Wallpaper* March Issue Style Special 2021 by wallpaper-magazine

*Architecture � Design � Art � Travel � Entertaining � Beauty & Grooming � Transport � Technology � Fashion � Watches & Jewellery

THE STYLE ISSUE Embrace the future with flexible thinking and creative stretch

STORY CRAFT The wit and wisdom of Silvia Venturini Fendi SKY SCRAPER Richard Rogers’ high hopes at Château La Coste OBJECT LESSONS Dozie Kanu is asking all the right questions

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Fresh focus Three of fashion’s rising stars honour their heritage Origins of form Silvia Venturini Fendi’s sartorial offering for S/S21 looks to the fabrics of sleep, a sense of history and family values Still life Perfectly composed menswear staples for contemplative moods Body armour Fitted forms and sheer fabrics as womenswear shows its strength

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High notes Richard Rogers’ compelling cantilever for Château La Coste in Provence

Mound and vision A renovated brutalist hotel is putting an unassuming Japanese city on the map

ART

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Lost and found Dozie Kanu on disrupting the norm Arcane and able Karl Monies’ sacred stoneware

‘IGNEOUS’ GOLD VERMEIL CUFF, £4,000, BY EMEFA COLE, SEE PAGE 058

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FRONT OF BOOK Newspaper Our hot pick of the latest goings-on

JEWELLERY

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Wonder vision Emefa Cole’s understatedly opulent works

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Subscribe and save Plus receive limited-edition, artist-designed covers WallpaperSTORE* Refined design delivered to your door Stockists What you want and where to get it

ARTIST KARL MONIES IN HIS COPENHAGEN STUDIO WITH A PAIR OF CHAIRS FOR HIS NEW SHOW AT ETAGE PROJECTS, SEE PAGE 068

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BEAUTY & GROOMING Eye candy The new season’s make-up looks

DESIGN

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Hometown glory A new concept store for a new world True colours Wearable art from Lulu Kaalund

FOOD

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Artist’s palate Charles Gaines’ candied yams RICHARD ROGERS’ GALLERY FOR CHÂTEAU LA COSTE, SEE PAGE 064

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Wallpaper.com @wallpapermag

EDITORIAL Editor-in-Chief Sarah Douglas Digital Editor Elly Parsons

Editor TF Chan Fashion Director Jason Hughes Architecture Editor Ellie Stathaki

Photography Director Holly Hay

Design Editor Rosa Bertoli

Transport & Technology Editor Jonathan Bell Group Art Director David Graham

Fashion Features Editor Laura Hawkins

Head of Interiors Olly Mason

Watches & Jewellery Editor Hannah Silver

Designer Ben Rimmer

Executive Editor Bridget Downing

Arts Editor Harriet Lloyd-Smith

Assistant Photography Editor Sophie Gladstone

Producer Tracy Gilbert

Beauty & Grooming Editor Mary Cleary

Entertaining Director Melina Keays Production Editor Anne Soward

Sub Editor Léa Teuscher

Contributing Editors Nick Compton, Deyan Sudjic, Ekow Eshun, Tilly Macalister-Smith, Nick Vinson, Emma O’Kelly, Hugo Macdonald, Alice Morby, Henrietta Thompson, Suzanne Trocmé US Editor Michael Reynolds • New York Editor Pei-Ru Keh • Milan Editor Marco Sammicheli • Paris Editor Amy Serafin • Germany Editor Sophie Lovell Madrid Editor Maria Sobrino • Japan Editor Jens H Jensen • China Editor Yoko Choy • Singapore Editor Daven Wu • Australia Editor Elias Redstone Latin America Editor Pablo León de la Barra • Buenos Aires Editor Mariana Rapoport

PUBLISHING & MARKETING Managing Director Malcolm Young Associate Publisher Lloyd Lindo

Business Director Kelly Gray

Advertising Digital Advertising Director Chris Goh Global Sales Manager Ben St George

Bespoke Senior Account Manager Tom Hemsley

Advertising Business Manager Amanda Asigno

Digital Project Manager Arti Sisodiya

Bespoke Director Sarah-Jane Molony

Bespoke Editor Simon Mills

Bespoke Art Director Daniel McGhee

Bespoke Producer Alex Milnes

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CONTRIBUTORS TILLY MACALISTER-SMITH Contributing editor A Brit based in New York, Macalister-Smith knows Copenhagen well from fashion week visits and appreciates how ‘the Danes know how to have a good time as much as they enjoy their creative work’. This month, she interviewed Danish artists Karl Monies (page 068) and Lulu Kaalund (page 072). ‘There is such a strong creative community in Copenhagen, and often disciplines cross worlds. I wasn’t surprised to learn that Lulu and Karl knew each other, or that Lulu is an accomplished chef,’ says Macalister-Smith. CHARLES GAINES Artist

CHIESKA FORTUNE SMITH Photographer

American artist Gaines frequently delves into how rational thought and generative systems can drive conceptualism. Candied yams is his dish of choice for our back page (page 114), a recipe he credits to his mother Amelia. This is a big year for Gaines, with shows at Hauser & Wirth London and SFMoMA. The artist is also a long-time faculty member at the California Institute of the Arts, where he recently established a fellowship to support Black MFA students.

Born in Baltimore to a Japanese dancer and an African American soul singer, Fortune Smith is renowned for her intriguing blend of street, portrait and documentary imagery. She revelled in the challenge of shooting this month’s beauty story (page 086) in the middle of a pandemic. ‘The team had to be very minimal, but actually that was an advantage,’ she says. ‘It created a playful and intimate atmosphere that lent itself well to the nature of the brief.’ TINO CHIWARIRO Photographer We tasked the London-based Chiwariro, who is originally from Zimbabwe, with capturing the bold, sculptural beauty of Emefa Cole’s jewellery (page 058). Chiwariro is proud to be part of an upcoming group exhibition at Home by Ronan McKenzie, ‘one of a few Black-owned art spaces in London’, which should open in the summer. ‘I’m looking forward to showing work in a space that focuses on supporting Black, indigenous and people of colour,’ she says.

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MINAKO NORIMATSU Writer

JOSH DAVID PAYNE Photographer

Japanese journalist Norimatsu now lives in Paris, just a stone’s throw from restaurant and gallery Ogata, which she covered for us last year (W*252). We asked her to interview fashion designer Ryohei Kawanishi about his new label, Les Six (page 070). ‘It was such a pleasure to chat with a person who changed course at this difficult period and truly enjoys a slow but creative life,’ she says. A stylist herself, Norimatsu is keeping busy during lockdowns by making and selling face and eye masks.

We kept Payne busy this month by asking him to shoot both our Newspaper section (page 041) and profiles of three up-andcoming fashion designers (page 060). ‘To be commissioned for a fashion shoot by Wallpaper* when my work is predominantly still-life was a privilege,’ says Payne. ‘My method is experimental and spontaneous, and having the freedom to make that work for these shoots was an absolute blessing.’ He is now working on a book with artist and musician Billy Howard Price.

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WRITERS: LÉA TEUSCHER, HARRIET LLOYD-SMITH

EDITOR’S LETTER Dress, £2,290; shoes, £1,250, both by Fendi. See our interview with Silvia Venturini Fendi on page 080

Lasting impression

Newsstand cover Photography: Josh David Payne Fashion: Jason Hughes Clogs, £760, by Hermès. See our Newspaper section, from page 041

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Welcome to The Style Issue, which showcases the best of the S/S21 collections, the first to have been conceived, shown and sold against the backdrop of the pandemic. Across leading fashion houses and emerging labels, one thing was clear: with remote working and socialising now de rigueur, there was less penchant for flamboyant gestures, and a renewed emphasis on styles that endure. Our Newspaper section, photographed by Josh David Payne, celebrates this new minimalism. We highlight pared-back pieces that nonetheless captivate with their sculptural forms and tactile materials – including a pair of calfskin and beechwood clogs from Hermès (our newsstand cover star), and a Ferragamo trench coat that pays homage to Hitchcock’s heroines. Both convey a laid-back yet luxurious mood that is echoed in our main menswear story, photographed by Nolwenn Brod. We dedicate six pages to the new Fendi womenswear collection, the final solo outing by Silvia Venturini Fendi before Kim Jones joins her at the creative helm. Inspired by family values, heirloom fabrics, and embracing a soothing palette of white and light blues, her looks perfectly capture the spirit of the times. Photographer Stefanie Moshammer scaled the Austrian alps to bring the collection to life, conjuring up a set of images that ignite our longfrustrated wanderlust. There is a similarly personal dimension to the work of three rising stars featured in our mini-profiles: Supriya Lele, duo Chopova Lowena, and Thebe Magugu, who draw on their individual heritage and

influences (Indian, Bulgarian and South African, respectively) to bring fresh energy to the fashion industry. Likewise we look to jeweller Emefa Cole, whose quietly opulent pieces honour Ghanaian goldsmithing traditions. Other creatives featured in the issue speak of reinvention: our limited-edition subscribers’ cover artist Dozie Kanu describes the ‘endearing messiness’ he witnessed in his parents’ homeland of Nigeria, which encouraged him to move away from slicker sculptures into more visceral assemblages of found objects. Chef-turned-crochet designer Lulu Kaalund recalls how an accident five years ago forced her into a new career, resulting in joyfully idiosyncratic work that is now embraced by many fashion labels in her native Denmark. Elsewhere, fashion designer Ryohei Kawanishi explains his gear change from creative director of New York streetwear label Landlord to concept store owner in his hometown of Tottori, in southwest Japan. Different though their stories may be, they share a sense of optimism and improvisation fit for uncertain times. Finally, we journey to Provence, where Richard Rogers is signing off his groundbreaking career with a simply brilliant and gravity-defying drawing pavilion at Château La Coste. As our contributing editor Deyan Sudjic describes, the structure brings together three of the architect’s signatures: a sense of lightness, a love of bold colour, and making the most of a view. It’s a masterclass, more relevant than ever, in building for the ages. Sarah Douglas, Editor-in-Chief

Limited-edition cover by Dozie Kanu Nigerian-American artist Kanu created this issue’s limited-edition cover. See details and our interview on page 062 Limited-edition covers are available to subscribers, see Wallpaper.com/sub21

Newspaper* Wallpaper’s hot pick of the latest global goings-on Dress, £25,500, by Hermès. Shoes, £705, by Prada For stockists throughout, see page 113

Capsule wardrobe pieces with the magic touch

Staying power

PHOTOGRAPHY: JOSH DAVID PAYNE FASHION: JASON HUGHES

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Left, bag, £240, by Kassl Editions Below, shrug, £790; shirt, £1,020; trousers, £920; shoes, £705, all by Prada Opposite, trench coat, £2,030; trousers, £915, both by Salvatore Ferragamo

elcome to our masterclass in minimalism. Top of our aesthetic agenda? The ultimate womenswear pieces for achieving wardrobe precision. Right now, we are not in need of a plethora of outfits but a capsule offering of hard-working, allweather hits, in a host of timeless tones. We suggest classic items with a futuristic finesse, pieces rendered in glossy and tactile fabrications. Take Hermès’ apron dress, which is embroidered in a graphic grid of horn and glossy lambskin – adornment with real architectural appeal. Tactility is the essential ambition of the French luxury maison’s womenswear creative director Nadège Vanhee-Cybulski, given how dispiritingly hands-off and touch sensitive we have become. Miuccia Prada and Raf Simons’ dual design debut also has minimalist merit, offering a celebration of Prada’s signature nylon, seen in shoes and separates. Kitten heels with a curving comma heel are inspired by 1990s shapes and feature sharp toes and undulating rubber shell soles, placing them somewhere between smart and sportswear. We’ll also be strapping ourselves into Prada’s high shine, off-the-shoulder blouse, which, in a utilitarian twist, features a roomy chest pocket and seatbelt-inspired fastening. Wrapping up our minimalist melange is Salvatore Ferragamo’s trench coat, created from an innovative lightweight fabric formed from mohair bonded with calfskin. Creative director Paul Andrew was inspired by Hitchcock’s heroines, and this silhouette will suit your own sleek silver-screen moment. A graphic accessory to pop on its shoulder? Kassl Edition’s oilcoated canvas bag is cut into a perfect circle. Puffed up like a pillow, it’s both sculptural and simple.

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PHOTOGRAPHY: JOSH DAVID PAYNE FASHION: JASON HUGHES WRITER: LAURA HAWKINS

Newspaper

Newspaper From left, ‘Sylvestrina’ light, £324, by Jordi Garcés and Enric Sòria, for Santa & Cole. ‘Oblique’ light, £305, by Vincent Van Duysen, for Flos. ‘Arca Portable’ light, $275, by Philippe Malouin, for Matter Made

There are no crossed wires with these handy portable lamps

Travelling light Offering the freedom to illuminate wherever and whenever you need, portable lamps are an invaluable solution when plug sockets are not available or inconveniently located, as they can be shifted from bedside to deskside with impeccable ease. A trio of designs are currently lighting up our lives. Conceived by Jordi Garcés and Enric Sòria in 1974 to emulate an oil lamp, the ‘Sylvestrina’ has been given new life by Santa & Cole as a more contemporary LED version.

PHOTOGRAPHY: JOSH DAVID PAYNE WRITER: ROSA BERTOLI

Meanwhile, Vincent Van Duysen’s ‘Oblique’ lamp for Flos, which echoes the traditional task light, comes in a range of colours, and features a wide beam and a 355-degree rotating stem, allowing it to cast optimal light wherever you need it. Philippe Malouin continues his collaboration with Matter Made with the ‘Arca Portable’, which features four settings (night, ambient, reading and task) and is demountable for those who can’t bear to leave it behind when they travel.

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Newspaper

Rouge Dior lipstick in 999 Velvet, £32, by Dior

The refreshed Rouge Dior range offers shades of brilliance

Lip service

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Given the ongoing directives to mask up, launching an extensive lipstick collection might seem an unexpected business choice. Yet it could just as easily be said that the debut of the new Rouge Dior range is perfectly timed, offering, as it does, a bit of colour and an uplifting mode of self-expression for the new year. Dior’s iconic lipstick range, which originally launched in 1953, has been given a modern update for 2021 by Dior Makeup’s creative and image director Peter Philips, who joined the brand in 2014 having previously been at Chanel.

The rebooted collection features 75 shades of reds, pinks and nudes, available in four finishes: classic matte, metallic, satin, and the ultra-matte ‘velvet’, all textures inspired by fabrics once used in Dior’s couture collections. The new lipsticks are packaged in refillable black cases bearing a metallic silver ring with the ‘CD’ initials of Dior’s founder. ‘Rouge Dior is the ultimate lipstick,’ says Philips. ‘It has built a strong image and reputation around the world. Today, it is a timeless icon that never ceases to amaze.’

PHOTOGRAPHY: JOSH DAVID PAYNE WRITER: MARY CLEARY

‘Worm Vorm’ small bowl, €220; large bowl, €290, both by Michael Schoner, from A1043. ‘Passe-Partout’ bowls, £4 each, by Vincent Van Duysen, for Serax Carrot rye loaf, £5, by Ole & Steen

The simplest of snacks still need the sleekest of servingware

Bowl cuts

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We’re going back to basics with the simplest of all snacks: bread and butter. Whipped to a soft texture, and flavoured with coriander and lime, smoked paprika, and anchovy, this trio of airy butters is ready for spreading on sliced rye bread, which we’re serving, with radishes, in Michael Schoner’s powder-coated aluminium ‘Worm Vorm’ bowls. The Rotterdam-based Schoner trained and practised as an engineer and architect before moving on to designing objects, exploring sleek compositions of metal

shapes, from chairs and lamps to the smaller-scale bowls. These pieces are intended to be 3D interpretations of bold drawings, experiments that start with cutting shapes out of cardboard before reproducing them in collaboration with a specialist laser-cutting company. The final steps are made by hand in Schoner’s studio, a ‘low-tech phase’, as he calls it, that involves bending by hand, sandblasting and anodising. ‘I am fascinated by the graphical qualities of things, and moving from 2D to 3D,’ he says.

Newspaper Jonathan Anderson weaves a fanciful story at Loewe

Twisted tales

A creative response to crisis doesn’t just have to be practical – it can also be escapist and fanciful. Jonathan Anderson, creative director of Spanish luxury fashion house Loewe, was inspired by the idea of delight and fantasy in design. His S/S21 men’s and women’s collections abounded with voluminous shapes, exuberant adornments and artisanal techniques, such as capes cut like circles, dresses exploding with ruffles, and trousers that ballooned around the body. The menswear offering of the Madrid-based brand, whose rich heritage is rooted in leather craftsmanship, included two leather tops, basket-woven by Galicia-based textile artist Idoia Cuesta, who had also created a series of fringed and knotted bags and vessels for the brand’s ‘Loewe Baskets’ exhibition at Milan Design Week 2019 (see W*242). The label’s annual showcase is used to highlight the brand’s commitment

Above, top, price on request; trousers, £925, both by Loewe Right, top, price on request; trousers, £925, both by Loewe

PHOTOGRAPHY: JOSH DAVID PAYNE ENTERTAINING DIRECTOR: MELINA KEAYS FASHION: JASON HUGHES WRITERS: ROSA BERTOLI, LAURA HAWKINS

to craftsmanship, with previous themes including leather marquetry and blanket and tapestry making. ‘The main challenge was adapting these designs to the human body,’ explains Cuesta of the pieces, which each took up to five days to weave. Incorporating Spanish, Asian and Scandinavian influences, the leather tops look armour-like but are lightweight, and include braided knots that naturally twist around the body and punctuate the sleeves and neckline. ‘Shaping the arm holes was the hardest challenge,’ remarks Cuesta. One piece also boasts a spiral woven strap, an exaggerated take on a bag handle straddling the body. The styles may be imaginative, but they also reflect artisanal endurance. Adds Cuesta, ‘To use the ancestral and traditional knowledge that’s behind basketry, and to be able to use them to create fashion pieces, is major and symbolic.’ idoiacuesta.com

Newspaper

We’re clogging on for the new WFH chic

Low profile

Clip-clopping across the catwalks this spring, clogs made a classy appearance at shows by Louis Vuitton, Bally and Molly Goddard, but it was Hermès’ take on the chunky, slip-on silhouette that had real orthopaedic oomph. As high heels are being usurped by footwear that’s versatile enough for both Zoom meetings and moments of relaxation, Hermès creative director

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Nadège Vanhee-Cybulski set out to prove that shuffling around at home can be chic, teaming every Hermès runway look with a pair of organically-hued beechwood clogs featuring an ‘H’ on the calfskin upper and palladium-finish metal stud details. So, just as yoga, meditation and a cold shower encourage stay-at-home serenity, think of investing in a pair of Hermès’ clogs as self-care for the sole.

Clogs, £760, by Hermès

PHOTOGRAPHY: JOSH DAVID PAYNE FASHION: JASON HUGHES WRITER: LAURA HAWKINS

Newspaper ‘Boy.Friend Skeleton’ watch in 18ct white gold with diamonds and alligator pattern calfskin strap, price on request, by Chanel

A boundary-breaking Chanel timepiece tweaked for a new generation

Boy wonder Coco Chanel revolutionised the way that women wore clothes and accessories, challenging gender stereotypes and assimilating traditionally male embellishments into her pieces. Her ethos lives on at the French fashion house, which continues to blur the gender boundaries in all its lines, including its watches. The ‘Boy.Friend Skeleton’, which Chanel launched in 2015, played with established design codes, translating a typically masculine case into a chic watch for women. Instead of the conventional

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softened silhouette, a distinctive octagonal shape looked back to the brand’s first foray into watchmaking in 1987, redrawing the lines of the ‘Première’, which were originally inspired by the angled cap of the Chanel No.5 perfume bottle. The ‘Boy.Friend Skeleton’ has now been rethought for a new generation. Nodding to the original, it puts the hypnotic circles of the in-house black-coated mechanical movement at its heart, juxtaposing its curving form against a sharp edging of baguette-cut diamonds.

PHOTOGRAPHY: JOSH DAVID PAYNE WRITER: HANNAH SILVER

S ubscribe and save Wallpaper* subscribers enjoy exclusive, limited-edition, artist-designed covers To subscribe, visit wallpaper.com/sub21

A Wallpaper* subscription ensures: * Collectable, artist-designed covers * 12 issues a year for £100 / $140 / €180 * Delivery every month Our limited-edition covers, available only to subscribers, are created by a leading artist, designer or architect each month. Past contributors range from Jony Ive to Jenny Holzer, Yayoi Kusama to Tom Sachs, Isaac Julien to Karl Lagerfeld. See just a few of our favourites here, and subscribe for many more unique artworks to come.

Dieter Rams W*95

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Shop now at store.wallpaper.com ‘Equilibri’ vase, Visionnaire ‘Turner’ bookcase, Poltrona Frau

—— €1,740 ——

‘Nimbus’ mirror, Menu —— €1,009 ——

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‘Triadic Ballerina’ vase Vista Alegre

‘Shorebird’, Normann Copenhagen

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‘Art’ book, Phaidon

‘Store’ jar, Established & Sons

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‘Touch Half Moon’ stool, Zanat —— €444 ——

‘Saguaro’ rug, Missoni Home

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Newspaper Jacket, £2,410; shirt, £545; trousers, £825; shoes, £645, all by Prada. Socks, £30, by Pantherella

Precision and pared-back silhouettes bring clarity to a complicated world

Sharp relief

PHOTOGRAPHY: JOSH DAVID PAYNE FASHION: JASON HUGHES

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he 1990s have been an endless source of inspiration for designers in recent years, whether it’s been a nod to the grunge, heavy metal or rave scenes, or a lust for the luxury logo. Entering 2021, it has been the decade’s preoccupation with minimalism, driven largely by creatives such as fashion designer Jil Sander and designer John Pawson, that has been ticking style boxes. For spring, menswear adopted a pared-back, precise and uniform-inspired approach to dressing. Prada presented straightforward, unostentatious clothing as a casual antidote to an increasingly complex world. Suits and overcoats were imagined in a trio of charcoal tones, and fastened with a fuss-free row of buttons. When teaming with a smart shirt, be sure to style it sans tie. At Jil Sander, precision was also paramount, and silhouettes were slightly elongated and square as the brand’s creative directors, husband-and-wife duo Lucie and Luke Meier, unveiled unlined wool blazers with generous pockets that sophisticatedly skimmed the body, offering an informality well suited to today’s largely office-free existence. At Celine, a versatile accessory was essential – one that was both refined and roomy, with graphic details. The French maison’s largest version of its signature ‘16’ bag features striking metal hardware and a wide detachable shoulder strap, for maximum carrying ease. The only accessory you need to carry inside it? Direct your attention to a pair of Lindberg’s ultra-lightweight titanium sunglasses, stripped back in design details save for their aviator-style frames. The styles recall the optical preferences of chart-riding noughties Britpop stars. This is minimalism with maximum impact.

Above, jacket, price on request; top, £590; trousers, £750; bag, £2,400, all by Celine Homme by Hedi Slimane Left, sunglasses, price on request, by Lindberg Opposite, jacket, £1,590; apron top, £750; trousers, £690, all by Jil Sander by Lucie and Luke Meier

PHOTOGRAPHY: JOSH DAVID PAYNE FASHION: JASON HUGHES WRITER: LAURA HAWKINS

Models: Akuol at Milk Management, Patrick Rom at Elite London. Hair: Chris Sweeney at One Represents using Bumble and Bumble. Make-up: Martina Lattanzi using Dior Backstage and Capture Totale Super Potent Serum. Interiors: Olly Mason. Photography assistant: Jack Gray. Fashion assistant: Sammiey Hughes. Retouching: RGBerlin

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Jewellery ‘Erosion 1’ ring in recycled oxidised bronze with gold leaf (this page), £1,850; ‘Igneous’ cuff in recycled sterling silver and yellow gold vermeil (opposite), £4,000, both by Emefa Cole

mefa Cole is softly spoken but also a mistress of understatement. ‘I don’t like to be boxed in. I am an artist, but I design and I make.’ Her methodology, one which segues from artisanal to modern practices, incorporates deep research, and has garnered her international critical acclaim. Add to this a loyal clientele and a place in the collections of major museums and institutions, and it becomes clear that she is quietly overachieving on numerous fronts. With influences that range from the many ethnic groups across Western Africa that create gold jewellery and objects to jewellery artists such as Giovanni Corvaja, hers is a tale of creating without compromise and trusting the process. Since launching her eponymous brand in 2012, London-based Cole has been on a quest to distil notions of memory, loss, value and nature, in pieces that incorporate the use of patina, oxidised metals and gold plating for an effect that she describes as ‘understated opulence’. She says, ‘I daydream about Africa, because there is this longing for home that has grown a lot stronger in recent years.’ Cole’s family is from Ghana (she can trace her lineage to traditional rulers on both sides of her family), and she spent her formative years there. ‘I am learning so much more about where I come from,’ she says. ‘And that has led to my work evolving and changing,

and now incorporating a lot more of that part of me, as opposed to when I was younger when it wasn’t necessarily at the forefront.’ She uses her memories as design prompts, such as in the ‘Erosion’ series – which was inspired by childhood tales of people finding gold nuggets washed up after tropical rainstorms, as well as various natural phenomena where the elements leave their mark. Cole’s interpretation of these events became oxidised bronze pieces that are gold plated in part. The choice of materials also makes reference to memory. Over time, the gold will peel and reveal the bronze beneath, acting as a new marker of time passed and matter lost. Cole refutes the assumption that she is an overnight success. ‘There are gatekeepers in the industry who promote people, and when they don’t highlight designers of African heritage, people don’t get to hear about them,’ she notes. She was undeterred by early industry indifference. ‘I didn’t allow that to become an issue. I loved the fact that I could just be hidden away, creating things.’ Experimentation has been at the forefront of her design process since her days at London Metropolitan University. She graduated in 2011 with a BA in jewellery and silversmithing. Prior to the first Covid-19 lockdown, her love of experimentation led her on her boldest quest for knowledge yet: an

apprenticeship with the personal goldsmith to the Asantehene, the King of the Ashanti people, who, in turn, are seen as the principal custodians of gold craft in all its guises in Ghana. Cole’s aim was to learn more about the lost wax casting method, a technique perfected by the Ashanti. She adds, ‘Nana [Poku Amponsah Dwumfour, the goldsmith] and I explored how to create pieces like his but using Ferris wax, which is what we have here in the West.’ Last year, Cole’s ‘Vulcan’ ring was acquired by the V&A Museum for its permanent collection after senior curator Clare Phillips spotted her work on show at the Handmade in Britain fair. The ‘Vulcan’ series was Cole’s deep dive into volcanology, an exploration that also resulted in the creation of the ‘Igneous’ cuff. The acquisition, alongside one made by the Goldsmiths’ Company for its permanent collection, have made Cole an undeniable part of the jewellery canon. ‘I still have no words for it, to go from just slaving away at my bench and then to end up here – there are so many things that have happened,’ she says with a wistful smile. But she is by no means resting on her laurels: a new series is currently in development and, in spite of the pandemic, Cole continues to work on private commissions and experiments at her bench. For her, making isn’t about the accolades, it’s a way of life. ∂ emefacole.com

WONDER VISION

Experimental jewellery designer Emefa Cole looks to natural phenomena and the past for her understatedly opulent creations

PHOTOGRAPHY: TINO CHIWARIRO WRITER: MAZZI ODU

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Fresh focus

This picture, jacket, £1,300; dress, £714; trousers, £644, all by Supriya Lele Opposite, far right, long-sleeved top, £150; trousers, £770, both by Chopova Lowena. Bottom, dress, £610; sleeves, £180, both by Thebe Magugu Throughout, earrings, €165; shoes, €245, both by Aeyde. Tights, £29, by Falke For stockists, see page 113

Personal heritage defines the bold collections of three rising stars

PHOTOGRAPHY: JOSH DAVID PAYNE FASHION: JASON HUGHES WRITER: PEI-RU KEH

When it comes to articulating ideas of identity, the fashion world has traditionally drawn from external and historical sources to create evocative visions. As well as that may be, a new wave of young, emerging designers are instead looking inwards and expressing their sense of self in ways rarely seen before. In Johannesburg, designer Thebe Magugu has used his collections to preserve and share South African culture. In London, British designer Supriya Lele mines her Indian heritage to create universally flattering silhouettes, while the rising label Chopova Lowena seeks out Bulgarian deadstock fabrics to create its signature folkloric skirts. Drawing on their individual heritage to champion diversity, these designers widen the fashion lens in ways worth applauding.

SUPRIYA LELE LONDON As distinct as traditional Indian dressing and 1990s minimalism may seem, these opposing forces come together memorably in the hands of the British designer Supriya Lele. Known for her layered silhouettes that flatter all female forms, Lele began exploring her Indian heritage while studying fashion at London’s Royal College of Art (she graduated with a master’s degree in 2016), where she also realised the importance of experimentation in her creative process. She realised that ‘the only way I can work is in 3D, on the stand, by draping’, she says. The process ‘really set the tone for what I wanted to do going forward’. Lele was selected to show her graduate collection with the pioneering design incubator Fashion East. Her debut at London

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Fashion Week in 2017 was staged at Tate Modern, and she continued to show under Fashion East’s stewardship for the next three seasons. In 2019, Lele was sponsored by the British Fashion Council through its NewGen initiative and in 2020, she took home part of the LVMH Prize Fund, which was split equally among eight finalists (also including label Chopova Lowena, see opposite) for the first time. Industry success aside, Lele’s brand of female-centric inclusivity could not feel more sincere. Her S/S21 collection exuded a panache inspired by how her all-female team dressed immediately after the first round of lockdown restrictions had eased. Despite the logistical challenges of its creation, the collection encapsulates

a youthful sexiness. Minimalist silhouettes are amplified by vibrant shades of azure blue and fuchsia; lingerie-inspired details such as delicate ties gingerly hold up draped tops and dresses; and embellishments such as sequins and lace add finesse. Several bright, Madras-check pieces were cut from fabric sourced from Lele’s grandmother’s favourite sari shop in Jabalpur, in the central Indian state of Madhya Pradesh. ‘What the pandemic has done is bring people together,’ Lele reflects. ‘Everyone has gone through this together and there’s an openness to the [fashion] system changing; to people showing in their own way and different methods. I think we all really needed that break in the cycle and rhythm.’ supriyalele.com

Fashion

CHOPOVA LOWENA LONDON Emma Chopova and Laura Lowena transform overstock and deadstock Bulgarian fabrics into oversized Victorian-style blouses and accordion-pleated skirts festooned with carabineers and large buckles. Their work is a triumphant celebration of heritage, cleverly transposed into a contemporary context. Chopova, who was born in Bulgaria but grew up in the United States, and Lowena, who hails from Somerset in the UK, share a passion for craft and sustainability. ‘I became very interested in Bulgarian dress when I started my BA at Central Saint Martins in London and met Laura,’ says Chopova. ‘I was collecting and wearing traditional dress, but it wasn’t until we did

our MA together that we started using Bulgarian references in our actual work.’ With an archive that spans wall hangings, needlepoints and aprons, the duo’s approach is highly individualised. ‘For us, it’s about having the right product in mind and the right usage for it,’ says Chopova. The pair dissociate the fabrics from their origins by juxtaposing them with utilitarian silhouettes and sporty embellishments. For S/S21, they invited artists and craftspeople to contribute, a collaboration that resulted in jeans printed with painterly designs and T-shirts featuring abstract imagery made from cut-up Bulgarian postcards. chopovalowena.com

THEBE MAGUGU

Model: Patricia Del Valle at Viva London. Hair: Chris Sweeney at One Represents using Bumble and Bumble. Make-up: Martina Lattanzi using Nars Cosmetics. Photography assistant: Jack Gray. Fashion assistant: Sammiey Hughes

JOHANNESBURG Originally from the South African mining town of Kimberley, Thebe Magugu moved to Johannesburg to study fashion at LISOF. The 2019 winner of the LVMH Prize, he continues to fly the flag for African culture and provenance, using his eponymous label to highlight social issues, local standards of production, and the potential for growth. ‘I think African stories have often been told by people who aren’t African, and thus distort accounts for their own agenda,’ says Magugu. ‘The collections are inspired by real people and their stories; stories that are often missed in the history books.’ These include the human rights activists of Black Sash, who inspired Magugu’s S/S19 collection, and spies who worked for and against the apartheid regime, whom he interviewed for his S/S21 offering. The resulting collection brims over with hidden details, including patterns developed from the fingerprints of a former spy, and a print featuring official confessions provided by the South African government. ‘Instead of working abroad, I want to create something for us, by us. I think this sentiment, now more than ever, is shared by many designers working on the continent,’ says Magugu, who launched his online store in 2020, making his women’s collections and special projects available worldwide. thebemagugu.com

Art

Lost and found

Artist Dozie Kanu on discarded objects, disorderly design and architectural ambition PHOTOGRAPHY: LUTHER KONADU WRITER: JAREH DAS

Dozie Kanu creates artworks that are disobedient and stubbornly slippery. They resist classification and exist instead as communicative or performative objects. These objects are filtered through a personal lens drawn from the artist’s lived experiences as a NigerianAmerican and member of the diaspora, both anchored in a Blackness the poet Fred Moten describes, in his book In the Break: Aesthetics of the Black Radical Tradition, as ‘an ongoing performance of encounter: rupture, collision, and passionate response’. ‘I think the future is really going to be more about self-governance, and more people taking ownership of themselves and their destiny, as corny as that sounds,’ says Kanu. ‘I think the elusiveness in my work and my own personal categorisation comes from a place of self-governance, and a disobedience rooted in having the authority to place myself wherever or nowhere.’ Born and raised in Texas to Nigerian immigrant parents, Kanu initially intended to study film-directing but shifted his focus to production design for film and theatre, receiving his BFA from the School of Visual Arts, New York, in 2016. Escaping the high living costs and profit-driven art market of New York, he is now based in a warehouse he converted into a live-work studio in Santarém, north of Lisbon, Portugal. ‘I learned not to be afraid of making sacrifices just by having immigrant parents, so I’ve always been pushed into thinking about things practically and pragmatically,’ he says. ‘In the beginning, I felt like I didn’t have agency to work within the art world, but I soon realised as I kept creating these objects that they were addressing issues around design and its history through performative gestures. So moving to work within the context of art as opposed to design has given me the freedom to explore and experiment more.’ Traversing a broad range of influences, including minimalism, fashion, Black culture and critical thought, Kanu reuses and transforms found objects, giving them a new lease of life. In hemorrhaged and made deaf, 2020, an anti-climb raptor spike emerges from a pipe in a found plumbing system. This is fused with an antique shower bucket shrink-wrapped in inkjetprinted images of album sleeves by hip-hop artists such as 2-Def, Black Dave, Ghetto Twiinz and Big Pokey. Kanu also upends the functionality and usefulness of everyday furniture, such as in Chair [iii] (Crack Rock Beige), 2018, which consists of a concrete chair mounted on a car wheel rim. In Bhad (Their Newborn’s Crib), 2019, a baby’s crib takes a sinister turn as its conventional wooden frame is replaced with powder-coated steel and customised with a series of anti-vandal scaling spikes. Making work from what is readily available to him is

Above, Dozie Kanu created the limited-edition cover for this issue of Wallpaper*, available to subscribers, see Wallpaper.com/ sub21. Pictured are, clockwise from top left, works in progress; Prediction, 2019, hand-carved marble; group portrait outside Kanu’s London 2020 show ‘Owe Deed, One Deep’, with (bottom to top) Josiane MH Pozi, Klein, Martine Syms, Bafic; hemorrhaged and made deaf, 2020, found plumbing mechanism, found antique shower bucket, plywood, inkjet print on shrink film and anti-climb raptor spike; Chair [xv], 2020, found automatic bottle-filling machine component, found bulldozer tooth, steel and melted lead; portrait of Kanu with the words ‘Self Governance’ written over it Opposite, the Nigerian-American artist in his studio in Santarém, Portugal, with works in progress

both a pragmatic and a necessary choice for this young artist. His approach was reinforced by a recent trip to Nigeria, where social and economic constraints tend to encourage the fast and cost-effective production of objects with what is to hand. There, Kanu encountered aesthetics rooted less in perfection and more in a rugged approach to making. ‘A lot of things that I observed had a kind of endearing messiness to them,’ he says. ‘This resonated with me because, in an entirely different context, I felt like I was dealing with some of these issues but [being educated and working in the US] meant I was always trying to make things neater, and minimalism was always hanging over me, rather than having to work in a more visceral and tactile way.’ Kanu’s first solo museum exhibition, at The Studio Museum in Harlem last year, curated by Legacy Russell, marked a shift from depiction and representation to explorations of material effects and experiences. Some of the artworks in the show embodied this newfound ruggedness and less-clinical aesthetic, as evident in Chair [ix] (For Babies), 2019, a found high chair sculpted over with concrete and pieces of aluminium sheet. Kanu’s ongoing investigation into the limits of form, functionality, materiality and usefulness has seen his star rise in recent years. The attention is welcome, but he still wants space to experiment and fail: ‘I’m interested in making some kind of an impact within everyday life, even though my thinking is grounded in play and experimentation.’ He adds, ‘I still want to try different things that maybe don’t work, as failure is important for me to better understand what I’m doing.’ For his latest solo show, at Galeria Madragoa, Lisbon (scheduled to run until 20 March), Kanu continues his explorations of form and function in a series of sculptural experiments. But in future, he has ambitions to work on architectural projects as an extension of his studio practice, akin to the socially engaged and community-driven approach adopted by artist Theaster Gates in his rebuilding of South Side Chicago neighbourhoods. ‘I can’t at this point speculate too much on what that architecture might look like, but I imagine it will reflect a lot of what I do in my sculptural work around repurposing and creating in an environment founded by a Black mind that gives agency and allows free thinking.’ Conceptually and materially rooted in an evershifting contemporary approach, Kanu is all about new world-building, disrupting the norm and, importantly, rewriting stereotypical narratives around art-making by Black creatives who are too often defined solely by identity politics. ∂ doziekanu.com; galeriamadragoa.pt

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Architecture

High note

Richard Rogers goes above and beyond at art and architecture estate Château La Coste

PHOTOGRAPHY: JAMES REEVE WRITER: DEYAN SUDJIC

Last September, when Richard Rogers stepped down from the architectural practice that he founded more than 40 years ago, he still had one personal project underway. Now, the last building of Rogers’ long and distinguished career, the new Drawing Gallery at Château La Coste in Provence, is complete. It’s tiny, but spectacular. Vivid orange and hovering, apparently weightless, the building cantilevers out of a thickly wooded ridge too steep for planting the vines that grow in neat rows on either side. The gallery is the latest addition to developer and hotelier Paddy McKillen’s remarkable collection of art and architecture across the Château La Coste estate – a winery and cultural destination that includes his smallest hotel, Villa La Coste (W*214). McKillen also leads The Connaught and Claridge’s, and other luxury hotels in Monaco, Los Angeles and Kyoto. Rogers joins a roster of stellar architects who have contributed buildings to the Château La Coste project. In 2008, McKillen tasked Tadao Ando with creating a pavilion, and a reflecting pool for Louise Bourgeois’ Crouching Spider and Alexander Calder’s Small Crinkly. He followed this up with a chai de vinification (wine storehouse) from Jean Nouvel and a gallery designed by Renzo Piano, while he also shipped in Frank Gehry’s 2008 Serpentine pavilion from London. McKillen had wanted to add a building from Rogers, a long-time friend, ever since he acquired Château La Coste. It took time for the right idea to emerge from a series of conversations, most of them involving lunch. During a weekend at the estate in 2011, McKillen, Richard and his wife Ruthie Rogers took a bike ride along the chalky track of an old Roman road that skirts the vineyards. ‘I gave Richard two things, the idea of a gallery to show drawings, and the view,’ McKillen remembers. That was when Rogers hit on the idea of creating the gallery as a single dramatic gesture, a giant cantilever that leaps off the ridge seemingly into mid-air with no visible means of support. It was the »

Thrusting from the landscape in its cantilevered steel frame, Richard Rogers’ recently completed Drawing Gallery at Château La Coste in Provence will show temporary exhibitions

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Architecture chance to realise a long-held ambition, to pay homage to the cantilevered terraces of Frank Lloyd Wright’s Fallingwater that Rogers had first seen as a student at Yale in 1962. McKillen recalls two crucial moments in the evolution of the design. The first was at Courchevel, where he and Rogers went skiing the following spring. ‘Richard took me to see a house projecting off a hillside held up by a single column. I remember him saying, “If we can’t get the gallery to work, we can always put in a column”. But it was that column that gave it all away. And that’s when I said, “It’s either 100 per cent pure, or it’s not, and if it’s not pure, better not do it at all”.’ Wright used reinforced concrete to launch a pair of terraces into space. Rogers’ cantilever is tailor-made from steel tubes. According to his engineer Bob Lang, ‘it works like a see-saw’. A pivot positioned on the edge of the ridge takes the load. The shorter, landside arm is anchored to foundations sunk into the ground by two sets of galvanised steel rods. They counterbalance the weight of the longer arm that forms the gallery, a box inside the steel frame, with a glass end wall trained on the view of the green Luberon hills like a telescope, and no support in sight. The next conversation was at the Rogerses’ house in Chelsea, London. It’s where McKillen, Rogers and his long-term collaborator Stephen Spence decided on the exact shade of orange to paint the steel. In working out the optimum size of the gallery, they looked close to home. The volume is 5m wide, the distance between the kitchen counter and the windows of the Rogerses’ house. It is also 4m high, matching their mezzanine, and 24m long, exactly twice the width of the room. Making buildings that touch the ground as lightly as possible has always been as much a part of Rogers’ work as his love of bold colour, and making the most of a view, from the first house he built in Cornwall as a member of Team 4 with Norman Foster, to the Centre Pompidou in Paris. The new gallery has all three attributes. Equally important to Rogers is the idea of rescuing the construction process from the messy uncertainty of a building site. The gallery, completed with the help of local architects Demaria Architecture, was prefabricated at the Bysteel factory in Portugal, a process that began with a team slicing through heavy steel tubes at precisely the right angle, with just a chalk mark for guidance. The next step was welding the major pieces together; no easy task, given that as the metal cools, the weld shrinks. Engineering consultant Michael Hasson, who guided the fabrication for Rogers, calls the skills demanded to get the steel to behave as needed ‘a collision between art and science’. João Manuel Faria de Sousa, who led the Bysteel team, recalls: ‘We had a 100 people working on the project. You could see their enthusiasm. It was like making a sculpture.’ With the kit complete, the pieces were bolted together in the factory to make sure everything fitted. Then they were dismantled, loaded onto two lorries, and driven to Château La Coste. For the last leg of the journey, the pieces were transferred from the trucks to a tractor trailer and moved to the site along a farm track, to be assembled with little more than a spanner, a cherry picker and a set of temporary supports. Now that it’s finished, the gallery is a powerful summation of Rogers’ work, as much as a place to enjoy the landscape around it, and the temporary exhibitions it will accommodate. ∂ rsh-p.com; chateau-la-coste.com

Above, its precise hue and dimensions determined in Rogers’ London kitchen and its parts prefabricated in Portugal, the structure is anchored to the ridge by galvanised steel rods that allow the 24m-long gallery to appear to hover above the slope, opposite

RSHP’S NEW FRENCH OFFICE Richard Rogers’ best known early work is arguably the Centre Pompidou in Paris, completed in 1977 with Renzo Piano. In the same year, the architect founded the Richard Rogers Partnership in London, which evolved into Rogers Stirk Harbour + Partners (RSHP) in 2007. Now the practice has 11 partners and has just launched a new office in Paris – marking Rogers’ retirement by returning, in a way, to where it all began. ‘We currently have a range of exciting new projects in progress there, in a range of typologies at a wide range of scales,’ says RSHP partner responsible for France, Stephen Barrett. ‘Prompted by Brexit and the regrettable drawing up of once permeable boundaries that it implies, we are finally taking the plunge in setting up a Paris office, all these years after the project office that Richard and Renzo established in the early 1970s. Of course, we’ve never really been away, and London and Paris are so very close, but this step is also an affirmation, an important symbol of confidence and commitment to a country and to clients we value deeply.’ The Drawing Gallery at Château La Coste is part of a growing list of work in France for the office, including: • Maine Montparnasse masterplan, 2019-ongoing • Gare de Lyon Daumesnil masterplan, 2014-ongoing • Bercy Charenton masterplan, 2009-ongoing • The Roads of the Future Grand Paris, 2019 • One Monte Carlo, 2019 • Centre de conservation du Louvre à Liévin, 2019 • Terminal 1 at Saint Exupéry Airport in Lyon, 2018 • Grand Paris, 2013 • European Court of Human Rights, 1995

Arcane and able Danish artist Karl Monies melds the mystical and the mundane PHOTOGRAPHY: ROBERT DAMISCH WRITER: TILLY MACALISTER-SMITH

It is the unpredictability of stoneware that intrigues Danish artist Karl Monies. ‘I’m not a ceramicist, which for me is an advantage,’ he says over a video call from his Copenhagen studio (packed floor-to-ceiling with books, tools, rolls of fabric, an EU flag). ‘You never really know what’s going to come out of the kiln, and that is both a blessing and a curse. Ceramic is both a benevolent and a malevolent material. Sometimes I have to kill some of my darlings because they are simply not good enough.’ Monies’ work spans ceramics, textile art, jewellery, furniture and more, but last year he exhibited Arcana Containers, a series of stoneware vessels, alongside seven

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quilted prayer mats, as part of solo show ‘Arcana’ at Copenhagen’s Etage Projects. Rudimentary, charmingly naïve and eraambiguous, an evocation of alchemy and ritualistic magic, Monies’ vessels carry functionality and mystery in equal measure. The containers – cylindrical kegs, stoppered vases, pots, urns, jugs – recall receptacles for the preservation of sacred bodies, chalices, libation vessels for resurrecting the dead, carafes for carrying the water of life. Hand-forming the vessels from wet clay, he lets them ‘sleep’ while they air-dry, before firing, glazing and lastly choosing the rope and cork stopper: ‘like dressing someone in clothes and a hat before leaving the house’.

‘Karl operates at the intersection where craft and zeitgeist, art, function and spirituality meet,’ says Maria Foerlev, founder and director of Etage Projects. ‘He mixes the ancient and the recent, using function as a hook between poetry and the user.’ He will be venturing into interiors for his next show for Etage Projects in May, creating new lamps, chairs and carpets. ‘I used to have this belief that art was at one end of the spectrum and design at the other. I don’t see it like that anymore,’ he says. Monies’ introduction to the art world came in 2005 when he began apprenticing for the Danish painter Tal R. He completed a year at the Gerrit Rietveld Academie in

Art

This page and opposite, vessels from Monies’ Arcana Containers series

Amsterdam before moving to London to attend the Slade School of Art, then he relocated to Guangzhou in China as part of a student exchange for six months. ‘This was crucial for me as a young European painter because it gave me an opportunity to step out of Western art history. Unknowingly, I was quite burdened by having to relate every step I took to what had come before in European and American art history.’ He was living in Berlin when he started experimenting with stoneware. His girlfriend was pregnant and they had decided that they would return to Copenhagen after ten years of living abroad. ‘I’d lost my painting studio and ended up in a ceramic studio for the last

few months in Berlin,’ he recalls. ‘I chose to work with the vessel as a universal object that many cultures throughout time have used. Stoneware is such a democratic medium, which is what spoke to me the most. It isn’t an expensive material, its purpose is, first and foremost, functional, and it is universal to many indigenous cultures.’ The rope was initially inspired by Japanese sake bottles, but later a psychoanalyst friend suggested that ‘the container was my pregnant girlfriend and the rope my way of protecting her and our unborn child as best as I could. The tactical climbing rope that literally holds life and keeps it safe. There’s definitely some umbilical cord reference in there.’

The circumstances of the past year have sharpened his focus; under Halloween’s full moon, he gathered up years’ worth of his early work and set it alight on a bonfire. ‘I needed to clean the slate, make space for new ideas, phoenix the shit out of it. It felt so good.’ He hopes more people will recalibrate the value of what they have and need. ‘People are going to want objects that are durable and age with grace. Neither we nor the planet have the capacity for buying the same things again and again.’ ∂ etageprojects.com. Karl Monies’ book Arcana (photography Robert Damisch, words Jeppe Ugelvig) is now available, €46, published by Ironflag Publication, ironflagpublication.com

Retail to his roots, both geographically and culturally. ‘Fifteen years of living abroad has brought me a clear vision of where I am from, and where I want to go,’ he says. Reinstalled in Japan, and with renewed purpose, Kawanishi devoted himself to Les Six, a collective of designers and craftsmen he’d co-founded in 2017. ‘It does not mean that we are six people. My inspiration was Le Groupe des Six, a musical movement from the late 1910s and early 1920s helmed by my hero, Jean Cocteau, a cross-disciplinary artist and fellow hybrid creative director.’ Though not a major tourist destination in Japan, Tottori is known for its sand dunes, an otherworldly landscape that stretches out along the Sea of Japan. The spectacular dunes were the backdrop for the blackand-white photographs of Shoji Ueda, who lived in Tottori. ‘He was internationally acknowledged for his exquisite sense of composition. I love his minimalist and surrealist images.’ Among Ueda’s disciples is Yoshimi Ikemoto, his assistant of 20 years, who continues to work in Tottori and whom Kawanishi tapped to shoot the photographs on these pages. In a series of atmospheric shots, Ikemoto captured one-off and bespoke items, such as a tailored coach jacket with buttons crafted by a local silversmith, hand-forged iron hangers, and pieces of repurposed vintage kimono. Les Six is also a celebration of traditional craft. ‘Look at this long wooden table made from a single slab of 900-year-old Yoshikawa cedar,’ says the designer. ‘According to my carpenter, the region’s lack of sun contributes to the density of the local wood as the trees take longer to grow. After years spent in London and New York surrounded by art and fashion people, I’m now learning something else. It’s so refreshing. There’s a surge of creative energy,’ adds Kawanishi, who also has a Les Six ready-to-wear line in the works. ∂ Les Six, 286 Wakasa, Wakasa-Cho, Tottori, Japan, tel: 81.70 1870 4626, groupe-des-six.com

rare bricks-and-mortar retail launch in an era of online shopping, Les Six, located in Tottori Prefecture, in south-west Japan, is the latest brainchild of fashion designer Ryohei Kawanishi. It is housed in twin Taisho-era warehouses: one offers limited-edition menswear items and unisex jewellery, under the Les Six label, and restored Mingei furniture and lighting by Shoya Yoshida, a champion of the folk craft movement; the other features a library stocked with art books and magazines from Kawanishi’s personal collection. It is a concept store harbouring an open workshop, where the designer sometimes invites local grandmothers to choose buttons for a garment. The designer rejects the industrialised term ‘lifestyle’ and instead explains that his new creative hub is grounded in the art of i-shoku-ju, an ancestral Japanese term for ‘wear-live-eat’. Kawanishi, an alumnus of Central Saint Martins and Parsons School of Design, is known for imbuing his personal label with sociological commentary, as showcased at institutions such as MoMA (see W*223) and the Museum of Arts and Design in New York. He was also creative director of New York streetwear label Landlord, which he quit in the midst of the Covid-19 pandemic in pursuit of greater creative freedom (the brand had cash flow issues, and Kawanishi’s visa was running out)’. This experience prompted a return

‘After years surrounded by art and fashion people, I’m now learning something else’

This picture, Ryohei Kawanishi photographed outside his shop wearing a vintage Arnys jacket, Les Six waistcoat, Shoya Yoshida necktie, and vintage Japanese tortoiseshell glasses Opposite, top, the Les Six shop and library is housed in a Taisho-era warehouse fronted by a Japanese garden Bottom, the store’s stock is displayed on hand-forged iron rails and hangers, alongside a small table and stools by George Nakashima

HOMETOWN GLORY A new concept store in south-west Japan sells crafted wares for a new world PHOTOGRAPHY: YOSHIMI IKEMOTO WRITER: MINAKO NORIMATSU

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Design

Lulu Kaalund, in her own hand-crocheted designs, with some of her wall hangings at V1 Gallery in Copenhagen

TRUE COLOURS

Danish chef-turned-crochet designer Lulu Kaalund on creative re-routing PHOTOGRAPHY: LASSE DEARMAN WRITER: TILLY MACALISTER-SMITH

‘Copenhagen is so small and everybody knows everybody,’ says crochet designer Lulu Kaalund. Like the Danish capital, where cultural disciplines such as food, fashion, art, design and music cross-pollinate, Kaalund herself is a creative polymath. Crochet is the second career she never envisaged. After four years’ training at culinary school in Denmark, she landed her dream job at restaurant Relæ (a regular on the world’s top restaurant lists until its closure last year). Then, five years ago, Kaalund had an accident that left her with severe concussion and unable to continue working as a chef. A friend taught her to crochet while she was recovering. One of her first self-initiated projects was a baby blanket for friends, the model Emma Rosenzweig (formerly Leth) and artist Tal R. They loved her gift and encouraged her to continue. ‘Then it happened immediately,’ she says of her professional metamorphosis. Three years ago, she started creating art pieces and wall hangings, as well as unique sweaters, tunics and dresses.

Kaalund uses a single needle to crochet. ‘Everything must be done by hand. You can’t send crochet to a factory and get it massproduced,’ she says. ‘It’s almost impossible to produce on a large scale.’ It takes around 25 hours to complete one of her jumpers. She prefers yarn that is typically 80 per cent wool (she has qualms about the ethics of cotton farming) and most often uses a 4.5 needle – meaning one line of stitch will be 4.5mm wide. ‘I made one art piece that was really big using a 2.5 needle, and it took more than 300 hours to make. It’s very difficult and you get lots of hand cramps as the stitches are so small.’ She works freehand without planning, letting the yarn guide her painterly designs. ‘Sometimes a jumper will end up as a wall hanging,’ she admits. Her work has featured at Copenhagen’s V1 Gallery, where she is set to have a solo exhibition in late 2021. ‘Lulu has an extraordinarily well-developed sense for organic composition and colour work,’ says V1 co-founder and director, Jesper Elg. ‘Her intuitive approach is rare and admirable.

She creates subtle and strong original works that vibrate between painting and sculpture, whether they are mounted on the wall, lying on the floor or wrapped around a body.’ Kaalund has also been sought out by several Danish fashion brands: she crocheted hats from deadstock yarns for Ganni’s A/W20 show (and also made a one-off showpiece dress), and a sweater for Soulland. Upcoming are a capsule collection of playful crochet beachwear designed with Sian Swimwear, to launch this spring, and pieces for avant-garde designer Anne Sofie Madsen. The new culture of remote working suits Kaalund: ‘I’ve had several studios, but I never used them. I always work in my bed or on my sofa. I can work anywhere! On the bus, or in a car, or eating in a restaurant.’ Although she has a waiting list for her crochet designs, she admits she doesn’t take specific orders, preferring simply to make what inspires her. So how to request one of her unique creations? ‘People can DM on Instagram,’ she says breezily. ∂ @lulukaalund2; v1gallery.com

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Architecture The Shiroiya Hotelâ&#x20AC;&#x2122;s renovated Heritage Tower is flanked by the hill-like Green Tower, which contains eight guest rooms, some small retail spaces and four huts (one housing a Finnish sauna)

Mound and vision

The revival of a brutalist concrete hotel is part of one man’s desire to turn an unassuming Japanese city into a design destination PHOTOGRAPHY: SHINYA KIGURE WRITER: JENS H JENSEN

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he recently completed Shiroiya Hotel in the city of Maebashi, about two hours north-west of Tokyo, is a great example of what a slow and relaxed approach to architecture can achieve. Though it took three years longer than intended, and cost roughly double the original budget, both architect Sou Fujimoto and client Hitoshi Tanaka couldn’t be happier with the end result. Born and raised in Maebashi, Tanaka is the youthful and charismatic president of Jins, kind of the Uniqlo of eyewear. He has, for some time, been pushing this rather nondescript city in a more creative direction, helping to turn around one of its fading shopping streets, populating it with the well-received craft pasta shop Grassa and cake shop Nakamata (designed by Jo Nagasaka of Schemata Architects). He is also active in local politics, championing policies that make the city a more fun and interesting place for young entrepreneurs. Tanaka bought the old Shiroiya Hotel in 2014, intent on turning it into something of a landmark destination for Maebashi. Instead of demolishing the existing 1970s concrete box, as the original owner had planned, Tanaka wanted to give it new life. He had worked with Fujimoto back in 2002 on the plans for an unrealised Jins store and returned to him with this new mission. ‘I remember our monthly meetings very well,’ Fujimoto reminisces. ‘Tanaka would tell us that he had bought

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a neighbouring lot or thought we should explore a different direction.’ Small wonder the project took six rather than three years to finish. The hotel consists of two parts; the old renovated Heritage Tower, and a new, hill-like Green Tower hiding eight rooms and a few retail spaces under thick vegetation, with four small huts (one housing a Finnish sauna) perched on top. Completing the offering are a café and a high-end restaurant where chefs Hiroyasu Kawate and Hiro Katayama, both from Tokyo’s twoMichelin-starred Florilège, have created a delicate tasting menu with a strong focus on local ingredients. Architectural reuse and renovation is rare in Japan, but Tanaka remained committed to saving the old hotel. ‘I just didn’t think this was the time for more scrap and build,’ he says. Fujimoto ripped out most of the 75 existing rooms in the Heritage Tower and added a glass roof to allow natural light to penetrate the vast space. A striking installation, Lighting Pipes, by Argentine artist Leandro Erlich, weaves its way in and out, around the concrete pillars and sculptural staircase that runs from the spacious lobby to the fourth floor. ‘The pipes are a symbol of the water pipes that are always hidden inside walls and go through all buildings as veins of fluids,’ explains Erlich. ‘I was very much inspired by the approach Sou had to the old hotel and how he uncovered the concrete structure. I see the concrete structure as the bones of the organism.’

Above and opposite, bottom, Leandro Erlich’s Lighting Pipes installation weaves its way through the brick-paved, greenery-filled lobby, flooded with light from a glass roof Opposite, top, the woodpanelled Jasper Morrison guest room in the Heritage Tower

Photography: Shinya Kigure, Katsumasa Tanaka

Architecture

Artworks are on display throughout the hotel, including works by Ryan Gander, Liam Gillick and Tatsuo Miyajima, and a quiet seascape photograph by Hiroshi Sugimoto, which greets guests at the check-in counter. The various artworks were selected by Kozo Fujimoto (no relation to the architect), a friend and art lover, together with Tanaka and Sou Fujimoto. The 25 guest rooms are chic and, for Japan, rather spacious. Four special rooms, designed by Fujimoto, Erlich, Michele De Lucchi and Jasper Morrison, feature warm wood veneer, and either a hinoki bathtub (Morrison), fine latticework (De Lucchi), painted gold pipes (Erlich) or furniture incorporating vases and decorative lighting (Fujimoto). All guest rooms in the Green Tower come with balconies overlooking the green hill that is meant to mimic the embankments of the city’s large Tone River. At the back of the Green Tower, towards the much smaller Baba River that runs by the site, three openings have been cut into the hill, and there are plans to turn them into retail spaces selling delicacies to both hotel guests and locals. Tanaka is already involved in two more projects in the city. One is a mixed-use building by Akihisa Hirata with a community space and small apartments, while ‘the other is still under wraps but Junya Ishigami is involved’, he says. The small city of Maebashi seems to be on a clear course of creative transformation. ∂ 2-Chome-2 Honmachi, Maebashi, shiroiya.com

MARCH IS ALL ABOUT... FRESH STARTS AND ENDURING STYLE p080 MOTHER OF INVENTION Silvia Venturini Fendi on fashion, family and the future p086 FACE VALUE We’re fixing our make-up to fantastic effect p092 MODERN MAN Sophisticated staples for masters of understatement p102 SHOW OF STRENGTH Womenswear’s fitted forms and sheer fabrics p114 STICKY SITUATION Charles Gaines’ Southern-style candied yams ∑

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Fashion

Coat, £3,650; bodysuit, £450; boots, £1,250, all by Fendi

ORIGINS OF FORM

Silvia Venturini Fendi on the traditions and values that shaped her S/S21 collection Photography Stefa nie Mosh a mmer Fashion Joh a nna Bou v ier Writer L aur a H aw k ins The most successful S/S21 collections straddle practicality and pizzazz, reflecting the requirements of our new indoor-focused world without forgetting the need for wow factor. The strongest silhouettes of the season are softer, with contours designed for ease and comfort, and just enough drama to encourage domestic daydreaming. The fabrics that we drift off to sleep on were of particular inspiration to Fendi’s creative director Silvia Venturini Fendi, who designed the brand’s S/S21 collection from her home in Rome during Italy’s first lockdown. ‘Lace-embroidered bed linens reminded me of Karl Lagerfeld,’ she says, referencing the designer who worked as creative director at Fendi for 54 years, until his death in 2019. ‘He had a big collection.’ Bedding-inspired elements in the fashion collection include a loose linen shirt delicately appliquéd with silk flowers; a cushiony silk coat resembling quilted eiderdown; and a skirt formed from soft wisps of feathers. The collection has a lighter-than-air élan, imagined in freshly laundered whites and sky-blue shades, encouraging less lockdown lethargy and more cloud-nine living. Venturini Fendi wasn’t only taken with the softly protective nature of fabrics associated with the home, but with the sense of history interlaced within layers of bed linen, which are sometimes kept as treasured mementos. ‘Linen is passed between generations at Italian weddings,’ she explains. ‘It represents values that are passed from

generation to generation.’ Venturini Fendi is the third-generation matriarch of the Fendi family, whose lineage is intertwined with fashion. ‘I believe it’s important to talk about how values are connected to fashion,’ she says. ‘In my case, being raised in my family, fashion was meaningful and a special bond for us all.’ Venturini Fendi spent lockdown with her two daughters, her sonin-law and young grandchildren, and was taken by the sight of her children sporting her old dresses to modern effect. ‘This encouraged me to think about how to marry the past and the future,’ she says, a reckoning no doubt shared by millions across the world as the present became utterly banal. Her focus on tradition is made more resonant by the appointment of Kim Jones as Fendi’s artistic director from next season (Jones will also continue his role as Dior Men’s artistic director). Lagerfeld, who had joined Fendi as creative director in 1965, invited Venturini Fendi to be part of his design team in 1994. Now, in a role reversal, Venturini Fendi will do the same with Jones, who will head the couture and womenswear departments while Venturini Fendi returns to her role of artistic director of accessories and menswear. This spring offering is not just a symbol of sartorial need in a changed world, it’s a motif of matriarchal design that has cross-generational value stitched into every seam. ∂ fendi.com

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This page, bag, £3,150; boots, £1,250, both by Fendi Opposite, jacket, £3,250; earring, £650; bag, £1,650, all by Fendi

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This page, jacket, £3,250; earrings, £650, both by Fendi Opposite, jacket, £3,650; bag, £3,150, both by Fendi Hair & make-up: Lydia Bredl Model: Emely Mair at The Claw Models Production: Concrete Rep Location: Fendels, Austria

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EYE CANDY Looking good for a new dawn is purely cosmetic Photography Chiesk a Fortune Smith Writer M a ry Clea ry

The launch of Byredo’s make-up line last year saw the brand’s idiosyncratic ethos translated into a line of cosmetics that favoured unexpected colour combinations and avant-garde application. Byredo’s latest product is an 18-colour eyeshadow palette that includes some of its most exuberant shades. We’ve combined a selection of those colours for a new take on the graphic 1980s style, creating a thoroughly modern cosmetic look at a time when the eyes are of the utmost importance. Prismatic eyeshadow in Touchstone, Chlorine, Larger and Convertible, £77; Colour Stick in Sauce and Destroyer, £26; Lipstick in Earth Dust, £35; Mascara in Space Black, £35, all by Byredo

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Beauty

Blanched features are highlighted by the subtle crimson hues of Chanel’s S/S21 offering. The brand’s global creative make-up and colour director Lucia Pica displays her mastery of the colour red with a range that plays on the natural textures and tones of flushed skin. The collection’s limited-edition Fleurs de Printemps blush creates a subtle tint of life among ultra-matte, white-out features. Ultra Le Teint Fluide foundation in BD01, £40; Les 4 Ombres eyeshadow in Bouquet Ambré, £44; Fleurs de Printemps blush and highlighter, £52, all by Chanel. Gossamer Lashes lash extensions in Silver, $15, by Lashify

Beauty

The geometric lines and bold precision of Armani couture take cosmetic form with Eye Tint, the brand’s liquid eyeshadow. The futuristic, graphic swirls of metallic ultramarine are echoed in the delicate curls of the hair, which are evocative of the up-dos seen on ancient Roman busts. The end result is a look that mixes elements of past and future for beauty that is entirely of the present. Eye Tint eyeshadow in Prussian Blue, £27; Rouge d’Armani matte lipstick in Venezia, £32, both by Giorgio Armani

Here, the dewy texture of healthy skin is amplified. First, Gucci’s Fluide de Beauté foundation creates a flawless, even-toned base. This is then coated in the brand’s ultrashiny gel face gloss for an exaggerated interpretation of clean skin, before being finished off with a matte nude lipstick for extra emphasis. It’s an aesthetic that suits Gucci’s characteristically bold take on beauty. Fluide de Beauté Fini Naturel foundation in 140W, £46; Éclat De Beauté Effet Lumière gel face gloss, £18; Rouge à Lèvres Mat lipstick in The Painted Veil, £35, all by Gucci

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The high-octane glamour of Tom Ford is given a painterly edge in this rendering of the brand’s most flamboyant eye colour shades. The loose application of olive and burnt orange is offset by the dramatic linearity of the eyebrow, creating eye make-up that’s as bold as the graphic geometries of the previous images. Eye Colour Quad eyeshadow in Leopard Sun, £68; Shadow Extreme eyeshadow in TFX1 Silver, £32; Emotionproof eyeliner in Dominateur, £35, all by Tom Ford

Models: Honor Freeman at Elite London, Alexandra at Tomorrow Is Another Day Casting: Jasmin Islamovic Hair: Teiji Utsumi at Bryant Artists using Bumble and Bumble Make-up: Kristina Ralph Andrews at Future Rep Photography assistant: Nathan Perkins Digi tech: Laura Heckford Make-up assistant: Eoin Whelan Hair assistant: Masaki Ueda Post-production: Ink

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Beauty

Hermès has added three vibrant pink shades to its Rouge Hermès lipstick range, which comes in refillable tubes designed by Pierre Hardy. We have playfully inverted the refinement of the lipsticks with a slightly smudged application, a sort of tongue-incheek interpretation of the often-unintended appearance of lip make-up under masks. Rouge Hermèssatin lipstick in Rose Oasis, £58, by Hermès For stockists, see page 113

Fashion This page, jacket, £1,805; shirt, £940; trousers, £810, all by Bottega Veneta Opposite, jacket, £930; trousers, £470, both by Emporio Armani

STILL

LIFE Serene staples that settle us into a meditative mood Photography Nolw enn Brod Fashion Ev ens JP Mor nay â&#x2C6;&#x2018;

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This page, jacket, price on request; trousers, £550, both by Dior

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Opposite, jacket, £1,590; shirt, £530; trousers, £580; boots, £810, all by Jil Sander by Lucie and Luke Meier

Fashion

This page, jacket, £4,740; top, £240; trousers, £715; shoes, £755, all by Saint Laurent Opposite, shirt, £545; trousers, £735; socks, £65; shoes, £515, all by Prada

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This page, shirt, £590; trousers, £525, both by Valentino Opposite, jacket, £2,200; trousers, £840, both by Gucci

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Fashion

This page, jacket, price on request; trousers, £650, both by Celine Homme by Hedi Slimane Opposite, jacket, £2,180; shirt, £695; trousers, £1,580, all by Louis Vuitton For stockists, see page 113

Model: Mamadou Lo at Elite Paris. Casting: Svea Casting. Grooming: Rimi Ura at Walter Schupfer using Oribe. Set design: Cédric-Cyril Colonges at Saint Germain. Photography assistant: Tanguy Ginter. Digital operator: Pedro Teles. Fashion assistant: Stephanie Carrié. Set design assistant: Arturo Astorino. Local production: Quadriga Paris

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This page, dress, price on request, by Louis Vuitton. Tights, £47, by Wolford Opposite, dress, £645, by Sportmax. Earrings, £4,750, by Sophie Bille Brahe

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BODY ARMOUR We’re flaunting our assets on the frontline Photography     Fashion  

Fashion

This page, dress, £1,290; skirt, £750, both by Burberry. Earrings, £2,325, by Sophie Bille Brahe Opposite, dress, price on request, by Bottega Veneta. Bra, £330, by Eres. Earrings, price on request, by Miu Miu

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This page, skirt, price on request, by Paco Rabanne. Knickers, £245, by Eres Opposite, jacket, €1,290; dress, €4,290; necklace, €2,950; gloves, €1,290; stockings, €290, all by Givenchy. Knickers, £80, by Wolford

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This page, bodysuit, £170, by Wolford. Skirt, £3,750, by Miu Miu Opposite, jacket, £4,300, by Chanel. Knickers, £245, by Eres

Fashion

This page, top, £2,850, by Balenciaga. Earrings, £1,475, by Sophie Bille Brahe Opposite, dress, £14,575; knickers, price on request, both by Lanvin

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Bustier, £795, by Simone Rocha. Bra, £330, by Eres. Skirt, £1,850, by Fendi For stockists, see opposite

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Models: Giulia Rhodes at Kult London, Yasmin Forbes at Crumb Agency Photography assistant: George Eyres

Stockists

A1043 a1043.com Aeyde aeyde.com

Balenciaga balenciaga.com Bottega Veneta bottegaveneta.com Burberry burberry.com Byredo byredo.com

Miu Miu miumiu.com

Hermès hermes.com

Jil Sander jilsander.com

Kassl Editions kassleditions.com

Lanvin lanvin.com

Celine celine.com

Lashify lashify.com

Chanel chanel.com

Lindberg lindberg.com

Chopova Lowena chopovalowena.com

Loewe loewe.com

Louis Vuitton louisvuitton.com

Matter Made mattermatters.com

Ole & Steen oleandsteen.co.uk

Paco Rabanne pacorabanne.com Pantherella pantherella.com Prada prada.com

Saint Laurent ysl.com Salvatore Ferragamo ferragamo.com

Serax serax.com Simone Rocha simonerocha.com Sophie Bille Brahe sophiebillebrahe.com Sportmax sportmax.com Supriya Lele supriyalele.com

Thebe Magugu at Matchesfashion matchesfashion.com Tom Ford tomford.com

Valentino valentino.com

Wolford wolfordshop.co.uk

Santa & Cole santacole.com

Dior dior.com

Emporio Armani armani.com Eres eresparis.com

Falke falke.com Fendi fendi.com Flos flos.com

Giorgio Armani armani.com Givenchy givenchy.com Gucci gucci.com

NEXT MONTH

GLOBAL INTERIORS DAZZLING DOMESTIC DREAMSCAPES, WITH STANDOUT PIECES FROM SIX CONTINENTS

Postmodernist icon Paolo Portoghesi; Rem Koolhaas’ urban prophecy; the experimental architecture of Anupama Kundoo; Third Crown’s inclusive jewellery; Devialet’s sound and vision; Federico Assler’s six decades of sculpture; and Kader Attia’s postcolonial art. Plus, star-studded makeovers for a trio of midcentury homes in California ON SALE 11 MARCH

Artist’s Palate

CHARLES GAINES’ Southern-style candied yams

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A groundbreaking conceptualist and educator, American artist Charles Gaines explores how art can conform to systems, and work against them. Employing rules-based processes, he generates grid-like compositions, often involving the structures of trees, faces, music and language. Gaines, who was born in Charleston, South Carolina, attributes his detailed formula for candied yams to his mother, Amelia. ‘It’s traditional Southern-style, but the difference is the use of milk, which is not usual in a Southern yam recipe.’ For Gaines’ recipe, and a full interview with the artist in our At Home With series, visit Wallpaper.com ∏

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PHOTOGRAPHY: NICOLAS POLLI WRITER: HARRIET LLOYD-SMITH

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