UK £10.00 US $16.99 AUS $16.99 CDN $17.99 DKK 129.95 FR €14.50 DE €14.90 ITA €14.50 JPN ¥2000 SGP $28.50 ES €14.00 CHF 18.90 AED 85.00
MAY 2020
*THE STUFF THAT REFINES YOU
MAY 2020 Art, Architecture & Escape Hauser & Wirth NYC | Rural living from Canada to Chile | Precious Index 2020 | Uplifting design
Up Lifting Spirit-elevating art, architecture and escape
NATURAL LIVING Landscape-loving new houses in North America
SMART WORKS Celine’s industrial light and magic
HYPER SPACE Hauser & Wirth thinks big in NYC
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MILANO PARIS LONDON NEW YORK ATHENS BARCELONA BEIJING BUDAPEST CHENGDU CHICAGO DUBAI GENEVA HONG KONG ISTANBUL JAKARTA LOS ANGELES MADRID MANILA MEXICO CITY MIAMI MOSCOW NANJING OSAKA SEOUL SHANGHAI SINGAPORE TEHERAN TOKYO TORONTO
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MAY
A LOW-KEY, CLEAN-LINED RESORT IN THE COSTA RICAN HILLS OVERLOOKING PLAYA HERMOSA, SEE PAGE 156
ARCHITECTURE
066 074 080 084
Light industry Celine’s new manufactory is a glass act in the Tuscan landscape Inner calm Blissful isolation and spatial drama at a lakeside Canadian hideaway Natural beauty A blooming marvellous series of houses in a Mexican colonial town Hard rock Concrete and glass grandeur in the Arizonan desert landscape
ART
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West Side story Behind the scenes with the key players at Hauser & Wirth’s first purpose-built home, in New York DESIGN
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Finish line Archival treasures and lustrous lacquers FASHION
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Out of the blue The very personal service of a Japanese bespoke jeans brand
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MAY FRONT OF BOOK
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Newspaper Deconstructed trenchcoats, art goes underground, and Julio Le Parc The Vinson View Picky Nicky lauds some local heroes INTERIORS
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Higher calling We’ve taken furniture design up a level MEDIA
158 166 115
PRECIOUS INDEX
Perfect form The season’s tailoring shapes up
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Artist’s palate Jeppe Hein’s ‘Breathe with Me’ buffet
Stockists What you want and where to get it TRAVEL
156 159
FOOD
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Subscribers since… 1996 Where Vincenzo De Cotiis keeps his Wallpaper* archive RESOURCES
Pharrell Williams’ Martian timepiece for Richard Mille, no-rules jewels, and lunch with Bell & Ross in Paris, in our annual watches and jewellery special
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WallpaperSTORE* Refined design delivered to your door
Checking in A Costa Rican hillside haven Departure info Stylish new openings in a Swiss ski resort and a Mexican manor house WINE & DESIGN
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Triple barrel A vaulted winery in Chile’s Maipo Alto
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VDL Pavilion by Dion & Richard Neutra Molo Collection by Rodolfo Dordoni Band Collection by Patricia Urquiola Half Dome Lamp by Naoto Fukasawa Cala & Geometrics Rugs by Doshi Levien
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The Cassina Perspective Goes Outdoor Sail Out sofa, low table and ottoman designed by Rodolfo Dordoni Doron Hotel Outdoor designed by Charlotte Perriand Table Ă Plateau Interchangeable Outdoor designed by Charlotte Perriand cassina.com London 238-244 Brompton Road
CONTRIBUTORS MICHAEL WEBB Writer Architecture and design writer Webb lives in a Richard Neutra-designed Los Angeles apartment that was previously home to Charles and Ray Eames. For this issue, he penned our story on a remote lake house in Point William, Canada, designed by architects Shim-Sutcliffe (page 074). Webb recalls ‘very happy memories of staying there’, and the experience validated his admiration for the Canadian architect duo who ‘take inspiration from the Eameses’ love of craft and precision’. VINCENZO DE COTIIS Architect and designer
BRIGITTE LACOMBE Photographer
De Cotiis is renowned for his infinitely collectible furniture and covetable interiors, so we were thrilled to be allowed inside his 18th-century palazzo apartment in Milan to see how he displays his Wallpaper* archive (page 166). He recently showed his ‘Éternel’ collection, which channels Japanese culture and is the fruit of a long study on immateriality, at Carpenters Workshop Gallery in Paris, and is currently working on a number of residential projects.
Lacombe is known for her direct, intimate style. In this issue, she gives us a work-inprogress preview of Hauser & Wirth’s first purpose-built outpost, in New York, and gets up close with architect Annabelle Selldorf, the gallery partners, and 14 of its artists (page 092). ‘They were all interesting, passionate people,’ she recalls. Lacombe’s other projects include Martin Scorsese’s next film and portraits of the world’s top scientists for this year’s Breakthrough Prize. JEPPE HEIN Artist Balloons, mirror labyrinths and balls darting along roller-coaster tracks are just a few of the devices that Jeppe Hein has used to elicit joy and wonder. The Berlin-based Danish artist is a master of experiential art, which he now takes to a new level with ‘Breathe with Me’, a worldwide movement that calls on participants to visualise their breaths in strokes of blue paint. His complementary buffet of five South Asian dishes features in our Artist’s Palate series (see page 198).
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HARRIET THORPE Assistant Architecture Editor
ALEX COLLEY Photographer
A member of the Wallpaper* team since 2016, Thorpe excels in telling stories that combine architecture, culture and community. For this issue, Thorpe reports on a Chilean family-run winery designed by local architects Mapa (page 089). The highlight of her experience was ‘getting lost in the rolling landscape of the Pirque wine region [admittedly, given current restrictions, it had to be via Google Earth], and learning about the beauty of the barrel vault from architect Cristián Larraín’.
Colley’s ‘performative, playful approach’ typically references surrealism and film noir. Having featured in this year’s Wallpaper* Graduate Directory, he found it ‘a completely surreal experience’ to work on our men’s tailoring shoot for this issue (page 182). ‘As I’ve mostly focused on self-portraiture for the last year or two, it was refreshing to have the chance to work with so many different people,’ he says. ‘The creative freedom that was granted to me was wonderful and unexpected.’
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ILLUSTRATOR: CAROLINE ANDRIEU WRITERS: DIANE THEUNISSEN, OYIN AKANDE
Since 1971
From Wallpaper* with Love
Newsstand cover Photography: Ryan Hopkinson Interiors: Matthew Morris Crystals Monolith in stainless steel (inox), from €15,600, by Oskar Zieta, for Zieta Studio. ‘Diana B’ side table, £441, by Konstantin Grcic, for ClassiCon, from Aram. ‘Atlanta’ armchair, price on request, by Giuseppe Bavuso, for Alivar. See our story on page 170
Welcome to our May issue, where we are focusing on Art, Architecture & Escape at a time when I think we could all use a little escapism… Taking centre stage in this issue is our exclusive first look at Hauser & Wirth’s new exhibition-and-more space at 542 West 22nd Street, New York. Designed by Annabelle Selldorf, who has also created this month’s limited-edition cover, this is Hauser & Wirth’s first purpose-built, ground-up building, and a major milestone in their ambition to deliver museum-quality viewing experiences. Photographer Brigitte Lacombe documented the building as it neared completion, and shot a series of iconic portraits of 14 artists from the gallery’s roster, from Lorna Simpson to George Condo, which forms an illustrious celebration of New York’s creative energy and vibrant art scene. We also showcase our pick of the season’s design, with an uplifting Space shoot, taking some of our favourite furniture to new heights with the help of an industrial crane system. Elsewhere you will find our artfully geometric men’s tailoring story, shot by Alex Colley, a young photographer featured in this January’s Graduate Directory issue (W*250). Our annual watches and jewellery special – Precious Index – showcases standout steel timepieces, Virgil Abloh’s sherbet-hued signet rings for Louis Vuitton, Pharrell Williams’ Mars-inspired collaboration with Richard Mille, and scene-stealing jewels that inspire a healthy disregard for rules. Meanwhile, our architecture offerings include Celine’s impeccable Tuscan manufactory, a Costa Rican jungle retreat, and a Chilean wine estate’s new head office, as well as covetable homes in Arizona, Canada and Mexico. Finally, I want to reinforce the message ‘From Wallpaper* with Love’, which we communicated on 23 March. These are challenging times, but we at Wallpaper* will do everything we can to support our brilliant and extraordinary community. We will continue to showcase the exceptional, offer some kind of escape, and also be a place where we can come together to plan for a better tomorrow. Like everyone, we are having to adapt and improvise, but we will keep on sharing news, ideas, creative inspiration and inspirational creativity. And with that in mind, we are making the May issue available to download from Wallpaper.com, in case your usual print edition is unable to reach you. We remain committed to doing everything we can to support the design community; we are here for you. My 13 years at Wallpaper* have given me an amazing belief in design, and all the people involved, every one of you.
With love from home Sarah Douglas, Editor-in-Chief
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Limited-edition cover by Annabelle Selldorf The architect’s black-andwhite photograph was taken at Hauser & Wirth’s new 542 West 22nd Street premises during construction. Seen is the cupola for the building’s main stair volume, awaiting installation. See our story on page 092 Limited-edition covers are available to subscribers, see Wallpaper.com
TOUR DU MONDE
DEDON COLLECTION RILLY Design by GamFratesi
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LONDON
MILAN
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NEW YORK
SAN FRANCISCO
Newspaper* Wallpaper’s hot pick of the latest global goings-on
Outerwear gets deconstructed
Model: Alzbeta at Wild Management. Casting: David Steven Wilton at East. Hair: Liam Russell using Evo. Make-up: Anna Inglis Hall using Oskia and Flesh
Trench class
Right, trench, £1,928; shirt, £760; trousers, £641, all by Ports 1961
PHOTOGRAPHY: TEX BISHOP FASHION: AYLIN BAYHAN WRITER: LAURA HAWKINS
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An exclusive collection by Jumbo Group
gianfrancoferrehome.it
Newspaper
Right, trench, £2,150, by 2 Moncler 1952. Below, trench, £2,187; trainers, price on request, both by Rokh. Trousers, £695, by Roland Mouret. Bag, £385, by Osoi
T
he trenchcoat has long been a wardrobe classic, but for spring, brands brought a dash of deconstructed drama to the eternal outerwear essential, turning the trenchcoat into a jigsaw puzzle, splicing and dicing it into a powerful new piece. A host of labels have all upped their construction game, with Rokh’s signature hybrid silhouettes including a trench with leather inserts; Karl Templer’s debut collection for Ports 1961 featuring a style with a splice of bold picnic blanket check; and Moncler’s take an assemblage of glossy fabrics and Jenga-like prints. Entrench yourself now. rokh.net; ports1961.com; moncler.com
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Newspaper A global sweep of magnificent modernist treasures
Expedition force
Adam Štěch’s Modernist Architecture and Interiors is an impressive catalogue of modernist buildings from more than 25 different countries. In 2006, curator, writer and frequent Wallpaper* contributor Štěch embarked on a series of journeys across the globe to document the architecture that he loves in various parts of the world, from Europe to Australia. His trips resulted in an expansive catalogue of almost 1,000 buildings, which he photographed,
creating an extraordinary body of work. ‘I have always wanted to experience art on my own. It was not enough for me to just see art and buildings in books,’ says Štěch. ‘It has been great to explore these buildings, but also to meet the people involved – the residents, curators, architects and historians.’ Modernist Architecture and Interiors, £30, by Adam Štĕch, is published by Prestel Publishing, and will launch in June, prestelpublishing.randomhouse.de
From Alexandria’s ancient reading rooms to Europe’s monastic abbeys, great libraries have always inspired awe. Today’s open-access libraries are equally impressive. Take Snøhetta’s Alexandria revival or OMA’s Seattle Central Library. The idea of library as transparent public plaza is stronger today than ever before. ALA’s Oodi Library in Helsinki is a work of art, as is MVRDV’s Library
in Tianjin. But it’s Mecanoo’s LocHal in Tilburg that offers the best template for the future. Not a new glass palace, but a repurposed locomotive shed that combines the monumentality of an industrial throwback with the calm intimacy of a well-appointed living room and the modularity of a Silicon Valley flexspace. A library you can live in, just like in the bookish abbeys of yore.
Clockwise from main picture, Brunnadern Housing Complex, Bern, Switzerland (1968–1970); Terminal 3, Copenhagen, Denmark (1939); and Coventry Central Baths, Coventry, UK (1956–77)
incoming John Weich on the public libraries offering the best templates for the future
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ˇ WRITER: ELLIE STATHAKI PHOTOGRAPHY: ADAM ŠTECH
www.baxter.it
SOLANAS by Daniel Germani
SALONE DEL MOBILE. MILANO HALL 16 STAND C28
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Newspaper
A new Tomás Saraceno installation is poetry in motion
Ripple effect Each year, a different artist or architect is tasked with devising an installation among the vaulted concrete ceilings and brick colonnades of Cisternerne, a former reservoir under Copenhagen’s Søndermarken park. For its 2020 show, Cisternerne turned to Argentine artist (and 2018 Wallpaper* guest editor) Tomás Saraceno, who has flooded the venue with 1.4 million litres of water, enough to require that visitors navigate the show by boat, in silence and avoiding the use of light sources throughout the 45-minute journey. Thus the usual Saraceno artworks – illuminated spider webs, geometric clouds, floating metallic orbs and sculptural assemblages that evoke constellations – all take on a new light. And while they may appear celestial and timeless, their reflections on the water shift constantly, disturbed by ripples generated by the movement of boats. For exhibition details, visit cisternerne.dk; studiotomassaraceno.org
PHOTOGRAPHY: TORBEN ESKEROD WRITER: TF CHAN
Tomás Saraceno’s latest installation at Cisternerne, an exhibition space in a subterranean former reservoir in Copenhagen, includes his pieces A Thermodynamic Imaginary (2020), above, and Orb Cloud (2016), left
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Newspaper
A perfume range with a nose for fragrant collaborations
Scents and sensibility
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A new brand by French perfumer Barnabé Fillion features seven fragrances housed in standard as well as limitededition bottles designed by Fillion and London-based glassblower Jochen Holz. The Arpa collection is packaged in wooden boxes, which have been handcarved in Japan and filled with tea leaves that evoke the aroma and taste of the corresponding perfume. The tea, a sustainable take on bubble wrap, can then be burned in ceramic containers made by Mexican designer Perla Valtierra, creating a unique home diffuser. The collection will also be accompanied by a series of sculptures
and vinyl records, made by contributors as diverse as Korean-American conceptual artist Anicka Yi and French DJ Pilooski. With graphics by Memphis Group heavyweight Nathalie Du Pasquier and an office space by Aesop’s in-house architect Jean-Philippe Bonnefoi, Arpa is a new model fragrance house. By next year, Fillion hopes the project will expand into a series of immersive spaces where visitors can experience all aspects of Arpa, from scent experiments to sound projects. We reckon this scents- and senseblending endeavour will hit all the right notes. Prices from €165, arpastudios.com
PHOTOGRAPHY: SOPHIE GLADSTONE AND WILLIAM LAKIN WRITER: MARY CLEARY
What sofa? Vipp sofa Yes, Vipp is so much more than a pedal bin and a kitchen. A line of furniture has now joined the collection. Chairs, tables. And this sofa. All made with the same attention to finish, materials and functionality, which has been our hallmark since 1939. Please have a seat.
Vipp Chimney Sofa as shown here in yellow velour: EUR 4,395.00
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Floor, walls: Grande Stone Look Pietra di Vals Walls, furnishing: Grande Marble Look Verde Aver Shower: Crogiolo Lume
Human Design For more than eighty years we have used technology and innovation to design ceramic tiles that people want. Real design always arises from the ones who experience it Marazzi Showroom – 90-92 St John Street, Clerkenwell, London – marazzi.it
Newspaper
Artist Julio Le Parc is still making waves
Courtesy of Julio Le Parc and Galerie Perrotin
Rainbow warrior One morning in the early days of France’s national lockdown in the wake of the Covid-19 outbreak, Julio Le Parc is sitting in his studio in Cachan, south of Paris. ‘I’m here, waiting,’ complains the 91-year-old Argentine artist over the phone, like the unwilling character of a Beckett play. The Op Art master immigrated to France in the late 1950s and, since then, has captivated and challenged the establishment in equal measure. His large-scale kinetic sculptures and rainbow-coloured geometric paintings have been exhibited around the
PHOTOGRAPHY: CLAIRE DORN WRITER: BENOÎT LOISEAU
Julio Le Parc, photographed in his studio in Cachan in February 2020, with artworks from his Surface-couleur series
world, including at the Met Breuer last year. Now, in anticipation of a post-pandemic exhibition at its New York outpost later in the year, Galerie Perrotin is launching an online viewing room for summer. Le Parc’s taste for experimentation has shaped much of his output. He first introduced light into his work in 1959, resulting in the moving-light installations he is now best known for. They include the kinetic relief Continual Mobile, Continual Light (1963), in which mirrorplate squares, attached to nylon threads hung from »
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Newspaper
creative smalltalk Bodil Blain catches up over a coffee with French-Swedish artist and furniture maker Ingrid Donat
a thin metal plate, create shadows that dance against a white background. Meanwhile, Continual Light Cylinder (1962-2019) is a series of unique, site-specific kinetic sculptures that reflect light through a volumetric form. These works call on the viewer to engage in ways that are at once playful and disruptive. Today, Le Parc is considered a national treasure in France, but it wasn’t always the case. During civil unrest in 1968, he was briefly expelled from the country for his involvement in the occupation of a Renault factory, and, in the 1970s, he was at the forefront of an artists’ protest group against the management of the nascent Centre Pompidou. ‘Artists don’t have a say in the decision-making process,’ says Le Parc. ‘The market is practically the only system that gives value to contemporary creation. We need to find new ways of assigning value. Otherwise, the power stays in the hands of the rich.’ We’ll have to see if such a paradigm shift becomes conceivable in the post-pandemic era. But for now, and despite his longstanding efforts, Le Parc continues to wait. perrotin.com; julioleparc.org
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Artworks and sketches from Le Parc’s Surface-couleur and Alchimie series
BB: Do you drink coffee? ID: Yes. Every morning I like to prepare myself a Swedish breakfast and have it in front of the news. Do you feel Swedish, French or both? I would say I am a mix. I have origins from Île de la Réunion, from my father, and Sweden, from my mother. My path crossed so many different influences. I guess I’m somewhere in between all these influences. How do ideas come to you? I feed myself with what I see, then I put it down on a neutral medium, like paper or wax, and from there something graphic happens. Who or what is your biggest influence? My influences are diverse. Primitive art and the origin of the arts, as well as art deco and Nordic inspirations, too. But I am also influenced by art in a larger way, by artists like Gustav Klimt and Egon Schiele. There is a brutalist efficacy that mixes strength and complexity. Tell me a little bit about your relationship with Swiss sculptor and designer Diego Giacometti? He was not exactly my mentor, he was more my friend. He was the one who encouraged me to start doing my own pieces. One day I went to his studio. I wanted to buy a console from him for a gift. He told me, ‘Do it yourself ’. He said that, from that moment on, he would not sell me his pieces anymore. What are you currently working on? I have been working on a project for Peter Marino for La Samaritaine in Paris, which is part of the Cheval Blanc hotel group. Everything is in production and should be ready sometime soon. I am also working on a new collection of commodes. I am currently in the process of reworking the drawings with the technical team. Which is your favourite work? Each work is the expression of a particular feeling that have I felt at some point in my life. For example, ‘Commode Skarabée’, which was shown at TEFAF Maastricht 2020, is my interpretation of an insect, the beetle, that I have always been fascinated with because of its history and because of its shape. Bodil Blain is the founder of Cru Kafe
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Newspaper
A new stable complex is a natural winner for all its residents
Groom service
This equestrian complex, in Puebla, Mexico, was designed to be perfectly in tune with its landscape. Composed of long, low volumes in earth-tone plaster and marble rock walls that anchor the buildings to their site while following the natural topography, the project was designed by Mexico City-based architect Manuel Cervantes and his team. The scheme sits in the grounds of a private estate and includes a riding track, stables
and a small housing development. The idea of integration was a key element in the commission, says the architect. The residential wing was conceived especially for the facility’s employees, so they can live and work on site, seamlessly blending all aspects of life. And while openness defines the track and stables, rich greenery has been planted around the housing to help maintain privacy where needed. manuelcervantes.com.mx
exhibition Felicity Hammond’s latest photoinstallations look at the shaky foundations of the modern cityscape British multimedia artist Felicity Hammond’s latest work, Fault Line, deconstructs the utopian visuals of towering developments into collapsing cityscapes, using creases and folds to evoke the financial instability. Hammond created the collages by hand before rescanning the newly assembled city, encouraging viewers to consider the role we ourselves play in the increasing fragility of urban space. Due to be shown in September at the inaugural Photo 2020 festival in Melbourne, the 30m-work will surround a newly built metro station. Photo 2020, 10-27 September, photo.org.au
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PHOTOGRAPHY: PABLO CASALS-AGUIRRE WRITERS: ELLIE STATHAKI, SOPHIE GLADSTONE
“MO RE T H A N A FAUC E T, E AC H PRO D UC T IN THE AXOR EDGE COLLECTION IS A JEWEL, A MASTERPIECE, A UNIQUE A RC H I T E C T U R A L O BJ E C T.“
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― Jean-Marie Massaud
FORM FOLLOWS PERFECTION
Column
THE VINSON VIEW Quality maniac Nick Vinson on the who, what, when, where and why
TYROLEAN TOP TIPS 1477 Reichhalter This ground floor café-restaurant, with eight guest rooms upstairs, is located in a 15th century building renovated in 2018 by local architect Zeno Bampi. 1477reichhalter.com Vigilius Mountain Resort Find tranquillity at this mountain retreat, built from local stone, wood and clay. vigilius.it Alois Lageder This winemaker takes a holistic approach, producing exceptional wines. Visit Vineria Paradeis and stay for lunch. aloislageder.eu AlpiNN Book a table by the window for extraordinary views. The 4 Hands Dinner is a culinary experience in which Niederkofler is joined in the kitchen by a renowned guest chef. alpinn.it Lumen Museum of Mountain Photography Next door to AlpiNN, this museum celebrates the work of mountain photographers from around the world. lumenmuseum.it Cantina Tramin Founded in 1898, this winery represents more than 300 local growers, with Gewürztraminer as its flagship wine. cantinatramin.it
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Neighbourhood watch
Picky Nicky’s got his eye on northern Italy’s local heroes
It was architect Matteo Thun who first drew me to South Tyrol. It was September 2003 and I was visiting the new Thundesigned Vigilius Mountain Resort, which we were shooting (see W*64). Thun used only local materials to build Vigilius, and he also taught me about moon wood, cut when the moon is waning and the sap content is at its lowest, thus producing better quality lumber. A year or so later I returned for the Merano Wine Festival, where I met winemaker Alois Lageder, scion of the family business, which dates back to 1823. My visit to his estate in Magrè (where casks of wine rest in cellars piping out a Bach lullaby sound installation by artist Mario Airò) left a lasting impression, and we always keep cases of his wine at home. Lageder told me then that grapes in the region would typically stay on the vines a little longer to get their required sweetness. Climate change means that today’s challenge is how to maintain freshness and acidity. The 55-hectare Lageder estate is farmed biodynamically, and the family work with 80 local growers, who supply the estate with additional grapes. Lageder is also the president of Demeter Italy, which certifies biodynamic food producers. At the Lageder cellar door and restaurant Paradeis, you can taste and buy their wines, but I recommend going for lunch to sample the food, cooked
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using produce from their own garden, as well as from local biodynamic partners. The little meat on the menu comes from livestock who graze among the vines. The local terrain, which ranges from 200m to 3,900m, produces a diversity in grape varieties. Gewürztraminer is my particular favourite, and Lageder’s Am Sand is regularly in my fridge. Today, thanks to Lageder and neighbouring producers like Cantina Tramin, a cooperative 8km up the road, wines from this part of Italy are now highly respected. It’s hard to remember that, until the 1980s, this region was known for producing cheap plonk. Obsessing about quality, taste and local sourcing is the cornerstone of AlpINN, the restaurant perched 2,275m up Mount Kronplatz. Without a doubt, the (Vinson) view has never been better than from my table there, with a panorama that takes in both the Italian Alps and the Dolomites. The interiors are by Martino Gamper, who was born down the road in Merano and has a reputation for reusing and repurposing objects, and the food is by three-Michelinstarred chef Norbert Niederkofler. Dishes are prepared with ingredients sourced only from 50 local producers, so no hothouse-grown ingredients in the kitchen, and no olive oil. I’ve got a real soft spot for this area where there are just so many fine examples of stewardship of local resources.
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02 Bunker down A 180m-deep WWII bunker in San Lorenzo di Sebato, which has been converted into a maturing cave for local cheeses, offers cheese and beer tastings. genussbunker.it
03 One vine stay Designed by Peter Pichler Architecture and Martin Schgaguler, the Schgaguler is a modern 42-room hotel, serving local wines, in Castelrotto. schgaguler.com
ILLUSTRATION: DANAE DIAZ
Outdoor furniture made for life
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Light industry
Amazing glazing and chic shades of grey at Celine’s new Tuscan manufactory PHOTOGRAPHY: MARCO CAPPELLETTI WRITER: LAURA RYSMAN
Nestled amid the lush and gently undulating hills at the heart of Tuscany, the bucolic small town of Radda in Chianti encompasses dozens of vineyards and centuries-old farmhouses. Last August, this agricultural bastion became the home of a contemporary and cosmopolitan new neighbour from Paris, when Celine inaugurated a sprawling handbag-making plant there. Designed by Fabio Barluzzi and Barbara Ponticelli of the MetroOffice architecture studio, ‘La Manufacture’, as it is named by Celine, is a glass and concrete hilltop monolith that doesn’t apologise for its industrial muscle. Instead, its transparent walls are designed to eliminate the boundary between the viticultural hills and the workers inside, exalting the role of the artisans by encircling them with Tuscany’s natural beauty. ‘We never intended to hide the fact that this is a factory,’ said Barluzzi, pausing before
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one of the building’s full glass walls, which faces out towards the hilly crests neatly combed by snaking rows of grapevines. ‘We just wanted to help the factory to exist within this countryside context.’ The architects devised full walls of glass to open the panorama in every direction for the factory’s workers, swearing off view-blocking window blinds and curtains to mediate the sun. The upper half of the glass walls are instead sheathed in semi-transparent, lightdiffusing glass bricks, creating a second skin that wraps around all but the northern façade and echoes the bowed form of the hill on which the building sits, formerly the site of a kitchen furniture factory. ‘Factories generally make the landscape uglier,’ comments Ponticelli. ‘This one follows the shape of the landscape instead.’ Unlike many luxury brand constructions, La Manufacture eschews grandiose entrances
and large logos. A small, unmarked entryroad at the site’s rear is designated only by the remains of a tiny 18th-century church; the 5,400 sq m crystalline structure almost dissolves into the sky. ‘The building changes according to the sky it’s reflecting,’ Ponticelli says. ‘It’s most beautiful when it’s cloudy.”’ Barluzzi and Ponticelli point out the white-walled expanses of the utilitarian interior, accented uniquely and ubiquitously in grey – RAL 7030 to be exact, the stone-ish tone used for the cabinets, pipes, pillars, cement floors, and everything about the building except the outdoor greenery. It’s the same grey the architects used throughout the Celine factory in nearby Strada in Chianti, designed in 2013. And the same grey now adopted as the door colour at Celine’s Paris headquarters. ‘There’s a logic to always using the same colour,’ explains Barluzzi, walking past a few grey-smocked »
Architecture This page, the artisans who craft Celine bags enjoy light and the views of vineyards thanks to expansive glass walls, while a second skin of grey-toned glass bricks shades and cools the building in summer and retains heat in winter Opposite, the concrete and glass northern faรงade, where no shading is required. On the upper floor is the staff dining room
Architecture
Left, the building’s main entrance, with door in RAL 7030 grey Below, matching grey in the reception area, where screens show a video installation about the construction of the project, by Italian artist Matilde Gagliardo
‘We try to transfer the essence of the fashion house to its working spaces’
artisans as they manually stitch bag handles, surrounded by high-tech cutting machines and leather skins draped on sawhorses. ‘The continuity of the colour expresses the elegance of the brand, even in this manufacturing environment.’ Married Florence natives, Barluzzi and Ponticelli founded MetroOffice in their hometown in 2006, and specialise in working with fashion companies, such as Valentino and Balenciaga. ‘We try to squeeze out the essence of the fashion house and to transfer that to its working spaces, so that the
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company communicates a cohesive identity,’ said Barluzzi. Given that many brands today transform identity every three years as they switch creative directors, and most offices and factories will be renovated only every ten years, this requires a healthy dose of the duo’s signature understatement – in the case of La Manufacture for Celine, allowing a subdued interior and the visibility of a breathtaking natural landscape to communicate an enduring sense of luxury. The sustainable design of the building relies, surprisingly, on its glass walls, often
a cause of energy waste. Built in just over a year, the factory needs little electrical illumination in the day, and benefits from an automatically adapting LED system. The double façade is designed to draw a shaft of air in between, cooling the inner glass walls in summer; and the design retains so much warmth in winter that the heating was never switched on during this year’s cold months. Celine took the further ecological steps of equipping the roof with rainwater collection and with a basketball court’s worth of solar panels. Disposable plastic and paper have been banned from the site. The subtle humanity of the industrial structure is founded in the bespoke aspects of its construction: its 33,000 glass bricks, the fruit of more than 20 material experiments by the architects, were crafted in a bespoke grey by the glassmakers of Bormioli Luigi. Specially cut and glued bricks allow the corners of the building to remain completely transparent. The steel-frame lamps, awnings and handrails, among other details, were custom-made by small Italian producers, underlining the fortified role of craftsmanship at La Manufacture. At the same time, La Manufacture is educating a new generation of artisans, with recruits receiving seven weeks’ training in the art of bag fabrication, learning from leatherworkers with decades of experience. There are currently 129 staff at La Manufacture, gathered from the Radda in Chianti area. The factory expects to more than double its staff for 2021. As Toni Belloni, managing director of LVMH, says, ‘this project perfectly reflects LVMH’s philosophy, which aims at preserving local expertise and stimulating it by training young generations of craftspeople’. In much of Italy, the long-running artisan culture is at risk, as the small workshops that traditionally fabricated stock for luxury goods houses have shuttered, snubbed in favour of cheaper production abroad. La Manufacture depends on a new generation working as artisans in a different context, as employees of a brand. It represents a commitment to the upkeep and updating of craft, crystallised in its encouraging outlook on the Tuscan horizon. metrooffice.it
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Michael Spence. Nobel Laureate in Economic Sciences.
Will the world always be this unpredictable? Am I prepared? Or do I need to rethink? Right now, the only certainty is uncertainty. So the temptation is to do nothing. But your plan may no longer be the right one. Together, we can navigate a changing future. Now there’s a thought. For some of life’s questions, you’re not alone. Together we can find an answer.
The value of investments may fall as well as rise and you may not get back the amount originally invested. © UBS 2020. All rights reserved.
NOT HI NG BE ATS A S IM PLE TEC HNI C A L PRE MISE ; EVEN IT IS DIFFICULT TO BRING TO LIFE. THE VIT ROCSA SLI DI NG SYS TEM C AN BE ADAPTE D TO SUIT ANY SITUATION, ALLOWING INNOVATI VE DEVELOPMENTS WI TH AN IN FI NI TE R ANG E OF VER SIONS.
PITSOU KEDEM ARC HITEC T
MORE INFOR M ATION ON VI TROCSA .C H/PRODUC TS/SLI DING
Design
Finish line MDF Italia dips into the rich archives of its latest acquisition, reviving forgotten classics and discovering a new love of lacquer
Above, ‘Jot’ chair, by Giotto Stoppino, originally designed for Acerbis in 1976, and reissued under the creative direction of Francesco Meda and David Lopez Quincoces
Acerbis, which has been producing storage furniture since 1870, has played a quietly pivotal role in Italian design, collaborating with a number of high-profile artists and designers. It was one of the first Italian companies to work with Japanese designers whose compositional language added
PHOTOGRAPHY: ALBERTO STRADA WRITER: MARCO SAMMICHELI
metallic inserts and new materials to the wood of northern Italy’s Val Seriana. Collaborators included the likes of Kazuyo Komoda, whose ‘Asisai’ umbrella stand, featuring three simple and harmonious bent steel wires fixed to a flat base, has been a bestseller since its launch in the late 1990s. »
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Above, reissued ‘Gong’ tables, by Gianfranco Frattini, originally designed for Acerbis in 1987. Above right, ‘Jot’ chair, by Giotto Stoppino (archive image). Below, clockwise from top left, ‘Brooklyn’ shelving, by Giotto Stoppino, 1977; ‘Jonathan’ bed, by Jonathan De Pas, Donato D’Urbino and Paolo Lomazzi, 1968; ‘Storet’ storage units, by Nanda Vigo, 1994 (all archive images)
Acerbis also worked with Jonathan De Pas, Donato D’Urbino and Paola Lomazzi, important figures in pop design culture who investigated new perspectives on the use of space with coloured module units. And as the Memphis movement built momentum, the company introduced designs by Massimo and Lella Vignelli and Vico Magistretti. In 2019, Acerbis was bought by the MDF Italia group, and this year the creative direction of the brand has been entrusted to industrial designer Francesco Meda and Milan-based Spanish architect David Lopez Quincoces. The pair have since spent time in the Acerbis archives, quickly identifying particularly fertile points in its history and opportunities for design resuscitation. ‘We have focused on the period from the mid-1970s to the late-1990s, when the company collaborated with some fantastic designers such as Gianfranco Frattini, Giotto Stoppino and Nanda Vigo, and with photographers of the calibre of Aldo Ballo and Studio Azzurro,’ says Meda. ‘By looking through the archives, we realised there were some truly fabulous pieces, never produced for the market but with extremely contemporary aesthetics as well as great commercial potential. We decided to revisit these pieces, adapting the dimensions, lacquered finishes and colours with a modern eye, giving them new life while respectfully maintaining the DNA of the original design.’ Acerbis developed the polyester lacquers with Stoppino and the study of new materials and technologies became a key strength of the brand. Meda and Lopez Quincoces have also been giving special attention to lacquered finishes. Colours have been rethought, taking inspiration from the automotive sector of the 1970s and 1980s to give reissues a fresh feel. The new palette includes electric blue, mustard yellow and dark green, like the colours used for historical models of Jaguar and Porsche Targa. ‘In this first phase, we’re concentrating on the archive, identity and presentation of the brand through its heritage,’ says Meda. ‘In the second phase, we will continue the process of dipping into the historic archive, but David and I will also add new pieces to the collection, both as designers ourselves but also as talent scouts, working with new names in design.’ acerbisdesign.com
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Photography: archive imagery courtesy of Acerbis
Design
Left, the Douglas fir-lined powder room with a Canadian granite floor. Shim-Sutcliffe designed the built-in pieces and the fittings throughout the house Opposite, looking through to the living room, with a lake view and Alvar Aalto furnishings, material detail includes more Douglas fir, a board-formed concrete column, and Canadian granite and concrete floors
CANADA
Inner calm
Blissful isolation at a richly layered hideaway that’s rooted in its surroundings INTERIOR PHOTOGRAPHY: SCOTT NORSWORTHY EXTERIOR PHOTOGRAPHY: EDWARD BURTYNSKY WRITER: MICHAEL WEBB
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Architecture Newspaper
etrohomeinteriors.jumbogroup.it
Architecture
An Alvar Aalto chair in the entry porch, where weathering steel fins contrast with the timber and granite surfaces, and the windows look out to a granite outcrop and the lake
T
he Toronto-based partnership of Brigitte Shim and Howard Sutcliffe had been in practice together for three years when, in 1997, a local businessman and his wife called, inviting the architects to masterplan their five-acre plot on Point William, a spur of forested land jutting into Lake Muskoka. More than two decades later, the weekend retreat and family compound, a two-hour drive north of Toronto, continues to grow and evolve. The programme developed as clients and architects considered alternative options. Shim-Sutcliffe reconstructed a decrepit boat shelter (1997-1999) and a guest cottage (20072010), before turning its attention to the main house – a sprawling, ramshackle structure that blocked views of the water and was widely regarded as the ugliest on the lake. The architects had earlier secured planning approval for a new house of a similar footprint but set back from the water and, on the landward side, from a massive dome
of granite scoured by retreating glaciers at the end of the last Ice Age. The rock, now fully revealed, separates the house from the guest cottage, and becomes a symbolic anchor for the entire compound. As Shim explains, ‘Our episodic journey reimagining Point William has revealed to us that the open spaces we created between buildings are as important as the design of the buildings themselves. One responds to the next and our landscaping stitches the whole thing together.’ The architects’ scheme unfolds cinematically, as a succession of vistas. The gravelled drive bends around a meadow, revealing flashes of light off the water, and the boat house at the foot of a slope. Logs are stacked against the walls of the guest cottage and newly reconstructed garage, with their pitched, rusted steel roofs. The house is clad in rough-hewn blocks of local stone, self-rusting steel and ipe wood – materials that require no maintenance and are already beginning to weather. They sandwich a
band of glass, shaded by irregularly spaced mullions, and this horizontal layering of materials breaks up the mass of the 6,500-sq ft house. A bowed hood rises from the green roof to pull in light from the lake, and a linear skylight illuminates the staircase descending to the lower-level guest rooms. Terraces take up the north and east corners of the building. Though the ground-hugging house is a perfect foil for the steep-roofed guest cottage and the towering white pines, the architects conceived it from the inside out. ‘There’s a strong sense of axiality,’ says Sutcliffe. ‘Different scales of design are juxtaposed and syncopated, with soaring gathering spaces flowing out of intimate areas.’ The clients’ grown children built their own family lodge at the base of the peninsula, so the new house was to serve as a getaway for a couple of empty nesters who love to entertain but wanted the same feeling of intimacy as when they stayed in the upstairs apartment of the new boat house. Point William has »
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Architecture
The house, with its ipe-wood cladding and bronze-framed windows, seems almost embedded at the tip of a peninsula on Lake Muskoka, part of a geological area known as the Canadian Shield
captured their imagination, and they drive up here more often than they first intended. A feeling of tactility enhances the spatial drama of the interior, with its snug bedrooms, expansive kitchen and lofty living spaces. Everything you touch, from the rounded corners to the bronze door handles and sculpted balustrade, imparts a sense of delight to hand and eye. Shim-Sutcliffe has brought rusted steel inside, but with the texture of smooth leather. Boldly grained Douglas fir clads the ceiling; straight-grained fir is employed for panelling and cabinetry. The same granite, quarried in Quebec, reveals a watery pattern on the floor and turns soft grey when flamed for the hearths. Natural light washes some surfaces, reflects off others, highlighting details and constantly changing. ‘The pleasure of making things permeates everything we do,’ says Shim. ‘We designed all the built-ins, fittings and some new furnishings to complement the clients’ rustic and vintage modern pieces.’ From site-responsive architecture to 3D-printed lamps, Point William is a total work of art. shim-sutcliffe.com
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Textural juxtaposition at the entrance to the house, with granite slab steps wrapped in bronze, weathering steel fins, and granite gravel on the drive
Timeless by Tradition
SALONE DEL MOBILE / EUROCUCINA | June 16 to 21, 2020 | starting daily at 10:00 AM SieMatic Monte Santo | Porta Nuova | Viale Monte Santo 8 | 20124 Mailand SIEMATIC ST YLE COLLECTION PURE |
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MEXICO
Natural beauty
A blooming marvel blurs the boundaries between architecture and the landscape PHOTOGRAPHY: JAIME NAVARRO WRITER: ANA KARINA ZATARAIN
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Architecture
A On a plot regenerated with indigenous plants, six identical houses run east to west, with each set five metres apart
two-hour drive northwest of Mexico City, the small town of Valle de Bravo has long been a popular weekend destination. Nestled between mountains and Lake Avándaro, Valle features a multitude of sites teeming with greenery and ready to be domesticated, but it was a deserted squarehectare plot near the town’s centre that caught Luis Urrutia’s eye in 2015. The area had been deforested to use for agriculture, and later became a storage space for construction materials. To Urrutia – an environmental engineer specialising in ecosystem regeneration – it was
brimming with potential, and he set out to regenerate the landscape by sloping it towards a cliff that flanks the south side of the site, as well as incorporating trees and shrubbery native to the region. ‘The ground here was completely degraded,’ he says. ‘So we planted white clover, a natural fertiliser that fixes nitrogen into the soil, then slowly added other plant species to attract insects that would initiate the pollination process.’ Once the ecosystem had begun to regenerate, Urrutia called on architect and part-time botanist Alberto Kalach, of the Mexico City-based studio »
art direction: studio FM milano photo: Andrea Garuti
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Salone del Mobile.Milano June 16 — 21, 2020 | Hall 10 - Stand B19, C28
NeoCon — Chicago June 8 — 10, 2020 | Floor 3, Booth 330
Architecture
The houses are built using locally sourced brick, pine and marble, and their open-plan living and dining areas and rooftop terraces offer ample views of the surrounding forest and Lake Avándaro beyond Taller de Arquitectura X, for the masterplan. As well as a greenhouse and a large outdoor dining area overlooking the cliff, Kalach designed six identical houses, intended for the client and his family, running east to west down the terrain. Each 450 sq m structure is one and a half metres lower than the previous one, respecting the area’s natural topography while allowing for every house to have a rooftop view of the lake. ‘I believe gardening and architecture are one and the same, so my design process usually begins with the gardens,’ says Kalach, who used excess earth from the construction’s excavation to devise a series of mounds, placed at the entrance to each house and planted with herbs and flowers, including lavender and sage. All of the houses sit on three levels, with each level offering a different experience. Located atop a short flight of stairs on the middle level, the main entrance leads to an open-plan kitchen, dining and living room area, which features ample views of the nascent forest. From the rooftop terraces,
a sliver of Lake Avándaro can be observed, partly enshrouded by the surrounding treetops. However, it is at ground level that Kalach’s fixation with blurring the lines between nature and construction becomes most palpable, as this part of the house is completely enveloped by the gardens. A long corridor overlooks the entrance’s mounds of greenery, and is lined by four bedrooms that open towards the private back garden, a breathtaking nook of tecoma trees and untamed shrubbery. ‘Placing the bedrooms in the closest proximity to nature was intentional,’ says Kalach. ‘While other parts of the house have panoramic views, the private areas are on a smaller scale, and so have a deeper sense of intimacy.’ For both Kalach and Urrutia, sustainability played as significant a role in the design and construction of the houses as in the development of the landscape. The pair sought to minimise the construction’s carbon footprint by utilising a restrained palette of locally produced materials, including red brick, pine and Santo Tomás marble. An inverted gable roof conveys rainwater to the ground level, where it passes through an inconspicuous filtering system made of large tezontle rocks (to those not versed in environmental engineering, the boulders may appear to be but another element of the landscape design). Today, approximately 80 per cent of the water used in the houses is harvested through this system. On the southern side of the property, next to a greenhouse where produce is grown, a large compost bin is used to transform organic waste into fertiliser for the gardens. ‘The main idea behind this project was to regenerate an ecosystem that had been depleted by human activity,’ says Urrutia. ‘And once that was done, it was crucial that everything we built around it functioned in service of that initial intention.’ At a time when environmental concerns are escalating, this project stands as evidence of the possibilities for establishing a symbiotic relationship between architecture and its natural surroundings, and proves that it can be done without sacrificing aesthetics. kalach.com
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Surrounded by saguaro cacti, HK Associates’ Ventana House is set into a hillside above Tucson
ARIZONA
Hard rock
Embedded in the desert landscape of Arizona, a rugged concrete house prioritises shelter and chic PHOTOGRAPHY: EMA PETER WRITER: JONATHAN BELL
Arizona’s Sonoran desert is the setting for this exquisitely planned piece of residential design; a house that appears defiantly modern yet is still utterly respectful of its surroundings. It is the work of Tusconbased HK Associates, established by husband-and-wife team Michael Kothke and Kathy Hancox. Having initially followed separate professional trajectories – working around the US and Canada with the likes of Patkau Architects and SOM, but never sharing a studio – the couple first worked together in Arizona some 15 years ago, on a project with local luminary Rick Joy, and founded their practice soon afterwards. The desert context not only gave them a chance to join forces, but also allowed their sustainable approach to design to blossom. Arizona’s environment is not to be taken lightly and materials, utilities and landscaping must all be carefully planned to create truly liveable spaces all year round. The newly finished Ventana House is a showcase for the HK approach, described by the architects as ‘a window on the desert’. The three-bedroom, 3,500 sq ft house is arranged over two storeys, partly embedded in its rocky, sloping site. Responding to the location, the building’s footprint was
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minimised to avoid the amount of excavation required. The façade that greets the visitor is treated like a geological outcrop, with rugged exterior walls, deep window reveals and overhangs that are sharply delineated by the strong desert sunlight. It implies a cave or retreat, an impression that is swiftly dispelled by the dramatic living areas. Kothke and Hancox reference the example of the geode, a rock that splits open to reveal a faceted, reflective interior. In the case of Ventana House, that interior is a light-filled space, with living and dining located on the second floor, surrounded by glass walls, terraces and generous overhangs. Slender glazing bars ensure that desert views are unsullied, bringing the cacti- and shrubstrewn landscape right into the living spaces. The site is near the foothills of the Santa Catalina Mountains, the range that looms above downtown Tucson. Raising the living spaces also enabled a view of the horizon, something that wasn’t originally apparent from the first site visit; it was only from the branches of a large mesquite tree that this distant vista presented itself, along with a way in which the house could be arranged. This spot is where you’ll now find the kitchen, a space at the very heart of the »
Architecture
Architecture
Top, the top-floor dining area, beneath a sloping, alder-clad ceiling, opens onto a shaded terrace. A ‘Radii’ table by Bensen is surrounded by ‘DSR’ chairs by Charles and Ray Eames Above, the three-bedroom house is rendered in dark grey concrete, with overhangs, sheltered balconies and deep windows protecting it from the strong desert sunlight
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home alongside a dining and living area, all set beneath a sloping wooden roof. There are terraces on two sides, with the northern end given over to a desert-side perch with a linear fire pit and a low concrete wall that is the only barrier between house and landscape. External steps lead down to the ground floor, housing a garage, gym, laundry, office, media room and third bedroom. The cave metaphor continues throughout, with oversailing roofs ensuring direct sunlight is kept away, and sliding glass doors providing natural cross ventilation. The two floors are linked by a generous sky-lit staircase and gallery space, bisected by a perforated steel bridge at first-floor level, linking a bedroom with an office and terrace. Perforated steel is also used as a balustrade on the ground floor, blowing finely traced shadows across the white walls when the sun dips low. The sloping ceiling ‘echoes the silhouettes of the distant foothills’, says Kothke, and the angles add a jaunty dose of midcentury style to contrast with the rigorously solid shapes of the exterior. Wherever possible, storage is full height and built in, incorporated into the plan to maximise the flow of the spaces and the depth and density of the internal divisions. The master bedroom is also on the upper floor, a self-contained space out of sight and mind of the main living area. The clients are well-travelled design enthusiasts and Kothke says that ‘the furniture selection is integral to the architecture’. Classic designs by Eero Saarinen and Charles and Ray Eames are paired with more contemporary works from brands such as Hay, Blu Dot and Muuto. ‘I think the most successful aspect of the project is the immersive connection to the outdoors as one moves through the home,’ says Kothke. ‘Turning each corner brings a new engagement with the desert setting.’ He refers to this framing as ‘cinematic’, noting that every project begins with the use of digital and physical models in order to define and direct every ray of light and distant vista. Kothke and Hancox have responded to their adopted environment with a house that not only makes the most of the view but offers itself up as a geological fragment to be explored. The framing might be carefully considered but there is also room for chance – what the architects call an ‘anticipated, yet unknowable effect’. As a result, the Ventana house brings a welcome touch of the unexpected to the modern desert dwelling. hkassociates.net
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MILANO DESIGN WEEK_16-21 JUNE HALL 24 | STAND E21/F14
Wine & Design Featuring a trio of vaulted roofs, Haras de Pirque’s new HQ comprises a main meeting room flanked by two offices, all linked by a balcony
Triple barrel Mapa makes waves with a monolithic office building for a winery in Chile’s Maipo Alto PHOTOGRAPHY: PABLO CASALS-AGUIRRE WRITER: HARRIET THORPE
Overlooking the vineyards of Pirque in Chile, this colossal, triple-arched concrete building looks more like a public landmark than the private office of a family-run wine business. Mapa, the Chilean architects of this modern monolith on the vast Haras de Pirque estate, were given generous creative rein when designing this workplace for a father and son. The brief asked them to celebrate the legacy of winemaking in the Maipo River valley, in the foothills of the Andes, and showcase a collection of wine-related archival objects and heirlooms. È
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Wine & Design
With this in mind, the building’s abstract form might seem surprising. The design of these oversized barrel vaults is rooted in local history: ‘The building seeks to rescue the traditions of the old wine cellars of the Central Valley in Chile, which were built like underground vaults with brick masonry,’ says Cristián Larraín, architect at Mapa. This, of course, is no literal translation: by using concrete instead of brick, and placing the building on a hilltop rather than underground, Mapa has created a proud monument to wine production in the Maipo Alto, one of Chile’s most prestigious wine-producing areas. Visible from the surrounding vineyards, it celebrates a terroir 500-800m above sea level, where the climate’s thermal oscillation (the difference in temperature between day and night) is often more than 20°C, favouring a slow ripening and therefore the production of excellent-quality, deep-coloured wines. As well as celebrating the region’s viticulture and vernacular, the building houses Haras de Pirque’s headquarters, from which the whole estate, including an organic vineyard, a horseshoe-shaped wine cellar, a restaurant and a stud farm (haras in Spanish), is managed. Based in Providencia in Chile, and Madrid and Salamanca in Spain, Mapa’s team doesn’t have any preconceived ways of working. Each of its projects, from private villas to museums, is a product of variables such as available local construction techniques. ‘We always start by looking for a common language with the client, based on the place where the building will be located, on elements in the collective memory,’ says Larraín. ‘From this, we investigate the most appropriate answers for the project.’ The new winery building’s vaulted structure is not merely symbolic. It also provided the best functional solution for the display of a prized 15thcentury Italian tapestry in the central vault’s main meeting room. The 3.6m high and 6m wide tapestry, which tells the story of the cultivation of wine and its harvest, was acquired by the family in the early 1990s in Paris, and has since become the jewel of the
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Clockwise from top left, the new HQ sits on a hilltop, surrounded by sprouting myrtles and boldos, an olive grove and vineyards; the 15th-century Italian tapestry around which the building was designed; the western façade, with pigmented concrete walls and slanted column
family’s treasured archive. Beyond religious and museum architecture, it’s rare that a building is designed specifically for an artwork, but display of the tapestry was integral to the brief. The vaulted roof, rising above a high, columnless space with plenty of light, makes a perfect display case. The wide central wall was measured specifically for the artwork, which determined the scale and programme of everything around it. From this statement meeting room, with the tapestry and the best views of the land, the rest of the space grew. Two offices for father and son were pushed to the outer vaults, while the reception, bathroom, kitchen and cellar were distributed across the rest of the 330 sq m building. With its exposed pigmented concrete walls and ceramic floors, everything about the building is functional, yet it carries in its heavy walls plenty of meaning. harasdepirque.com; mapaac.com
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Manuela Wirth
Iwan Wirth
West Side Story
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Photography: Brigitte Lacombe Producer: Michael Reynolds Writer: Jessica Klingelfuss
Marc Payot
Annabelle Selldorf
Designed by Annabelle Selldorf, Hauser & Wirth’s new Chelsea gallery is big, clever and inclusive ∑
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Right, the clerestoried top floor of Hauser & Wirth’s new Chelsea gallery, at 542 West 22nd Street, boasts a vast roof hatch to enable large works to be craned in from the street Opposite, Selldorf has conceived a masonry façade, its grey palette comprising sustainably sourced concrete blocks and zinc panels
ew neighbourhoods in New York have undergone a transformation as striking or significant as Chelsea. Once an industrial district, its gas stations and warehouses gave way to the inevitable tide of gentrification in the 1990s, after decades of neglect. An influx of art dealers decamping from the bubble of SoHo cemented its designation as the city’s artistic epicentre – though traces of its history still reverberate in the column-free spaces and red-brick façades that make up its warren of high-end commercial galleries and luxury residential developments. On a grey day during Armory Week, it’s the tony neighbourhood’s newest addition that has us braving New York’s fickle weather. Taking shelter in Hauser & Wirth’s West 22nd Street bookshop from the sputtering drizzle, we don the necessary safety gear before the brisk walk next door. Inside, the air is coloured with dust and the lingering balm of
freshly dried paint. Nearly every sight line out of Hauser & Wirth’s still underconstruction new home by Selldorf Architects leads to buildings cocooned in scaffold netting. Chelsea seems poised to emerge anew. Swiss husband-and-wife team Iwan and Manuela Wirth have maintained a close relationship with Annabelle Selldorf since the gallery’s inception in 1992. Past collaborations with Selldorf ’s firm have seen the creation of galleries in a former brewery complex in Zurich; the Roxy roller rink on West 18th Street and an Upper East Side townhouse in New York City; a listed bank building in London; and an abandoned flour mill in Los Angeles (see W*205). Until now, the Wirths had mostly sought out buildings with rich architectural histories, drawing on their ‘innate character’. But this latest project, notably, is the first purpose-built, ground-up building for Hauser & Wirth. È
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Above, well-thumbed plans for the gallery, which will be finished with polished concrete floors and white walls
The new five-storey building sits next to Hauser & Wirth’s current Chelsea space in the former Dia Center for the Arts, although the two galleries won’t be physically connected. Its ground and first levels feature sliding concertinastyle glass doors that completely fold away – a first for Selldorf in any of her projects, she notes – opening the façade up to facilitate the installation of larger artworks, as well as enticing passers-by with the art on view. The building’s masonry façade will stand in stark contrast to the original red-brick buildings that line West 22nd Street. Selldorf has conceived a grey palette comprising sustainably-sourced concrete blocks and zinc panels, punctuated by generous glazed openings. A multipurpose bar and event space on the second level will be used for a programme of artist talks and public gatherings. Private offices and viewing rooms (with interiors outfitted by Rafael de Cárdenas to evoke domestic interiors)
and more exhibition spaces occupy the upper levels, including a cathedral-like gallery – high-ceilinged with clerestory windows – at the top. Even unfinished, and strewn with construction debris instead of the art that will eventually be shown here, this expansive space speaks of the Wirths’ ambition. The new building offers Hauser & Wirth new levels of flexibility. It offers its artists space big and smart enough to match their ambitions, to display largescale works and larger-scope exhibitions. And offers visitors a museum-quality viewing experience. Selldorf explains: ‘When we work with a gallery or with a museum, we think: “What kind of art are you showing? How do you engage the visitor? What are the requirements to provide the greatest flexibility, but also the greatest balance between spaces?” And thinking about how people circulate in that space, what their perception is, with or without daylight – it’s a process that’s not entirely
objective.’ As such, the column-free gallery spaces lend themselves to a wide range of mediums and installation approaches, easily adapted with temporary walls or the sealing of windows to accommodate both smaller showings and blockbuster-size surveys. Still, the anticipation lies in the space being activated by visitors. ‘It is the people who bring a space to life,’ Manuela explains. ‘We see this again and again in the communal atmosphere of the gallery spaces we create. It has been a constant motivator since the earliest days of the gallery. The building complements the art, but should never dominate. If anything, we prefer that the building is serene and understated – a place in which our artists and team will feel at home. This is deliberately not about a grand architectural gesture.’ As with other Hauser & Wirth locations, art is integral to the fabric of the building. ‘For me, the architectural experience not only supports the art È
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‘I strongly believe you can have the highest calibre of exhibitions combined with an informality that feels inclusive’ – Iwan Wirth
Above and right, graffiti left by construction workers pre-empt Hauser & Wirth’s displays, which will include works by the likes of Louise Bourgeois and Jenny Holzer
experience, but is part of it,’ Selldorf explains. To that end, artists Martin Creed, Rashid Johnson, Mary Heilmann and Mark Bradford are plotting permanent interventions in the stairways, lifts, and elsewhere, engaging directly with her architecture. ‘Making good art spaces is an iterative process,’ she adds. ‘You start with an idea, then it gets thoroughly discussed, and so many factors play into it that eventually you don’t even see them.’ Hauser & Wirth is not the only gallery upsizing in Chelsea. A combination of soaring rents and rampant construction has sparked an exodus of midsize Chelsea galleries in recent years. In contrast, a handful of blue-chip stalwarts and new-generation power dealers are doubling down with architecturally driven, museum-worthy spaces to attract blockbuster crowds. In 2018, Lehmann Maupin and Kasmin moved into purpose-built galleries by architects Peter Marino and StudioMDA
respectively. This past autumn, Pace Gallery opened the doors to its eightstorey, 75,000 sq ft flagship designed by Bonetti/Kozerski Architecture. Meanwhile, Gagosian has expanded its 26,000 sq ft West 24th Street space into an adjacent site (vacated by Mary Boone Gallery and Pace Gallery last year), and David Zwirner is planning a Renzo Piano-designed tower on West 21st Street. But it’s not just size and space that matters, it’s what you do with it. Hauser & Wirth has always challenged accepted practices, but it was its reimagining of a farmhouse in the English West Country in 2014 that proved the full stretch of its ambition. The Somerset art centre in Bruton (see W*176) has become a model for its dynamic approach to exhibition-making. ‘Galleries were intimidating spaces when I was starting out,’ Iwan recalls. ‘I strongly believe you can have the highest calibre of exhibitions combined with an informality that feels inclusive.
Although our art centres are a different model of commercial gallery, they are not institutions.’ Selldorf, whose own museum projects include the forthcoming Frick Collection expansion in Manhattan, adds, ‘With Hauser & Wirth, there is a kind of confluence because there is a degree of service to people by incorporating hospitality and educational programmes.’ Inevitably there is concern that the march of the new model mega-galleries in Chelsea is stifling opportunity for smaller galleries and the emerging artists they represent. Hauser & Wirth partner and president Marc Payot, who has worked with the Wirths for two decades, has been the driving force behind the gallery’s growing US presence since he relocated to New York in 2008. Payot stresses that ‘smaller galleries are essential to artists and to the public, and to the ecosystem of art sites where new ideas and expressions evolve’, citing Hauser & Wirth’s collaborative efforts È
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‘Architecture remains abstract and lives only in one’s head until such time as things are physically evident’ So says Annabelle Selldorf of this month’s limited-edition cover. Her black-and-white cover image was taken at 542 West 22nd Street during the final stages of construction, when everything was coming into place, bringing to end a long process of thinking and planning. The white element in the foreground is the cupola for the building’s main stair volume, temporarily placed within the top-floor exhibition space. ‘This was one moment that I could enjoy this object as a three-dimensional item – before being installed and thereafter being an integral element of another space,’ recalls the architect. ‘There it was – a small object placed out of its intended context and bathed in this powerful light. It bespeaks process and the secret life of things.’ Shot on iPhone, the image reflects Selldorf ’s personal relationship with photography. She takes photos in lieu of keeping a diary, building them into ‘a kind of visual notebook of things that trigger ideas, or a record of things I see and want to remind myself of.’ TF Chan Limited-edition covers are available to subscribers, see Wallpaper.com ∫
Above, architect Annabelle Selldorf takes a photograph of the yet-to-be-installed staircase cupola, an image which appears on our limited-edition cover this month
with its ‘great friends’ Karma in New York, and Foksal Gallery in Warsaw as examples. ‘We all learn from each other.’ Hauser & Wirth’s blistering growth notwithstanding – in the last decade alone, it launched spaces in Somerset, Gstaad, Los Angeles, Hong Kong and St Moritz, with Menorca slated for next year – the partners insist the artists remain their priority. ‘The evolution of the gallery has been gradual and based on a combination of instinct and strategic thinking. We have set out to create a diversity of spaces which mirrors the diversity of our artists’ practice,’ says Iwan. ‘We respond to the artists’ needs, rather than our spaces dictating the way they work.’ Payot adds, ‘In that sense, this new building is just like all Hauser & Wirth locations: its design and development were informed by an overarching principle of creating community. We have often described Hauser & Wirth’s spaces as “energy centres” where visitors
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can stay for a while to see exhibitions, explore books, have a coffee, participate in public programmes, and so forth. It’s a way of life for us, for our team, and for our artists. And we, of course, hope it is a way of life for those who visit.’ The new gallery will open with ‘The Bride of God’, a group exhibition curated by New York-based writer and curator Philip Larratt-Smith. Taking Daniel Paul Schreber’s 1903 book Memoirs of My Nervous Illness as a point of departure, the ambitious survey spans painting, sculpture, installation, and video art by Hauser & Wirth artists including Isa Genzken, Jenny Holzer, Paul McCarthy, Pipilotti Rist and Lorna Simpson. The roster is complemented by works by artists not in the gallery’s stable, among them Francis Bacon, Agnes Martin and Andy Warhol. Payot expands: ‘This breadth is a manifestation of Hauser & Wirth’s global perspective and of a desire that guides our programme all the time: to connect the dots across an
amazingly complex terrain of art history and intellectual history.’ One word is used repeatedly by the Wirths and Payot: ‘home’. It’s a thread that runs through their locations worldwide, reflected in gallery additions from the artist-designed Somerset guest house to the Los Angeles restaurant. Iwan, a self-professed bibliophile, has been instrumental in expanding the gallery’s book publishing operations. Come for the art, stay for a drink at Roth Bar, and peruse the high-gloss publications on display. At its core, Hauser & Wirth is a tight-knit family affair. After all, Iwan established the gallery in 1992 with Ursula Hauser – Manuela’s mother. ‘Our gallery’s origin as a family business touches every aspect,’ says Manuela. ‘We acknowledge that, as with family, relationships are very important to all of us. From this stable base, we feel free to innovate.’ Due to open in autumn 2020, 542 and 548 West 22nd Street, New York, hauserwirth.com
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To celebrate Hauser & Wirth’s new home, we get up close and personal with 14 of its New York-based talents
Modern family
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Mika Rottenberg
Nicole Eisenman
b. 1976, Buenos Aires, Argentina Combining film, architectural installation and sculpture, Rottenberg investigates ideas of labour and the production of value in our hyper-capitalist world, creating unsettling, subversive allegories for contemporary life. Weaving fact and fiction, she has worked in diverse locations, among them a pearl factory in China and a Calexico border town. Following her 2019 exhibition ‘Easypieces’ at New York’s New Museum and MCA Chicago, and a show at Hanover’s Sprengel Museum, Rottenberg is developing upcoming solo presentations for the Tai Kwun Centre for Heritage and Arts in Hong Kong, the Museum of Contemporary Art Toronto, and Musée d’Art Contemporain de Montréal.
b. 1965, Verdun, France Drawing from her personal experience as an artist in New York City, Eisenman explores narratives such as the dangers of technological dependence and the eternal dread of the future. Through expressive paintings, she has spotlighted issues of gender, race, economic imbalance and gun violence. Her monumental outdoor sculptural ensemble, Procession, was a highlight of the Whitney Biennial in 2019. Eisenman is currently working on a number of solo museum shows across the US and Europe, including presentations at Nottingham Contemporary, the University Museum of Contemporary Art (University of Massachusetts Amherst), and Oslo’s Astrup Fearnley Museet.
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George Condo b. 1957, Concord, New Hampshire, US Invented characters with bulging eyes, asymmetrical faces with comical expressions, and bizarre bodies populate Condo’s work, which pays tribute to Old Master portraiture while nodding to the ambition and hysteria of contemporary American society. He has collapsed hierarchies between painting and drawing, the beautiful and the grotesque, and the comic and the tragic. His hallmark approach, ‘artificial realism’, involves ‘dismantling one reality and constructing another from the same parts’. He recently unveiled his first major public sculpture at New York’s Lincoln Center Plaza; titled Constellation of Voices, it evokes both a sun god and a lowly street performer, splendour and anxiety wrapped into one.
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Matthew Day Jackson
Glenn Ligon
b. 1974, Panorama City, California, US Jackson’s art grapples with big ideas, such as the evolution of human thought, the fatal attraction of the frontier, and the faith that man places in technological advancement. Working across a variety of media and using an eclectic material palette, he interrogates the dual forces of beauty and desolation, particularly in relation to the myth of the American Dream. He is currently preparing a solo exhibition of new work to debut at Hauser & Wirth Zurich in October. Foraying into design, Jackson is now expanding his ‘Kolho’ furniture line, first introduced in 2019 and produced by Finnish manufacturer Made by Choice (see W*242), and he is also collaborating with Calico Wallpaper on a special collection.
b. 1960, Bronx, New York, US Spanning painting, prints, photographs, sculptures and large-scale installations, Ligon’s work engages with text and found imagery to highlight African-American experiences, rendering a portrait of America as a concept, a place and a nation. Preferring to pose questions rather than propose answers, he engages the state of the world and urges us to do the same. The mutability of images, and our perception of them, are recurring themes. Ligon had works on view in the Duro Olowu-curated exhibition ‘Seeing Chicago’ at MCA Chicago. He will also feature in the ‘Prospect.5, New Orleans’ art triennial, in the autumn, and is at work on upcoming solo exhibitions at Hauser & Wirth New York, and Carré d’Art in Nîmes, France.
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Nicolas Party
Avery Singer
b. 1980, Lausanne, Switzerland Party’s familiar yet unsettling landscapes, portraits and still-lifes simultaneously celebrate and challenge the conventions of representational painting. Using soft pastels, he has created a universe of fantastical characters and motifs, where perspective is heightened and skewed to uncanny effect. He has also created public murals, sculptures and architectural interventions to construct enveloping experiences for his audience. Party has recently shown at the Flag Art Foundation, New York, and at Hauser & Wirth Los Angeles. He is now at work on a mural commission from RxArt for the Children’s Hospital Los Angeles, and a new exhibition at Museo d’Arte della Svizzera Italiana Lugano, both debuting later in the year.
b. 1987, New York City, US Singer’s paintings employ the binary language of computer programmes and industrial materials in order to remove the traces of the artist’s hand, while engaging with past art historical movements. Her themes have included typified art world scenarios, sexuality, and the female figure. Through deploying new technologies and disengaging with romanticised views of image-making, Singer creates her own way of seeing. Her work is part of the forthcoming exhibition, ‘The Paradox of Stillness: Art, Object, and Performance’ at the Walker Art Center in Minneapolis. She also has projects in the works at Hauser & Wirth New York in 2021, and a solo exhibition in Asia in 2022.
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Lorna Simpson b. 1960, Brooklyn, New York, US Simpson came to prominence with her pioneering approach to conceptual photography. Her early work, which juxtaposed text and staged images, raised questions about the nature of representation, identity, gender, race and history. She has since embraced film, drawing, sculpture and painting (see W*228), offering powerful critiques of institutional racism and sexism, and immersing viewers in the paradoxes of contemporary American life. From her David Adjaye-designed studio in Brooklyn, Simpson is working on a full schedule of major exhibitions, including solo presentations at the Kunstmuseum Thun, Switzerland, and Hauser & Wirth Los Angeles in 2021, and at the Serlachius Museum in Finland in 2022.
Photo Andrea Ferrari
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Jenny Holzer
Ida Applebroog
b. 1950, Gallipolis, Ohio, US A conceptual artist, cultural force and erstwhile Wallpaper* guest editor (see W*247), Holzer is known for deploying text in public spaces to illuminate injustice and call for political action. Beyond museums and galleries, her work has also appeared on storefronts, billboards and T-shirts, even projected on landmark buildings at epic scale. Upcoming projects include commissioned works for Castello di Ama, Château La Coste, Fondation Beyeler, and K21. Holzer will be the subject of a major museum show at Seoul Box this November, and will have an installation on view at MASS MoCA until July 2021. She is also curating an exhibition devoted to Louise Bourgeois at the Kunstmuseum Basel in 2022.
b. 1929, Bronx, New York, US A self-proclaimed ‘generic artist’ and ‘image scavenger’, painter and feminist Applebroog has spent the past half-century conducting a sustained enquiry into human relations. At once beguiling and disturbing, her work explores themes of violence and power, gender politics, and women’s sexuality and domestic space. In an Applebroog exhibition, the visitor becomes an observer and participant in a domestic drama, presented as fragmented narrative scenes. Applebroog was the subject of a solo show at the Kunstmuseum Thun in Switzerland in 2019, and an exhibition of her Mercy Hospital drawings, executed during her stay in a psychiatric clinic from 1969–1970, opened at London’s Freud Museum in February.
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Rashid Johnson
Mary Heilmann
b. 1977, Chicago, Illinois, US Art history, individual and shared cultural identities, personal narratives, literature and philosophy all factor into Johnson’s multidisciplinary output. His work is embedded with everyday materials and objects, such as radios, shea butter, record covers and tropical plants, often associated with his childhood and referencing aspects of African-American identity. He presented a new body of work at Hauser & Wirth New York last autumn with his exhibition ‘The Hikers’, and is currently preparing works to be presented at Hauser & Wirth London and the New Museum, New York, as well as an outdoor sculpture commission at Storm King Art Center in upstate New York.
b. 1940, San Francisco, California, US Known for her joyful approach to colour and form, Heilmann is among the most influential abstract painters of her generation. She is influenced by 1960s counterculture, the free speech movement and California’s surf ethos, overlaying minimalist geometries with spontaneous gestures. Her work often has a complexity that only gradually reveals itself to the viewer. She is currently working on an exhibition for the Manetti Shrem Museum of Art at UC Davis, which will examine the sculpture and ceramics she made as a graduate student at Berkeley while spending time with the likes of William Wiley and Bruce Nauman, as well as her time as a visiting artist at UC Davis in the 1970s.
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Grand Slam chair designed by Alex Gufler AT/IT Can be yours in May 2020
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Annie Leibovitz
Rita Ackermann
b. 1949, Waterbury, Connecticut, US A leading portrait photographer and keen documentarian of social landscapes, Leibovitz consistently fits style to technique through collaboration with her subjects, photographing them in their homes or locations of personal significance. Since her early years as a photojournalist for Rolling Stone magazine, she has captured historical and cultural touchstones throughout the US and abroad. Her career has dovetailed with, and advanced, photography’s evolution as a force for art making. In addition to participating in a major upcoming exhibition, ‘Le Noir et le Blanc dans la Collection Pinault’, in Rennes, France, she is currently working on a solo show at Hauser & Wirth London, and publishing a new book with Phaidon in November.
b. 1968, Budapest, Hungary Ackermann’s work negotiates the opposing ideas of creation and destruction, and aggression and fragility. While trained in printmaking, she is best known for large-scale paintings that occupy a space between the figurative and abstract. She has also worked in collage, photography, sculpture and performance. Ackermann recently opened a critically acclaimed exhibition, ‘Mama ’19’, at Hauser & Wirth New York, debuting a series of paintings in which figures and motifs rise to the surface of canvases, only to dissolve and reappear elsewhere again. The polymathic artist also collaborated with French fashion house Chloé on its A/W20 catwalk collection.
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Special thanks: Andrea Schwan and Janet Johnson
Additional writing: TF Chan, Diane Theunissen
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PRECIOUS INDEX The stuff that adorns you
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CONTENTS
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Under the loupe Our latest watch and jewellery finds, from diamond-motif lorgnettes to steel sports watches, a spine-tingling jewellery collaboration, and Hannah Martin’s sparkling concrete atelier in London Space man Pharrell Williams talks exclusively to Wallpaper* about his new Marsoriented watch design Full circle A New York jewellery specialist on a 20th century design that symbolises 100 years of his family business Blitz spirit No-rules jewels are the order of the day Lunch time A bite in Paris with Bruno Belamich and Carlos Rosillo of Bell & Ross
Editor’s letter Editor-in-Chief Sarah Douglas
Fashion Director Jason Hughes
Fashion Assistant Aylin Bayhan
Editor Caragh McKay
Producer Alex Milnes
Global Sales Manager Ben St George
Art Director Daniel McGhee
Assistant Watches & Jewellery Editor Hannah Silver
Managing Director Malcolm Young
COVER Photography: Geray Mena. Model: Neo Sarraf at Wilhelmina. Casting: David Steven Wilton at East. Grooming: Cathy Ennis using Bumble & Bumble and Augustinus Bader ‘Love’ white gold bracelets with diamonds, £9,650 each; ‘Love’ white gold bracelet, £6,050, all by Cartier. ‘Cape Cod Chaine d’Ancre (Grand Modele)’ steel watch with double-tour leather strap, £2,450, by Hermès. Coat, £3,600, by Dior. See page 140
ABOVE Photography: Rebecca Scheinberg. Model: Frieda Munting at Select Models. Hair: Sky Cripps-Jackson. Make-up: Andjelka Matic using MAC Cosmetics Coat, £845, by Boss. Sunglasses, £390, by Lindberg. ‘Cleopatra’ 18ct yellow gold-plated brass glasses chain, £480, by Frame Chain
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A hopeful air abounds in the 2020 edition of Precious Index, our annual watch and jewellery title. Leading the way, on page 136, is eternal optimist, design aficionado and self-confessed Wallpaper* fan, super-producer Pharrell Williams. When we met him in Miami to talk about his new Mars-inspired watch design with Richard Mille, Williams waxed lyrical about the space race and the audacity of human ambition in thinking without limits. That sense of endeavour is reflected on page 129, where we consider the watch industry’s design love-affair with steel, the wonder material that underpins the modern world. The progressive mood spills over into our no-rules jewellery shoot on page 140. Photographed by Geray Mena, and styled by fashion director Jason Hughes, it shimmers with the heady 1980s individualism of London’s Club Kids culture. Caragh McKay, Editor
PRECIOUS INDEX
TIM E , A HE RMÈS OB JECT.
Arceau, L’heure de la lune Time flies to the moon.
UNDER THE LOUPE
Our latest watch and jewellery finds
Chain reaction
Photography: Rebecca Scheinberg Writer: Laura Hawkins
We’re linking up with the latest in optical ornaments
Above, buffalo horn lorgnettes with brown diamonds, £3,750; neck chain in ebony and 18ct yellow gold, £1,405, both by Rosa de la Cruz For stockists throughout, see page 196
If you’re prone to losing your shades, you might want to check out S/S20’s hottest accessory– the sunglasses chain. Optical accoutrements were eagerly eyeballed on the Gucci catwalk where acetate chains, resembling chunky-link necklaces, swung from 1960s shades. The dazzling link creations produced by specialist brand Frame Chain (see previous page), where clinking gold
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chains are punctuated with graphic hoops or dazzling crystals, are most alluring when viewed in profile. And jewellery designer Rosa de la Cruz has also revelled in the retro, collaborating with heritage optical atelier EB Meyrowitz on a series of lorgnettes with jangling oval-link chains and diamond-set frame motifs. gucci.com; framechain.co.uk; rosadelacruz.co.uk
PRECIOUS INDEX
UNDER THE LOUPE
Sherbet dip
Photography: Rebecca Scheinberg Fashion: Aylin Bayhan Writer: Hannah Silver
Virgil Abloh’s signet rings for Louis Vuitton hit the sweet spot
Above, ‘Sculpture’ rings, prices on request, by Virgil Abloh, for Louis Vuitton, from Louis Vuitton stores only Shirt, £250; trousers, £330, both by Canali
The more quotidian elements of design continue to fascinate Virgil Abloh. And so, while at first glance his pastel ‘Sculpture’ rings for Louis Vuitton appear like simple, graphic shapes in scrumptious sherbet shades, a closer look reveals a raft of contradictions. Made from hard metal, with an acrylic-based varnish, the designs, which pinch details from Haussmann’s Paris, are playfully weighted in French history. Drenched in the same sweet tones as the Louis Vuitton S/S20 menswear collection, the rings are encrusted in the type of intricate whorls and coils that curl around classical Paris columns, like fragments from that city’s rich urban architecture. The effect is unexpectedly understated; coloured
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in the same hues and with a lack of obvious definition, the embellishment is rendered almost invisible. It is Abloh’s way of fusing old and new; by seamlessly bridging the chasm between the classical and contemporary, he draws our attention to the evolving role of jewellery through the rings themselves. Further traditional references emerge in familiar signet ring silhouettes. Reminiscent of classic jewelled rings, here Abloh renders old signifiers of power and fraternity anew. The ring becomes imbued with new symbols, its nonprecious guise and cartoon-like shades challenging traditional values. louisvuitton.com
PRECIOUS INDEX
UNDER THE LOUPE
Clockwise from top left, ‘The Lure of Civilisation’ gold vermeil hair pin with freshwater pearls, £385, by Completedworks. ‘Grace Murano’ 14ct gold hair pin with hand-blown crystal orb, £550, by Sophie Bille Brahe. Sterling silver hair pin with freshwater pearl, £380, by Nadia Shelbaya
Crowning glory
Photography: Rebecca Scheinberg Writer: Tilly Macalister-Smith
Hair jewellery is having something of a renaissance The art of adorning one’s hair with jewels had some ravishing moments back in the 15th and 16th centuries. Botticelli, Raphael, Titian, Veronese and Velazquez all depicted Renaissance women with precious ornaments in their braids and curls. Now, hair jewellery is having a renaissance of its own with these lustrous embellishments being designed for everyday use. Pearls are taking a starring role. Some ancient mythologies held that a pearl was formed when lightning struck the sea, the new jewel a repository of elemental power. Pearls, it was thought, illuminated the face of the wearer. Danish jewellery designer
Sophie Bille Brahe, known for her contemporary take on pearls and diamonds, found her muse in the Renaissance art movement and created a range of hair pins. She says, ‘I was looking at Botticelli’s Primavera, where the Three Graces have long flowing hair adorned with pearls, and also his Portrait of a Young Woman, where the hair is laced with delicate strings of them. I’m so inspired by the stories in these paintings.’ Completedworks founder Anna Jewsbury has also evolved her line of ergonomic jewellery and ceramics to include a range of hair accessories. These include a delicate gold vermeil and freshwater pearl pin that
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is intriguingly called ‘The Lure of Civilisation’. Meanwhile, up-and-coming designer Nadia Shelbaya’s Egyptian mother and Danish father are to answer for the tension between decadence and modernism that runs through her work. This plays out in her new foray into hair pins, curvaceous pieces that entwine silver and gold with gemstones, diamonds and freshwater pearls. Meanwhile, creative use of existing jewels can also see them doubling up as hair clips; for example, a simple diamond tennis bracelet, pinned along the hair parting, can add a sparkling touch. sophiebillebrahe.com; completedworks.com; nadiashelbaya.dk
PRECIOUS INDEX
FLAGSHIP STORE - BÄRENGASSE 10 - 8001 ZÜRICH HIERONYMUS-CP.COM SCULPTURE PEN | GOLD
UNDER THE LOUPE
Steel age
Photography: Rebecca Scheinberg Fashion: Aylin Bayhan Writer: Hannah Silver
Watch houses rework the metal that built modernity
Above, ‘Alpine Eagle’ watch in Lucent steel, £11,200, by Chopard Shirt, £265, by Margaret Howell
Steel has long been the favoured material for making practical watches. Strong, light, economical, hypo-allergenic and non-magnetic, it was perfect for pilots, engineers and the military, but not a luxury material, not something to create dreams from. That is, until the 1970s, when watch designer and
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goldsmith Gérald Genta had a different vision. His early 1970s modernist steel watch designs, including the ‘Royal Oak’ for Audemars Piguet and the ‘Nautilus’ for Patek Philippe, integrated case and bracelet in a single fluid loop. His use of handbrushed and polished metalwork, typical jeweller techniques, »
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UNDER THE LOUPE
Right, ‘Nautilus’ ladies’ automatic watch in steel and diamonds, £26,050, by Patek Philippe Jacket, £369, by Boss Below, ‘Octo Roma’ watch in stainless steel and rose gold, £6,650, by Bulgari
created a new kind of luxury sports watch. And it wasn’t long before women’s watches were just as vigorously proportioned – the new Patek Philippe ladies’ automatic ‘Nautilus’, which eschews the smaller delicacy of earlier models with its most generous dimensions yet, is a case in point. A dark grey opaline dial, when framed by a diamond bezel, becomes almost dainty. The grey steel hue of Bulgari’s ‘Octo Roma’ is made richer with rose-gold accents. Chopard’s ‘Alpine Eagle’, meanwhile, although crafted with heavy steel links, boasts a sleek, narrow silhouette, bestowing steel with the elegantly precious credentials it so richly deserves. audemarspiguet.com; patek.com; bulgari.com; chopard.com
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UNDER THE LOUPE
Shadow craft
Photography: Jason Oddy Writer: Jessica Diamond
A cult jewellery designer’s renovated atelier plays with patina and reflection
Above, dominating Hannah Martin’s new atelier are four large showcases, their bases left in the rain to rust and patinate to orange
British jewellery designer Hannah Martin is no stranger to London’s Hatton Garden; she has occupied studio and atelier space on the edge of London’s traditional jewellery quarter since 2008. But after a year of introspection, Martin has rebranded and recalibrated her collections, and designed a new premises in Farringdon. Entered via an anonymous gated alleyway, a ground-floor entrance hall opens into her retail and exhibition rooms. Extensive renovations, which began early last year, saw the old building stripped back to its bare brick walls and wooden beams. Says Martin, ‘We’ve rebuilt almost everything, but worked hard to capture the essence of the brand in the process.’ Known for her androgynous jewellery that harvests motifs from punk and rock ’n’ roll, Martin creates edgy and graphic pieces, handcrafted in precious metals and gems. ‘We wanted the mood
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to be really beautiful but not in a hard way,’ she says. A poured concrete floor is offset with clay-plastered walls flecked with mica powder, a soft, reflective material that gives the surface a tactile, gentle sheen. Four large showcases, inspired by the sculptures of Richard Serra, dominate the space, with bases welded together by a friend and left in the rain to rust and patinate to a soft orange. ‘They’re a great interruption of the volume, but crucially they’re on casters, so we can move them around,’ says Martin. ‘I wanted the flexibility to be able to throw a gig, or host a fancy dinner, or collaborate with a photographer and hang pictures on the walls; it should feel like a gallery, too.’ If an environment must echo the aesthetics of its owner, then Martin has achieved just this, successfully treading the fine line between a brutalist, industrial oeuvre and cosseting luxurious space. hannahmartinlondon.com
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Nature. Form ed. THE CURVE COLLECTION
W W W.G E O R G J E N S E N .C O M CO P E N H A G E N • STO CK H O LM • LO N D O N • N E W YO R K • SY D N EY • TO KYO • MU N I CH • S I N GA PO R E • TA I P E I
UNDER THE LOUPE
G othic romance A spine-tingling jewellery collaboration is coming up roses
Photography: Rebecca Scheinberg Fashion: Aylin Bayhan Writer: Laura Hawkins
A Clockwork Orange’s violent delinquents, The Shining’s creepy Grady twins, Suspiria’s sadistic ballerinas – a medley of malevolent characters in classic horror films have played an influential part in the previous collections of Jun Takahashi, founder of cult Japanese label Undercover. Now, for S/S20, Takahashi has turned his spine-tingling view to Thai jewellery designer Patcharavipa Bodiratnangkura’s usual fine-jewellery offering, which typically incorporates organic forms and precious elements like mother-of-pearl and texturised 18ct Siam gold. ‘I wanted to add something poisonous to the label’s creations,’ Takahashi says of their collaborative collection, which is formed from lengths of uneven sterling silver chains and thorny tendrils, this time plated in 18ct gold, and dripping with blood-red Swarovski crystals or blossoming with crimson painted-enamel roses. It’s a stylish swerve from the punkish panache of Undercover’s catwalk jewellery approach which, for the A/W19 menswear show, saw DIY brooches and necklaces formed from safety pins, fabric
corsages, spoons and keys. Indeed, it was the antithetical delicateness of Patcharavipa’s approach that first fascinated Takahashi. ‘It started with the chain pieces in my recent Clues collection,’ explains Bodiratnangkura. ‘Takahashi particularly liked their handcrafted texture.’ For Bodiratnangkura, the designs were a series of firsts: it’s her debut fashion-brand collaboration, and her first time using sterling silver and vibrant resin enamel. ‘The pieces are lighter,’ she says. ‘They offer better wearability.’ Patcharavipa’s gothic creations fittingly complement Undercover’s current collection, with its highly saturated shades and tailoring emblazoned with unearthly illustrations by American writer and artist Edward St John Gorey. ‘The colour in the pieces makes real sense with the clothing,’ says Bodiratnangkura. ‘Roses are beautiful, but also have poisonous connotations,’ adds Takahashi of this darkly symbolic floral form. The collection will be available in Japan, at Undercover stores in Aoyama (Tokyo) and Sendai, and at Isetan Shinjuku (Tokyo). undercoverism.com; patcharavipa.com
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Above, rose ring; hoop earring; long earring, all in 18ct gold-plated silver, Swarovski crystals and painted enamel, all prices on request, by Patcharavipa x Undercover Shirt, £480; jacket, £900, both by Acne Studios Models: Frida Munting at Select Models, Ade at Models 1 Casting: David Steven Wilton at East Hair: Sky Cripps-Jackson Make-up: Andjelka Matic using MAC Cosmetics Grooming: Linda Johansson at One Represents using Leonor Greyl and ADC Beauty
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Space man Portrait Robert Jaso Photography Jerome Bryon Interview Caragh McKay
Pharrell Williams considers life on Mars, personal gravity, and producing a time machine with Richard Mille
Mars is the god of war; Mars has a fire about it. Mars has been a big topic of conversation since 1971 when the first probes landed there. Mars is so symbolic to mankind. Think about it: if man can make it to Mars, then what can’t we do collectively as a species on Earth – in the present? So why not create that poetic gesture in the form of a watch, something that tells time. This is a big deal. It’s my first actual watch collaboration. I’ve always dreamt of this and it was Richard who came up with the idea. We’re not shooting for the moon, we’ve shot for Mars! I have a time machine on my wrist. I’ve been saying this, and people are like, ‘OK, cool’. And I’m like, ‘No, you don’t understand how amazing the concept of time is.’ It’s kind of like da Vinci’s paintings. This watch is like art that actually works. I mean, the Apple Watch is awesome. It’s meant to do all these things that contribute to the vigilance of one’s health and one’s productivity. But this watch is dynamic art. There’s a whole lot of story going on in this watch. Being a collaborator is what I’m good at. It’s my natural art form, to reduce one’s ego to allow somebody else to feel less gravity, so that they can just be themselves. That’s what a producer does. It was the same with this. If it had just been me, this watch would have been way different. But I needed to let Richard
Pharrell Williams wears the Richard Mille ‘RM 52-05 Tourbillon Pharrell Williams’, limited edition of 30 The design is driven by Williams’ imagined depiction of space and Earth, reflected on the helmet visor of an astronaut on Mars, at the edge of the Valles Marineris. The dial form is created in a stylised-spacesuit structure, spray-painted white using an airbrushing technique developed for Richard Mille by French street artist Kongo, and it rests on a Grade 5 titanium structure, which connects the dial to the movement. The curved-dial landscapes are created using the champlevé enamel technique, while the landscape is hand-engraved in red gold at the Pierre-Alain Lozeron engraving workshop in La Chaux-de-Fonds. At either side of the helmet, two white gold elements, with a black sapphire and two diamonds, represent floodlights and cameras worn by space explorers. The case is created in Carbon TPT and micro-blasted cermet (a high-performance composite of ceramic and metal). The movement is the new Calibre RM 52-05 manualwinding tourbillon. The super-flexible hypoallergenic rubber strap is designed for ultimate air flow and 20kg mechanical resistance.
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have the space to do what he needed to do. It wasn’t like a super-fluid exercise. Richard and I had clusters of deep dives, like different beats about what we were trying to achieve. But then Richard might go and reverseengineer some of these intentions. He designs art that is technical, but there is also a feeling, too. Because when it’s right, it feels right. I think we’re bringing something new to the category. Because of our tastes and the things that stimulate us, I feel that we’re adding a pop. Think about it, there’s the titanium and ceramic, that unique blend that Richard Mille engineered to give you the feeling of the surface of Mars. Then there’s also the reflection of that surface in the enamel and the helmet. And there’s the orange that also actually matches the hues of the surface. Our partnership was about introducing energy that is not tethered down by the customary. We had the audacity to launch with an alternative orange strap, not just because it’s a cool colour, but because it’s related to the story. The orange actually matches the hues of the surface of Mars. So we had the audacity to go with what is right for the story, to be loyal to the creativity and the concept. I don’t know if Mars has a sound. I suppose that would depend on the atmosphere; how much the wind is blowing. They won’t let us see the water, so I don’t know. I guess it would depend on the elements. richardmille.com; pharrellwilliams.com
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DESIGN
DESIGN CLASSIC
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Full circle Photography Rebecca Scheinberg Fashion Aylin Bayhan As told to Caragh McKay
My grandfather, Louis Siegelson, opened his watch-repair shop in Brooklyn in 1920. When my father, Hy, took the helm, he expanded the business to diamonds and jewellery, eventually occupying the largest display window on 47th Street in the heart of the Diamond District. I joined my father in 1992, but when he died two years later, I began refashioning Siegelson as an appointment-only business focusing on 20th-century masterpieces. For me, the ‘Giraffe’ set sums up the Siegelson way – it has no big gems or obvious beacons of value. We have many rare pieces that do, but this is simply an exceptionally crafted design. The lacquered Oréum (a branded gold alloy) necklaces and bracelets are the work of sculptor, craftsman and jewellery designer Jean Dunand. They speak of a specific moment in the 1920s when the value of the material wasn’t as important, but the design was. In this case, Dunand used a series of stacked line necklaces to evoke the feel of something exotic but modern, not least because of how the metal was engineered to make an elegantly concentric line on the neck and on the wrist. A similar model was made for Josephine Baker, who was Dunand’s muse. Recently returned from a major exhibition, ‘The Jazz Age: American Style in the 1920s’, at Cooper Hewitt and the Cleveland Museum of Art, the set owned by Siegelson is the largest known, with six pieces in total. We regularly loan pieces of jewellery to exhibitions, and we also work with museums who wish to buy important jewellery for their collections. In honour of our centenary this year, we will donate three significant pieces to three museums this year. I am always looking to buy great pieces by Dunand, but ‘Giraffe’, if it comes up at all, is usually offered in singles or doubles. When a set of three necklaces and bracelets, in the iconic red and black lacquer, came up for sale, I just had to buy it. It will probably be the most complete set ever to come on the market. And so it feels like we have come full circle – that many of the greatest pieces I now offer were first created at the same time my grandfather was opening his store. ∂ siegelson.com. Siegelson New York regularly loans to exhibitions. Recent acquirers include Museum of Fine Arts Boston, Newark Museum, and The Cartier Collection
To mark the centenary of his illustrious family business, New York jewellery specialist Lee Siegelson picks out a design piece of shared heritage and values
Above and opposite, ‘Giraffe’ lacquer and Oréum necklaces and bracelets, prices on request, by Jean Dunand, from Siegelson New York Top, £4,300; skirt, £12,400, both by Hermès, hermes.com Model: Frieda Munting at Select Models Casting: David Steven Wilton at East
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Blitz Spirit Photography Geray Mena Watches & Jewellery Director Caragh McKay Fashion Jason Hughes
No-rules jewels take centre stage
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This page, ‘Rose de Noël’ earring in black mother-of-pearl, gold and diamonds, £22,100 for pair, by Van Cleef & Arpels. ‘Big Knot Necklace No.1’ in oxidised silver, £160, by Saskia Diez. High jewellery ‘Rose’ white gold brooch with pink and white diamonds, price on request; ‘Miss Daisy’ white gold and diamonds hair pins (worn as brooch), £4,500 each; ‘Miss Daisy’ safety pin brooch, £2,600, all by David Morris. ‘Paillettes Button’ sterling silver brooch, £55; ‘Grand Mixed Choker’ sterling silver chain (looped to pin), £109, both by Saskia Diez. ‘Le 7g’ sterling silver ring, £245; ‘Le 5g’ sterling silver ring, £185, both by Le Gramme Jacket, £1,365, by Comme des Garçons Homme Plus. Vest, £30, by Sunspel. Hat, €375, by Maison Michel Opposite, ‘Mixed Bold’ sterling silver ear cuff, £80, by Saskia Diez. High jewellery ‘Dior et Moi’ earring in gold with emerald, diamonds, pearl and lacquer, price on request, by Dior Joaillerie. ‘Gold Dip’ sterling silver identity chain, £820, by Bunney Jacket, £1,950, by Celine by Hedi Slimane
JEWELLERY
This page, ‘Athena’ vermeil snake chain, £79, by Hermina Athens. ‘Fellini Croix’ gold necklace with freshwater pearls, £1,250, by Sophie Bille Brahe. ‘Chaîne d’Ancre’ rose gold brooch with black spinels, price on request, by Hermès Jacket, £1,930; shirt, £1,225; trousers, £1,755, all by Saint Laurent by Anthony Vaccarello Opposite, ‘Silver Bold’ sterling silver ear cuff, £80, by Saskia Diez. ‘Le 253g’ sterling silver chain necklace, £1,835, by Le Gramme. ‘Big Knot Necklace No.3’ in sterling silver, £160, by Saskia Diez. High jewellery
‘Seashell’ white gold brooch (two parts) with diamond, rubies and pearls, price on request, by Cindy Chao The Art Jewel. ‘Key’ white gold pendant (worn as brooch) with diamonds and sapphires, £6,950; ‘Small Bee’ white gold brooch with diamonds and sapphires, £4,250; ‘Small Bee’ white gold brooch with diamonds, £4,500, all by Theo Fennell. ‘Grecian’ sterling silver necklace (looped to brooch), from £160, by Hermina Athens Jacket, £2,600, by Berluti. Gloves, £187, by Ines
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JEWELLERY
This page, high jewellery ‘Waterfall’ white gold earring with South Sea pearls and diamonds, £286,000, by Tasaki
‘St Christopher’ 18ct gold signet ring; ‘Hammered Signet’ 18ct gold ring (both worn on pins as brooches), both price on request, all by Bunney
Jacket, £700, by Acne Studios. Hat, $248, by Clyde
Jacket, £1,180, by Raf Simons
Opposite, Neo wears ‘Grecian’ vermeil chain, £67; ‘Zena’ vermeil chain, £189, both by Hermina Athens. ‘Rose de Noël’ white mother-of-pearl and gold brooch with diamonds, £20,100, by Van Cleef & Arpels. 18ct gold badge, £2,060, by Bunney. Gold ring with black diamond, £7,200, by Ara Vartanian. Large ‘Rose de Noël’ mother-of-pearl and gold brooch with diamonds, £29,100; small ‘Rose de Noël’ gold brooch with white mother-of-pearl, £20,100, both by Van Cleef & Arpels. 18ct gold badge, £1,150;
Pascal wears ‘L’Esprit du Lion’ gold earring with yellow beryl and diamonds, price on request, by Chanel Fine Jewellery. Vermeil chain, £84, by Bjørg. ‘Bulgari Bulgari Gelati’ gold brooch with onyx and diamonds, £3,470; ‘Serpenti’ gold ring with diamonds and emeralds, £36,000, both by Bulgari. ‘Le 13g’ gold ring, £2,720; ‘Le 45g’ gold bracelet, price on request, both by Le Gramme Jacket, £970, by Paul Smith
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JEWELLERY
This page, ‘Hex’ white gold and diamond earring, £13,000 for pair, by Jessica McCormack. ‘Traditionnelle’ white gold and diamond pavé watch with leather strap, £54,500, by Vacheron Constantin Jacket, £1,798, by Casablanca. Vest, £30, by Sunspel. Gloves, £71, by Dents Opposite, Pascal wears ‘Ball n Chain’ gold necklace, £17,850, by Jessica McCormack. ‘Légende’ gold medallion pendant with carnelian and ruby, £3,650; ‘Légende’ gold medallion pendant with diamonds and lapis lazuli, £3,560 (both worn on pins as brooches), both by Chaumet Jacket, £2,295, by Dunhill
Neo wears ‘Chaîne d’Ancre Punk’ silver earring, £770 for pair, by Hermès. ‘Kofuku no ki’ cultured Akoya pearl brooch, £1,700; ‘Kofuku no ki’ cultured Akoya pearl and diamond brooches, £4,400 each; ‘Kofuku no ki’ cultured Akoya pearl and diamond brooch, £6,600, all by Mikimoto Jacket, £1,095; trousers, £275, both by Dunhill For stockists, see page 196 Models: Neo Sarraf at Wilhelmina, Pascal Wilke at Kult London Casting: David Steven Wilton at East Grooming: Cathy Ennis using Bumble & Bumble and Augustinus Bader
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LUNCH TIME
A bite with Bell & Ross
Photography: Marvin Leuvrey Writer: Caragh McKay
A trip to restaurant Oxté in Paris with the founders of the watch marque
Bruno Belamich, wearing the new ‘BR 05’ blue dial on a rubber strap, and Carlos Rosillo, wearing the new ‘BR 05’ black dial, steel bracelet version, photographed at their Paris office in a 19th-century townhouse in the 16th arrondissement
Bruno Belamich and Carlos Rosillo met when they were 14 years old and ‘have been together ever since’. Before setting up watch house Bell & Ross (a riff on the first three letters of each surname) in Paris, they were, effectively, family. ‘When Bruno’s family left their Burgundy home to come to Paris, he didn’t love it,’ says Rosillo. ‘We met at school and I was introduced to Bruno’s family. They were very welcoming. His grandmother even made bread for us.’ As teenagers, Belamich and Rosillo shared a passion for technology and watches, which led Belamich to a design position with German watch brand Sinn. Rosillo, meanwhile, studied finance. In 1992, they joined forces to realise their vision for a design-driven brand, creating functional watches for professionals, and started dragging prototypes to watch fairs. A few years later, Chanel chairman Alain Wertheimer offered them investment, and remains a shareholder. We talk over lunch at their favourite restaurant, Oxté, in Paris’ 17th arrondissement. As soon as we are
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seated, Mexican owner and chef, Michelin-starred Enrique Casarrubias, steps out of his visibly busy kitchen, presided over by a Bell & Ross wall clock, to greet us, adding to the bonhomie. ‘We are always at home in a family environment,’ says Rosillo. Between courses, we speak about their likes and loves: cigars, their wives and children, Velázquez, yoga, tai chi, 1970s Japanese watch design and their last big release, the ‘BR 05’ watch line. A mash-up of key Bell & Ross designs, and a more commercial offering than the defining slim, square-dial cockpit instruments for the wrist that made the Bell & Ross name, the steel ‘BR 05’ is a handsome, everyday timepiece that has been enthusiastically received across the globe. Occasional turbulence is, of course, a factor in any relationship, but the pair are in it for the long haul. ‘It’s easier to manage a business when there are two of you – it gives you balance, a better perspective. It’s about trust,’ says Belamich. ‘We have common values and life philosophies,’ concurs Rosillo. ∂
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MANSART Magnum Automatique
47 Lexington Street, Soho Harrods, Fine Watches Knightsbridge, London Selfridges, Premium Watches on Lower Ground 400 Oxford Street, London MARCH LA.B 47 Lexington street London W1F 9AW
Fashion
Out of the blue
Japan’s bespoke Haruhito Jeans come with local tradition and a sleepover
The first pair of made-in-Japan jeans was created in Okayama in 1963 by Canton, in partnership with Oishi and Maruo Clothing. Since then, the western region has become a go-to area for quality denim; many of Europe’s leading brands, including Chanel, Prada and Dior, buy their denim from the local Kuroki Mills. In the small harbour town of Kojima, looking out over the Seto Inland Sea, you will find companies such as
PHOTOGRAPHY: CHRISTOFFER RUDQUIST WRITER: JENS H JENSEN
Hangloose, which specialises in ageing jeans using a variety of sanders and washing techniques to bring out that perfect used look, or Sunami Sewing Machines, whose fourth-generation president Tatsuya Sunami travels the region and beyond to fix and customise the tools of the trade used by small manufacturers who can’t afford to employ their own engineers. He also has a weakness for collecting old sewing machines; È
Some of Haruhito Jeans’ models at the brand’s workshop in Himeji, Kansai. Customers can choose between 30 types of denim, all made by Kuroki Mills, and pocket linings in 20 colours
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Your passport to global style More than 60 compelling cities refined into essential travel-sized guidebooks and apps at www.phaidon.com/wcg
Fashion a visit to his warehouse on the outskirts of Kojima tells the history of the denim trade in the hundreds of old Pegasus, Ace, Brother and Toyota machines, all waiting to be overhauled or used for spare parts. A bit further east, in the castle town of Himeji, Kentaro Konishi, the young founder of Haruhito Jeans, has turned his father’s old garage into a cosy but highly efficient bespoke jeans workshop. Haruhito was the first name of Konishi’s father. ‘My father was a big inspiration for me. He was a racing driver until he was 30 and then made a living from restoring super cars until he died,’ says Konishi, who has made it a policy to produce only 200 pairs a year. ‘What I like about my work is the interaction with my customers,’ he says. ‘I love chatting with them while they decide on what kind of jeans they want and we pick the colours of the fabric, backing, rivets and thread. My jeans are just an excuse for meeting people.’ One of Konishi’s fans is Hiroshi Terasaka, who runs the Sawvih café and gallery in Kamakura, near Tokyo. Terasaka has known Konishi for a couple of years and hosted a Haruhito pop-up last year. ‘I’ve been wanting to order a pair of Haruhito since I first met Konishi
‘I want to take bespoke further, inviting customers to be a part of the making’
and, after having spent two full days with him, I knew just what I wanted.’ Terasaka’s jeans are super wide, in dark indigo denim, with the right front pocket seam finished with a cool metal grey thread as opposed to the black thread used everywhere else. ‘I love wearing these jeans and knowing there is only one pair exactly like these anywhere in the world. I also always remember the fun times I spent with Konishi when I put them on,’ Terasaka says. Early on, Konishi knew he wasn’t meant to follow the traditional Japanese trajectory from schoolboy to company employee. ‘I really didn’t see the point of going to school. I couldn’t sit still or concentrate. So I just stopped going in my second year of middle school.’ At 23, after seven years’ working in fashion retail with a speciality in jeans, he started a three-year course at the Chugoku Design College in Okayama, the only college in Japan with a specific denim programme. Just months into the course, he felt confident enough to start selling his own jeans, but didn’t know how to connect with customers. ‘I was going quite a bit to the Yebisu Ya Pro club in Okayama. One evening I got talking with one of the bartenders and told him about my jeans.’ One thing led to another, and soon Konishi was taking orders for his bespoke jeans in a corner of the club. ‘I’d do anything to please the clubbers, so I ended up with a long list of complicated special orders that was a real pain to sort out and make.’ È
Left, Haruhito Jeans’ founder Kentaro Konishi at the workshop and, above, cutting denim
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Fashion
Top and above, Konishi is relocating his business to his grandparents’ home, near Okayama. It will house a workshop, showroom and guest room
In 2014, he formally set up Haruhito as a brand. He only sells directly to his customers, either at the atelier in Himeji or at one of the roadshow pop-ups he does around Japan. He doesn’t have a website, but posts information on upcoming showcases on Instagram. Later this year, he is planning to move the atelier to his grandparents’ home nearer Okayama proper. The old Japanese house has recently been fully renovated and besides the spacious atelier in what used to be a lean-to, there will be a showroom displaying the full Haruhito line and also a separate guest room for patrons to stay while Konishi tailors their jeans. ‘I want to take bespoke a step further by inviting customers to be a part of the making process,’ he says. He will continue to do the bulk of the sewing, but customers will have the option of stitching some of the simpler seams. In the true spirit of Japanese hospitality, he is also planning to take guests out for dinner at his favourite local restaurant. For now, customers pick from six basic silhouettes or one of his more fashionable pleated jeans. He offers an impressive line of 30 different kinds of denim; five different buttons and rivets; and the option of adding D-Rings for keys (handmade by a jeweller-friend in Tokyo) to the belt loops. ‘But I am more and more into monotone colours and simple shapes. If I give customers too many options, I might end up having to make a pair of jeans I don’t really think is cool,’ he says. And cool they are. It’s not just the superior Kuroki fabric and the impeccable stitching. It’s the little details. Like the backing of all rivets with a thin piece of leather for added strength, or the thick, madeto-order leather-and-wax-seal back-pocket tag that customers are invited to cut off at their preferred length. Konishi even promises to repair any pair of jeans as long as he is alive. So you might never need to buy another pair of jeans again. @haruhito_jeans_official
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Train at home with Technogym Bike Personal is the new icon of style and innovation designed by Antonio Citterio. Call +39 0547 650111 or visit technogym.com Technogym products and services are only available through direct sales
WILDEST DREAMS We’re craving a getaway to this Costa Rican cluster of jungle retreats WRITER: ADAM ŠTĔCH
Following the sale of Eyelevel, the successful Prague-based retail branding and production company he co-founded in 2002, Filip Žák and his wife Petra quit city life and headed to the hills of Costa Rica. On a remote plot overlooking Playa Hermosa, on the country’s south-western coast, framed by six acres of emerald jungle, they commissioned a family home, a five-bedroom concrete house designed by Prague studio Refuel Works. They then began slowly transforming their patch into a resort, which now encompasses the original house, Art Villa; a five-bedroom
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villa, Atelier, just down the hill; and Coco, a collection of four one-bedroom pods. Žák was keen to create an unconventional getaway in their ‘small and beautiful corner of the world’, working with three different architects to create a unique style for each space. For Atelier, Dagmar Štěpánová, of Prague-based studio Formafatal, created a low-key, clean-lined perforated aluminium and burnt teak structure that slots right into the lush thickets of tropical wilderness and, as Štěpánová says, ‘erases the boundaries between interior and exterior, while
highlighting simplicity and pure lines’. Inside the open-plan space, dappled light filters through the perforated façade panels onto furnishings such as Paulo Mendes da Rocha’s ‘Paulistano’ chairs, and ‘Shibari’ glass pendant lamps by Czech brand Bomma. Coco, also designed by Formafatal with the Prague-based Archwerk, completes the resort, which includes a fitness suite, a multifunctional space for yoga classes, a 5m-long waterslide connecting Art Villa to the pool at Coco, and a glass-roofed shelter, with mosquito nets for walls, meant for
Checking In
Photography: BoysPlayNice
Clockwise from main picture, Art Villa sits at the top of the resort, while Atelier is in the foreground and one of the Coco pods can just be glimpsed through the trees; the circular pool at the main entrance to Art Villa; a bedroom in Art Villa, featuring a ‘Shibari’ pendant, designed by Kateřina Handlová for Bomma
overnight jungle experiences. Spend your days wallowing in Atelier’s infinity pool followed by an evening cocktail on the green roof, which looks out across to Costa Rica’s famous Whale Tail peninsula (an area of land in the shape of a whale’s tail that juts out into the Pacific Ocean) before tucking into a meal cooked by your own private chef using fresh organic ingredients from local farms and markets. ∂ Punta Achiote Road, Playa Hermosa, Costa Rica, tel: 506.840 170 42, artvillas.com. Rates: Art Villa, $950; Atelier, $450; Coco, $150
Shop now at store.wallpaper.com ‘Barrel’ vase, Bitossi Ceramiche —— €475 ——
‘Angui’ mirror, AYTM —— €155 ——
‘Sphere’, Bosa —— €146 ——
‘JWDA’ lamp, Menu —— €299 ——
‘Accent’ table, Mater —— €650 ——
‘Traffic’ armchair, Magis —— €1,830 ——
‘Strom’ vase, Raawii —— €83 ——
‘Kerman’ pouf, E15 —— €792 ——
‘Chipo’ rug, CC-Tapis
‘Terrazzo’ side table, Serax
—— €4,380 ——
—— €180 ——
Travel
DEPARTURE INFO Stylish new cafés in Bangkok and Copenhagen; exotic flavours in Switzerland and Poland; plus snug stopovers in Mexico and China
Sweet spot DROP BY DOUGH, BANGKOK
Bangkok has no shortage of bakeries, but few pair up sweet treats with praiseworthy design. Narongrit Sritalanon and Chalermphol Akkarapinyokul, the brains behind a popular Thai lifestyle blog, saw an opportunity after visiting artisanal doughnut makers from Seoul to Copenhagen. In collaboration with Bangkok-based designer San Sephu, they restored a ramshackle townhouse in the up-and-coming suburb of Udom Suk into a Scandi-chic café with arched doorways and double-height ceilings. The interior delivers a medley of teak panelling and cream walls, punctuated by jolts of Prussian blue in the tiles and upholstery. Furnishings by Louis Poulsen and Herman Miller complete the look, as do the various artworks the owners brought back from travels around the globe. Most importantly, the pillowy doughnuts, in flavours such as berry rose and Kyoto green tea, prove that Drop by Dough is more than just a shutterbug hotspot. Chris Schalkx Sukhumvit Road 101/2, BTS Udomsuk Exit 1, Bangkok, Thailand, @dropbydough
Home run BEAST X GUBI HOUSE, SHANGHAI
After five years of renovations, Danish design company Gubi and Chinese lifestyle brand Beast have unveiled a boutique hotel and café in a 100-year-old mansion in Shanghai’s former French Concession. Designed with the help of local studio Chaos Programme, the sleek, three-storey property’s interiors reflect the buzzing city’s distinct blend of modern and historic. Gubi’s elegant designs appear throughout, including in the two guestrooms, event space and ground-floor café, while contemporary artworks curated by Beast add to the intimate ambiance, as do views of the charming private garden. Cat Nelson 15 Tao Jiang Road, Xuhui District, Shanghai, China, beastgubihouse@thebeastshop.com
PHOTOGRAPHY: DIRK WEIBLEN
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Curve appeal CASA HOYOS, SAN MIGUEL DE ALLENDE
A sparkling 16-room boutique hotel in the historical heart of San Miguel de Allende, Casa Hoyos was converted from a fading 17th-century family manor by architect Andrés Gutiérrez. An internal courtyard that once stored seed and grain has been reimagined as the lobby and rooms, while a palette of burnt oranges and yellows swathes the graciously proportioned loggias and public spaces, decked with armchairs by Comité de Proyectos and tapestries by Meli Ávila. The rooftop terrace, meanwhile, is the spot for a sunset cocktail of Lavender Sour hit with Meyer lemons and violet liqueur, paired with shrimp ceviche. Daven Wu 14 Mesones Zona Centro, San Miguel de Allende, Mexico, casahoyos.mx. Rates: from $130
Past perfect LILLE PETRA, COPENHAGEN
Furniture, lighting and accessories brand &Tradition continues to keep things fresh at its Copenhagen HQ with an update of its on-site café, Lille Petra. Named after architect Viggo Boesen’s Funkis-style lounge chair, the space is characterised by earthy tones and a muted colour palette, and pieces from the brand’s collection, including various
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editions of Verner Panton’s iconic ‘Flowerpot’ lamps, dark walnut chairs by Hvidt & Mølgaard, and elegant black round tables by local studio Norm Architects. Serving breakfast and lunch, the restaurant’s menu has been created together with Søren Westh, chef and founding partner of local culinary lab .506. It features local, fresh, organic
ingredients, including herbs grown in the courtyard, and revisited versions of Denmark’s signature smørrebrød open sandwiches, alongside warm rødgrød porridge and classics such as herring served with toasted rye bread. Gabriele Dellisanti Kronprinsessegade 4, Copenhagen, Denmark, tel: 45.53 880 233, andtradition.com
PHOTOGRAPHY: DIEGO PADILLA
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Travel
Haute cuisine THE JAPANESE BY THE CHEDI, ANDERMATT
Conveniently located at the intersection of three cable car lines, this new slopeside restaurant is perched on Mount Gütsch in the Swiss ski resort of Andermatt. The handsome stone- and timber-clad eyrie, by London-based Studio Seilern Architects, was inspired by a luminous carved stone sculpture by Spanish artist Manolo Valdés. The Chedi’s chutzpah in opening a casual outpost of its Michelin-starred Japanese restaurant at this altitude (2,300m above sea level) is matched by Studio Seilern’s serene design of the high-ceilinged volume, where the Alpine tableau visible through the oversized windows is anchored by pine panels, a sushi bar made of reconstructed stone, and Muoser furniture. The best seats in the house are on the wide outdoor terrace overlooking the Andermatt Valley, though head chef Dietmar Sawyere manages to distract with a mix of shidashi bento boxes, omakase, kaiseki and tempura. DW Gütsch-Express mountain station, Andermatt, Switzerland, thechediandermatt.com
On the waterfront MARTIM, WROCŁAW
The latest restaurant project from Wallpaper* favourite Buck Studio channels Portuguese chic by way of a canalside perch in Wrocław. Set on the ground floor of a block of luxury apartments, Martim offers a Portuguese seafood menu paired with an interior cloaked in rust reds and deep sea-greens, a bar and wine cabinets clad in cork panels, and a perforated sloping ceiling that acts as a sound dampener. From the open kitchen, head chef Nuno Matos orchestrates petiscos de bacalao and seafood cooked in a cataplana copper pot. A comprehensive wine list of Portuguese vintages, and views across the Odra River, complete the ensemble. DW Pomorska 1B, Wrocław, Poland, tel: 48.538 494 840, @martim.wroclaw
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PHOTOGRAPHY: ROLAND HALBE, PION STUDIO
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Travel
ARTFUL LODGER A villa thriller in Cape Town’s Hout Bay, Nobu’s second London hotel, and a verdant beach resort on Malaysia’s east coast
Square space 12: South African artists whose work is featured in the house. Among the pieces is this steel sculpture by Rodan Kane Hart
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Columns supporting the cantilevered bedrooms
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Pieces of furniture, including this sideboard in the entrance hall, custom-made by Future Found Design Agency especially for Villa Verte
NOBU HOTEL PORTMAN SQUARE, LONDON
Japanese restaurateur-turned-hotelier Nobu Matsuhisa is really showing London some love. He is set to unveil the British capital’s second Nobu Hotel later this year, this time swapping the gentrified edginess of Shoreditch for the considerably more soigné setting of Marylebone’s Portman Square. Working with Make Architects, David Collins Studio has transformed the former Radisson Blu into a 249-room minimalist bolthole. From the entrance all the way up to the penthouse, the aesthetic is the by-now familiar MO of Japan-lite accented with tactile fabrics, bespoke furniture and artwork. All the accoutrements of a big-city hotel are accounted for – including a 700-person ballroom – but it’s familiar pleasures that will lure Nobu devotees through the front door of the brand’s 11th hotel, not least an outpost of the owner’s eponymous restaurant, where pride of place in the modern South Americaninflected Japanese menu is reserved for the signature black cod miso. DW 22 Portman Square, W1, tel: 44.20 7208 6000, london-portman.nobuhotels.com. Rates: from £345
View finder
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Length in metres of the counter in the Ember Beach Club restaurant
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Handcrafted pieces, including this handwoven songket above a guest room bed, made by Sarawak-based Tanoti Crafts, a collective of female weavers
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Coast with the most
VILLA VERTE, CAPE TOWN
Following the success of their Maison Noir property, Cape Town hoteliers Jim Brett and Ed Gray have unveiled the four-suite Villa Verte on an adjoining plot of land. Seven years in the making, the project is set against a forested hillside, with views clear across Hout Bay and the Constantia Nek pass. Architect Thomas Leach has riffed on the silhouette of Maison Noir, itself inspired by a traditional South African kraal, or settlement, and designed by Paolo Deliperi. Curves and circles are dotted throughout in a nod to nature, and these forms are echoed by Southern Guild gallery and Future Found Design Agency in the interior, with curvaceous furniture and artwork. Available to rent as a whole house, Villa Verte has a 12.5m heated saltwater pool, as well as a herb garden and a Rolodex of organic suppliers – though if that sounds like too much effort for a holiday, a private chef can always be called in. Daven Wu 7 Farriers Way, Hout Bay, tel: 27.21 790 0085, maisonnoir.co.za. Sleeps eight in four en-suite bedrooms. Rates: from R14,320 ($910)
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1,120: Temperature in degrees Celsius of the glassblowing fire used to create Jeremy MaxwellWintrebert’s cloud pendant
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Black marble chips inlaid in the floor slabs at Nobu Bar
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Fretwork panels in the lobby
ONE & ONLY DESARU COAST, MALAYSIA
For various historical and infrastructural reasons, Malaysia’s resorts have all tended to cluster along its west coast, leaving the eastern flank in a remarkably pristine condition, thick with virgin rainforests and soft-sand beaches. Capitalising on this natural bounty is the One & Only group’s first Asian property. Set on a 128-acre estate, the resort’s 45 bright and breezy suites are the work of Kerry Hill Architects. Fans of Aman resorts – with whom the Singapore-based studio is a long-time collaborator – will recognise, amid the swathes of stone, linear perspectives and dense landscaping, a familiar layout of cascading terraces and pools. The centrepiece is a vast network of lawn and boxed gardens that leads, temple-like, past a 50m infinity pool and down to the 1.5km stretch of private beach and the South China Sea beyond. Special plaudits for the capacious Chenotmanaged spa, and the manicure and pedicure salon run by the ever-fabulous Bastien Gonzalez. DW oneandonlyresorts.com. Rates: from $835
ILLUSTRATOR: EOIN RYAN
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Avio Sofa System Collection, Piero Lissoni, 2016 Photo: Gionata Xerra
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MAY IS ALL ABOUT... Art, architecture & escape p170 HIGH HOPES Interior design reaches for the sky p182 FREEZE FRAME Geometric antics and gentlemanly attire p198 ARTIST’S PALATE Jeppe Hein’s ‘Breathe with Me’ buffet ∑
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‘Move’ rocking chair, £16,656, by Rossella Pugliatti, for Giorgetti
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Photography Ryan Hopkinson Interiors Matthew Morris
For uplifting interior inspiration, we’ve got our head in the clouds
Higher calling
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From left, armchair, £1,788, by Joe Colombo, for Kartell. ‘Stool One’ stool, £442, by Konstantin Grcic, for Magis, from Aram. ‘Many Worlds’ sofa, price on request, by Toni Grilo, for Riluc. ‘Pion’ dining table, €2,644, by Ionna Vautrin, for Sancal
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This page, ‘Broken Mirror’ mirror, €5,777, by Snarkitecture, for Gufram Opposite, ‘MT3’ rocking chair, €848, by Ron Arad, for Driade
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Space This page, ‘Go’ chair, €1,667, by Ross Lovegrove, for Bernhardt Design Opposite, from left, ‘Capitol Complex’ office chair, from £1,150, by Pierre Jeanneret, for Cassina. ‘Servomuto’ chair/table, £221, by Luigi Lanzi, for Flou, from Aram
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From left, ‘Swing’ sofa, €9,395, by Toni Grilo, for Riluc. ‘Deep-sea’ low table, £1,828, by Nendo, for Glas Italia. ‘Ester’ chair, price on request, by Jacopo Foggini, for Edra. ‘Biophilia’ chair, £275, by Ross Lovegrove, for Vondom
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This page, from left, ‘Cloud 5’ rug; ‘Cloud 7’ rug, €15,645 each, both by Jan Kath
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Opposite, ‘Pyrenees’ sofa, £28,000, by Fredrikson Stallard, for David Gill Gallery For stockists, see page 196 Set build: Motley Makers Special thanks: Hilltop Farm
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Fashion
PERFECT
Sinewy lines and strong shapes define this season’s tailored looks Photography Alex Colley Fashion Jason Hughes
FORM
Coat, £1,300; trousers, £745, both by Dolce & Gabbana. Shoes, €365, by Dries Van Noten. ‘Swirl’ bookends, £225 for set of two, by Tom Dixon
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This page, Sebas wears jacket, £3,300 for suit; Augusts wears jacket, £2,350 for suit, both by Dior. ‘Aura’ wall mirrors, €53 each, by Bjørn van den Berg, for New Works. Opposite, jacket, price on request, by Alexander McQueen 184
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This page, jacket, £1,900; coat, £2,040, both by Prada. Opposite, jacket, £1,950; trousers, £650, both by Celine by Hedi Slimane. Shoes, £430, by Jil Sander. ‘Siena’ console with marble top, £3,170, by Tom Faulkner 186
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This page, jacket, £1,050; hat, price on request, both by Marni. ‘Ruban’ mirrors, from £13, by Inga Sempé, for Hay. Opposite, jacket, £1,050; trousers, £320, both by Emporio Armani. Shoes, £430, by Jil Sander. ‘9.5’ chair, €810, by Rasmus B Fex, for Frama
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This page, Augusts wears jacket, £2,020, by Saint Laurent by Anthony Vaccarello. Sebas wears jacket, £2,600, by Berluti. ‘Shadow Game’ table in black, price on request, by Holly Hunt. Opposite, jacket, £2,210; waistcoat, £780; trousers, £750, all by Gucci. Shoes, €365, by Dries Van Noten
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This page, jacket, £1,590, by Burberry. Opposite, Sebas wears coat, £1,550; trousers, £490, both by Valentino. Shoes, €365, by Dries Van Noten. Augusts wears suit, £1,450, by Canali. Shoes, £430, by Jil Sander. Minimalist wire frame sculptures, £400 each, from Béton Brut. ‘Thin Black Table’, £1,150, by Nendo, for Cappellini
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This page, left, jacket, £1,660, by Bottega Veneta. Right, coat, £1,550; jacket, £1,250; vest, £140; trousers, £605; shoes, £430, all by Jil Sander. ‘Back To School’ rug, part of the Metroquadro collection, £1,425, by CC-Tapis. Opposite, jacket, £2,250; trousers, £650, both by Louis Vuitton. Shoes, €365, by Dries Van Noten. ‘Ballot’ chair, £504, by Barber Osgerby, for Isokon Plus For stockists, see page 196 Models: Sebas Jansen at Models 1, Augusts at Wilhelmina London. Casting: David Steven Wilton at East. Grooming: Chris Sweeney at One Represents using Sisley Skincare and Oribe. Interiors: Jacqui Scalamera. Set design: Tara Holmes at Sarah Laird & Good Company. Photography assistant/digi tech: Josh Payne. Fashion assistants: Aylin Bayhan, Anastasia Xirouchakis. Interiors assistant: Melissanthe Panagiotopoulou
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Stockists 2 Moncler 1952 Tel: 44.20 7235 0857 (UK) moncler.com
Bjørg Tel: 45.22 45 33 14 (Denmark) bjorgjewellery.com
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Boss hugoboss.com
Acne Studios acnestudios.com Agmes agmesnyc.com Alexander McQueen Tel: 44.20 7355 0088 (UK) alexandermcqueen.com Alighieri Tel: 44.20 8065 0301 (UK) alighieri.co.uk Alivar Tel: 39.055 807 0115 (Italy) alivar.com Aram Tel: 44.20 7557 7557 (UK) aram.co.uk
Bottega Veneta Tel: 44.20 7838 9394 (UK) bottegaveneta.com Bulgari Tel: 44.20 7872 9969 (UK) bulgari.com Bunney bunney.co.uk Burberry Tel: 44.20 7806 8904 (UK) burberry.com
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Canali Tel: 44.20 7290 3500 (UK) canali.com
Ara Vartanian Tel: 44.20 7493 4751 (UK) aravartanian.com
Cappellini Tel: 44.20 8150 8764 (UK) cappellini.com
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Cartier Tel: 44.20 7408 9192 (UK) cartier.com
Berluti Tel: 44.20 7437 1740 (UK) berluti.com Bernhardt Design Tel: 1.828 759 6641 (US) bernhardtdesign.com Béton Brut Tel: 44.20 7018 1890 (UK) betonbrut.co.uk
Casablanca casablancaparis.com Cassina Tel: 44.20 7584 0000 (UK) cassina.com CC Tapis Tel: 39.02 890 938 84 (Italy) cc-tapis.com Celine by Hedi Slimane Tel: 44.20 7491 8200 (UK) celine.com
Chanel chanel.com
Dries Van Noten driesvannoten.com
Chaumet chaumet.com
Driade Tel: 39.02 799 957 (Italy) driade.com
Chopard Tel: 44.20 7046 7808 (UK) chopard.com Cindy Chao The Art Jewel cindychao.com Clyde Tel: 1.917 214 9484 (US) clyde.world Comme des Garçons Homme Plus at Dover Street Market Tel: 44.20 7518 0680 (UK) doverstreetmarket.com
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Dale Rogers Tel: 44.20 7881 0592 (UK) dalerogersammonite.com David Gill Gallery Tel: 44.20 3195 6600 (UK) davidgillgallery.com David Morris Tel: 44.20 7499 2200 (UK) davidmorris.com Dents dentsgloves.com Dior Tel: 44.20 7172 0172 (UK) dior.com Dolce & Gabbana Tel: 44.20 7659 9000 (UK) dolcegabbana.com
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Dunhill Tel: 44.20 3425 7313 (UK) dunhill.com
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Edra Tel: 39.0587 616660 (Italy) edra.com Emporio Armani Tel: 44.20 7491 8080 (UK) armani.com
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Farrow & Ball Tel: 44.1202 876141 (UK) farrow-ball.com Frama Tel: 45.31 40 60 30 (Denmark) framacph.com Frame Chain framechain.co.uk
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Georg Jensen Tel: 45.50 75 13 90 (Denmark) georgjensen.com Giorgetti Tel: 39.03 627 5275 (Italy) giorgetti.eu
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Ines Tel: 31.203 30 54 77 (Netherlands) inesgloves.com Isokon Plus Tel: 44.20 7407 9907 (UK) isokonplus.com
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Jaeger-LeCoultre Tel: 44.20 3402 1960 (UK) jaeger-lecoultre.com Jan Kath Tel: 49.234 941 2344 (Germany) jan-kath.de Jessica McCormack Tel: 44.20 7491 9999 (UK) jessicamccormack.com Jil Sander Tel: 39.055 237 201 (Italy) jilsander.com
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Kartell Tel: 44.20 7584 3923 (UK) kartell.com
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Le Gramme legramme.com
Glas Italia Tel: 39.039 2323202 (Italy) glasitalia.com
Louis Vuitton Tel: 44.20 7998 6286 (UK) louisvuitton.com
Gucci Tel: 44.20 7235 6707 (UK) gucci.com
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Gufram Tel: 39.0173 56102 (Italy) gufram.it
Our room-by-room edit of the best new furniture design. Plus, Architects’ Directory, marking the world’s most exciting emerging talent. We also see Margaret Calvert redraw her classic British railway signage, and electric aviation take off. We report on creative energy in Quito, awesome architecture in Antarctica, and a new take on planet-friendlier footwear
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Maison Margiela Tel: 33.1 45 49 06 68 (France) maisonmargiela.com Maison Michel Tel: 33.1 45 08 94 62 (France) michel-paris.com.fr
Hay Tel: 45.4282 0282 (Denmark) hay.dk
Margaret Howell Tel: 44.20 7591 2250 (UK) margarethowell.co.uk
Hermès Tel: 44.20 499 8856 (UK) hermes.com
Marni Tel: 44.20 7491 9966 (UK) marni.com
Hermina Athens Tel: 30.210 982 8340 (Greece) herminaathens.com
Mikimoto Tel: 44.20 7399 9860 (UK) mikimoto.co.uk
Holly Hunt Tel: 1.310 659 3776 (US) hollyhunt.com
Jacket, ÂŁ1,580, by Maison Margiela. See page 182
SCP Tel: 44.20 7739 1869 (UK) scp.co.uk Siegelson Tel: 1.212 832 2666 (US) siegelson.com Sophie Bille Brahe sophiebillebrahe.com Sunspel at MatchesFashion matchesfashion.com
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Tasaki Tel: 44.20 3967 3730 (UK) tasaki.co.uk The Conran Shop Tel: 44.20 7723 2223 (UK) conranshop.co.uk Theo Fennell Tel: 44.20 7591 5000 (UK) theofennell.com Tom Dixon Tel: 44.330 363 0030 (UK) tomdixon.net Tom Faulkner Tel: 44.20 7351 7272 (UK) tomfaulkner.co.uk
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Ports 1961 Tel: 33.1 47 03 35 41 (France) ports1961.com
New Works Tel: 45.7230 9999 (Denmark) newworks.dk
Prada Tel: 44.20 7235 0008 (UK) prada.com
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Patcharavipa patcharavipa.com Patek Philippe Tel: 44.20 7493 8866 (UK) patek.com Paul Smith Tel: 44.20 7493 4565 (UK) paulsmith.com
Osoi at MatchesFashion matchesfashion.com
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Raf Simons at Dover Street Market Tel: 44.20 7518 0680 (UK) doverstreetmarket.com Richard Mille Tel: 44.20 7123 4155 (UK) richardmille.com Riluc riluc.com Rokh at Net-A-Porter Tel: 44.800 044 5700 (UK) net-a-porter.com Roland Mouret at MatchesFashion matchesfashion.com
Rosa de la Cruz Tel: 44.7493 689990 (UK) rosadelacruz.co.uk
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Saint Laurent by Anthony Vaccarello Tel: 44.20 7235 6706 (UK) ysl.com Sancal Tel: 34.968 719 062 (Spain) sancal.com Saskia Diez Tel: 49.892 284 5367 (Germany) saskia-diez.com
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Vacheron Constantin Tel: 44.20 7578 9500 (UK) vacheron-constantin.com Valentino Tel: 44.20 7647 2520 (UK) valentino.com Van Cleef & Arpels Tel: 44.20 7493 0400 (UK) vancleefarpels.com Vondom Tel: 34.96 239 8486 (Spain) vondom.com
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Zieta Studio Tel: 48.663 101 111 (Poland) zieta.pl
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Artist’s Palate
JEPPE HEIN’S ‘Breathe with Me’
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A personal breakdown about ten years ago led Jeppe Hein to take up conscious breathing. What began as an exercise for balancing body and mind has since become an art form, firstly in his Breathing Watercolours series, where the Danish artist represents his breaths as vertical strokes of ultramarine blue paint on a white surface; and now in the ‘Breathe with Me’ movement, which invites people to join in the action and create a collaborative artwork, reminding participants ‘to cooperate if we want to share this world together, today and in the future’. Hein has now given his project a culinary expression for Wallpaper*. His spiced dal, rice, chapati, vegetable raita, mango chutney and mango lassi are meant to be shared between ten people. Says the artist, ‘The dishes bring everyone to the same table, giving us the opportunity for communication and making us aware of what unites us.’ breathewithme.world; For Hein’s recipe, visit Wallpaper.com
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‘Cobra’ candleholder, £58, by Constantin Wortmann, for Georg Jensen. ‘Brew’ tray, £200, by Tom Dixon. ‘Oriental’ bowls, £8 each; ‘Tinklet’ bowls, £2.50 each, all by Van Verre, from SCP. ‘Babylone’ tumbler, £14, from The Conran Shop. ‘Closet Stripe’ wallpaper, £67 per 10m roll, by Farrow & Ball For stockists, see page 196
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PHOTOGRAPHY: BAKER & EVANS INTERIORS: JACQUI SCALAMERA ENTERTAINING DIRECTOR: MELINA KEAYS WRITER: TF CHAN
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