L L E R Y D U B L I N S A B E L L E S T A N I S L A S D E S I G N O P P O S I T E P A G E M A T T H E U S A L V A N G / A M B R E B A B Z O E B A L I R E Q U I R E D R E A D I N G This month, books editor Steven Whiteman’s monthly mustreads sharply focus on the work and philosophy of two leading designers with two equally elegant monograms THE ISABELLE STANISLAS DESIGNED LIVING ROOM OF A HOME IN MASSIGNAC, FRANCE

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T h e r e i s a n A N I M I S T I C q u a l i t y t o e a c h p a g e t h a t m o v e s t h e r e a d e r t o a p l a c e a n d t i m e s o f a m i l i a r t h a t i t c a n b e U N N E R V I N G A SUN-DAPPLED SEATING AREA IN COMPORTA, PORTUGAL, BY ISABELLE STANISLAS DRAWING SPACES, DESIGNING EMOTIONS BY ISABELLE STANISLAS, R1 400; THREE HOUSES BY ROSE TARLOW, R2 170

The legend of Windrift, Roses’s East Coast childhood homes, is reimagined in this landmark book through three extraordinar y homes

Three Houses features Rose’s remaining family homes in Stone Canyon, Santa Barbara and Provence, showcasing a personal archive a treasur y of precious memories and design inspiration for generations to come

There is an animistic quality to each page that moves the reader to a place and time so familiar that it can be unner ving The ancient, cold stone floors of a room curl the toes, making one lust for mohair socks and a cuddle

Drawing Spaces, Designing Emotions ( Rizzoli) Isabelle Stanislas’s interiors nod to historical sources while exuding a refreshing contemporar y style Known for her knack for subtly inter weaving art, landscaping, architecture and materials, she has been regularly called upon by private homeowners and luxur y brands, such as Cartier and Hermès, since establishing her firm in 2000 Most recently, the designer was tapped by the French president to breathe new life into the Élysée Palace, further elevating her stature. From architecture and construction to interior design and bespoke furniture, the renowned Paris based architect and interior designer’s highly anticipated monograph explores the impressive breadth of her creative approach through twelve diverse properties. Defined by precision, minimalism and a unique take on French style, the designer’s modus operandi emerges from the pages of this dazzling volume. Specially commissioned photographs take readers on a journey from Paris to London to Portugal Complete with insightful texts that unpack each project and Isabelle’s artistic universe This book is a must have addition to the libraries of design masters and enthusiasts alike Three Houses ( Vendome) In this book, Rose Tarlow does not write or remark much; instead, she conjures memories of a grand home lost to a fire and immortalised in so many of their future creations

Each texture and visceral material aids in transporting the reader to a place both nostalgic yet forgotten It is Rose’s eye that sets her apart from other designers Refined to a delicate artistr y, combined with her ability to merchandise a space and set a scene that welcomes obser vation and adoration in equal measure It is no wonder that she is fondly known as the decorator’s decorator. Both books are available at Pezula Interiors and pezulainterriors co za

Each home is a spectacular embodiment of her design philosophy, exuding the charming eccentricity and uncompromising sophistication that has become her signature

The S Class is the centrepiece of our brand and shows what the pinnacle of luxury means for Mercedes Benz: the symbiosis of timeless elegance, a spectacular design and class leading automotive innovations allow our clientele to experience the true meaning of luxury,’ says Mark Raine, Co CEO and

The heart of the Mercedes-Benz brand introduces the pinnacle of luxury

In Pursuit of

‘

Executive Director of Mercedes Benz South Africa With a short front overhang, a long wheelbase and a balanced rear overhang, the S Class is designed as a classical sedan with per fect proportions. With a grown grille, the S Class body sides and flanks are magnificently sur faced and prominent stating the vehicle’s authority at rest and in motion The head and tail lights contain the most phenomenally complex illumination technology, beaming a clear path as you trailblaze your way through the city and your industry. This supremely luxurious and technology laden vehicle is a testament to

THE HIGHLY ANTICIPATED NEW S CLASS IS MARKED BY ELEGANCE, THE HIGHEST DEGREE OF QUALITY AND TECHNOLOGICAL INTELLIGENCE WITH AN ALL-ROUND FEEL-GOOD AMBIENCE THAT REDEFINES LUXURY TO A NEW LEVEL. It encapsulates the very best luxury driving experience The pride of its engineers, designers and craftspeople, the S Class lights the way forward, delivering high tech and sumptuous beauty in spectacular sophistication Excellence

PROMOTION the relentless pursuit of excellence by Mercedes Benz and owners of its kind Holding a high regard for contemporary characteristics such as connectivity, autonomy and digitisation, the seventh generation model has become more intelligent in many more areas This is a machine meant for the disciplined and sophisticated The latest generation S Class models are equipped standard with the latest cutting edge MBUX operating system running on a 12.8 inch OLED central display, plus a 12.3 inch digital driver display. Visual highlights like ambient lighting breathe life and energy into this sedan

SUB SCRIBE OR RENEW SAVE 6 R360 issues for only 20% SAVE 9 R506 issues for only 25% Download your digital subscription now by visiting OR zinio.com/ houseandgardensa SAVE 20% 3 R180 issues for only HERE’S HOW P H O N E 0 8 0 0 2 0 4 7 1 1 / 0 3 1 3 0 8 2 0 2 2 E M A I L c o n d e n a s t @ i n l . c o . z a H O U R S M o n d a y - Fr i d a y: 6 . 3 0 A M - 6 P M S a t u rd a y - S u n d a y: 7 A M -1 0 A M , P u b l i c H o l i d a y s : C l o s e d D E B I T O R D E R 0 8 0 0 2 04 7 1 1 P O S T C h o i c e o f h a n d d e l i ve r y o r p o st T h i s o f f e r i s f o r p r i n t s u b s c r i b e r s w i t h a S o u t h A f r i c a n a d d r e s s o n l y O f f e r va l i d u n t i l 3 1 a u g u s t 2 0 2 2 .

P H O T O G R A P H : S U P P L I E D 3 1AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A D E S I G N KNOW HOW AND DECOR DETAILS THAT MAKE THE L OOK ST LEGER & VINEY MIND THE GAP ‘THE FORMER EMPEROR’ METALLIC EDITION WALLPAPER PAYS HOMAGE TO 1800S JAPANESE WOODBLOCK PRINTMAKING

T E X T : P I E T S M E D Y P H O T O G R A P H S A N D Y G O R E , S U P P L I E D 3 2 H O U S E & G A RD E N AU G U ST 2 02 2 The latest launches from the biggest names in fabric, wallpaper and rugs M A T E R I A L W O R L D H E R T E X H a r l e q u i n The latest from lauded house Harlequin revisits the free flowing kineticism and abstract, graphic nature of traditional calligraphy in the ‘Enigmatic’ range Alive with movement, the large scale brush strokes of ‘Enigmatic’ twist and turn on a ground of embossed vinyl, making it both timeless yet undeniably contemporar y. The design is available in two colour ways: the monochrome Japanese Ink/Origami (pictured) and Nectar/Awakening, an ultra luxe gold finish hertex.co.za

H O M E F A B R I C S A r t e

Each design in Arte’s Décors & Panoramiques collection is as transporting as the next, immersing you in a fantastical landscape maybe a scene from ancient mythology, a field of flamingoes or even the thick greener y of the Amazon. Pictured above, ‘Terra Tropicana’ in golden sunset shows a fier y Brazilian dance, full of rhythm and connection with nature And it is not only the patterns and designs that appeal to the imagination, but the materiality and craftsmanship invite a new level of tactile surprise, featuring velvety soft silks, bouclé fabrics and linen effects. homefabrics.co.za

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M A V R O M A C & G A T E H O U S E C r e a t i v e L a b Bright colours and whimsical designs are the hallmarks of Dutch wallpaper and stationer y studio Creative Lab Amsterdam, available locally through Mavromac & Gatehouse.

Founded in 2016, the brand’s elegant, original designs are often inspired by abstract concepts and emotions and are always brightly executed using only the highest quality materials The 2021/22 collection including the ‘Maui’ wallpaper in blue (left) features a playful cast of animals and plant motifs, lovingly drawn with an ever so stylish, nostalgic feel. mavromacandthegatehouse.co.za

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Sourced by Herringbone rugs owner Sarah Craig, each piece is handwoven in the village of Aguelmous, in the Khénifra region of Morocco, using prized wool from the throat and neck of local sheep, which gives a uniquely pearlescent lustre, and specially washed for unmatched softness Herringbone offers a bespoke ser vice, with the design of each piece fully customisable and available in an extensive array of colour ways, from neutrals and moody hues to coral, acid green and canar y yellow herringbone.co.za

H E R R I N G B O N E C u s t o m R u g D e s i g n

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P H O T O G R A P H : S U P P L I E D 3 6 H O U S E & G A RD E N AU G U ST 2 02 2

Constantly at the cutting edge, Summer House is a boutique wallpaper design studio focusing on high quality, handmade, design for ward wallcoverings By collaborating with artists, designers and illustrators, the brand foregrounds creativity and keeps the range of products fresh and current while its attention to quality ensures a high end, polished finish With a global audience, Summer House designs have cameoed in beautiful homes, glamorous hotels and sophisticated offices worldwide thanks mainly to its eclectic range of designs and timeless approach to pattern Inspiration for its prints comes from myriad sources from the organic and ubiquitous beauty found in nature to the graphic lines and striking silhouettes of architecture or the historic appeal of archival imager y Summer House seeks out new sources of visual inspiration and fresh talent to ensure it continues to innovate and finds new ways to bring your walls to life Designs are available in multiple colour ways, but there is also a custom design ser vice for those looking for something entirely bespoke summerhousewallpaper.com

S U M M E R H O U S E M i a m i C o l l e c t i o n

P H O T O G R A P H : S U P P L I E D DESIGN SOLUTIONS 3 8 H O U S E & G A RD E N AU G U ST 2 02 2 S T L E G E R & V I N E Y M i n d t h e G a p As part of Mind the Gap’s newly launched Woodstock range of wallpapers (which are created in Transylvania), ‘Incantation’ in dark offers a glimpse into the enchanted and esoteric, where fantastical birds, ornamented horses and mythical dragons parade through other worldy gardens stleger.co.za

SKYY Infusions was created to capture the true flavour of the fruit , using only natural flavours during the infusion process. Infused ingredients are then mixed with SKYY Vodka, resulting in a unique, fresh and natural flavour experience. Easy and refined, but unpretentious SKYY Infusions Blood Orange is per fect for enjoying with good company and great food.

BEHIND THE BAR: Glass: Collins Garnish: Rosemar y sprig or orange slice Method: Add first three ing redients to tins and whip with a few cubes of ice. Add soda to tin and pour into a Collins glass over ice. Garnish.

PROMOTION

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INGREDIENTS: 1.5 parts SKY Y Infusions Blood Orange 3/4 parts honey syrup* 3/4 parts lemon juice 3 parts soda water Cubed ice

* To make honey syrup, mix 600g honey with 384ml water until homogenous and then bottle.

SKY Y RECOMMENDS THE GOLDEN GATE COCKTAIL FOR YOUR NEXT SUNSET DINNER PARTY. Like the San Francisco icon it’s named after, this cocktail boasts not only a beautiful colour but also bold, natural flavours that are both tangy and sweet

Introducing SKYY Infusions Blood Orange –crafted by a diverse collective of experts for a distinct drink Where others have chosen to distil out character, SKYY has chosen to innovate by giving their liquid a character adding twist with water enhanced by minerals, including Pacific Minerals sourced from the San Francisco Bay Area. The result is a smooth, gluten free and fresher tasting vodka that not only adds character to any cocktail, but also raises the bar on the vodka and soda.

Refined Twist

Art deco gets a chic update in gem shades lapis and agate blues, malachite greens, and moody zircon and onyx and bold geometrics, both in patterning and silhouettes DECO DANCE THE ARTS CLUB DUBAI BY DIMORE STUDIO 4 0 H O U S E & G A RD E N AU G U ST 2 02 2

SHOPPING 1 ‘LIVINGSTON’ BARSTOOL IN SOLID WALNUT TIMBER WITH BRONZED STEEL FOOT RAIL, SYNTHETIC RATTAN AND BRASS BUTTON, POR, EGG DESIGNS; 2 FLOS ‘GOLDMAN’ TABLE LAMP, POR, CRÉMA DESIGN; 3 ‘LEISHA BUNCH’ PENDANT LAMP, R29 499, KARE DESIGN; 4 ‘BONOLO MOUNTAINS SUNSET’ RUG, R1 695, AIRLOOM; 5. KEVIN FRANKENTAL ‘ASHBY’ CONSOLE IN VERDE GUATEMALA, POR, LEMON COLLECTION; 6. ‘ATLANTIS VISTA ALEGRE’ VASE IN JET BLUE WITH CASE, R6 639, SPILHAUS; 7. MARBLE LOOK SIDE TABLE IN BLACK WITH GOLD FEET, R9 995, LA GRANGE INTERIORS; 8 BRUNO MOINARD ‘PARIS PANAME’ WRITING DESK CHAIR, R 46 210, ROCHE BOBOIS 78 2 6 1 3 5 4 1AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A 4 C O M P I L E D : G E M M A B E D F O R T H ; P H O T O G R A P H S : I N G R I D R A S M U S S E N S U P P L I E D

Embrace the outright excess and flamboyant maximalism with layer after layer of animal print. A moreish cocktail of zebra, giraffe and leopard shot through with jungle greens and sunset pinks is this season ’ s strongest look ANIMAL MAGNETISM A HAND TUFTED ‘CHEETAH FLORALS’ DESIGNER RUG FROM WENDY MORRISON DESIGN 4 2 H O U S E & G A RD E N AU G U ST 2 02 2

SHOPPING 1 SIXTH FLOOR ‘LEOPARD’ COTTON TUFTED RUG, R999, SUPERBALIST; 2 MANUEL CANOVAS ‘BENGALE’ WALLPAPER IN PAPRIKA, POR, MAVROMAC & GATEHOUSE; 3 ANNA HAYMAN DESIGNS ‘ABAT JOUR GIRAFE’ LAMPSHADE IN ROSÉ, POR, AMARA; 4 ‘OLIVIA’ TABLE LAMP IN GREEN (EXCLUDING SHADE), R3 895, LA GRANGE INTERIORS; 5 ‘ZAMBEZI’ OCCASIONAL CHAIR IN FEATHER CHARTREUSE VELVET, R18 000, ARDMORE DESIGN; 6 MISSONI HOME ‘BUBBLE’ SUSPENSION LAMP SHADE, POR, ROCHE BOBOIS; 7. ‘ZEBRA DUO’ DECO JAR, R3649 8. ‘ZEBRA’ SIDEBOARD, R63 499, BOTH KARE DESIGN 2 1 4 3AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A 654 7 8 C O M P I L E D : G E M M A B E D F O R T H ; P H O T O G R A P H S : S U P P L I E D 3

GARDENS 4 5AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A T E X T G E O R G E P L U M P T R E P H OTO G R A P H S É VA N É M E T H N A T U R E F I R S TC h e l s e a F l o w e r S h o w i s b a c k . A ft e r a p a n d e m i ce n f o r c e d b r e a k o f t h r e e y e a r s, w h e n o n l y w h a t w a s e ff e c t i v e l y C h e l s e a l i t e t o o k p l a c e i n S e p t e m b e r 2 0 2 1, t h e g r e a t e s t fl o w e r s h o w o n e a r t h s t a k e d i t s c l a i m o n c e a g a i n i n t h e g r o u n d s o f T h e R o y a l L o n d o n H o s p i t a l C LO C K W I S E , F R O M TO P L E F T VA R I E D F O L I AG E A N D C O LO U R F U L P E R E N N I A L S , O R G A N I C A L LY F O R M E D B E N C H E S A N D L AT E R I T E PAT H WAY S M E R G E I N A N AT U R A L I S T I C S C H E M E I N T H E ‘ P L AC E 2 B E S E C U R I N G TO M O R R OW ’ G A R D E N ; ‘ T H E M O R R I S & C O. ’ G A R D E N F E AT U R E S C OT TAG E G A R D E N FAVO U R I T E S S U C H A S V E R B A S C U M ‘ P E T R A’ , W H I T E A L L I U M ‘ M O N T B L A N C ’ A N D P U R P L E S A LV I A N E M O R O S A ‘ C A R A D O N N A’ ; W H I T E D I G I TA L I S I N ‘A G A R D E N S A N C T UA R Y ’ , A P L AC E F O R M E D I TAT I O N A N D S E C L U S I O N I N N AT U R E ; T H E ‘A L D E R H E Y U R B A N F O R AG I N G S TAT I O N ’ E N C O U R AG E S A N AT U R E C O N N E C T I O N T H R O U G H F O R AG I N G , S H A R I N G A N D B E I N G I N T H E M O M E N T

Visitors enjoyed a veritable feast of gardens of all sizes, more than for many years If Chelsea 2022 lacked anything, it was the traditional dazzling displays in its Great Pavilion This was not just because one of the most striking usual exhibits from our own Kirstenbosch National Botanical Garden was not present. Many other old favourites were not in attendance, and visitors had to look hard to find the luscious Delphiniums and Begonias of Blackmore & Langdon who have exhibited at ever y Chelsea or the swathes of old fashioned roses of Peter Beales

three years with no show have witnessed an extraordinar y strengthening of two gardening themes that dominated Chelsea this year: the garden as a place of solace; and as an extension of the natural world, without human inter vention and representing the ecological threats of our times Confirmation of the latter came in the award of Best in Show for the large gardens, which went to ‘ A Rewilding Britain Landscape’, designed by Lulu Urquhart and Adam Hunt It was the British equivalent of fynbos, its aim ‘to depict nature in balance’, and its centrepiece a stream with a dam of sticks built by beavers whose introduction to the landscape was the key ‘rewilding’ factor There was woodland and meadow, planted only with native or naturalising plant species scattered thinly Not ever yone a greed with the show’s judges, however, and the People’s Choice Award, which visitors to the show voted on, went to the most demonstrably traditional garden, the perennial garden ‘With Love’, designed by Richard Myers, which had a formal design around a long central rill and a pattern of rectangular flower beds filled with white roses, lupins and foxgloves mixing with soft plum coloured alliums and irises the colour shade of the show

t h e

4 6 H O U S E & G A RD E N AU G U ST 2 02 2

Nonetheless, overall the show was buzzing, and visitors celebrated the return of one of the great showpieces of the English summer and the opportunity to debate the best in gardening today

My favourite garden was one of the smaller Sanctuar y Gardens, the ‘Boodles Travel Garden’ by Tom Hoblyn, which combined an elegant contemporar y design around a winding water channel with skilled plant combinations, particularly the mix of folia ge plants that made mounded patterns shades of green, such as Hosta ‘Devon Green’

4 7AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A GARDENS C LO C K W I S E , F R O M TO P L E F T A 1 5 TO N N E M E LT I N G I C E B LO C K H I G H L I G H T S C L I M AT E C H A N G E I N T H E ‘ P L A N T M A N ’ S I C E ’ G A R D E N ; I N S P I R E D B Y FA L L E N P E TA L S , A S E R I E S O F C U R V E D C L AY WA L L S W I N D T H R O U G H T H E ‘ M I N D ’ G A R D E N B E N E AT H B E T U L A P E N D U L A T R E E S ; C O O L I N G WAT E R A N D D E N S E LY P L A N T E D S H R U B S P R OV I D E R E F U G E F O R W I L D L I F E A N D B I R D S I N ‘A G A R D E N S A N C T UA R Y ’ ; A N AT U R A L OA K S T U M P W I T H A S K Y L I G H T R O O F E D G E D W I T H S O D A N D P L A N T I N G E N C O U R AG E S B I O D I V E R S I T Y I N T H E ‘ C O N N E C T E D ’ G A R D E N ; A R I OT O F R O S E S I N PA S T E L S H A D E S I N T H E G A R D E N ‘ T H I S TO O S H A L L PA S S ’ ; M U LT I AWA R D W I N N I N G D E S I G N E R S A R A H E B E R L E ’ S G A R D E N ‘ B U I L D I N G T H E F U T U R E ’ C H A M P I O N S S U S TA I N A B L E B U I L D I N G A N D L A N D S C A P E S ; T H E G A R D E N D E S I G N A N D I N T R I C AT E D E TA I L I N G O F ‘ T H E M O R R I S & C O ’ G A R D E N ; D I G I TA L I S B LO O M S , A N I M P O R TA N T S O U R C E O F P O L L E N F O R B E E S , W E R E A B U N DA N T I N T H E ‘A L D E R H E Y U R B A N F O R AG I N G S TAT I O N ’ O P P O S I T E PAG E A D E L I C AT E C O M B I N AT I O N O F W H I T E A N T H R I S C U S S P I R E S , P U R P L E V E R B A S C U M ‘ V I O L E T TA’ A N D P O P P I E S

R I C H A R D M I E R S ’ ‘ T H E P E R E N N I A L G A R D E N W I T H LOV E ’ WO N T H E P E O P L E ’ S AWA R D F O R I T S C A L M , F O R M A L P L A N T I N G B E N E AT H A S E T O F D I S T I N C T I V E F L AT TO P P E D C R ATA E G U S T R E E S O P P O S I T E PAG E L U L U U R Q U H A R T A N D A DA M H U N T ’ S ‘A R E W I L D I N G B R I TA I N L A N D S C A P E ’ WO N B E S T I N S H OW F O R I T S V E N T U R E I N R E P R E S E N T I N G N AT U R E

4 9AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A GARDENS

WORKING WITH NATURE AND BEING SENSITIVE TO HER RHYTHMS IS IMPERATIVE FOR CREATING FEEL GOOD OUTDOOR SPACES

Landscape designer Franchesca Watson advocates for embracing Nature’s disarray and re-evaluating tired stereotypes of beauty. Gardening now is about creating green spaces that feel good for ourselves and the planet

t Winds of Change

P H OTO G R A P H S E L S N

KNOW HOW

he world has changed over the past few years – and with it, our attitudes to just about ever ything. Our lives seem to have become more serious, so even our gardens, a source of great joy, are no longer merely light hearted in conception but heading in a more considered direction Gone are the days when gardens and plants were there for visual pleasure alone or as superficial show pieces to augment equally showy homes One could argue they still provide these functions but in a more complex and nuanced way. We desire our gardens to not only be beautiful, but to improve our world on many levels, be sustainable, bio diverse, useful, educational and helpful to nature

This year, the overall winner at the Chelsea Flower Show 2022, the premier garden show of the most gardening addicted nation in the world, said it all The garden, entitled ‘ A Rewilding Britain Landscape’, does not really even fall into what most of us understand a garden to be and has prompted much debate on the point. After all, rewilding is not about controlling nature but allowing nature to do its own thing The point is, we understand that our planet as we know it is changing and not necessarily in a positive way; and that our yearning now is to somehow undo the dama ge and help in our own small way Many of us are educating and disciplining ourselves to re evaluate old behaviours There is a new impetus to change habits that no longer ser ve by adjusting our values including norms of visual beauty

Suddenly, the disorder of vegetable gardens, meadow planting and natural pools no longer look unkempt and poorly manicured, but appear hopeful, joyous and positive They attract birds, butterflies and bees, all wildlife not as prolific as it once was They are glimpses of vibrant, healthy nature rather than manually controlled regiments of ordered plants We’re experiencing more natural and less controlled gardens as deeply reassuring, fascinating and beautiful Despite the control freak inside many of us, our instinctual visual leanings are taking us down the garden path and out into wild gardens, making us dizzy with new knowledge and understanding and the potential of a new world.

A YO U

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Franchesca Watson 082 808 1287 franchescawatson.com

L I V E Y O U R P A S S I O N C L A S S I C S C A R R É E L A D I E S F o r f u r t h e r i n f o r m a t i o n c o n t a c t P i c o t & M o s s ( 0 1 1 ) 6 6 9 0 5 0 0 w w w p i c o t a n d m o s s c o z a f r e d e r i q u e c o n s t a n t c o m

P H O T O G R A P H M I C H A E L P H . C L I F F O R D T H E E D I T SUPERB HOMES AND ST YLISH GARDENS 5 3AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A A LIGHT FILLED CALIFORNIA HOME BY DESIGNER BRIGETTE ROMANEK Full story overleaf

5 4 H O U S E & G A RD E N AU G U ST 2 02 2 From an accidental (or perhaps predestined) start in decorating, spurred on by a childhood fa scination with interiors and an adventurous spirit, to a fullyfledged studio with a roster of A list clients, the Californian designer ha s become one of the most important names – and creative forces – in contemporar y design T E X T P I E T S M E DY P H OTO G R A P H S M I C H A E L P. H . C L I F F O R D H A I R A N D M A K E U P J O R DA N N AG U O N R O M A N E K b r i g e t t e

ROMANEK DESIGN STUDIO FOUNDER BRIGETTE ROMANEK IN LOS ANGELES

THE LIVING ROOM NEEDED TO BE BOTH COOL AND CALM YET STATEMENT MAKING. BRIGETTE ACHIEVED THIS WITH ICONIC PIECES LIVING IN HARMONY

5 8 H O U S E & G A RD E N AU G U ST 2 02 2 A VINTAGE CHAIR IN THE HALLWAY WITH LIGHTING DESIGNED BY APPARATUS STUDIO

5 9AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A

I

It is true when I say I never knew it could be a job. You know, I am a woman from the south side of Chicago, and it was a very different environment You see, my grandmother worked in a factor y where they made magazines She would bring them home, and that was my introduction to interiors and knowing that people live in different ways. We also travelled a lot, my mom being a singer and a single parent, so I was always in a new environment That was all happening in my makeup and shaping the chemistr y of Brigette the person and the designer. I got married, and we moved to London while my husband was making a film That was really important because, after we returned to LA, I wanted to be in a place that felt European in its composition and that place would be an area called Hancock Park, where the homes all have this uniform brickwork quality The house I loved there, ever yone warned us against buying it, but I could see what it should be and should look like so we took it, and I embarked on what was quite a quick redo Without even really knowing it, I had transformed the space so much so that friends began asking me to help with their spaces and word spread and I was sort of doing it in between raising my girls and, one day, I was driving down in Malibu and just thought, I can really do this and make a business out of it And so, four years ago, I created Romanek Design Studio It has been organic and comes from a real love of what interiors can do for people You can really see that early influence here, in this house It has this very airy, European nonchalance to it. The couple who own the home live here with their two kids, so the house had to really function in a way where they could have their friends over, but the kids could run around and be comfortable.

The guys were amazing, and we had multiple conversations around the feel and functionality of the home. Originally, there were these dark floors with cream walls, so there was a sense of heaviness about the house that lost so many beautiful details, such as the mouldings and herringbone floors. So we spoke about lightening it up and working with the building to create that sense of open airiness

But at the same time, there is quite a personalised feeling to every room, where, sure, some are open and breezy, while others are moodier and feel more enveloping I think, for me, whether it is a communal or private space, I want the person living there to feel invigorated, relaxed, or whatever the mood is tr ying to achieve Bottom line: I want them to feel better, I want them to feel elevated and enhanced, whether it be family, friends, colleagues, or whatever the case may be So, in this home, all of these spaces really had to speak to that because they are big entertainers but also a close family. And so we

I think the thing many aspiring designers want to know is how do you get to making it in this industry?

I made up this phrase that I always keep in mind when I design, so I can have a throughline in what I am doing, and that is: liveable luxe. The goal is to find that balance. Because it is not a museum, it is a home where people need to be able to kick back, but at the same time, it still needs a certain cachet. I want to live with beautiful things, but they also have to function, you know, they cannot just be precious I experienced this when I created a house many years ago when my husband and I were dating We made this super cool house, and ever y time someone came over and threw a jacket down I was, like, oh my God, the compositions off. It is just sort of crazy and, in the end, I did not enjoy the space So, yes, I still want it to be beautiful, but I also want it to work In this house, I thought, why can’t we have beautiful things that are also usable. And that is something about great design function and aesthetic finesse are not mutually exclusive In this way, I do not have any rules, like, you know, one must put this colour here or that shape there, and I think that really resonates with people There is a common thread between my projects: it is a little to the left, a little unusual and always eclectic But if you want to say ‘this is her stamp’ or ‘this is what she does’, it is not really there I love what you said about having no rules because no one lives like that. No two homes or homeowners are the same. And also, when you are designing a room with these rules in mind, let’s be honest, no one is going to stick to them I really enjoy the client exchange and getting their input and their wants and needs because, you know, I am going to leave, and it does need to be their space And there is nothing worse than an excessively precious house. Like you said, it is meant to be lived in. For me, when I come in from my day, when I close the door and get to exhale, that is ever ything How did this exchange go? Did the homeowners have a clear idea of what they wanted, or was it a process?

6 0 H O U S E & G A RD E N AU G U ST 2 02 2

car ved out little used speak to those functions such as performance velvets and boucles and we did them in these rich colours It was really about textures, materials, colours, lighting With your recent collaboration with MGBW Home on a range of lights, it is safe to say you know exactly how important good lighting is Lighting lets you create spaces that make ever yone look good, so it was about strategically placing light sources But then in other spaces you need it to perform a dedicated function, like the bedroom for reading. So it was thinking about how ever y space would really work It is like one big, collective story, with different areas speaking to different feelings. It is like creating a movie from start to finish There are different scenes in the movie, but it is the same narrative running all the way through. I have seen the kids jumping on the sofas and loving it, and then I have seen, you know, some celebrities sitting in that same spot, and it functioned just as well. It is about all of that and making it all sing and work together Romanek Design Studio romanekdesignstudio com

pockets for conversation or for playing games or sitting with the kids We

fabrics that

6 1AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A TOP DOWN LOW-PROFILE FURNITURE MAKES THE LIVING ROOM AVAILABLE FOR THE FAMILY’S CHILDREN TO PLAY, WHILE STILL BEING BEAUTIFULLY INDIVIDUAL; A MUTED PALE LAVENDER PINK PAINT AND UNIQUE STONE COME TOGETHER TO CREATE A TRANQUIL, TIMELESS KITCHEN OPPOSITE PAGE IN THE FAMILY ROOM, BRIGETTE INCORPORATED AN OVERSIZED ISAMU NOGUCHI LAMP WITH PIERRE PAULIN CHAIRS AND A MUSTARD SILK RUG, PUTTING HER ECLECTIC TWIST ON THIS HISTORIC HOME ‘ T h e r e i s a c o m m o n T H R E A D b e t w e e n m y p r o j e c t s : i t i s a L I T T L E t o t h e l e f t , a l i t t l e U N U S U A L a n d a l w a y s E C L E C T I C ’ B R I G E T T E R O M A N E K

6 2 H O U S E & G A RD E N AU G U ST 2 02 2 BRIGETTE CHOSE COLOURS THAT MOVE YOU TO FULL RELAXATION IN THE MASTER BEDROOM SEATING AREA, WHICH FEATURES A CHAIR BY PIERRE AUGUSTIN ROSE, LIGHTING BY APPARATUS STUDIO, AND A SOFA BY GARDE

6 3AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A THE BREAKFAST NOOK TABLE AND CHAIR ARE BY FAYE TOOGOOD, THE DINING LIGHT BY PAUL MATTER

6 4 H O U S E & G A RD E N AU G U ST 2 02 2 IN THE MASTER BEDROOM, LIGHTING BY APPARATUS STUDIO AND A CUSTOM DESIGNED BED

‘KISUMU’ SERVER IN OILED OAK WITH SOLID BRASS TOP AND INTERNAL PANELS, R93 199, TONIC DESIGN 9 SEATER ‘SONGOLOLO’ SOFA, R590 065, HALDANE MARTIN ‘LONDON’ LOUNGE CHAIR IN COCOA BROWN, R7 995, BLOCK & CHISEL 6 5AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A RENAUD THIRY ‘BELT’ ROUND COCKTAIL TABLE, POR, ROCHE BOBOIS ‘ROSIE’ VASE, R2 149, KARE DESIGN C O M P I L E D : G E M M A B E D F O R T H ; P H O T O G R A P H S : S U P P L I E D ‘CHIC 2’ ART PRINT, FROM R295, KNUS SPARK AND BELL ‘ARC’ WALL LIGHT, POR, H&M HOME DESIGN NOTES

6 6 H O U S E & G A RD E N AU G U ST 2 02 2 When it came to designing her home, the L a Grange Interiors CEO took the same approach she always does when creating spaces: carefully addressing the homeowners’ needs through an eclectic, always considered composition of texture, tone and individuality T E X T P I E T S M E DY P H OTO G R A P H S E L S A YO U N G K R I G E s u m a r i

6 7AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A LA GRANGE INTERIORS FOUNDER AND CEO SUMARI KRIGE AT HOME IN CAPE TOWN

With small plots in the area of Bantr y Bay, we were looking for a lock up and go house, so there is no garden, just a lovely pool and a small exterior entertainment area The house had a very uncool Art Deco feel that we needed to modernise, and we also needed to give each room its own en suite bathroom and expand the public areas for open plan living The original house was built in the late ’80s, and we knew we needed to gut and re design it completely, shifting and removing walls throughout to achieve a simple space for our family to live And now, the spaces are seamless as you move through them. Exactly Especially the living and kitchen areas, whose open plan configurations overlap different zones effortlessly We designed the home’s public spaces to be comfortable, so family and friends can enjoy them We individually decorated private areas, such as the bedrooms, with luxur y fabrics and textural accents Each bedroom has an incorporated study area for ever y family member to have their own space The incredible nature of the site cannot be overstated How did your design lean into that?

The master bedroom is definitely my favourite space, largely thanks to its 180 degree views. One of the top brands in our stable at La Grange Interiors, District Eight from Vietnam, has quite a presence in the house too, which is really cool Other wise, the ‘Stilt’ daybed in the master bedroom, ‘ Akron’ barstool around the concrete bar and the ‘Loop’ dining chairs and bench around the marble ‘Foundr y ’ dining table are all ver y special to me Without pigeonholing yourself, which I know would be a feat on its own, given how eclectic La Grange Interiors’ work is, how does your home reflect, at least in part, your design philosophy? This is my home, so, naturally, it is going to have a lot of me in it and by extension, that speaks to what La Grange Interiors stands for in terms of interiors We create homes, not showcases, so although you will see some of our signature pieces throughout the home, it does what all of our projects do: present an honest, individual reflection of the people who call these spaces home La Grange Interiors lagrangeinteriors.co.za

I would say that the overall look I wanted to bring about in the home was one of warmth, its interiors hallmarked with textural fabrics and rustic accents It is a design language that incorporates both the contemporar y and the rustic, with the finished spaces feeling quite eclectic. a

As this is your own house, you had the task of briefing yourself on the project. From the outset, what did you know you wanted, and how would you meet those demands?

Given the mountainside and Bantr y Bay location, I opted for a staggered layout of various open plan spaces wrapped in full scale glass windows to flood the home with natural light and afford panoramic views of the Atlantic Ocean If you had to narrow it down to one thing, what were you setting out to achieve with the interiors and how did you make that happen?

6 8 H O U S E & G A RD E N AU G U ST 2 02 2

Overall, the interiors tell a predominantly autumnal colour story amber and pumpkin, sea green and gem blue. What was your thinking behind this? It goes back to that idea of creating warmth, especially as these Atlantic Seaboard houses can become quite cold during winter By layering these inherently comforting tones and fabrics over each other, we created a space suitable for year round living. Do you think there is ever a danger of this layering approach becoming too much? Were there ever moments when you thought, time to reel it in? It can never be too much, haha! However, in this instance, particularly in the places where I used many patterned fabrics, it was important to mix in plain, textured neutrals and rustic pieces to strike a balance I know it is like asking you to choose your favourite child, but what would you say are some of the key pieces and features in the house you love most?

6 9AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A THE OUTDOOR SITTING AREA FEATURES ‘CHARLES’ CHAIRS, AND A ‘CLINT’ SOFA AND ‘UNIQUE’ WOODEN COFFEE TABLE WITH METAL LEGS, ALL FROM LA GRANGE INTERIORS

7 0 H O U S E & G A RD E N AU G U ST 2 02 2 THE FRENCH SERVER IN THE ENTRANCE HALL, SOURCED MANY YEARS AGO FROM L’ISLE SUR LA SORGUE IN PROVENCE, IS PAIRED WITH A GRAPHIC ABSTRACT WOOL BERBER FROM MAE ARTISAN RUGS AND ECLECTIC ACCESSORIES OPPOSITE PAGE THE MODERN BRUTALIST DINING ROOM, WITH AN ARRAY OF CERAMIC S AND GLASSWARE THE ‘LOOP’ DINING CHAIRS FROM DISTRICT EIGHT ARE UPHOLSTERED IN MARK ALEXANDER FABRIC

CUSTOM DINING CHAIRS UPHOLSTERED IN MARK ALEXANDER FABRIC IN THE BREAKFAST ROOM OPPOSITE PAGE , CLOCKWISE FROM TOP LEFT AN ‘ORBIT’ CHAIR AND OTTOMAN AND ‘STILT’ COFFEE TABLE FROM DISTRICT EIGHT; OBJECTS FROM 101 COPENHAGEN IN THE KITCHEN; A READING NOOK NEAR THE BAR

7 3AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A ‘ I t i s a D E S I G N l a n g u a g e t h a t i n c o r p o r a t e s b o t h t h e C O N T E M P O R A R Y a n d t h e r u s t i c , w i t h t h e f i n i s h e d s p a c e s F E E L I N G q u i t e e c l e c t i c ’ S U M A R I K R I G E

7 4 H O U S E & G A RD E N AU G U ST 2 02 2 CLOCKWISE FROM TOP THE MASTER BEDROOM WITH VIEWS OF THE ATLANTIC OCEAN; A STUDY NOOK IN THE MASTER BEDROOM; ART DECO DETAILING IN THE BATHROOM

7 5AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A C O M P I L E D : G E M M A B E D F O R T H ; P H O T O G R A P H S : S U P P L I E D DESIGN NOTES ‘ANTON’ ROUND BAR TABLE IN NATURAL TEAK, R20 900, LA GRANGE INTERIORS ‘ANDREI’ FLAT CORE RATTAN BARSTOOL, R2 995, LA GRANGE INTERIORS ‘LOZENGE’ WALL LIGHT WITH A MOTTLED BRONZE FINISH, R5 800, STUDIO 19 ‘CYRUS’ CHAIR, FROM R10 900, LA GRANGE INTERIORS ‘SPHERE SQUARE’ TERRACOTTA VASE (BIG), R3 200, LA GRANGE INTERIORS PLASCON PAINT IN SIENNA SKY, POR, BUILDERS WAREHOUSE ‘THE MODERN PAST’ CUSHION COVER, KNUS ‘IMITHA’ RUG, R6 990, DESIGNSTORE.CO.ZA

7 6 H O U S E & G A RD E N AU G U ST 2 02 2 G R A S S E S S U C H A S T H E A F R I C A N F E AT H E R G R A S S , P E N N I S E T U M M AC R O U R U M , O N T H E R I G H T O F T H E I M AG E , A R C H O U T OV E R T H E PAT H I N DA N P E A R S O N ’ S G A R D E N AT H I L L S I D E I N S O M E R S E T, E N G L A N D O P P O S I T E PAG E U M B E L L I F E R S E E D H E A D S H OW S I T S I N T R I C AT E C O N S T R U C T I O N I N T H E G R E AT D I X T E R G A R D E N

W I N T E R G A R D E N S

Our doors often close on the garden over the colder months of the year under the misconception that little is going on. The mesmerising new book, Winter Gardens, reveals the life and beauty behind a world so often disregarded as dormant. With a foreword by renowned garden designer Dan Pearson, whose own garden features in the book along with 11 others, photographer Andrew Montgomery and garden writer Clare Foster have knocked it out the park with insightful text and spellbinding imagery. We feature an extract from their large-format, sumptuous new book

W ‘ Fr o z e n i n t i m e , t h e s e B E W I T C H I N G p l a n t s a n d L A N D S C A P E S a r e t h e r e f o r t h e t a k i n g ; a l l y o u h a v e t o d o i s o p e n y o u r H E A R T a n d M I N D a n d k e e p y o u r e y e s w i d e o p e n ’ C L A R E F O S T E R

Winter is not a season that you immediately associate with the garden, but with growth slowed, and time with it, the dark months allow us the opportunity to reflect There is time to think, without the need to necessarily do, and time to look at the bones of the garden without the demand and indeed, the distraction of the growing season Winter is a time to consider the cycle that we are part of, by engaging in the gardening of a place Though stripped of its summer cloak of vegetation, the apparent monochrome of a winter garden is anything but Pared back, yes, but containing infinite variation and mutability The images in this book allow you to see the nuances that are present once the growing season has receded Colour you might have to find, but it is all the better for sitting quietly If you plant and plan for winter, the garden becomes a place that is constantly shifting, offering seasons within a season; you can obser ve the falling away and then the gentle gathering that replaces it, marking a shift in time. Although life in the garden is certainly slowed at this time of year, winter is also a season that evolves; it is never really in complete stasis

7 8 H O U S E & G A RD E N AU G U ST 2 02 2 WINTER GARDENS BY ANDREW MONTGOMERY AND CLARE FOSTER (HARDCOVER, 320 PAGES) IS AVAILABLE AT MONTGOMERYPRESS CO UK

When you fully engage with winter, you come to realise that the pause at the mid point of the season is, in truth, a very brief one You begin to notice the flare of bare stems caught in the light of the sun when at its lowest, the rake of shadows that are suddenly shortening There is optimism in the swelling buds of willows or catkins streaming on Februar y hazel, and joy in the snowdrops breaking earth to begin their repeat cycle, with the time and opportunity to obser ve them closely The immediacy of the imager y and the thoughtfulness of the essays in Winter Gardens capture this apparent downtime and allow us the opportunity to go that bit deeper into the garden to see and feel what lies beneath the surface.

The new transparency and change of scale that the deciduous skeletons bring are arguably more beautiful than the opacity of a growing season A quiet drama From my own perspective and maybe this is part of maturing as a gardener and garden maker I see this season as one to savour, and not simply to get through Each and ever y week reveals something new, with space around it to take in the quiet of dormancy: the outline of a tree laid bare, the transparency of a hedge that in summer concealed the nests within Leave a garden standing, and there is beauty in the wreckage It becomes a place that offers fodder for birds and shelter for wildlife.

THE POOL GARDEN, DESIGNED BY HEAD GARDENER BENJAMIN POPE, FEATURES UNDULATING HEDGES OF BOX, BEECH, YEW AND HAWTHORN AND FORMS PART OF THE GREATER WEST SUSSEX GARDEN IN ENGLAND DESIGNED BY ARNE MAYNARD

A ’ 3 0 S M O O N G AT E AT T H E E N T R A N C E TO T H E WA L L E D G A R D E N I N W E S T S U S S E X I N E N G L A N D, B Y D E S I G N E R A R N E M AY N A R D

8 1AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A C LO C K W I S E F R O M TO P L E F T Q U I R K Y Y E W F I G U R E S C L I P P E D I N TO C O N T R A S T I N G S H A P E S P O P U L AT E T H E TO P I A R Y G A R D E N I N D E S I G N E R J I N N Y B LO M ’ S G A R D E N T H E S U R R O U N D I N G H E D G E H A S B E E N S P E C I A L LY D E S I G N E D A N D C O N S T R U C T E D F R O M G R E AT B LO C K S O F Y E W; K N O B B LY P L E AC H E D L I M E S H O L D H A N D S O N T H E LOW E R T E R R AC E O F D E S I G N E R TO M S T UA R T S M I T H ’ S G A R D E N AT B R O U G H TO N G R A N G E I N OX F O R D S H I R E ; T H E N F O R D A R B O R E T U M A N D G A R D E N S I N OX F O R D S H I R E H A S A S N OW D R O P C O L L E C T I O N T H AT H A S E X PA N D E D OV E R T H E Y E A R S TO I N C L U D E OV E R 9 0 0 D I F F E R E N T VA R I E T I E S , M O S T LY P L A N T E D U N D E R T R E E S A N D S H R U B S A N D L I N I N G WO O D L A N D PAT H S ; T H E DA R K E N E D L E AV E S O F B A P T I S I A L E U C A N T H A I N P I E T O U D O L F ’ S N E T H E R L A N D S G A R D E N I N H U M M E LO

8 2 H O U S E & G A RD E N AU G U ST 2 02 2 The American designer’s magical reimagining of a ’30s heritage apartment in Chicago is equal parts playful and polished, but, most importantly, ha s the power to transport T H O R N T O N s u m m e r T E X T J U L I A F R E E M A N T L E P H OTO G R A P H S T H O M A S LO O F S T Y L I S T M I E K E T E N H AV E

8 3AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A DESIGNER SUMMER THORNTON IS KNOWN FOR HER PLAYFUL, MAXIMALIST APPROACH

8 4 H O U S E & G A RD E N AU G U ST 2 02 2 LAYERING IS A HALLMARK OF SUMMER’S, WHO, INSTEAD OF STRIPPING BACK TO ACHIEVE BALANCE, ADDS MORE ELEMENTS, BALANCING BOLD COLOURS WITH EQUALLY STRIKING PATTERNS AND TEXTURES FOLLOWING SPREAD SUMMER’S CONSCIOUS DECISION TO DEVISE UNIQUE SELF CONTAINED WORLDS IN EACH ROOM ALLOWS FOR AN INTRIGUING PROGRESSION FROM ONE TO THE NEXT. IN A LIVING SPACE, THE ETHEREAL DE GOURNAY ‘KISO MOUNTAINS’ WALLPAPER ENCAPSULATES THE DREAMY MOOD OF THE APARTMENT

Bridging past and present, as well as the pair’s divergent personal tastes, was a challenge the designer took in her stride While he is something of a perfectionist and prefers order, she leans towards whimsy and creativity The resulting compromise is an example of the whole being greater than the sum of its parts a classical envelope containing a riot of plush texture and sumptuous colour.

The designer rarely works within the confines of one genre or style, so dipping into myriad influences was par for the course ‘People often have a hard time describing my work It is traditional but also modern. Sophisticated but also comfortable. I truly pull from a worldwide aesthetic,’ she says You can see this at play in the eclectic furniture, dynamic finishes and varied art selection that unfolds throughout. ‘We source furniture from across the globe.

8 5AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A

Originally designed in 1931 by Rosario Candela, the building has an important architectural lineage a fact Summer felt it was important to acknowledge ‘We wanted to honour that but bring a freshness to the decorating that made it feel current.’

E v e r y h o m e w e c r e a t e t a k e s y o u o n a FA N T A S T I C A L a d v e n t u r e B E Y O N D r e a l i t y . I w a n t t h e e f f e c t t o b e , “ I s t h i s r e a l , o r a m I D R E A M I N G ? ” ’ S U M M E R T H O R N T O N

In 2021, we bought from ever y continent except Antarctica ’ It is no wonder that the apartment feels like it has the power to transport. She does this through unapologetic layering in a literal and figurative sense A complex palette, play of textures and patterns, and pieces of var ying provenance weave together a stor y, where each space is a new chapter, bookended by the consistently classical architectural shell ‘I enjoy when each room makes its own statement, but when all the rooms together create the larger picture I think in terms of narratives What stor y do we want this home to tell? But stories have twists and turns in the plot, and a good home is the same, ’ she says. The wall treatments in particular play a prominent role in the stor ytelling ranging from high gloss to luxe silk damask, dreamy hand painted scenes and lacquered ceilings designed to reflect the h water outside and engage the senses (in particular, two de Gournay wallpapers the ‘Kiso Mountains’ in the living room and ‘Pineapple Silk Damask’ in the bedroom) ‘When you layer them together in a space, it causes the eye to dance around. Many people balance a room by removing things, I do the opposite I balance strong design elements with other strong design elements ’ Summer’s objective here is to immerse you: ‘Ever y home we create takes you on a fantastical adventure beyond reality I want the effect to be, “Is this real, or am I dreaming?”’ The art sourcing and curation help to continue this narrative. Works by Alex Katz who Summer also collects in a personal capacity and various other surrealist and abstract works help to weave the dreamlike narrative. ‘The surrealist pieces help underscore that we are colouring outside the lines a bit, that things are not quite what they seem, that you may have drunk a magic potion that distorts reality. It is dreamy and different. Just like Wonderland ’ Summer Thornton Design summerthorntondesign com This project is featured in Wonderland: Adventures in Decorating by Summer Thornton (Rizzoli), avilable now. ‘

Hard to pigeonhole, Summer Thornton’s work is easy to appreciate Typically, if such a word is applied to a designer who delights in surprising, her work can be described as courageous and colourful. For a couple’s apartment in a significant architectural co op building in Chicago, Summer allowed her signature sense of wonder, sensor y saturation and escape to unfold

‘She really wanted the home to feel like a jeweller y box Something that surprised and delighted with colour around ever y corner This is their city house, and it needed to feel dressy, as if it were getting ready for a night on the town I am a maximalist, so of course I embraced the brief,’ says Summer

8 6 H O U S E & G A RD E N AU G U ST 2 02 2

8 7AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A ‘ P e o p l e o f t e n h a v e a h a r d t i m e d e s c r i b i n g m y w o r k . I t i s T R A D I T I O N A L b u t a l s o M O D E R N . S o p h i s t i c a t e d b u t a l s o C O M F O R T A B L E ’ S U M M E R T H O R N T O N

DE GOURNAY ‘PINEAPPLE SILK’ IN DAMASK WALLPAPER EPITOMISES SUMMER’S LOVE OF BOLD COLOUR AND HIGH IMPACT OPPOSITE PAGE , CLOCKWISE FROM TOP LEFT THE INTERIORS FEEL RICH THANKS TO THE CONSIDERED LAYERING OF TEXTURE AND TONE; THOUGH THE DESIGN IS MODERN, IT STAYS TRUE TO THE HERITAGE SHELL; LUXE FINISHES AND RICH TONES CREATE A JEWELLERY BOX EFFECT; THE FINAL DESIGN BALANCES POLISHED PERFECTION AND PLAYFUL MAXIMALISM

8 9AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A

9 0 H O U S E & G A RD E N AU G U ST 2 02 2 THE APARTMENT, IN A PRESTIGIOUS CHICAGO CO OP THE CHILDREN’S ROOM, WHERE BOLD SHAPES AND A DYNAMIC PLAY ON PATTERN CREATE A SENSE OF YOUTHFUL IRREVERENCE SURREALIST ART PIECES UNDERSCORE THE DESIGN NARRATIVE

9 1AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A C O M P I L E D : G E M M A B E D F O R T H ; P H O T O G R A P H S : S U P P L I E D DESIGN NOTES JEAN CHRISTOPHE CLAIR ‘TOTEM’ VASE, FROM R23 310, ROCHE BOBOIS YANN ARTHUS BERTRAND ‘SHARK BAY’ RUG, FROM R121 230, ROCHE BOBOIS MISSONI ‘JARRIS’ PILLOW, POR, AMARA GAMFRATESI ‘TARGA’ SOFA, POR, GENERATION DESIGN VELVET STOOL WITH GOLD PLINTH, R2 799, @HOME PIERRE CARDIN ‘LUSH’ QUILT IN MAUVE, R649, EVERYSHOP. CO.ZA NEMO ‘CROWN MINOR’ PENDANT CHANDELIER, POR, CRÉMA DESIGN

9 2 H O U S E & G A RD E N AU G U ST 2 02 2 By playing with scale, era hopping and finding fresh partnerships, this Joburg heritage home ha s been coaxed into the here and now, living its next chapter with an air of ea sy sophistication T E X T M I L A C R E W E B R O W N P H OTO G R A P H S A N D S T Y L I N G K A R L R O G E R S / V I G N E T T E P R O U D F O O T t e s s a

OFFSETTING LIGHT AND DARK SHADES AGAINST A CONSIDERED MIX OF TEXTURES INVIGORATES THE NEUTRAL PALETTE OPPOSITE PAGE THICK IVORY LINENS, ANGLO-INDIAN RATTAN ARMCHAIRS AND POTTED PALMS ESTABLISH CALM IN THE LIVING AREA

9 6 H O U S E & G A RD E N AU G U ST 2 02 2 INSPIRED BY 19TH CENTURY WOODCUTS, A REBEL WALLS WALLPAPER FROM ST LEGER & VINEY WRAPS THIS ROOM, LENDING THE EXPANSIVE SPACE INTIMACY AND DEPTH. AN ANTIQUE ARMOIRE FROM THE CROWN COLLECTION ANCHORS THE ROOM WITH A VOLUME CONTRASTED BY THE DELICATE LINES OF THE RATTAN TABLE AND CHAIRS

9 7AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A

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It was also her flair for orchestrating ‘just the right arrangement of things to bring an interior and its stor y together’, that appealed to the homeowners This knack for matchmaking and juxtapositions is evident throughout the home, where you might spot a midcentur y M o c a a

t A s G R A N D a s i t i s l i v e a b l e , b o t h c u r a t e d a n d C O

n c e

style lamp or honed granite side table keeping company with a rattan daybed or an antique chest of drawers. In the living room, a pair of all white sofas frames a commanding 18th centur y Dutch armoire, and a custom wallpaper depicting a mythical forest scene wraps all four walls. Throughout, the owners ’ ample collection of French and Swedish antiques has been coupled with Anglo Indian colonial pieces, ‘lightening the interior and lending it a South African undercurrent without it being overtly African,’ Tessa explains

Looking around the five bedroom heritage house today, you would never know there was any threat of a style stand off. If anything, it is a lesson in how to marr y designs and elements of contrasting origins, even contrasting eras Here is a home that is as grand as it is livable, both curated and comfortable, European and African, where antiques, fine art and luxur y fabrics come together with an air of nonchalance and are afforded room to breathe among now crisp white walls.

Tessa Proudfoot & Associates tessaproudfoot.co.za

To successfully translate the stor y of a home with one foot in the past and one in the present is a delicate business. If you succeed, it is like authoring a book whose beginning was written in a distinctly different era and crafting an ending for today that is not only coherent but also captivating. With roughly a hundred years from the beginning of its stor y to now, this graceful Westcliff home is a best seller Designed and later altered by architectural greats Francis Fleming and Philip Watermeyer respectively and set in one of Joburg’s most sought after hilltop suburbs, giants of trees and an immense garden equate to rare peace. It was these traits, coupled with its generous scale and hard to replicate architectural details, that sold the owners, who ‘viewed’ and bought the property from some 9 000 kilometres away. Living and working between South Africa and the UK, they wanted a home that would offer a sense of belonging, a base to welcome both husband and wife, and their three children, who often visit from England. Despite it being dark and stuffy, plied with thick carpeting and awash in a palette of pea green and yolky yellow, the house telegraphed the potential for a new stor y to be written. Tasked with editing the old and incorporating the new, interior designer Tessa Proudfoot worked long distance with the homeowners to bring her signature sense of elegant ease to the scene. To do it justice, the space needed to be stripped back, invigorated and given context The latter was two fold: calling for a relationship with the time in which it finds itself, but also the place. ‘Interiors do not translate ver y well between countries,’ as the homeowner discovered With her style rooted in a traditionally English aesthetic, all furniture, art and objets needed to be calibrated to South Africa and its visual cues That meant switching her green velvet cushions and floral print sofas for a more dialled down mood board of natural finishes and luxuriously laid back textiles in earthy shades from tobacco to mustard Tessa uses textiles as a core means to set a mood in her projects; having collaborated with St Leger & Viney on two of her collections, she has a passion for quality fabrics, layering them adeptly and also using them to bring an element of contrast

F O R TA B L E , E u r o p e a n a n d A F R I C A N , w h e r e a n t i q u e s , f i n e a r t a n d L U X U R Y f a b r i c s c o m e t o g e t h e r w i t h a n a i r o f n

9 8 H O U S E & G A RD E N AU G U ST 2 02 2 TESSA PROUDFOOT & ASSOCIATES ‘PETITE’ DINING CHAIRS UPHOLSTERED IN A NICHOLAS HASLAM FABRIC COMPLEMENT A BESPOKE CHANDELIER BY HIGH THORN

WICKER ARMCHAIRS FROM THE PRIVATE HOUSE COMPANY COMPLEMENT SOFAS FROM THE TESSA PROUDFOOT SOFA COLLECTION UPHOLSTERED IN MAVROMAC & GATEHOUSE ‘CLUNCH’ CLOTH

CLOCKWISE FROM TOP LEFT THE MAIN BATHROOM FEATURES HAND CUT CARRARA MARBLE FLOOR TILES AND FITTINGS FROM VICTORIAN BATHROOMS; IN THE LIGHT FILLED BREAKFAST ROOM, AN EERO SAARINEN ‘TULIP’ TABLE IS PAIRED WITH CANE CHAIRS; THE KITCHEN FEATURES CAESARSTONE TOPS AND CABINETS IN HIGH-GLOSS DUCO; AN ELEGANT PATTERNON PATTERN STATEMENT IN THIS BEDROOM FEATURING WHITEMAN & MELLOR ‘BATAVIA’ LINEN IN WHITE FROM PEZULA INTERIORS 1 0 0 H O U S E & G A RD E N AU G U ST 2 02 2

1 0 1AU G U ST 2 02 2 H O U S E A N D GA R D E N C O Z A C O M P I L E D : G E M M A B E D F O R T H ; P H O T O G R A P H S : M A R K E M E Y E R , S U P P L I E D EIJFFINGER ‘SKIN TEXTURED ZEBRA STRIPES’ WALLPAPER, POR, DREAMWEAVER STUDIO DESIGN NOTES ‘EDEN’ CUSHION, FROM R495, WEYLANDTS NGUNI COWHIDE RUG IN BROWN AND PALE WHITE, R7 290, DESIGNSTORE CO ZA ‘VERANDA’ CHAIR, POR, CLASSIC REVIVALS ‘SALZA’ BENCH IN NATURAL TEAK WITH NATURAL LEATHER, R6 900, CÉCILE & BOYD18TH CENTURY CIRCA 1780 DUTCH BOMBÉ ARMOIRE, R128 800, THE CROWN COLLECTION ‘ALI’ GLASS VASE, FROM R3 400, LA GRANGE INTERIORS

ON OFFERSOON! V i s i t w w f.o r g.z a t o # C h a n g eT h e J o u r n e y W e a l l e n j o y e x p l o r i n g t h e b e a u t i f u l p l a c e s o n o u r p l a n e t . Ye t , d u e t o t h e h a r s h r e a l i t y o f c l i m a t e c h a n g e , t h e l a n d s c a p e s a n d l a n d m a r k s w e a l l k n o w a n d l o v e a r e c h a n g i n g , a n d a d v e n t u r e s l i k e t h i s c o u l d b e c o m e o u r n e w r e a l i t y I t ’s t i m e t o c h a n g e t h e w a y w e s e e c l i m a t e c h a n g e b e f o r e i t c h a n g e s t h e w a y w e s e e o u r w o r l d .

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