Elle Decoration UK - 08 2019

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STYL I SH SH  YE ARS

THE FORECAST  A/W 20 201 19 DISCOVER THE TRENDS TREN DS SHAP SHA PING OUR HOMES THIS SEASON

SHOP THE EDIT THE MOST EX CITING NEW FURNITURE BUYS REVEALED

SUSTAINABLE STYLE WHY IT’S COOL TO BE KIND TO THE PLANET

MADE IN CHINA 

H I G H - END D ESIGN I S ON THE RISE IN THE EAST

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IN THE KNOW  Looks, launch lau nches, es, innovatio innovations ns & the new newest est names

 

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 AUG  A UGUST UST 2019 2019 22  The revolution From tackling plastics to changing

5 50   0 The reopening  Sweden’s   Sweden’s National Museum’s

mindsets, it’s time to focus on sustainable design

refreshed look – and how you can mimic it at home

2 27   7 The lighting launch Doshi Levien’s ‘Earth to Sky’

5 52   2 The technology  Devices  Devices designed to disappear

2 28   8  The new look Chubby design proves big is beautiful

5 54   4 The anniversary  We  We celebrate Living Divani at 50

3 30   0  The interior designer Discover Hollie Bowden’s

5 57   7 The bathroom update The faucet of the future

mix of Japanese minimalism, antiques and craft

5 58   8  The collaboration Pierre Frey and Christian  Astuguevieille’s fabrics born bo rn of artistry and friendship

      S       D       N       E

3   3 The superpower There’s a wave of designers rising in the East – and they’re capturing the world’s attention

3 38   8  The innovation Stylish lights with a DIY approach 41  The ones to watch Scandi talents Färg & Blanche

60  The surface How 3D tiles are transforming walls 63  The extravagance Studio MTX’s haute couture window treatments are the ultimate indulgence

42  The new landmarks Groundbreaking museums

64  The archive find May Morris’s designs – always

by the most inventive of contemporary architects

ahead of their time – are finally being recognised

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

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

Gabriella Crespi’s designs are more relevant than ever

corner of the home, carpet is having a comeback 

49  The furniture launch Brogan Cox steps into the

8 84   4  The mood Sculptural forms are dominating

spotlight with this season’s most colourful collection

the design scene, giving homes a gallery-like feel

      R       T

LOOKS 75 The four interiors trends to try right

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

 T H E EDIT

165 Our pick of the best

new designs from the  Autumn/Winter  Autumn/W inter collections AUGUST 2019 ELLEDECORATION.CO.UK   11

 

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HOMES 94  Potent pattern Quietly daring stripes and florals make a big impact 1   04  Blonde ambition With sustainability a growing trend, ethical pale-toned oak is the only choice for a warm, modern interior

1  16  Off the spectrum Confident clashing colours, as seen in this Milan apartment and gallery space, are key this season

1  26  Life in monochrome The timeless palette gets a modern update 1  36  Contemporary organic Luxury living takes a softer, natural turn 1   46  The big easy This Parisian home shows the charm of plump designs 1   54  Industrial bohemia Concrete and brick are paired with artisan details to perfect this season’s free-spirited take on minimalism

ESCAPE 1   76  The new frontier Explore Under, the sub-aquatic restaurant 1   79  The social scene London’s most exclusive clubs – with a conscience 1   81  The stopover Jewel Changi airport is transforming the travel experience with the addition of a wellbeing-boosting indoor forest

1   83  The hotel Why interiors interiors fans should book a stay at The The Standar Standard d 1   84  The restaurant Secure your table at the newly updated and hotly anticipated Emporio Armani Caffè and Ristorante

1   87  The garden Plan a trip to The Newt, Somerset’s horticulture haven 1   89  The cultural destination It’s time to head to the Kent coast, as the Carl Freedman Gallery moves to the artistic hub that is Margate

1   90  The culinary ethos How biodynamics is changing the way we eat   192 The getaway Why we’r we’re e hea heading ding to to the eco-min eco-minded ded city city of Oslo Oslo

FINALLY  1  8  Subscribe This month’s great offer for loyal readers

1  94 Stockists Seen something you love? Here’s Here’s where to buy it

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

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

12 12   ELLEDECORATION.CO.UK   AUGUST 2019

 

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       C  Without change, the world wouldn’t move forward, learning and hopefully improving as it goes. The arrival of this issue coincides with London Pride, the capital’s annual celebration of LGBT+ rights and culture. If anything proves the power of positive change, it is this. Hearst – the company that publishes ELLE Decoration – will be marching in the parade on 6 July and I, along with my colleagues, will be there th ere waving banners and shouting myself hoarse. This year’s event is even more powerful, as it marks the fifty-year anniversary of the Stonewall riots in New York, where violent protests erupted in the face

Stood close, holding hands, smoking a cigarette, were we doing anything depraved or offensive? No. We were just two men in love, enjoying a night out. Yet, nine people saw fit to express their anger at our difference with their fists, beating and kicking us to the kerb. I spent a month in hospital, but – thanks to an incredible team of doctors and nurses, and loving friends and family – I came through it stronger, and more determined to never let bigotry and small-minded  values triumph. I know I was one of the lucky ones. Some will say that the intro to a humble design and interiors magazine is hardly the place for politics or

of police brutality and acted as a catalyst for the modern fight for LGBT+ rights. While acceptance and tolerance have come a long way since then, there is still much to be done. Last month, two women were brutally attacked on a London bus simply because of their sexuality, and a recent report by The Guardian  newspaper outlined that homophobic and transphobic hate crimes in England and Wales have more than doubled in the past five years. These are two facts that have particular resonance for me. Two years ago this summer, I myself was attacked with my boyfriend outside a gay bar in Liverpool.

the overtly personal. I disagree. Given the chance, we should all leap onto any soapbox we can, no matter how small, and shout at the top of our voices about what matters, what means something to us and those around us. And so, hopefully without trivialising any of this, I present our latest biannual issue dedicated to transition. The pages in front of you are filled with the new, the unusual, what is to come – things some of you may find shocking, challenging even, but that, nonetheless, will become the new normal. Embrace change and diversity. Welcome difference, be inclusive, and do it all with love. Be proud. I know I am.

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 Editor 

Follow me on

Instagram: @mrbspriggs

Twitter: @ELLEDecoBen

 Visi t e lled ecor ati on.c o.uk 

AUGUST 2019 ELLEDECORATION.CO.UK   15

 

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House of Hearst, 30 Panton Street, London SW1Y 4AJ Editorial enquiries [email protected] (020 7312 4114) Homes submissions [email protected] 

EDITOR   BEN SPRIGGS Creative Director Philippe Blanchin

 AR T 

PICTURES  

PRODUCTION  

Group Art Editor Roger Browning   Art Editor LinseyCannon Designers Jack Melrose, Victoria Smith  Art Intern Laura Sheppard

Group Picture Director Sharon O’Neill Picture Researcher Ellie Summers

Group Chief Sub Editor  Michele Jameson Chief Sub Editors Clare Sartin, Helen Bonthrone Deputy Chief Sub Editor Julie Pannell-Rae Sub Editor Molly Price

EDITORIAL  Style Editor Kiera Buckley-Jones Features Editor Amy Moorea Wong Wong  Acting Houses Editor  Tessa Pearson Senior Features Writer Cat Olley

Editorial Manager Bethan Ryder

Special Projects Consultant Robin Davies Contributors  Amy Bradford, Claudia Baillie, Eliza Honey, Emma Love, Becky Sunshine, Kassia St Clair, Sarah Slade, Hannah Bort, Sania Pell,  Amanda Smith-Corston, Smith-Corston, Suzanne Stankus, James James Williams, T Tom om Bailey, K Kate ate Worthington Worthington

CHIEF BRAND OFFICER, LIFESTYLE & HOMES Sharon Douglas PA to Chief Brand Officer   Helen Hart

GROUP EDITORIAL HOMES Group Editorial Director Susy Smith Group Editorial PA   Sandra Tear Workflow Director

Carly GroupLevy Managing Editor  Ingrid Eames

CLIENT DIVISION Managing Director, Beauty Jacqui Cave Managing Director, Fashion & Luxury Jacqueline Euwe Managing Director, Fitness & Health  Alun Williams Williams Director of Endorsements & Food  Laura Cohen Director of Travel Denise Degroot Director of Motors  Jim Chaudry Client Director, Personal Finance  Pete Cammidge Senior Client Manager Stephanie Tomlinson 020 7439 5462 Client Executive Maire Power 020 7439 5650 Head of Classified  Lee Rimmer 020 3728 7707

 AGE NC Y DI VI SI ON  

BUSINESS ENQUIRIES 

HEARST UK  

INTERNATIONAL AD SALES HOUSE

Head of Business Management   Lucy Porter 020 7439 5276 Business Manager Rose Sweetman

President & CEO James Wildman Chief Finance Officer/Chief Operating Officer  Claire Blunt Director of Events & Sponsorship , Hearst Live  Victoria Archbold Chief Operations Director Clare Gorman Chief Strategy Officer Robert Ffitch Chief People Officer Surinder Simmons

Lagardère Global Advertising CEO   François Coruzzi SVP International Advertising   Stéphanie Delattre stephanie.delattre@lagarde stephanie.del [email protected] re-active.com om Lagardère Global Advertising , 10 rue Thierry Le Luron 92300 Levallois-Perret, France

BRAND LICENSING  Managing Director, Business Services  Judith Secombe Brand Development Director, Lifestyle & Homes  Alistair Wood Wood

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HEARST MAGAZINES INTERNATIONAL  Senior Vice President/CFO & General Manager Simon Horne Senior Vice President/Editorial & Brand Director  Kim St Clair Bodden

LAGARDÈRE ACTIVE Chairman and CEO Lagardère Active DenisOlivennes CEO ELLE France & International Constance Benqué CEO ELLE International Licences  François Coruzzi Brand Management of ELLE Decoration Sylvie de Chirée SVP/International Director of ELLE Decoration  Valéria Bessolo Bessolo Llopiz SVP/Director of International Media Licenses, Digital Development & Syndication  Mickaël Berret Editorial Executive of ELLE Decoration Linda Bergmark 

BACK ISSUES & SUBSCRIPTI ONS Hearst Magazines UK, Tower House, Sovereign Park, Market Harborough, Leicestershire LE16 9EF To order or renew a subscription, subscription, call 01858 438877 or email elledecoration@subscript [email protected] ion.co.uk Lines open Mon–Fri 8am–9.30pm; Sat 8am–4pm Calls are charged at your standard network rate. Please check with your network provider for more details. Standard rates for 12 issues: UK £57.60; Eire & Europe Airmail £68.99; Rest Of The World £75 PRINTED BY Wyndeham Roche Ltd, St Austell COVER PRINTED BY  West  Westdale, dale, Cardiff PAPER SUPPLIED BY Burgo Group DISTRIBUTION BY Frontline Ltd, Peterborough 01733 555161

TRADEMARK NOTICE ELLE® and ELLE Decoration™ are used under licence from the trademark owner, Hachette Filipacchi Presse ELLE Decoration is a member of the Independent Press Standards Organisation and abides by the Editors’ Code of Practice. We are committed to upholding the highest standards of journalism. If you think that we have not met those standards and want to make a complaint, contact [email protected] or visit hearst.co.uk/hearst-magazine hearst.co.uk/hearst-magazines-uks-ukcomplaints-procedure. complaints-pr ocedure. If we are unable to resolve your complaint, or if you would like more information about IPSO or the Editors’ Code, contact IPSO on 0300 123 2220 or visit ipso.co.uk 

Marketing Executive of ELLE Decoration Morgane Rohee Syndication Coordinator  Audrey Schneuwly  Schneuwly 

SEPTEMBER ISSUE ON SALE 1 AUGUST 2019

THE WORLD OF ELLE DECORATION  Find even more more int interiors eriors inspiration online at elledecoration.co.uk   and sign up to our   newsletter 

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

 T H E R E V O L U T I O N THE LIGHTIN G LAUNCH THE N EW LOOK THE INTERIOR DESIGNER THE S UPERPOWER THE INNOVATION THE ONES TO WATCH THE NEW LANDMARKS THE REVIVAL THE FURNITUR E LAUNCH THE R EOPENING THE TECHNOLOGY THE A NNIVERSARY THE BATHROOM UPDATE THE COLLABORATION THE SURFACE THE EXTRAVAGANCE THE ARC HIVE FIND THE BIG IDEA

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

 

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 T H E   R E V O L U T I O N 

SUSTAINABLE

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

 

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TRENDS

DESIGN  From tack tacklin ling g plastics plastics to to cur curbin bing g our consumerism, creative minds are focused on stylish ways to save sa ve the planet 

‘Underwate ‘Underwaterr Landscape’ by Arsenio Rodriguez at Rossana Orlandi Gallery 

Words  AMY BRADFORD

Over the past decade, the phrase ‘sustainable design’ has become an increasingly familiar refrain in our lives. To begin with, it just seemed like a really good idea; something we should all be supporting in whatever ways we can. But now the conversation is becoming urgent. The recently released Global Assessment   report by respected UN research body IPBES (Intergovernmental (Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services), which combines the findings of nearly 15,000 international studies, reveals that time is running out to save the plants, animals and insects that support human life on Earth. Unless we change our lifestyles (and quickly), some unpleasant shocks lie ahead. This challenge was one of the main focuses at April’s Milan Design  Week. Its prominence prominence in the minds of designers served as an admission admission that the resources the industry consumes represent part of the problem. Gallerist Rossana Orlandi (left) focused the spotlight on plastics, one of the most controversial materials of all – according to the Royal Statistical Society, only around nine per cent of the plastic ever produced has been recycled. As part of her ‘Guiltless Plastic’ initiative, Orlandi showcased up-and-coming names such as German designer Alexander Schul, who repurposes polystyrene to make furniture, and Spaniard  Alvaro Catalán de Ocón, whose lighting is made from plastic bottles. British duo Barber & Osgerby also addressed the limits of recycling by launching the ‘On and On’ chair for Emeco. Unlike many plastic products, which can only be reused a few times – sometimes as little as once – the duo’s chair can be repurposed indefinitely. It’s made from rPET, a new material that combines plastic bottles with fibreglass, and whose strength means that new chairs can be made from old ones. ‘Sustainable design should go beyond materiality,’ says Edward Barber. ‘Thinking about the way products are manufactured, packaged and shipped also needs be part of the solution.’    I    S The amount of plastic in our oceans, in particular, has been making    O    I    R    U headlines of late, and, at Orlandi’s exhibition, designer Brodie Neill    F    I    N    O highlighted the issue with his ‘Capsule’ hourglass. Filled with microplastic    M    I    S granules collected from Tasmanian beaches, the piece critiques our  ,    )    G    N throwaway culture and serves as a tribute to the environmental workers    I    L    Y    T    S    ( who clean up our marine landscape. ‘Designers need to be looking    I    N    R beyond raw materials and using waste ones, as they are now, unfortunately,    E    L    A    S    A in abundance,’ says Neill. ‘Waste can be redeployed with endless    D    I    E circularity. We We have to consider the impact of materials at every stage    C    I    L    A  , of their existence; the methodology should be cradle-to-cradle.’    A    V    I    R There’s a similar philosophy behind Danish brand Mater’s ‘Ocean’    A    M    M collection, a reinvention of a 1955 range by Nanna and Jørgen Ditzel.    O    S    A Originally made of timber, it’s been reinvented using recycled fishing    N    I    T    N    E    L nets and new-generation bioplastics, which can be made from corn    A    V starch, eggs, algae or, in this case, charcoal.   :    S    E    R Other designers are seeking to reform our habits by making recycled    U    T    C    I    P plastic seem more precious than the virgin kind. Brighton duo Weez  

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

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

AUGUST 2019 ELLEDECORATION.CO.UK   23

 

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TRENDS

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

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

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

24 24   ELLEDECORATION.CO.UK   AUGUST 2019

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

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‘SUSTAINABLE design should GO BEYOND materiality. How products are MANUFACTURED needs to be part par t of the SOLUTION’

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

 

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 T H E

L I G H T I N G L A U N C H 

‘EARTH TO SKY’  BY  B Y DOSHI LEVIEN   Born of of experimentati experimentation on and and passion, passion, this collection displays the artistry of design British designers Nipa Doshi and Jonathan Levien have collaborated with many big-name brands since setting up their studio, Doshi Levien, in 2000. Their latest project, however, is a more personal one. The seven lights in the ‘Earth To Sky’ collection are all self-produced. ‘I was exploring the coming together of geometry and free forms, drawing fine lines next to intuitive, sculptural shapes,’ says Levien. ‘Then, Nipa picked up a hole-punch, pierced one of the shapes and put a line through it. We instantly realised that we no longer had just a composition, we had an actual structure.’ stru cture.’ The drawings were a starting point, with the duo then approaching craftspeople to turn their sketches into reality. All of the lights in i n the new

range are formed by machines normally used for restoring the sophisticated bodywork of ‘E-Type’ and ‘XKI’ Jaguars, with each design made of at least two pieces of automotive-grade aluminium. ‘The project is a combination of space, light and form,’ adds Levien. ‘We started it in order to have complete freedom.’ The results of that creative liberty are remarkable. Prices on application (doshilevien.com).

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‘I WAS EXPLORING COMING TOGETHERTHE OF GEOMETRY AND FREE FORMS’

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T H E N E W L O O K  

CHUBBY   DESIGN Voluptuous Vol uptuous proportions are in st style yle and big is definitely beautiful  Lozenges, arches and curves have dominated in the design world of late, and now a handful of creatives and makers are taking

even the most languorous of suppers. ‘Fat is being reclaimed as a beautiful thing for a chair to be,’ he says. ‘It’s really hard to

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

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

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 T H E I N T E R I O R D E S I G N E R

HOLLIE

 BO  B OWD WDE  E  The decorating world’s hot new talent  fuses Japanese-s Japanese-style tyle minim minimalis alism m with with an inspired use of antiques and craft 

 

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Up-and-coming interior designer Hollie Bowden says her style sits somewhere between maximalist Jacques Grange and minimalist  Axel Vervoordt Vervoordt – a contrast, to say the least. ‘I like to mix things up,’ she says. ‘The juxtaposition of bare walls and big open spaces with theatrical statement pieces, complex textures and antiques is something I love. As is Vervoordt’s Japanese-inspired wabi-sabi aesthetic; I use a lot of pieces that t hat have an organic, aged a ged character.’ Her style is evident when you look at the serene villa (top right) she designed in Ibiza, and her subdued yet glamorous palette of stormy hues and marble at the headquarters of sake brand Heavensake (left). Bowden established her Shoreditch studio in 2013 (now with a team of six) and has already amassed an impressive list of projects in locations from London to the Hollywood Hills. Most are residential, but there are retail spaces in the mix, including in cluding a showroom for luxury leather goods brand Tanner Krolle. For her, it is key that every project tells a story. ‘My job is to build a world and direct a vision that suits my clients,’ she explains. ‘I believe your home informs your mood, so it’s important that you get the tone right.’

‘MY JOB IS TO BUILD A  WORLD  WOR LD FOR FOR MY CLIENTS. CLIENTS.  YOUR  Y OUR HOME HOME INF INFORMS ORMS YOUR MOOD, SO IT’S IMPORTANT TO GET THE TONE RIGHT’  As for for where where her diverse diverse sstyle tyle comes from, it seems seems Bowden has her mum to thank. ‘When I was growing up, our house was always evolving,’ she recalls. ‘Mum would get bursts of inspiration and be compelled to revamp the place. I once woke up to find my bedroom had been transformed around me.’ After taking an art foundation course, Bowden trained at the KLC School of Design in Chelsea and then worked for Oxfordshirebased designer Harriet Holgate, who introduced her to a quirky, classically English decorating style. Her biggest solo project to date is Es Cubells, a 1980s Modernist villa in Ibiza. The property is filled with warm neutrals and bespoke furnishings, including a moulded plaster bath designed to enhance the property’s ocean views. Bowden regularly produces such pieces; the Tanner Krolle store has a set of horsehair-covered cabinets and iron shelving.    N    I    K    T Her next project is an abode on the picturesque    U    L    E    V    E    I Isle of Bute, though Bowden dreams of designing    V    E a boutique hotel. ‘I would bring my love of creating    N    E    G   : homes to it,’ she muses, ‘but it would also give me    S    E    R    U    T scope to be more adventurous’ (holliebowden.com).    C    I    P    D    R    O    F    D    R    A Opposite A moody palette of monochrome marble and    B    Y deep teal at the headquarters of sake brand Heavensake    M    A in London’s Chelsea This page, from top A redesigned redesigned   :    S    D    R country estate in Ibiza. The marble bathroom and calm    O    Wliving space in a private home in South Kensington, London

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

MADE IN

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

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country’s most successful exports – the creative directors of furniture brand Stellar  Works  Wo rks are, so far, far, the only Chinese Chinese winners

of Designer of the Year at the annual ELLE Decoration International Design Awards

(in 2017). The pair were guests of honour at this year’s Stockholm Furniture Fair and

Canada’s Interior Design Show Toronto.  Word of China’s design revolution was

also on the lips of those at Maison Ma ison & Objet fair in Paris, where six Chinese creatives were singled out for its Rising Talent award.

‘Chinese design today is like many flowers blooming together,’ says Fan Zhe, curator of a showcase dedicated to Chinese creativity of the past, present and future at the Design

Biennale in Saint-Étienne. ‘The country is producing outstanding work, and there’s

a huge demand for its individual pieces.’ ‘China has established itself as a major international player in design over the past five years, with the culture shifting towards

innovation and originality originality,’,’ says Zhuo Tan, director of Design Shanghai. A relative newcomer on the design show circuit (launched in 2014), the event has flourished; this year it will play host to over 400 brands

from 30 countries. ‘When we launched, we found only a handful of Chinese participants

who were dedicated to furniture. In 2019, we had 60 brands – it shows how quickly China is absorbing the movement. The world

is looking to us. It’s an exciting moment!’ But what of the ‘Made in China’ label that came to signify mass production and low quality? While Chinese architects were able to prosper thanks to rapid urbanisation, the design sector had remained weak. ‘There was no concept of brand, and no willingness

to pay for independent creatives,’ explains ELLE Decoration China’s Lee. Designers were often imported, or looks simply copied.

The recent boom is seeing those negative connotations turned on their heads. Now, the country’s infrastructure of incredibly efficient factories factories can be regarded as a huge

CHINESE DESIGN

advantage, with original designs able to be

ON THE RISE

developed and produced at a fraction of the

2014 Design

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

time and cost of that in the West. There is now an ever increasing group of young furniture makers, all hungry for their slice of the global interiors pie. ‘Many of them,’ say Neri & Hu, ‘see the Chinese stereotype of mass production as the driving force to do better. They’re striving to be more inventive to reverse this negative view’.

The results are noticeable and, according to Zhe: ‘Forming a visual language that’s contemporary and characterised by our Previous page Traditional parasols on show at Biennale SaintÉtienne This page Chinese designers Neri & Hu and some of their

projects, including (from top) New Shanghai Theatre, Canton Table restaurant, Mercato Shanghai and Le Meridien hotel in Zhengzhou

Chinese heritage is only a matter of time.’  Turn the page to see work by some of the

hottest names in Chinese design

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TRENDS

SHERRY XU, 8 HOUR 

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

 WeWork  WeW ork shared offices offices across Asia Asia (8hourdesign.com). (8hourdesign.com).

 X I M I L I , U R B A N C R A F T

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

FRANK CHOU

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

MARIO TSAI

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

FURONG CHEN , WUU

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

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 T H E

I N N O V A T I O N 

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

ENLIGHTENED THINKING

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

Get creative with more lights that can be personalised 

Combine your choice of the ‘Junit’

Manipulate the fabric of the ‘Nuée’

The ‘Lux’ pendant light by Cristina

Twist the bottom of the ‘Clam’

range’s eight geometric elements. range’s ele ments. Or pick a version curated by the designer, Julia Jessen. J essen. ‘Karma’, £220,, S £220 Schneid chneid (schneid.org)

(French for ‘thick cloud’), by Marc Sadler for Foscarini, to subtly change the way its light falls. From £1 £1,81 ,817 7, Aram Ar am Store S tore (aram.c (aram.co.uk) o.uk)

Celestino for Fendi Casa features a balancing system that allows you to easily adjust its glass sphere. From £2,500,, Harrod £2,500 Harrodss (harrods.com)

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

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 T H E

O N E S T O W A T C H 

 FÄ  F Ä RG & BLA BLANC NCHE  HE   Meet the dynami dynamicc creative creative duo duo delig delighting hting the world (and each other) with their designs

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

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T H E N E W L A N D M A R K S 

GROUNDBREAKING 

GALLERIES

 Designing cul  Designing cultural tural ven venues ues has alw always ays allo allowed wed architects to stretch their creative muscles, but these three projects prove there’s still room to surprise

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

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

 

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NATIONAL MUSEUM OF QATAR, Jean Nouvel  Having completed the Louvre Abu Dhabi museum in 2017, renowned Pritzker Prize-winning French architect Jean Nouvel has become the go-to talent for creating modern Arabic architectural wonders. wonders. His latest masterpiece, the National Museum of Qatar, Q atar, which opened in Doha this spring, is a dazzling composition of circular forms. Its unique structure was inspired by desert roses – natural flowershaped formations of sand and minerals that occur in dry arid conditions. ‘It’s an architecture created by time and the desert itself,’ says Nouvel of the beautiful natural phenomenon. The 539

sandy-hued interlocking discs that make up his homage are clad in glass-fibre reinforced concrete, forming spaces of shade from the intense sun. Concealed within the heart of this modern space is the century-old palace once inhabited by the late Sheikh Abdullah bin Jassim Al Thani – the seat of government for 25 years – as well as Arabic and Persian artworks and artefacts (qm.org.qa). ➤    F    O    Y    S   S    U    E    K    T    R   O    U    A    O    C    C    I    /    N    R    E   A    D    G  ,    N    I    N    D    L   A    A   A    B   B    R   N    A    O    R   W    D  ,   :   I    S    S    E    T    R   E    A    U    T   I    C   C    I    P   O    S    S   S    A    M    E    A   Y    I    L    A    L   J    W    I   D    A    S    E   D    N    M    A   A    J    Y   :   I    T    S    D    R   C    Y    B    O    U    W    R

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THE SHED, Diller Scofidio +

 Renfro  Ren fro and Rockwell Rockwell Group ‘THERE ARE GREA G REAT T INSTITUTIONS IN OUR CITY, BUT MANY OF THEM  ARE ABOUT THE PAST. THE SHED IS  ABOUT THE FUTURE’

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

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 T H E

R E V I V A L 

GABRIELLA

CRESPI

 As the affection for all all things things 197 1970s 0s continues apace, this designer’s work, reissued by Milan’s hip Dimore Gallery, is more relevant than ever 

 

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Light was fundamental to the work of Gabriella Crespi (1922–2017). It illuminates

her pieces were all handmade by skilled craftspeople, using self-invented

the sculptural of her brass, and lacquer tables, planes which feel still moresteel lustrous alongside her space-age, mushroom-shaped Plexiglas lamps. In her hands, even humble materials – such as the bamboo she crafted into curvaceous furniture inspired by the silhouette of the rising sun – take on a glow.  A capsule collection of Crespi’s Crespi’s work has  justbeen reissued reissued by Milan’ Milan’ss D Dimor imore e Galle Gallery ry,, whose founders Emiliano Salci and Britt Moran have collaborated with the designer’s d esigner’s daughter, Elisabetta, to revive tables and lighting created between 1970 and 1980. ‘Crespi inspires inspires us because she was modern and daring,’ explains Salci. ‘Everything about her was sophisticated and unconventional.’ The relaunch – which includes flower-shaped and geometric

mechanisms that, for example, made table leaves and cabinet doors smoothly unfurl. Crespi herself was an alluring a lluring figure who now seems remarkably ahead of her time. Born into an aristocratic family, she studied fine art and architecture – the latter a highly unconventional choice for a woman in midcentury Italy, especially one of her class. She then began making one-off objets for friends using precious woods and metals. Dior spotted them and snapped them up for its Paris boutique. A forerunner of today’s artisan-designers, Crespi showed great prescience in matters of taste. Her apartment in Rome contrasted ancient frescoes with her angular brass furniture – startling at the time, the combination would now be the last word in chic. Retiring

coffee tables reminiscent of Paco Rabanne’s futuristic couture – is timely for several reasons. Crespi’s style epitomises the louche

at she abandoned design and spent the next two living in 65, a Himalayan retreat. ‘I have always considered mydecades independence in my work as well as in my life as one of my biggest achievements,’ achievements,’ Crespi told the Wall Street Journal Magazine  in 2015. Attitudes like that never go out of fashion (dimoregallery.com).

elegance of the 1970s, a decade that currently fascinates the design and fashion worlds. Her return to the spotlight also reflects the trend for reviving work by forgotten names (Brazilian José Zanine Caldas and American Paul McCobb are currently experiencing similar comebacks). Plus, Crespi’s way of working is very much en

‘CRESPI INSPIRES US BECAUSE SHE WAS MODERN AND DARING. EVERYTHING ABOUT HER WAS SOPHISTICATED  AND UNCON UNCONVENTI VENTIONAL ONAL’’    I    N    I    R    O    I    F    E    N    O    M    I    S    I ,    N    A    C    S    O    T    O    R    E    I    V    I    L    O    Y    B    I    P    S    E    R    C    A    L    L    E    I    R    B    A    G    O    I    V    I    H    C    R    A   :    S    E    R    U    T    C    I    P    D    R    O    F    D    A    R    B    Y    M    A   :    S    D    R    O    W

vogue :

From left ‘Fungo’ table lamps; ‘Cubo Tondo’ coffee table; ‘Eclipse’ coffee table,

all by Gabriella Crespi, prices on application, Dimore Gallery 

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 T H E F U R N I T U R E L A U N C H 

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

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 T H E

R E O P E N I N G 

NATIONAL  MUS  MU SEUM 

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

 

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Stockholm’s National Museum has doubled its visitor numbers since reopening its doors last year. Proof, if it were needed, that the historic art and design destination’s £104 million renovation has been a roaring success. Swedish architecture practice Wingårds and restoration specialist Erik Wikerstãl led the project – a collaboration, they say, that ‘turned out better than anyone could have imagined’. Striking a balance between preserving and modernising, the space honours architect Friedrich August Stüler’s original design while simultaneously becoming one of the t he world’s most technologically advanced museums – think state-ofthe-art climate control and acoustic-attenuating stucco surfaces.  As well as revolutionising the building, the work has also changed the way the collections are presented. Exhibition space has been increased (there are three times more artefacts on MODERN ARTEFACTS    N    I    L    U    A    I    P    /    S    R    H    E    O    N    U    R    B    /    M    U    E    S    U    M    L    A    N    O    I    T    A    N   :    S    E    R    U    T    C    I    P    E    R    O    M    X    E    L    A   :    S    D    R    O    W

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

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

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

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

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

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

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 T H E T E C H N O L O G Y  

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

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

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

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 T H E

A N N I V E R S A R Y  

 LI  LIV ING IN G   DI  D IV VA NI   AT  A T5 50 0 This year marks half a century of the Italian furniture brand. We celebrate by looking at its seismic impact on the design world 

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

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Lui gi Bestetti Founded inPozzoli, Milan inLiving 1969 by husband-and-wife team Luigi and Renata Divani credits ‘a fixation on contemporary design and a touch of luck’ for its success. It was at just 26 years old that Bestetti decided to strike out from his family’s family ’s traditional furniture company and forge the modern brand we know today. Still honouring the principles that it established 50 years ago – elegant silhouettes and a considered colour palette – it’s now  just as celebrated for its creative collaborations and the ageless outlook that’s allowed it to traverse half a century with ease. Bringing Italian design maestro Piero Lissoni on board in 1989 – a partnership that’s celebrating its own anniversary of 30 years – was a pivotal moment, solidifying Living Divani’s unique style. ‘I’ve seen the company completely transform,’ says the designer,, who, upon joining the brand, set about overhauling its designer factory in Como, which opened in 1974, updating its materials and reimagining its visual identity. He also created some of the most iconic Living Divani pieces, such as 1995’s ‘Frog’ ‘Frog’ chair (above and left), now considered a forerunner to2000, the subsequent vogue for low seating, and the ‘Wall’ ‘ Wall’ sofa (left) of which was the brand’s first design without legs. ‘I pushed them to be more contemporary and, luckily, they believed in me and my crazy ideas,’ he says. Collaboration has been a mainstay of the firm’s identity, thanks in no small part to the vision of the founders’ daughter, Carola Bestetti, who joined the firm in 2004. The roll call of those who have contributed to the portfolio is a who’s who’s who of the design scene – Arik Levy, Claesson Koivisto Rune, Giopato & Coombes, Nathan Yong,  Victorr Vasilev Vasilev,, Shiro Kurama Kuramata, ta, Junya Junya Ishigam Ishigamii and Lanzave Lanzavecchia cchia    I  Victo    S    S    O + Wai, to name but a few. Each designer is specially chosen for their    B    E    N ability to harmonise with the brand’s clean-lined aesthetic.    O    M    I  At 50 years years young, Living Living Divani continues continues to uphold uphold its global global    S   :    S    E reputation for creating fine furniture, with a range that now spans    R    U    T    C the entire home. For 2019, it has partnered with another impressive    I    P    G array of designers, both new and established, including David Lopez    N    O    W Quincoces, Keiji Takeuchi and Shibuleru, plus, for the first time,    A    E    R    O    M    Y    M    A   :    S    D    R    O    W

young Leonardo Talarico, Studio Klasstoo, and with New York York’s ’s Italian Stephen Burks. Of course,Milan-based Lissoni has contributed ‘The Uncollected Collection’ (chaise longue, right), a limited-edition range of chairs and tables that are part furniture, part sculpture.  What now? ‘On ‘On to the the next next 50 years years!’ !’ says says Lissoni Lissoni (livingdiva (livingdivani.it). ni.it).

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

 

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 T H E

B A T H R O O M U P D A T E 

‘ALLURE BRILLIANT ICON 3D’ TAP BY GROHE This futuristic piece of hardware shows the possibilities offered by cutting-edge design methods  As technological technological advances advances continue continue to drive designers designers to push the the boundaries of creation, the bathroom is the latest space to be revolutionised by 3D printing. Grohe’s ‘Allure Brilliant Icon 3D’    G tap – the first of its kind in Europe – is composed of a staggering    N    O    W 4,700 printed layers of 0.06-millimetre-thick raw steel. Its design

first seem hard to believe that water can flow through this tap. When it’s turned on, a stream appears as if from nowhere – an optical illusion made functional. ‘What is possible or not possible has become a question of perspective,’ perspective,’ continues Seum.  As well well as this design, Grohe has also reimagined the clean-lined clean-lined

echoes the look that of the brand’s but with a sharper profile could not be‘Allure forgedBrilliant’ by humantap, hands. ‘We strive to create products that at first appear impossible,’ says Michael Seum, vice-president of design at Grohe. And, with its unique hollow form and razor-thin architectural lines, it does at

‘Atrio’ with bothand pieces printed and then milled by machines, beforetap, being honed finished by skilled craftspeople. Made to order, both taps can be personalised for any space, making each one completely unique. With production limited to just a few a year, they’re a real luxury. From £12,000 (grohe.co.uk).

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 T H E

C O L L A B O R AT A T I O N 

 PIERR  P IERRE E FREY  X  CHRISTIAN

 ASTUG  AST UGU U EV EVIE IEIL ILLE LE The new ‘Coquecigrues’ collection is an energetic collision of styles born of a long creative friendship Patrick Frey, the patriarch of fabric brand Pierre Frey, has been friends with Christian  Astuguevieille for years. A design polymath,  Astuguevieille  Astuguevieille  Astuguevieill e (below) is the artistic artistic director

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

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 T H E

S U R F A C E 

THREE - D  DIMEN IMENSI SIO ONA L TILES

 Forget d  Forget dull, ull, f lat w walls alls – desi designers gners are b bringin ringing g ever more inventive and original texture to homes (and it’s not just for the bathroom and kitchen!)

 We first admired the renaissance of 3D tiles last year at the opening of Harrod’ss revamped Fresh Market Hall, where Cristina Celestino’s ‘Plumage’ Harrod’ design by Botteganove added glamorous texture. Since then, we’ve been treated to a growing number of innovative options, with the trend really making its mark during this year’s Milan Design Week at the ‘Perfect Darkness’ installation. Created Creat ed by H+O (a collaboration between Josephine  Akvama Hoffmeyer Hoffmeyer of Danish studio studio File Under Pop Pop and Italian designer Elisa Ossino), the display showcased the possibilities available with tiles, presenting them as an exciting alternative to paint and wallpaper wallpaper..  When it comes to stretching stretching the boundaries boundaries of this type of surface, surface, few have done more than Finnish designer Jonas Lutz. For his surrealist ‘Guts’ tiles, he had to develop a new technique to create all of their bodily lumps and bumps. Lutz carved the shapes directly into plaster, then filled the cavity with liquid clay to make 20 different patterned moulds that all fit

together to form a seamless pattern. ‘The name comes from the texture, but also from the name of the tool I used, which in Dutch is called a guts a  guts,’,’ he says. ‘It creates the feeling that you are inside the belly of a giant being.’ Of course, the avant-garde Italians are also spearheading this architectural tile revival. Venice-based Zaven has designed the vividly coloured ‘Rilievi’ range, inspired by the work of artist and activist Nino Caruso during the 1960s and 70s, while Marazzi has launched the ‘Eclettica’ collection, with its tasteful wave and diamond shapes. Whatever your style, from geometric to gutsy, there’s a design that will give your walls a new dimension.

 

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

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

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 T H E

E X T R AV A V A G A N C E 

 HAUTE  HAUTE COUTURE    WIN  W INDO DOW W DRESSING  Blending fashion  Blending fashion and and  function,  functio n, it’s it’s the new new art  form for for the home, and and textile design agency Studio  MTX is leading leading the way way

It’s no longer just the walls of your home that can accommodate unique artwork – windows are the new canvas. Paris-based company Studio MTX is pioneering this elevated form of window dressing, using architectural embroidery to create solutions that maintain    U    E    I natural light and offer privacy, while also being graphic and    H    T memorable. At this year’s Milan Design Week, the studio collaborated    A    M    L    I with furniture brand Sé at the Rossana Orlandi Gallery, layering    C    E    C   : ethereal silk panels to breathtaking effect. Composed to reflect    E    R    U    T the soft curves of Sé’s designs, the fabric panels (above) were    C    I    P    S    E outlined by brushed brass detailing that glints in sunlight.    N    O This is haute couture reimagined for the home, and Studio MTX    J      Y    E    L    C    K uniquely placed to bring and art credentials to interiors.    U    B is Established in 2013 as a fashion directional division within Chanel’s    A    R    E    I embroidery atelier Montex – a workshop whose roots go back to    K   :    S    D    R 1939 – its aim was to redefine, innovate and push the boundaries    O    Wof what it’s possible to achieve with embroidery. e mbroidery. The result is cool,

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

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T H E A R C H I V E F I N D 

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

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

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

   N    N    U    D    E    L    L    Y    E    T  ,    R    E   E    R    O    O    G    G    G    Y    E    R   D    A    L   N    A    C   :   :   S    E    S    R    D    R   U    T    O    C    I    W    P

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 T H E

B I G I D E A 

CARPET 

 EVERY  EVER Y WHE HER R  No long longer er rrestr estric icte ted d tto o floor floors, s, th thee p plu lushe shest st and mos mostt  fant  fa ntasti astica cally lly pa patte tterne rned d ccarpe arpets ts ar aree ru runn nnin ing g wi wild ldly ly up walls, ceilings and into every room of the home Words KIERA BUCKLEY-JONES  Photo grap hy HELENIO BARBETTA/LIVING INSIDE

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

 

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

 

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TRENDS

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TRENDS

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

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LOOKS  A U T U M N / W I N T E R 2 019  Edit ed b y  KIERA BUCKLEY-JONES

 I N D I G O B L U E S PALE TIMBERS NOWHAUS

RETRO FUTURISM

 

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 T H E

L O O K  

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

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

 

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

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 T H E

L O O K  

PALE timbers  Beech, plywood, oak and map maple le are th thee materi materials als of th thee moment – susta sustainabl inablee and sophisticated, they bring a quiet warmth to interiors 2 3

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

 

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

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 T H E

L O O K  

NOW haus haus  In the wake the Bauhaus’ Bauhaus’s s 100th ann anniversary, iversary, grap graphic hic p patterns atterns an and d primary colours – theofschool’s hallmarks – have been given a contemporary update 2

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

 

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

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 T H E

L O O K  

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

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

 

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

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

 

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

by Valentina Cameranesi Sgroi, £338, SEM Milano (sem milano.com). Spade chair by Faye Toogood, £430, Please Wait To Be Seated (pleasewaittobeseated.dk)

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

Clippings (clippings.com). Dos À Dos chair by Pierre Paulin for La Cividina, £2,720, Ar temest (artemest.com) 88 88   ELLEDECORATION.CO.UK  A   A UGUST 2019 2019

 

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From left ‘Wirering’ wall light by Formafantasma for Flos, from £620, Heal’s (heals.com). ‘Sanluca’ limited-edition armchair by Achille and Pier Giacomo

Castiglioni upholstered in ‘Geophysical Waves’ fabric by Max Huber, £4,500, Poltrona Frau (poltronafrau.com). ‘Tenco’  side table by Carlo Ballabio for Porada, £1,172, Chaplins (chaplins.co.uk). ‘Insert’ side table, £489, Ferm Living (fermliving.com). ‘Pùka’ circular chair by Verter Turroni, from £4,000, Imperfetto Lab (imperfettolab.com). ‘Cal 3’ rug , £441; ‘Stone 1’ rug , £370, both by Nanimarquina, Ambiente Direct (ambientedirect.com). ‘Ring’ coffee table by Nendo, from £5,800, Minotti (minottilondon.com). ‘Eucalyptus & Acacia’ high carafe by Eva Claessens, £43, Serax (serax.com). ‘Edge’ vase by Skagerak, from £32, Nunido (nunido.co.uk). ‘Gallery Object’ marble tray , £290, Louise Roe (louiseroe.dk). ‘Akari’ floor lamp by Isamu Noguchi, £2,090, Vitra (vitra.com).

‘Floyd’ sofa  by Piero Lissoni,  Lissoni, from £6,483, Living Divani (livingdivani.it)

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

 P O T E N T P A T T E R N

BLONDE AMBITION

OFF THE S PECTRUM LIFE IN MONOCHROME CONTEMPORARY ORGANIC THE BIG EASY INDUSTRIAL BOHEMIA

   R    E    Y    O    F    O    T    O    H    P    /    A    K    S    W    K    O    T    A    G    A    I    S    A    K   :    E    R    U    T

   C    I    P

 

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   D    N    E    R    T    E    M    O    H  

 Prints don don’t ’t h have ave tto o sho shout ut tto o mak makee a bi big g impact. In this home, florals and stripes in soft colo colours urs demonstrate the growing appeal of quietly daring decoration Words TESSA PEARSON  Photo grap hy DENISE BONENTI/LIVING INSIDE

  T P    N A   E T    T T    OE    PR N

 Styl ing BARBARA VERGNANO/SLOBS

 

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Guest room ‘Brocade’ wallpaper by Farrow & Ball stretches from floor to ceiling on one of the walls, while

Cole & Son’s ‘Cambridge Stripe’ extends part of the way up. The blind is by C&C Milano, while the armchair’s upholstered in textiles by Dedar and Mark Alexander. The rug is from Tibet

Stockist details on p194 ➤

 

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

Portrait Landscape architect Cristiana Ruspa Hallway  This  This space features the vibrant ‘Pompom’ wallpaper by Natasha Marshall Opposite In the living room, period features, such as the fireplace, have been painted white

for a more modern feel Stockist details on p194 ➤

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

Stockist details on p194

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  P   U T    E H   R E    U   J C    N H   O A   C R M   N     E O   E F    R   G S    F U M   O M   S E    T R   N   I H   H O   D U   N S  E    A S    S A   MN   O D   O G   R A   T R   H D   G E    I N   R   B R  ,  O   T O   H M   G   I  S    L

Dining room Cristiana room Cristiana found a local carpenter to build a custom-made table, around which she’s placed ‘Elsie’ chairs by Francesco Rota for Paola Lenti. The rug is by Galleria Battilossi. ‘Block Print Stripe’ wallpaper by Farrow

& Ball has been used on the lower part of the  the  wall, below artworks by Patrizia Guerresi Stockist details on p194

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  S   E S  H   N O   OW   T   D  T    E H   T E    U  S    M T  R   N   I I  K   S I    R N   E G   P   A A   P N   L D   L   A T    WH E    D S    E U   P   I B    R D   T U   S E    D D   N N I    A H   L   A A   C   I R M   N O   A N   T   OY   B

Bathroom Ceramic tiles by Patricia Urquiola

for Mutina cover a wall i n the shower. On the floor is an antique Tibetan rug. The ‘Offcut’ stool is by Tom Dixon Bedroom ‘Meadow Sweet’ wallpaper by Morris & Co gives a vintage feel to this space, which features striped blinds

made from Sunbrella fabric. The linen bedspread is by  Atelier Adriana Fortunato  Atelier Fortunato Stockist details on p194

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Living room Style  Style Wars 2014 by Russian artist Stepan Krasnov hangs in front of a pair of ‘Don Juan’ sofas from Christian Liaigre, a bronze ‘A ‘Aes’ es’ coffee table by Barber

& Osgerby for Hermès Maison and Pierre Jeanneret chairs. The ‘Jardin’ rug is by India Mahdavi for Cogolin and the ‘Scramble’ floor lamp is by Mauro Fabbro, from the Galerie  Alexandre Biaggi in Paris Stockist details on p194 ➤

 

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 H O M E

T R E N D 

BL O  A  ND M B E I TI

 Eth  Ethic icall allyy and and aesthetically, the only choice  for  for timb timber er is  pale-t  pal e-toned oned oak. It creates a warm welcome in this Parisian abode Words  IAN PHILLIPS  Photo grap hy  

O

STEPHAN JULLIARD/TRIPOD AGENCY  Sty ling  SARAH DE BEAUMONT

 

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

N

 

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

growing soft woods, such as pine, or oak from European forests where harvesting is monitored. THE HOME

The design world’s AFFECTION for  blon  bl onde de T I M BE BERR is due du e to mo more re th thaa n a love love of the SCANDINA SCAN DINAVI VI AN look 

 Above An Italian 1950s armchair, Gino Sarfatti lamp and ‘Lalinde’ table from Sentou Dining area The Corian-topped table is a custom design which has been paired with ‘Ant’ chairs by Arne Jacobsen for Fritz Hansen and a ‘Coogee Cotton’ sofa from Sentou.

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

 A pair of ‘Marse ‘Marseille’ ille’ wall lights by LeCorbus Corbusier ier for Nemo and a photograp photograph h by Jean-Pierre Khazem hang above Stockist details on p194 ➤

to this home. It s the ideal contrast to the elegant restraint of her design. studio-cmp.com

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This home’s ART A RT COLLECTION brings a dose of FA FA NTASY to the interio i nterior,r, in CONT CONTRR AST to its RESTRAI RESTR AINED, NED, understat understated ed furnishings  Above A bright painting by Bernard Frize greets visitors in the entrance hall. Below it, a ‘RAR’ rocking chair by Charles & Ray Eames for Vitra, a pair of ‘Lalinde’ tables from Sentou and a vintage Robert Mathieu floor lamp create a cosy corner Opposite In the office,

a Lindsey Adelman chandelier hangs above a Jean Prouvé desk and the ‘Oria’ chair, designed by Spanish architect Rafael Moneo for Hermès Maison. The painting is another Pop Art piece by Stepan Krasnov Stockist details on p194 ➤

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Charlotte favours favours a rigorous rigorous ARCHIT A RCHITECTU ECTURR A L approach approach to design, design, with WHITE walls, wal ls, CLEAN CLEA N lines and NATURAL NATUR AL materials materials – particularly particularly WOOD WOOD and MAR BLE  Above This wall in the bedroom is clad with linen, which adds a softness to the interior. A portrait of Picasso by André Villers and a Gérard Garouste drawing hang on the wall above a v intage teak and cane bench by Pierre Jeanneret Bathroom Carrara marble reigns

in this calm space, with two Takashi Murakami screenprints injecting a dose of colour above the bath. The stool is the ‘Butterfly’ by Sori Yanagi for Vitra and the tub is from Hidrobox’s ‘Beta Essential’ collection Stockist details on p194 ➤

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Bedroom Pillowcases and a blanket from Society Limonta have been teamed with a throw from Hermès Maison. The photograph photograph

above the bed is by David Levinthal, while the lights are vintage pieces by Robert Mathieu. The Moroccan rug

is from Paris Berbère Stockist details on p194 

 

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 H O M E T R E N D 

OFF Colourr confidence is key to creating a space Colou

THE where clashing hues exist in harmony. This

S P E C T R U M  Milan  Mi lanese ese homehome-turned turned-gall -gallery ery sho shows ws ho how w it’ it’ss don donee Words KARA O’REILLY    Photo grap hy  MONICA SPEZIA/LIVING INSIDE

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

Entrance hall Paints used throughout the apartment are all by Ressource – this shade

is Della Robbia Aubergine . The table is a vintage piece, as are the statement mirrors. The rug is from Ilo Rugs and the light fittings are the ‘Apollo’ by Pholc. The decorative objects on the table include items by Simona Cardinetti Stockist details on p194 ➤

 

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’WHEN DECORATING DECORATING,,  I TRUST MY TASTES  TASTES   AN D FOLLOW MY INSTINCTS’

Kitchen ‘Sebastian’ paint by Ressource covers the walls and cabinets. The table is v intage, as is the Pier Luigi Colli chair and the 1950s mirrors on the wall. The light fittings are by Tala, while the ceramics and pieces of glassware ar e all from PalermoUno PalermoUno Dining room The walls a re painted ‘Bleu Nuage’ and the

ceiling Thé de Chine , both by Ressource. Sophie designed the table in collaboration with G-Lab Milano, while she sourced the rug i n Morocco for PalermoUno. PalermoUno. The chairs and cabinet are vintage. The light fitting is by Bomma. Glassware includes pieces by Fferrone and Natalia Criado Stockist details on p194 ➤

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

by Victor Cadene hang on the wall Stockist details on p194 ➤

 

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‘YOU MAKE BETTER CHOICES CHOICES    IF  YOU KNOW  YOU CAN  YOU  CAN CHANGE  YOU R MI ND ’

 Yellow room The paint colour on the walls is ‘Jaune Raisin’ by Ressource. The screen (opposite) and

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

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PALERMOUNO’S  OWNER, SOPHIE, HAS AN  PALERMOUNO’S OWNER, AN   AVE R S IO N  TO SAFE, EXPECTED COLOURS

Bedroom Walls are painted in ‘Feuillage’ by Ressource. The curtain is a Kirkby Design

fabric and the bedding is from Harmony Textile. The aluminium ‘Rivet’ bedside table is by Frama, while the lamp on the vintage chest of drawers (above) is the ‘Lotus’ by Serena Confalonieri for Mason Editions Stockist details on p194 

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 H O M E

T R E N D 

Life in monochrome  Black ack and and whit whitee never never goes out out of of fashion, fashion, but but to to keep keep it cont contempo emporary, rary,  Bl take inspiration from this London home’s focus on geometric details Words  TRISH LORENZ  Photo grap hy  MADS  MADS MOGENSEN  Pro duct ion MARTINA HUNGLINGER 

 

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T

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

Previous spread and opposite  The living room sofa is secondhand and the coffee table a repurposed art plinth. A ‘Mobile Chandelier 9’ by Michael Anastassiades, available at Twentytwentyone, and a S erge Mouille floor lamp add graphic

a small garden for the family to enjoy. ‘We have an apricot tree, apple tree and a fig tree in large black glazed ceramic pots in front of the house. We can sit out here and forget we’re in central London.’

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touches. The white tower bookcase is the ‘Sapiens’ by Sintesi Stockist details on p194

 

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Kitchen The  The units are bespoke and Kitchen the black pots are from the ‘Barro’ collection by Ames Sala, while the ar twork is by London-based Whitney McVeigh Dining area  SuperStudio’s ‘Quaderna 2600’ table for Zanotta was the first piece bought for this home. The light is the

GEOMETRIC details keepp this TIMEL kee T IMELESS ESS  blac  bl ackk a nd wh whititee co colo louu r SCHEME from feeling too cold and starch sta rchy y 

Mimosa by Atelier Areti, and the painting is by Italian artist Romana Londi. Shelving by Rimadesio separates this space from the living room Stockist details on p194

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‘Galleries give g ive me a sense of PEACE, PEA CE, with their their MINIM MIN IMAL ALIST IST  wh  whit itee sEATE pace pa cess . that I wa want nted to pa parr t iaiall ly RECREATE RECR at ed HOME’ HOME’

Opposite The ceramic floor tiles in the kitchen were cut to exact ly the same size as the parquet throughout the rest of the house

 Above Glimpsed through this window, the all-white scheme of the office, situated in a glazed extension, has an orderl orderly y look

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Bathroom Square white tiles, arranged in a grid pattern, are given a n element of drama with contrasting black g rout Bedroom White Company bedding and a throw by Toast are topped by cushions covered in fabric from Romo. The raffia

SHADES ranging from steel to charcoal cha rcoal add a SOPHISTICATED tonal depth to this th is MONOCHROME MO NOCHROME palette

cushion was a holiday find in the Belgia n town of Knokke-le-Zoute, while the wall light is by Vincent Devisscher for Atelier Moderniste Stockist details on p194

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 H O M E

T R E N D 

CONTEMPORARY O R G A N I C  Luxury li  Luxury livin ving g is tak takin ing g a ssoft ofter er turn, turn, wit with h designers designe rs of offsetting fsetting clean lines and sleek materi materials als with a more natural take on opulence Words RACHEL WARD  Photo grap hy KASIA GATKO GATKOWSKA/PHOTOFOYER  WSKA/PHOTOFOYER 

a nd the ‘Ad’ Living room Christophe Delcourt’s ‘Eko Meridienne’ sofa, Faye Toogood’s ‘Roly Poly’ chairs and

lounge chair by Arno Declercq sit beside a ‘Lob’ coffee t able, also by Christophe Delcourt, and side table by Rick Owens. A ‘Spider’ light by Serge Mouille hangs above, while the rug is t he ‘Egg Shell’ by Atelier Février Opposite This library librar y corner features a ‘Teo’ table and ‘Lek’ sofa, both by Christophe Delco Delcourt, urt, and a ‘Stag T’ stool by Rick Owens. The ‘Image’ pendant light is by Vanessa Mitrani Stockist details on p194

 

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THE TREND  When it comes to homes, luxury is no longer defined purely in terms of sleek materials and architectural lines. In fact, high-end style is waking up to the calming influence

of nature – from the irregular grain of timber to the sensual forms of furniture by the likes of Faye Toogood, Christophe Delcourt and Rick Owens. It’s a marriage of the best elements of ultra-modern design with softer touches. We’re labelling the look Contemporary Organic, and its relaxing and grounding effect is evident in this apartment’s interior, conceived by Konrad Kudraszow, the Polish-born founder of interior design gallery Kooku. THE HOME  When Pol  When Polishish-Amer American icanarchite architect ct Daniel Daniel Libeskin Libeskind d desig designed ned Złota 44, a 52-storey residential tower in Warsaw, he was looking to capture the spirit of a city resurgent. Completed in 2017, 2017, it is now one of the most prestigious addresses addresses in Poland, with its silhouette, inspired by the wings of a soaring eagle, symbolic of the capital’s renewed sense of freedom. Located on the 45th floor of Libeskind’s skyscraper, skyscraper, this

EVERYTHING  HAS BEEN SKILF SKILFULL ULLY Y ARRANGED INTO STAGE-LIKE SET PIECES,

CREATING ZONES OF CONTEMPLATION

Exterior The Złota 44 building by architect Daniel Libeskind Dining area The table, by Victoria Yakusha for her ‘Faina’

200-square-metre one-bedroom residence has been transformed by Konrad, whose company Kooku is known for sourcing unique pieces that have been handmade using raw materials. His rarefied designs bring a gentleness to this modern interior, interior, lending the sharp lines of its concrete ceilings, American walnut flooring, travertine bathroom and black marble kitchen a more sensual quality. ‘I wanted to transfer the soul of a post-factory loft interior interior into this ultra-modern apartment,’ Konrad says of this space in which sculptural furniture made of wood, jesmonite and alabaster alabaster is paired wi with th artworks by local loc al creatives. In the living room, Jarosław Perszko’s marble wall sculpture offers a dynamic contrast to the items surrounding it. Everything has been skilfully arranged into stage-like set pieces, creating zones of contemplation. To harmonise the look, Konrad chose a limited palette of whites, blacks and earthy tones, with the only additional shades introduced organically through the backdrop, vast windows. ‘I left the walls white to provide a neutral but

collection, is paired with a ‘Spade’ chair by Faye Toogood, a wooden ‘Mary ’s’ chair by Matthew Hilton for for De La Espada and a ‘Shibari’ ceiling light by Kateřina Ha ndlová for Bomma. The rug is by Helmut Lang for Henzel Studio  Stockist details on p194

also so that they can be coloured with daylight from bright white through to delicate beige and grey, and brilliant orange at sunset,’ explains Konrad. ‘Even 45 floors up, nature plays a huge role in this design.’ kookudesign.com

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‘I WANTED TO TRANSFER THE SOUL  OF A POST-FACTORY LOFT INTERIOR INTO THIS ULTRA-MODERN   AP  A PARTM ARTMENT ENT’’

 Above A painting paintingby To Tomasz masz Baran hangs abovethe ‘Pechyvo’ cabinet by Victoria Yakusha for the ‘Faina’ collection. The rug is by Anselm Reyle for Henzel Studio and the long table is the ‘Til’ by Christophe Delcourt

Kitchen The cabinets are bespoke, as is the walnut island topped with black marble. The white ‘Pilotis’ ‘Pi lotis’ side table is by London-based designer Malgorzata Bany Stockist details on p194

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 Opposite American walnut has been used for the parquet flooring Bathroom Entirely clad in silver travertine, this

space has a luxurious look.  A ‘Whisper’ box by Nika Nika Zupanc for Sé sit on the vanity  Stockist details on p194

 

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Study The ‘Twi’ desk and ‘Oud’ chair are both by Christophe Delcourt, and the mirror above is the ‘Luna’

by John–Eric Byers.atAKooku ‘Pulley–&provides Pu lley’ by Jérôme Pereira available prov ideslight illumination

Bedroom Bedlinen by Faye Toogood for Once Milano brings a soft, natural texture textur e to the ‘Suite Bed’ by  Autoban  Auto ban for De La Espada. Espada. The striking striking floorlamp is the ‘Einstein Was Right ’ by Jérôme Pereira  Stockist details on p194

 

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T HE

      B  A   SY IG E  Plump, curvaceous  Plump, curvaceous furni furniture ture is hot pro property perty and, in this home by interior designer Pierre Yovanovitch, it creates a friendly atmosphere Words BETHAN RYDER   Photography  JÉRÔME   JÉRÔME GALL AND

Comfort and colour are in plentiful supply in this two-bedroom apartment located in a 1950s property in Paris’s tranquil Les Invalides neighbourhood. Designed for a young French couple who both work in the fashion industry, and their young daughter, the home is the perfect example of Nice-born interior designer Pierre Yovanovitch’s eclectic approach. He is known for blending architectural elements with artisan-produced bespoke furniture, 20th-century design collectables and contemporary art. a rt. On paper, this could so sound und dry, but in reality his lively and inviting spaces are full of texture, materiality and cheerfulness – imparted by his own expressive designs. It’s hard not to feel affection for someone who christens their furniture and lights with names such as ‘Papa Bear’, ‘Oops’ and ‘ET’. A pioneer of the ccurvaceous urvaceous and generous forms trending right now – the ‘Papa Bear’, for instance, designed in 2012, is a huggable teddy of a chair with plush ears – Yovanovitch honed his talents in residential projects after segueing from fashion (he was formerly a menswear designer at Pierre Cardin). ‘I want my designs to bring character to any space,’ he says. ‘I try to insufflate poetry into my work, so there is an element of playfulness in most of my pieces. This is what gives life to an interior.’ In this home, Yovanovitch has generated that energy by creating a fluid, open-plan atmosphere while maintaining distinct rooms. It is an approach that is ideal for relaxed family living. At the heart of this layout is the living

room, dominated by a capacious solid-oak sofa upholstered in Jouffre linen. ‘It required exceptionally skilled craftspeople to realise the piece’s complex shape,’ he says of the custom-designed piece. ‘I wanted to create a welcoming feel, and this sofa, with its curved shape, lends itself to conversation.’ The calming neutrals and natural textures of the living area are enlivened by the punchy dark teal and rust orange orang e of Yovanovitch’s Yovanovitch’s reassuringly chunky and enveloping ‘Asymétrie’ ‘Asymétrie’ armchairs. By extending this colour co combination mbination throughout the rest of the apartment – the two t wo shades are most notable in the kitchen, where they add a vivacious warmth – he creates a harmonious flow, not to mention a home full of verve and personality.  pierreyovanovi  pierreyovanovitch.com tch.com

Living room A pair of Yovanovitch’s chunky ‘Asymétrie’ armchairs, available at The Invisible

Collection, withfor a concrete coffee table and by Matthiassit Kohn Pierre Yovanovitch

   9    1    0    2    Z    T    I    L    E    S    A    B    G    R    O    E    G    T    H    G    I

a 1960s red lacquered side table by Tommi Parzinger from Eric Philippe gallery. The floor lamp is a vintage design by Alvar Aalto and the artwork is Cobra Baroc (2016) by Georg Baselitz, from Galerie Thaddaeus Ropac Stockist details on p194 ➤

 

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

 

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Dining area  ‘Monsieur  ‘Monsieur Oops’ and ‘Madame Oops’ chairs surround a walnut table, all by Yovanovitch. The artworks on the nearest wall are You Wanted Me (2016) by Tracey Emin rom Xavier Hufens gallery  Kitchen A terrazzo table

by Yovanovitch is paired with ‘Dining Clay’ chairs

by Maarten Baas. Above the granite countertop hangs a ‘Plaster Cone’ pendant light by Rose Uniacke Stockist details on p194 ➤

 

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PIERRE  YO  Y OVANO ANOVITCH VITCH IS A PIONEER OF THE CURVY, GENEROUS FORMS THA THAT T  ARE THE CURRENT BIG TREND IN DESIGN

Bathroom The chunky di mensions mensions o the travertine vanity unit

contrast with the delicate1949 fluting o the oak panelling Bedroom  Jean Royère’s ‘Elephanteau’ armchair,behind

upholstered in purple mohair velvet, sits beside a vintage floor lamp by Paavo Tynell. The artwork above is PregnantWoman Woman  (2008) by Louise Bourgeois, rom Xavier Hufens gallery.  Armelle Benoit Benoit d designed esigned the bedside bedside table or Pierre Yovan Yovanovitch ovitch Stockist details on p194

 

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I n dustrial bo bohe hem m ia Concrete and exposedthey brick areano longer just turn for minimalists – paired with artisan Words EMMA LOVE  Photography  ANSON textiles and greenery, take free-spirited   ANSON S MART

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

 

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P

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

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

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‘W hen it was built, our home was ‘When BEAUTIF BEA UTIFUL UL but VERY V ERY STAR STAR K. It needed WAR WAR MI MING NG UP in i n a way that didn’t detract from its RAWNESS’

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

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‘From community commun ity gatherings to school lessons, somehow everything everyth ing happens hap pens UNDER A TR EE in South Africa. Af rica. We wanted our home to nod to that in a SUBTLE SUBTL E way’

Kitchen The bespoke cabinets a re by Welsh + Major Courtyard Kitchen The Courtyard ‘Palissade’  ‘Palissade’ stools by Ronan and Erwan Bouroullec for Hay and a terrazzo t able by Arent & Pyke Stairway  A  A fiddle-leaf fig tree grows towards the retractable glazed roof Stockist details on p194

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Textiles in EARTHY TONES and original artworks bring an  A  ART RTII SAN SA N QUAL QUA L I T Y to this th is home’s severe structure of concrete and EXPOSED BRICK 

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

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EDIT

 A U T U M N / W I N T E R 2 019  Edit ed b y  AM   AM Y MO OR EA WO NG

 S O F A S LOUNGE CHAIRS SMALL TABLES STORAGE DINING CHAIRS DINING TABLES

DESKS & DRESSING TABLES BEDS LIGHTING OUTDOOR FU RNITURE

 

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 TH E

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Our pick of the world’s world’s best new designs  S O F A S  Comfort is taken to new heights this season, with plush fabrics, plump dimensions and even quilting

‘SOPHIE’ BY FEDERICA BIASI, £6, £6,144, 144,

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

GALLOTTI & RADICE

(GALLOTTIRADICE.IT)

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

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

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

 

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‘CHEMISE’ BY STUDIO LIDO, £2,173, MY

‘SUZENNE’ BY CHIARA ANDREATTI, £2,328,

GEBRÜDER THONET  VIENNA  (GEBRUEDER

HOME COLLECTION (MYHOMECOLLECTION.IT)

THONETVIENNA.COM)

‘YUMI’ BY NIELS BENDTSEN, £1,576,

MOROSO

(MOROSO.IT)

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

‘CONTOUR’ BY BØRGE MOGENSEN, MOG ENSEN, £1,518,

CARL HANSEN & SØN (CARLHANSEN.COM)

 L O U N G E C H A I R S   Minimal  Min imalist ist seating seating has become become a thing of the the past as pioneer pioneering ing desig designs ns champion champion curves, colour colour and pattern pattern

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

‘BONSAI’ BY PAOLO GRASSELLI, FROM

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

‘METODO’ BY LEONARDO TALARICO FOR MDF ITALIA,

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

£1,059, BONALDO  (BONALDO.IT)

£397, ARAM STORE (ARAM.CO.UK)

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

 

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Our pick of the world’s world’s best new designs

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

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

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

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

‘TESAURUS’ BY ANTONIO CITTERIO FOR MAXALTO M AXALTO,, £12,093, B&B ITALIA 

(BEBITALIA.COM)

 S T O R A G E  Choose pieces that celebrate wood’s natural grain with innovative forms and modern marquetry

 

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 D I N I N G

C H A I R S 

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

‘AISUU’ BY GINGER ZALABA, £798 £798,,  WALTER KNOLL

(WALTERKNOLL.DE)

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

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

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

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

 D I N I N G

T A B L E S   Bold,  Bol d, struct structura urall line liness domin dominate ate thi thiss season season,, creati creating ng spaces spaces fit for the most most stylis stylish ho off g gathe atherin rings gs ‘FOREST’  BY CARLO COLOMBO FOR RUGIANO, £11,350, GLOBAL LUXURY LONDON (GLOBAL LUXURYLONDON.COM)

‘NETTUNO’,  FROM £14,000, PAOLO CASTELLI

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

‘DOLMEN’ BY GIULIO CAPPELLINI, £13,715, CAPPELLINI

(CAPPELLINI.COM)

‘PARALLEL STRUCTURE’ BY

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

MICHAEL ANASTASSIADES A NASTASSIADES,, £4,613, B&B ITALIA  (BEBITALIA.COM)

AUGUST 2019

 

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‘VANITY’ BY STUDIO SOLIDO, £3,684, BONTEMPI

(BONTEMPI.IT)

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

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

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

‘GIANO’ BY GIUSEPPE

BAVUSO, £8,821, ALIVAR   (ALIVAR.COM)

 D E S K S

& D R E S S I N G T A B L E S 

Whether you’re working on your look or your career, luxurious materials and mirrored surfaces are essential 

 

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 B E D S   Sleek lines and organ organic ic materi materials als are are key to a stylish stylish night’s night’s sleep sleep

‘MADDOX’ BY LEONARDO DAINELLI, £5,519, £5,51 9, LEMA  (LEMA-UK.COM)

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

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

‘CRAWFORD’ BY TOM FEREDAY, FROM £3,276, STELLAR WORKS

(STELLARWORKS.COM)

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

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Our pick of the world’s world’s best new designs

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

 

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 T H E N E W F R O N T I E R THE SOCIAL SCENE THE S TOPOVER THE HOTEL THE RESTAURANT THE GARDEN

THE CULTURAL DESTINATION THE CULINA RY ETHOS T H E G E T A W AY AY THE FINE PRINT

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

 

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 T H E

N E W F R O N T I E R  

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

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‘UNDER PROVIDES A JOURNEY INTO THE UNKNOWN. GUESTS  WILL BE GI GIVEN VEN A UNIQ UNIQUE UE OPPORTUNITY TO EXPERIENCE  A SUBMERGE SUBMERGED D UNI UNIVERSE VERSE’’ Doubling as a marine research centre out of dining hours, Under’s colossal half-metre-thick curved concrete hull is bolted into the bedrock five metres below water level, in an area where the storms of the North Sea converge, bringing with them incredibly abundant biodiversity. Designed to slowly integrate with the wildlife, the structure’s rough exterior functions as an artificial reef for kelp and limpets, as well as playing host to the many cameras and other measurement tools that will document life underwater. Inside, an imposing Norwegian oak staircase leads down to a welcoming, cave-like interior, dominated by a vast floor-to-ceiling window. The textile-clad ceiling deepens from sunset pink to a rich cerulean blue as you descend. ‘Under provides a journey into the unknown. Guests will be given a unique opportunity to experience a submerged

universe,’ says Grasdal. The seafood dishes are served on ceramics crafted from local sand and the 40-seat dining room sits under a constellation of hundreds of LED lights that, when adjusted, illuminate the conditions outside. In Norwegian, ‘under’ means both ‘below’ and ‘wonder’ – a fitting name for this architectural achievement (under.no (under.no). ).

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 T H E S O C I A L S C E N E 

MEMBERS’ CLUBS WITH

1 THE CONDUIT MAYFAIR

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

 MISSION  MISSI ONS  S   London’ss newest,  London’ newest, most exclusive exclusive venues are more about what you believe than who you know

2 HOME GROWN MARYLEBONE

The cooler little sister to members’ club Home House, this venue’s raison d’être 

3

is to be the catalyst new entrepreneurs need to build their empires. There are bedrooms, pitching suites, restaurants restaurants and lounges, while a programme of talks (speakers include self-starters such as Kelly Hoppen) provides inspiration. Even its colourful interior – the work of Russell Sage Studio – is specially designed to help you get down to serious business. From £1,500 per year (homegrownclub.co.uk). (homegrownclub.co.uk). 3 TH E ALLBRI GH T MAYFAIR

1

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

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4 ARBORETUM COVENT GARDEN

This newly opened venue sees itself as a place where people who care about the planet can convene. Sustainability runs to its very core – all food and drink on site is seasonal and locally sourced, while the deli serves only plant-based fare. The focus isn’t just on the environment, though, with mental

SUSTAINABILITY, DIVERSITY,, FE DIVERSITY FEMALE MALE EMPOWERMENT AND ENTREPRENEURIAL SPIRIT – CARING IS THE

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wellbeing also important. Interiors take a leaf from the club’s name, featuring green walls and plants to promote tranquillity, while perks include pods for meditation, as well as skill-building workshops and events. From £950 per year (arbor-etum.com).

NEW SOCIAL CAPITAL

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 T H E S T O PO V E R

JEWEL CHANGI A  AIR IRPO POR RT   A departure departure loung loungee like like no other other,, Singapor Singapore’s e’s new sanctuary sanctuary is a triumph triumph for aviati aviation on and and architectur architecturee Once the epitome of bland, functional style, airports are getting a fresh look as a new wave of pioneering design elevates layovers with statement landscaping – and it’s transforming the travel experience. Leading the way is the ambitious complex at Singapore’s Jewel Changi Airport, an innovative design by Israeli-Canadian architect Moshe Moshe Safdie. In a bid to create a ‘paradise garden’ that  visitors would come ba back ck to ag ain and again, Safdie crafted the ‘Forest Valley’. This huge indoor garden, complete with the world’s tallest indoor waterfall, sits at the heart of the airport’s newest terminal – a distinctive glass dome, criss-crossed with steel supports that took five years and almost £1 billion to build. ‘The Jewel complex juxtaposes nature with a vibrant marketplace, dramatically extending the concept of it as an urban centre,’ says Safdie. Nature is introduced with some 900 trees and 60,000 shrubs. Two walking trails climb up through five levels of palm-dotted greenery to the Canopy Bridge, a dramatic glass-bottomed gla ss-bottomed platform suspended 23 metres above the terminal. And at the centre of this spectacular indoor forest is the airport’s showstopper, the ‘Rain  Vortex’.  Vor tex’. The 40-metre waterfall funnels natural rainwater down into the airport lounge’s irrigation system.  Adding another dimension to Safdie’s inventive take on what what an airport can offer is the capacity for play at Jewel, where, alongside airy terrace restaurants and refreshed retail spaces, you’ll find the Discovery Slides – toted as Singapore’ Singapore’ss first large-scale interactive sculpture – a hedge maze and a mirror room. ‘The world-class

shopping and dining, seamlessly integrated with lush foliage, fulfils the needs of increasingly discerning travellers for a meaningful,    Y    E    L    L experiential journey,’ says CEO Hung Jean, pointing to a new era    O    T    A for airport design. Considering Singapore’s Singapore’s nickname as ‘the City    C   :    S    D in the Garden’, there seems no better introduction to the country    R    O    Wthan this verdant sanctuary ( jewelchangiairport.com). jewelchangiairport.com).

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 T H E

H O T E L 

THE

STANDARD 

 For fans of Brutali Brutalist st architec architecture ture and playful interiors, there’s no better place to stay in London Located directly opposite St Pancras railway station, this is the US-based Standard hotel group’s first international outpost and the most exciting opening in London’s ever-

evolving Kings Cross Quarter. The Brutalist property it occupies, formerly an office block and public library, has been heightened by a new glass extension, which will host

a restaurant and club accessed via a bubblelikeexternal elevator. Thebuilding’s building ’sconcrete façade was a major plus for the team te am behind the project, who wanted to, in the words

of the group’s chief executive Amar Lalvani, ‘preserve and enhance its beauty’. Tasked with creating its 266 rooms and public areas, American interior designer Shawn Hausman was equally enthused by the venue’s history. ‘There’s a lot of reference to the 1960s and 70s in The Standard’s hotels, but this was one of the first times we’ve actually had a property from that period.

‘THERE’S A REAL LIGHTNESS AND SENSE OF HUMOUR TO THE STANDARD. IT DOESN’T TAKE ITSELF TOO SERIOUSLY’ The architecture plays an important part in the rooms and their identities.’ There’s a mix of design references in the interior, with 1970s-style grooved fir and walnut panelling sitting alongside bold, modern terrazzo – Lubna Chowdhary’s

ceramic wall tiles in the reception (top right) are a highlight. Facing the gothic red bricks of St Pancras, visual tributes to London’s transport system feel right at home, from Mondrian-esque blocks of pillar-box red and royal blue to subway tiles and linear motifs reminiscent of patterns seen on the Underground. ‘There’s a real lightness and a sense of humour to The Standard,’ says

Hausman. ‘It doesn’t take itself too seriously

– playfulness is important.’ The designer also finds charm and inspiration in Kings    Y    E    L    L Cross’s somewhat chequered past. ‘The    O    T    A    C   :    S    D    R    O    W

potential naughtiness naughtiness that the area was once known for is something we’ve fully embraced.’ (from £305; standardhotels.com).

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 T H E R E S T A U R A N T

EMPORIO  AR  A R MA NI

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

‘THE LAYOUT AND COLOUR SCHEME CREATE AN ELEGANT, CONTEMPORARY LOOK.

I WANTED IT TO BE A  WELCOMING SP  WELCOMING SPACE’

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 T H E

G A R D E N 

THE  NEWT  This redesigned country estate seals Bruton’s reputation as a horticultural haven Possibly the biggest news in the British gardening world since Dutch plantsman and author Piet Oudolf opened his ‘Field’ at Hauser &  Wirth  Wirt h in in S Somers omerset’ et’ss Bruton Bruton,, iiss the the makeo makeover ver of Hadsp Hadspen en House – just just a ten-minute drive down the road. The 300-acre estate, now named The Newt, was already attractive to the green fingered: once the home of garden writer Penelope Hobhouse, it was then tended by Sandra and Nori Pope, renowned for their colourful planting. Now under the ownership of Koos Bekker and Karen Roos, the duo behind famously chic farm, hotel and restaurant Babylonstoren, near Cape Town, the venue has been stylishly transformed. similarly si milarly to the South African mothership, where the eight-acre kitchen garden inspires the entire offering, The Newt’s gardens and apple orchards have been placed at the heart of the project. Their seasonal produce informs the look of the hotel, located within the honey-hued walls of the Grade II-listed Georgian manor house, as well as the restaurant’s menu. An apple-tree maze occupies the ‘Parabola’, the

curved garden, plus there’s cider making and a museum to explore.walled With historically-inspired formal gardens, not to mention a spa, pool and shops stocked with local delights, delight s, from West Country cheese and meats to ceramics, candles and prints by Somerset-based artists, The Newt promises to be a destination like no other. Gardens open 10am–6pm, £15 (thenewtinsomerset.com).

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

CAR L FREEDMA CARL FREEDMAN N GALLERY   Swapping Shoredi  Swapping Shoreditch tch for for the seasi seaside, de, this this iconic arts space has found fresh inspiration

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

Margate’s evolution from tired seaside bolthole to lively home of the arts is fres freshly hly buoyed by its latest cultural landmark: the newly relocated Carl Freedman Gallery, Gallery, which opened in Shoreditch in 2003. ‘Margate is going through an amazing transformation, led by a growing art community,’ explains Freedman, the gallery’s founder. ‘The new home is a fantastic opportunity for us to present larger-scale solo exhibitions by our artists as well as more expansive curated shows.’ Set back from the bustle of the seafront, behind the Old Town, the cavernous gallery – part of what was once the headquarters of Thanet Press – houses three exhibition spaces, an apartment and a huge, 929-square-metre upper floor dedicated to Freedman’s printing business, Counter Editions. Offering high ceilings and

copious space uninterrupted by columns, the former commercial site looks set to be a coveted address for creatives, with Tracey Emin’s new studio currently under construction next door. The Carl Freedman Gallery’s inaugural exhibition, ‘Man in the mouth of a cave’ (until 25 August), is a solo show celebrating expressive new works from painter, poet and fixture of the Kent arts scene Billy Childish. It’s a wonderfully local start for a venue that promises to celebrate the very best of contemporary British and international talent (carlfreedman.com).

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 T H E

C U L I N A R Y E T H O S 

 BIO  BI ODYNAM YNAMIICS Top chefs are tasting the benefits of this age-old method of growing food  Organic farming and an d food is widespread now, but just a few decades ago, you’d have to go considerably out of your way to find it. The movement’s roots can be traced to the beginnings of biodynamic agriculture, an approach developed in 1924 by Austrian scientist and philosopher Rudolf Steiner – although it can be argued that many farmers around the world had followed similar practices before that. Like organic farming, biodynamic growing strictly

top restaurants and cooks, including Nigel Slater and the Hemsley sisters. Acclaimed chef Skye Gyngell was an early advocate, sourcing ingredients for her London restaurant Spring from Fern Verrow, a biodynamic farm in Herefordshire run by grower Jane Scotter. Gyngell is also at the helm of the kitchens at Heckfield Place in Hampshire, which is currently in the process of converting its gardens and on-site farm to biodynamics. Aiming to be fully certified

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prohibits the use of chemical fertilisers and pesticides, but it also goes a few steps further than that, treating farms as balanced organisms that can sustain themselves, with waste being recycled to feed plants and animals. It adheres to a horticultural calendar, used to indicate optimal sowing, pruning and harvesting times. Not only does this approach benefit our ecosystem, but the quality q uality of the produce it yields is so good, it’s sought after by the country’s country ’s

next year, Heckfield will be the first biodynamic hotel in the UK. For its contemporary European dishes (above), Peckham-based restaurant Levan teams up with allotment growers who use biodynamic principles on a small scale. ‘The plots are so local that the tomatoes can still be warm from the sun when they arrive,’ enthuses chef Nicholas Balfe. With around 5,000 biodynamic farms worldwide, you can expect to see it on a menu near you soon.

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Oslo’s street s bathed in sunshine

Fuglen coffee shop

T H E   GE T A W A Y    

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

WHERE TO STAY Norway’s largest hotel, Clarion HotelAmerikalinjen

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

 BREAKFAST  BREAKFAS T & LUNCH UNCH

Kollekted By  Oslo Opera House

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

WINE & DINE From vegetables gathered at Losæter’s urban allotments to seafood caught fresh from Norway’s venerable waters, it’s easy to eat like the locals. In fact, if you dine at slick eatery Maaemo – ancient Norse for ‘Mother Earth’– you’ll find

Losæter s rose petals on the artful plates of the city s only three Michelin-starred restaurants. On the set menu, delicacies such as scallops with fermented celeriac or well-smoked reindeer broth are given a contemporary edge (maaemo.no). For fine dining with a twist, Rest uses food waste to concoct imaginative dishes such as cod with crisped bread, Jerusalem artichokes and fried leek roots (restaurantrest.com). And, for an evening tipple, sit among exposed

 

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Norda Nord a at at Cl Clari arion on Hot otel el Th The e Hub

Futur Fu tura a Cla Class ssic icss

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

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

 SHOP  SH OP

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

The Vigeland Museum

 Astrup Fearnley Fearnley Musee Museett

 ESCAPE  ESCAP E THE CITY

Beore making a break or the surrounding countryside, discover the Vøyenallene waterall that sits, surprisingly, right at the city’s centre. Head just beyond Oslo’s boundaries and you’ll find the orest-ringed Sognsvann lake. It’s rozen over in winter but busy with hikers and picnickers during summer. An hour’s drive north west is Kisteos Museum,    R    A an eccentric usion o sculpture park, art gallery and industrial    N    I    A    E  ,   R    I mill. From September, visitors can enjoy Danish architect Bjarke    L    A   E    U    A    V   GIngels’ hotly anticipated indoor gallery space/bridge, which twists    K   O    R   N    A    V    I   Oimpressively across the river (kisteos.museum.no).  ,   C    S    M    I    E    E   C    Y    N    E  .   A    R    S    E   F    I ,    G    A   N    I    M    I   R    Y   G    E    T    I    T    E   R    A

To discover more design-

The Grand Oslo hotel

   G   :   M    S    R    E    R    E    G    U    T   N    I    C  ,    I    R    P   Y    E    Y    E   M    L    L   E    L    O    T   Y    A   K  ,    C   :   N    E    S    S    D    K    R   A    L    O    S    A    W

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

 

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L La Chance (lachance.paris)  (lacividina.com) La Cividina  Lema (lema-uk.com) LG (lg.com) Liaigre (liaigre.com) Ligne Roset (ligne-roset-westend.co.uk) Lindsey Adelman  (lindseyadelman.com) Lindsey Lang  (lindseylang.co.uk) Little Greene (littlegreene.com) Living Divani (livingdivani.it) Louis Poulsen (louispoulsen.com) Louise Roe (louiseroe.dk) Luisaviaroma (luisaviaroma.com) Lumina (lumina.it)

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

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

DAVID DA VID ST UDWELL David Studwell often uses figures that are synonymous with certain eras, in particular the swinging sixties. Marilyn Monroe, Elizabeth Taylor and Steve McQueen all crop up in his prints, evoking a strong sense of nostalgia. His work has been exhibited in London and the USA. David’s work hangs in

STYLISH GARDEN SAVINGS – £200 OFF!

private collections worldwide and has been collected by Kate Moss, Nile Rogers and Sheryl Crow. Title: ‘Brigitte Bardot I.’ Screen print. Edition of 25. 59 x 65cm. £370.  Visit: www.da  www.davidstudw vidstudwellgallery ellgallery.co.u .co.uk k or email [email protected]  [email protected] 

This stylish patio lounge set is a stylish addition to your outdoor space. It’s generous in size and offers great value for money. In this season’s shade of taupe, the set comprises two armchairs, a bench and a fantastic coffee table that provides waterproof storage – ideal for seat cushions. The Delano is made from stabilised UV resin which means it can be left out all year round and is maintenance free.  Was £499, £499, now £299 when you quote ED4JUL a saving of £200! Visit outandout.com  or call 02037 728 752 by 04.08.19. 04.08.19. Also available in Dark Grey.

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Classifieds  |  A – Z ART

TO ADVERTISE HERE, PLEASE CALL THE CLASSIFIED TEAM ON 020 3728 6260

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TO ADVERTISE HERE, PLEASE CALL THE CLASSIFIED TEAM ON 020 3728 6260 I N T E R I O R S & P H OTO GR A P HY

Classifieds  |  A – Z LI G H T I N G & I N T E R I O R D E S I G N C O U R S E S

HANDMADE MODERN LIGHTING WWW.NICHEMODERN.COM/ELLE

INTERIOR DESIGN MASTERCLASS interiordesignmasterclasses.com Skills and strategies for those with a passion for interior-design who want to turn their passion into a profession.

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Award-winning designer and educator David Losasso has created a series of intensive masterclass study units aimed at potential interior designers who want to take their interest and passion onto the next level – to make it their living.  Visit th e website or email david@l osasso.co.uk for more information

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Classifieds  |  A – Z

TO ADVERTISE HERE, PLEASE CALL THE CLASSIFIED TEAM ON 020 3728 6260

FURNITURE, KITCHENS & HOTELS

Summer Sale 

10% off  Let’s design together BESPOKE SOFAS | CHAIRS BEDS | MATTRESSES

 West Sus Susse sexx | Hamp H ampshi shire re | Kent Berkshire | London | Gloucestershire Hertfordshire Hertfor dshire | Birmingham Manchester | West Yorkshire Yorkshire North Yorkshire | Scotland

0808 178 3211  www.sofasandstuff  www .sofasandstuff.com .com Featured: Stockbridge Sofa in Designers Gui ld Veronese Veronese Naturale Ochre

To check availability or to book call 

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Classifieds  |  A – Z WINDOWS

Experts in steel windows.

We design, manufacture and install bespoke frames throughout the world.

Visit us at: www.fabcosanctuary.com

01903 718808 [email protected]

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Classifieds  |  A – Z

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BATHROOMS & DANISH FURNITURE

Classical style for the modern bathroom

Design Centre Chelsea Harbour samuel-heath.com Made in England

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Classifieds  |  A – Z DOORS, OUTDOOR ART & CERAMICS

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

urbanfront.com [email protected] +44 (0)1494 778787 For beautifully handcrafted handcrafted contemporary handles visit pushpull.co.uk

Unique, organic, ceramic sculptures. Bespoke commissions www.kiramics.com

Björk Haraldsdótt Haraldsdóttir ir Contemporary Handbuilt Ceramics

www.ceramicsbybjork.com

NORTH4.COM DORGLAZE® VISION PANELS FOR FO R DOORS

NORTH 4 DESIGN LTD T: 0208 885 4404 /   NORTH4.COM

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 T H E

F I N E P R I N T 

‘FLORAL PRINT’ WALLPAPER BY GUCCI 

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

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