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AUTUMN AUTUMN 2018 #08 2018 #08 €4.75€4.75 £3.35£3.35





Council Council of Ireland of Ireland Fashion Fashion The The GulfGulf of Poets of Poets on the on the NYCNYC Dance Dance Project: Project: The The David David Collins Collins Studio: Studio: Designers Designers • A Return • A Return to to Italian Italian Riviera Riviera • Dubai: • Dubai: Art ofArt Movement of Movement • Antique • Antique Luxury Luxury Interiors Interiors • Health • Health Power Power Dressing Dressing Star Star of the ofDesert the Desert Pianos Pianos at theatMET the MET Benefits Benefits of Walking of Walking

Autumn 2018 Issue 08

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Welcome to Anthology Autumn Issue 2018


s sad as I am to say goodbye to our beautiful summer, I love the overall beauty of autumn, when the leaves are changing colour to rich shades of red, orange and yellow. It can be a fantastic time for creative inspiration. Witnessing nature’s magnificent transformation can bring fresh ideas and new insights to release creative energy. For those of you who’d like to escape to warmer climes, in this issue we feature Dubai, a city with an intriguing mix of new and old. We also visit the Gulf of Poets on the Italian Riviera, a favourite haunt of the Romantic poets Byron and Shelley. Closer to home, we bring you along some of Ireland’s most

ANTHOLOGY PUBLISHING Limerick, Ireland EDITOR Edel Cassidy ART EDITOR Ros Woodham DESIGNER Lynne Clark COPY-EDITOR Averill Buchanan PROOFREADER Victoria Woodside CONTRIBUTORS Orna O’Reilly Weber, Jeannie Croucher, Louise Higgins, Dolores O’Donoghue, Patrick Jordan, Clodagh McKenna ADVERTISING Mary Hayes Printed by Warners Midlands plc Distributed by EMNews

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picturesque walking routes. The wonderful work of Deborah Ory and Ken Browar features on our cover, while inside we present just a sample of the breathtaking imagery contained in their exquisite book, The Art of Movement. We are also delighted to showcase the stunning work from around the world of the David Collins Studio, founded by the renowned and much-loved Irish architect. As the cool autumn nights approach, Anthology will make the perfect companion to snuggle up with in front of a cosy fire. Please enjoy! Edel

ON THE COVER Charlotte Landreau, Soloist, Martha Graham Dance Company. Photo from the NYC Dance Project, a collaboration between Ken Browar and Deborah Ory, who have merged their experiences and creative passions to showcase the captivating magic and athleticism of dancers through photography (p. 52).

SUBMISSIONS Anthology welcomes submissions – ideas, musings or long-form narrative – and is keen to publish serious reportage. All we ask is that the pieces are previously unpublished. Pitches to: PHOTOGRAPHY From styled fashion shoots and portraiture to architecture, high-quality photography is what Anthology aims to bring to every issue. We are happy to view work. Link or PDF to: SUBSCRIPTIONS Anthology is a quarterly publication with a focus on beautiful features and imagery from Ireland and around the world. Subscribe to avail of delivery direct to your door. Email: Full details on p. 50. ISSN: 2009-9150

The publisher accepts no responsibility for any of the views expressed or claims made by contributors or advertisers. While every care is taken to ensure accuracy of information contained in Anthology, we do not accept responsibility for any errors or matters arising from same. No part of this publication may be used or reproduced without written permission from the publishers.

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20 36


TRAVEL Dubai: Star of the Desert


TRAVEL The Gulf of Poets


TRAVEL A Walk on the Wild Side


HEALTH Walk Tall


FOOD Autumn Dinner Menu


INTERIORS Grand Entrance


PHOTOGRAPHY The Art of Movement


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62 74


FASHION Autumn Daze


FASHION A Meeting of Craft and Design


FASHION For Men: Autumn in the City


ARCHITECTURE David Collins: Luxury Interior Design


EXHIBITION Markievicz: Portraits & Propaganda


BEAUTY Heroes & Newcomers


EXHIBITION Notes on Pianos


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Star of the Desert

A city that combines international influences with a strong commitment to local heritage offers the visitor an intriguing mix of new and old words and photos patrick jordan

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above: (Left) Boats being loaded at Dubai Creek; (right) Emirati men in the Dubai Mall. opposite: Burj Khalifa, the world’s tallest building.


’m lucky that work trips have brought me to some pretty interesting places around the world. Dubai was no

exception. Although not top of my list for a personal holiday, it was great to be given the chance to go and I was pleasantly surprised at what I found. Talk to any local and the first thing they’ll tell you is that, incredibly, the city of Dubai basically didn’t exist forty years ago. Yes, there was an old settlement by the Dubai Creek which might have been called a city, but that’s quite a different place to the huge buildings, designer shops and fast cars that make up the sprawling metropolis today.

above: Game of evening volleyball in Bur Dubai. right: A trader at his stall in the traditional souk.

Everything changed forever in the United Arab Emirates in the early 1960s when oil was found near Abu Dhabi, now

Oh yeah, did I mention the heat? That

the capital of the UAE and one of seven

is without doubt the first thing you notice

emirates or regions. The other emirates

once you step outside from the comfort

are Ajman, Fujairah, Ras al-Khaimah, Shar-

of the air-conditioned arrivals hall. Not

jah, Umm al-Quwain and Dubai.

even the sight of the enormous buildings

Going from trading spices on the

on the journey to the hotel has an impact

creek to building the tallest skyscrapers

compared to the glass-fogging, perspi-

on the planet within a few decades, the

ration-inducing terror that is a summer’s

leading Emirati families have been the

day in Dubai. My weather app told me it

instigators of big changes and are now as

was forty degrees but it felt much hotter

likely to be featured on the covers of the

than that. Even locals find July and August

world’s newspapers as driving a camel

pretty unbearable. I’ve been told by reliable

train through the desert, as they would

sources that between November and

traditionally have done.

March is a fantastic time to visit, when

‘Getting off my tour bus I entered the smoky world of the spice and gold souks’ ANTHOLOGY AUTUMN 2018 15

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‘The city is divided into what is called Old and New Dubai, both of which are fascinating for very different reasons’

from top: Apple Store, Dubai Mall; Transporting goods from Dubai Creek; Abras – traditional boat buses – in Old Dubai; Traders chat to each other in the Old Souk.


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above: Tourists watching the Dubai fountain display from the Dubai Mall. left: (Top) Replica ship at China Court in Ibn Battuta Shopping Mall; (bottom) Crossing Dubai Creek by boat.

temperatures are just perfect. The city is divided into what is called Old and New Dubai, both of which are fascinating for very different reasons. While New Dubai is a heady mix of huge malls, even more huge buildings and never-ending construction sites, Old Dubai hints at what the place was like before the oil bonanza. Getting off my tour bus I entered the smoky world of the spice and gold souks, traditional markets where bartering is expected for the smallest purchase and a form of trade that’s a far cry from the Ferrari dealerships only a few miles away. This was a world I really enjoyed seeing and as I took the traditional wooden abra (water taxi) across the Dubai Creek, it made me think of how sophisticated the Arabian culture was, even well before the boom times. Driving back on the bus with the sun setting over the city, I was reminded that ANTHOLOGY AUTUMN 2018 17

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from top: The breathtaking view from the Burj Khalifa; Apartment skyscrapers at the Dubai Marina; Market trader selling traditional crafts in the Textile Souk.

‘I was reminded that the road we were travelling on had been an infinity of desert just decades before’

the road we were travelling on had been an infinity of desert just decades before. For all the charms of the old city, no trip to Dubai would be complete without taking in the Dubai Mall and its famous fountain display, which happens every evening. The mall is one of the largest in the world and I certainly got my steps in walking around its many levels. It was fascinating to see the huge range of designer shops and American fast-food chains. It even has an ice rink and a huge aquarium! This is a place where you could easily max

out your credit card, so on this occasion I stuck to window shopping. One place where I did hand over some dirhams (the local currency) was at the entrance to the Burj Khalifa, the tallest building in the world. This place was insane: even trying to fit the building into a photo on my camera was difficult such was its immense height. The views from the top viewing platform were incredible. Spread out before me in the evening sun was the sprawling city; behind that, far in the distance, the desert, shimmering in the evening light. An incredible place and a sight to behold, I look forward to returning in a few years to see the inevitable expansion. 18 AUTUMN 2018 ANTHOLOGY

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The Gulf of Poets The Gulf of La Spezia on the Italian Riviera, a beautiful area full of little villages, steep cliffs and blue waters, has been inspiring artists and writers for centuries, earning it the name of ‘il Golfo dei Poeti’

words and photos orna o ’ reilly weber


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left: Lerici looking towards San Terenzo. above: (Top) The village of Tellaro. (Bottom) Local men enjoying a chat in Lerici.


he Gulf of La Spezia is a truly magnificent place to visit. Located in the north-west of Italy, about 100km

from Genoa, the gulf is named after La Spezia, the main city on this picturesque bay. Just 4.5km long and 3.5km wide, it is home to an important Italian naval base and a major railway junction, which is where you can hop on a train or ferry to the Cinque Terre. The Gulf of La Spezia is also known as the Gulf of Poets because of the large number of writers and artists who settled here over the centuries. It is perhaps most famous as the place where Percy Bysshe Shelley tragically drowned in 1822. Other regular visitors included D. H. Lawrence, Virginia Woolf, Henry James, the painter J. M. W. Turner, and poets Lord Byron, Dante and Petrarch (famously known as the ‘first tourist’). The Shelleys rented Villa Magni, a sixteenth-century converted monastery on the shore between San Terenzo and Lerici ANTHOLOGY AUTUMN 2018 21

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where Shelley used to moor his boat. Shelley loved the villa and found the bay inspiring; it was where he wrote his beautiful poem ‘Lines Written in the Bay of Lerici’, among others. When the Shelleys lived there, the ground floor was used as a boathouse and the sea came right up to

‘When the Shelleys lived there, the ground floor was used as a boathouse and the sea came right up to the door’

the door. Now, it is surrounded by houses and faces directly onto a fairly busy road

Heritage Site. On the western extremity

that runs along the seafront.

lies the beautiful island of Palmaria, just a

Lord Byron, a good friend of the Shel-

five-minute boat ride from Porto Venere,

leys, regularly swam from Porto Venere, on

where visitors can enjoy the sandy beach-

the western side of the gulf, to visit them.

es and walking trails.

Now, every August a special event takes

Sailing out of the harbour in Porto

place in his honour. It’s called ‘The Byron

Venere you can’t fail to notice the gothic

Cup’ and is an international swimming race

Church of St Peter. Originally, there

from the Grotto dell’Arpaia (now known

was a temple on the site, followed by a

as Byron’s Grotto) in Porto Venere to San

palaeo-Christian church. The church was

Terenzo, where about 250 contestants fol-

consecrated in the twelfth century, while

low the 7.5km route that Lord Byron used

its distinctive black-and-white bands of

to swim. On my visit to Porto Venere, the

marble were a thirteenth-century addition.

first thing I noticed as I descended from the ferry was a Lord Byron Pizzeria! The province of Porto Venere comprises three villages – Fezzano, Le Grazie and Porto Venere itself – and the region, along

Other sights worth seeing include the Romanesque church of St Lawrence, and Doria Castle, the walls of which surround the historic centre of Porto Venere. I spent some time in the town of Lerici,

with the five villages of the Cinque Terre,

seven miles from La Spezia on the eastern

has been designated a UNESCO World

side of the gulf. It’s connected to Porto Ve-

THE ROMANTICS AND LA SPEZIA The storm that hit the Italian Riviera on 8th July 1822 was sudden and fateful. Percy Bysshe Shelley had been to Pisa to

and Charles Vivian when the storm hit. His young wife, Mary, daughter of the first

boat in bad weather several days previously, she was anxious for his safety. Shelley’s body finally washed up at Viareggio, a town

women’s rights campaigner Mary Wollstone-

approximately halfway between Livorno and

visit his good friends Lord Byron and Leigh

craft and author of Frankenstein (1818),

San Terenzo. Identified only by the copy of

Hunt, and was returning home to Villa Magni

was waiting for him at Villa Magni. She had

Keats’s poems in the pocket of his jacket,

in his little boat, Ariel, with Edward Williams

just suffered a miscarriage and was unwell.

Shelley was cremated on the shores of the

Having heard that her husband had left

gulf on a large pyre, as was required by the

Livorno – known then as Leghorn – in his

quarantine laws. Shelley was only 29 at the

below: (Left) Percy Bysshe Shelley; (Right) Lord Byron

time of his death. Mary kept his heart in a silken shroud and carried it with her for the rest of her life. It was found in her writing desk a year after her own death in 1851.

VILLA MAGNI The Shelleys lived on the first floor of Villa Magni with their only son Percy Florence, and with Mary’s sister, Claire Clairmont, and their friends Edward and Jane Williams. Mary later wrote of Villa Magni, ‘Sometimes the sunshine vanished when the sirocco ranged … At other times 22 AUTUMN 2018 ANTHOLOGY

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nere and the Cinque Terre by ferry and its harbour is filled with yachts. Overlooking Lerici is a gigantic castle originally built by the Pisans in 1152 to control the entrance to the gulf. It is now a museum of palaeontology with an interesting collection of dinosaurs. The view across the gulf from the parapets is magnificent, taking in San Terenzo and the Villa Magni, where Shelley spent his last days. San Terenzo is a pretty village with a long lungomare (promenade). With its atmospheric castle situated on a cliff and the gulf spread in front of it below, it’s easy to see why so many poets and artists

oppoSIte: (Above) The Church of San Terenzo; (Below) Lord Byron Pizzeria, Porto Venere. above: Panoramic view of Lerici on the Ligurian coast. RIGHt: Byron’s Grotto and Doria Castle at Porto Venere

sunshine and calm invested sea and sky, and the rich tints of Italian heaven bathed the scene in bright and ever-varying tints.’ But at the time she found its atmosphere unsettling, and in another letter, she described herself as a prisoner there: ‘I wish I could break my chains and leave this dungeon.’ When the writer Henry James visited in the 1870s he described the house as a ‘pale-faced tragic villa’. The tangled relationship between Shelley, his wife’s sister Claire, and Jane Williams, wife of their friend Edward, did not go unnoticed by the villagers. Indeed, the wild behaviour of this merry group of poets and artists caused quite a stir in the locality. Free love and outdoor nudity were looked on as scandalous and even their atheism and vegetarianism caused raised eyebrows. RIGHt: Villa Magni (1910). When the Shelleys lived here, the ground floor was used as a boathouse and the sea came right up to the door ANTHOLOGY AUTUMN 2018 23

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loved this little village. Just a 3km-walk along the lungomare from Lerici, is the fishing village of San Terenzo. It has a relaxed atmosphere, nice restaurants and a lovely beach. During a winter visit to Lerici a few years ago, heavy rains had caused several landslides. As a result, the road from Lerici to Tellaro had been blocked, as had the lungomare between Lerici and San Terenzo. A ferry had been provided to transport people and essential provisions to Tellaro and I decided to pay a visit, as it was consistently ranked in the top ten most beautiful villages in Italy. I was certainly not disappointed. Just 5km from Lerici, it is a small colourful village with narrow streets and a busy fishing community. Getting there: Fly to Pisa and catch the train to La Spezia where there are regular buses to take you to any of these beautiful villages. I stayed at the Hotel Shelley, which was clean and comfortable and which offered wonderful views across the bay.

top: Church of St Peter, Porto Venere. left: San Terenzo beach. below: Sunset in Lerici on the Italian Riviera

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A walk on the


Discover Ireland’s natural beauty and breathtaking landscapes by hiking along some of the country’s most scenic walks

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cientific research has demonstrated time after time that walking, that most basic of activities, brings with it many mental as well as physical benefits. Hillwalking, in particular, is one of the best forms of exercise, and when you’re surrounded by wonderful vistas, it helps to rejuvenate both mind and body. You might come across rare wildlife, unique plants, a sparkling river, waterfalls, expansive views, or the roaring ocean. Ireland is full of glorious landscapes, so wherever you are, a walk on the wild side is never too far away. Here is a selection of some of the most scenic routes for hiking or hillwalking in Ireland. Any of these can be done in a day and are suitable for most people with a reasonable level of fitness.

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The Slieve League Cliffs Glencolmcille, Co. Donegal

One of Ireland’s best-kept secrets, Slieve League is a signature point on the Wild Atlantic Way. Slieve League is the anglicised version of the Irish name Sliabh Liag, which means ‘grey mountain’. The name is misleading because the cliff rock boasts an abundance of ever-changing colours, depending on the weather, the time of day and the time of year. Towering 601m above the sea, the sea cliffs rank among the highest in Europe, and they offer terrific views of the Atlantic Ocean, the Sligo Mountains and Donegal Bay. There are various trails for different skill and fitness levels, from 2km to 12km, the most popular being the ‘Pilgrim’s Path’, a stunning 4km access route up to the plateau. Unless you are an experienced walker or have a guide it’s not advisable to venture further to the more difficult ‘One Man’s Pass’. Sliabh Liag can also be experienced from the sea at the base of the cliffs. Dolphins, whales and seals are often spotted, and in May or June there may be basking sharks. PHOTO TOURISM IREL AND


Distance: 2–12km


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Dartry Mountains, Co. Sligo

Undoubtedly Ireland’s most distinctive mountain, Benbulben is sometimes referred to as Ireland’s Table Mountain. It was formed in the early Ice Age as a result of erosion of the limestone and shale which forms a considerable part of the mountain. The hike is a moderate to strenuous route up to the unique and distinctive plateau of Kings Mountain, also known as Fionn mac Cumhaill’s Table, which is 462m high. The spectacular vertical gullies and cliffs at Benbulben’s Head rise to 526m. There is sensational scenery to be enjoyed at every turn, including a bird’s-eye view of Yeats Country, the landscape that so inspired the great poet. Later in the walk there are stunning panoramic views of Donegal Bay, Slieve League and the Blue Stack Mountains in Co. Donegal. On a day with good visibility you can see Croagh Patrick in Co. Mayo on the horizon. Benbulben hosts a unique variety of plants found nowhere else in Ireland. Many are Arctic alpine plants, the mountain’s height giving the plants the cool temperatures they need to thrive. These plants were originally deposited when the giant glaciers of the Ice Age melted.



Distance: 8km


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Co. Kerry

Distance: 17.7km One of Ireland’s most fascinating and beautiful old pilgrim paths, Cosán na Naomh (‘The Saints’ Road’) takes a route from Ventry Strand to the foot of Brandon Mountain. The winding route presents no major challenges and there are no unmanageable sharp inclines. The area is rich in bird and plant life, and the scenery is spectacular with constant views of the sea and mountains. Along the route there are many heritage sites, including the famous Gallarus Oratory, a corbelled structure built between the seventh and twelfth centuries AD, probably for the purpose of sheltering passing pilgrims. A little further along the route the Romanesque church at Kilmalkedar is surrounded by fascinating historical remnants, including an ogham stone and a twelfth-century sundial. It’s believed that the pilgrimage originated in pre-Christian times before the pagan deity Crom Dubh was ousted from the mountain by the great Saint Brendan the Navigator. Although the traditional pilgrimage extended to the summit of Brandon Mountain, the route now ends at the Ballybrack grotto at the foot of the mountain.


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Slieve Donard

Mourne Mountains, Co. Down Distance: 9.2km The route to the summit of Slieve Donard (850m), the highest mountain in Northern Ireland and one of the peaks in the Mourne Mountains, is a moderate to strenuous walk. Although fairly steep in places, the well-defined path to the summit makes it a straightforward climb, with the Mourne Wall acting as a guide. On a clear day, the views from the top take in the Isle of Man, the Wicklow Mountains, Wales and Scotland. Slieve Donard is named after Saint Donard, a disciple of Saint Patrick. He built a small prayer cell at the summit during the fifth century. Legend has it that the saint never died and instead became a perpetual guardian of this great mountain. C. S. Lewis, author of The Chronicles of Narnia, was inspired by the Mourne landscape when he holidayed in the area. He wrote of the scenery: ‘it made me feel that at any moment a giant might raise its head over the next ridge’. The beauty of the mountains was immortalised in song by Percy French, who wrote the lyrics, ‘Where the Mountains of Mourne sweep down to the sea.’


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Croagh Patrick Mountain Co. Mayo

Distance: 14km round trip Croagh Patrick pilgrim path, five miles from the picturesque town of Westport, rises 764m above Clew Bay and is a moderate to strenuous walking route. Saint Patrick is said to have fasted on the summit for forty days in AD 441, and the legend has been passed on from generation to generation, making it a popular route for religious pilgrims. The first stop on the pilgrimage is a white statue of Saint Patrick, after which you enter the open mountainside and the climb begins in earnest. Each year ‘The Reek’, as it is colloquially known, attracts about one million pilgrims. On ‘Reek Sunday’, the last Sunday in July, thousands travel from all over the world to climb Croagh Patrick, including religious pilgrims, hill-climbers, historians, archaeologists and nature lovers, many climbing in bare feet, as is the tradition. The views are dominated by Clew Bay, which is considered the most beautiful bay in Ireland with its myriad of islands – allegedly 365 of them, one for every day of the year. There are a number of routes up the mountain but the most popular is the traditional pilgrim route.


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Coumshingaun Loop Walk Comeragh Mountains, Co. Waterford Distance: 7.5km Coumshingaun Loop Walk is a demanding hike that takes about four hours but which offers the reward of majestic views around a magnificent natural amphitheatre and the lake that lies below. Coumshingaun is one of the finest examples in Europe of a ‘corrie’ or ‘coum’, a deep hollow formed by glacier movement during the Ice Age. The cliffs rise vertically to an awe-inspiring 365m above the lake. The area is popular with both hikers and climbers, and offers some great rock climbs and ice climbing in winter.  Take care if swimming in the lake because it can be exceptionally cold, as you’d expect from a corrie lake. It’s used for cold-water swimming training by endurance swimmers. It’s also very deep and is sometimes referred to as a bottomless lake. The name of a cliff and climbing route known as Carraig an Fhiolair (‘Rock of the Eagle’) refers to when Coumshingaun was a breeding site for both golden and white-tailed eagles. The mountains are home to many species of birds and, although not very common, white-tailed eagles can still sometimes be spotted.

The Famine Walk

Killary Fjord, Connemara, Co. Galway

An easy but long walk with spectacular views that takes you along the southern shore of Killary Harbour. Located in the heart of Connemara, the fjord forms a natural border between counties Galway and Mayo and is one of only three glacial fjords found in Ireland (the others are Lough Swilly and Carlingford Lough). From the northern shore of the harbour rises Mweelrea, the highest mountain in Connacht at 814m. To the south you can see the Maumturk Mountains and the Twelve Bens. The ruins of cottages at the famine village of Foher are a stark reminder of the devastation suffered in this region in the mid nineteenth century. An old grass-covered road (known as the Green Road) runs along the southern side of the fjord, which provides an excellent route for a leisurely walk. It was built as a famine relief project by the Public Works Scheme, which compelled the semi-starved population to toil for long hours and in harsh conditions for a meagre relief wage. Boat tours are available on the Killary Fjord, which allow wonderful views of the surrounding scenery.


Distance: 10km


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Walk Tall

The key to a longer, healthier and happier life may be just a few steps away words jeannie croucher


he Greek philosopher Hippocrates once said,

for this is that walking creates more volume in the

‘Walking is man’s best medicine’. Now I’m not

hippocampus, and a daily one-mile walk can lower the

going to disagree with this great man of learning

risk of Alzheimer’s disease by forty-eight per cent.

and, judging by the numerous recent scientific studies,

• It calms the mind and improves your mood. In

plenty of experts in the field of medicine and science wouldn’t either. In fact, not only is walking one of the

addition to the brain-boosting effects outlined above,

most simple and least expensive forms of exercise, but

walking, more than other forms of exercise, has been

it is also one of the healthiest types of cardiovascular

linked to the alleviation of symptoms associated with

activity there is. What’s more, in recent years it has

depression. According to the Journal of Psychiatric

finally begun to shake off its ‘poor relation’ image in

Research, subjects who walked for thirty to forty-five

terms of the health and fitness benefits it bestows

minutes a day, five days a week, recorded a serious

on those who engage in this type of physical activity

improvement in their severe depressive illness.

regularly. In the words of another expert, Dr Thomas

• Walking tones the muscles. The great news

Frieden, former director of the US Centers for Disease Control and Prevention, walking is now considered to be ‘the closest thing we have to a wonder drug.’ The list of health benefits associated with walking is lengthy and will surely inspire you to put on your walking shoes!

is that 8,000 to 10,000 steps a day can be as effective as an hour at the gym, particularly if it’s brisk and if intervals or hillwalking are included.

• It promotes weight loss and fights obesity. Brisk walking is a form of cardiovascular exercise (it in-

Walking boosts immune function. Believe it or not,

creases the heart rate), and the calories burned while

a twenty-minute walk once a day for five days a week

walking help to promote the rate of weight loss. A

can help your body in its fight against disease. A study of

good thirty-minute moderately paced walk can burn

over 1,000 men and women found that forty-three per

between 150 and 200 calories. The great thing

cent of them had fewer sick days during the flu season

about walking is that it can be incorporated into

than those who did not take part in this physical exercise.

your daily and weekly routine, and it can still be

beneficial if broken into shorter time segments, Exercise such as walking can boost your memory

e.g. two fifteen-minute sessions a day if there

and overall brain function. Studies have shown that the

is no time for a longer walk. It’s important to

shrinking of the brain, often considered an inevitable

remember, however, that strolling does not

aspect of the ageing process, can be slowed down

count – it doesn’t give your body an aerobic

with regular moderate to fast-paced walks. It has also

workout the way a fast or power walk

been shown to have a significant effect on the pre-

would. Power walking, which is maintaining

vention of early-onset dementia. One of the reasons

a fast pace at moderate to high intensity,

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has been shown to have the potential to burn the same amount of calories as jogging or running and is far less stressful to the body.

• Walking reduces the risk of develop-

ing heart disease, stroke and other cardiovascular problems. Harvard Medical School researchers found that walking for only two and a half hours per week reduced the chance of heart disease by thirty per cent.

• Walking is a form of low-impact exercise.

The risk of putting stress on the joints and

necessitating a longer recovery time for the muscles after running or jogging is one reason why some people prefer walking. Dr Craig Williams, a sports lecturer at the University of Exeter, says, ‘because it is low impact, it does not have the same potential for injury as jogging … yet it can offer all the benefits’. And as many osteopaths will tell you, it puts far less stress on the spine than running and is considered to be very beneficial for the spinal discs. For maximum health benefits, experts recommend thirty minutes a day, five days a week, but this can be adapted to suit your lifestyle. Some people find that a pedometer keeps them motivated and on track. But however you go about it, the important thing is to get started, one step at a time, and in no time at all you’ll reap the benefits.


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AU T UM N D I N N E R M E N U Chef Clodagh McKenna has created a delicious autumn menu to celebrate the taste, quality and goodness of Irish dairy

50g butter 300g potatoes, peeled and diced 1 onion, finely diced 1 leek, finely sliced 2 stalks of celery, finely sliced 2 garlic cloves, crushed 100ml dry white wine 500ml fish stock 300ml milk 1kg un-dyed smoked haddock, skin removed and cut into small chunks 1 corn on the cob 250ml single cream 2 tbsp fresh dill, chopped sea salt and freshly ground black pepper


(Serves 6)

1. Place a medium-sized saucepan over a medium heat and melt the butter. 2. Stir in the potato, onion, leek, celery and garlic. Reduce the heat, cover and leave to sweat for 5 minutes. Remove the pan from the heat and add the wine. Return the pan to the heat and cook for a further 3–4 minutes. 3. Pour in the stock and milk, bring to the boil. Reduce the heat and simmer for 10 minutes. 4. Run a sharp knife down the sides of the corn to remove the kernels and add them to the saucepan. Then stir in the haddock and continue to cook for five minutes. 5. Add the cream and fresh dill, and season with salt and pepper to taste. Cook for a further five minutes.


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CA R R OT CA K E W I T H O R A N G E B LOS S O M F R OST I N G Makes 1 cake (10 portions) 3 eggs 140ml vegetable oil, plus extra for greasing  220g light brown sugar  1 tsp ground cinnamon  1 tsp freshly grated nutmeg  350g grated carrots (grated weight)  100g golden raisins  100g walnuts, chopped  200g self-raising flour  ½ tsp bicarbonate of soda  For the orange blossom frosting: 300g cream cheese, chilled  70g butter, at room temperature  300g icing sugar, sifted  1 orange, zest only, finely grated  2 tsp of orange blossom water  1. Pre-heat the oven to 180°C/Gas Mark 4, and oil and line a 13 x 23cm loaf tin with greaseproof paper.

R OAST B U T T E R N U T S Q UAS H , CAS H E L B LU E & SA F F R O N PA P PA R DA L L E (Serves 2)

2. For the carrot cake: beat the eggs in a large bowl, then add the oil, brown sugar, cinnamon, nutmeg, grated carrot, raisins and chopped walnuts. 3. Sift in the rest of the dry ingredients and bring the mixture

600g butternut squash (or 400g peeled and seeds removed) 2 tbsp olive oil 200ml crème fraîche 100g Cashel Blue cheese ½ tsp saffron sea salt and freshly ground black pepper 250g fresh pappardalle 20g pumpkin seeds

together using a wooden or large metal spoon until well combined.

1. Pre-heat the oven to 180°C/Gas Mark 4.

5. For the orange blossom frosting: beat the cream cheese and

2. Halve the butternut squash and peel the outer skin (get a good

butter together in a bowl until well combined. Add the icing sugar,

peeler for easy work). Slice the flesh into quarters and scoop out

orange blossom water and finely grated orange zest and mix until

the seeds. Cut into 1cm (½in) cubes and place on a roasting tray.

the frosting is smooth and thick. Using a palette knife, spread the

Drizzle with olive oil, and season with sea salt and freshly ground

frosting evenly over the cooled cake, dipping the knife into a bowl

black pepper. Roast in the pre-heated oven for 35 minutes (you

of hot water if the icing is difficult to spread.

will notice the squash getting wrinkly). Stir once every 10

6. Decorate with orange zest on top of the frosting.

Pour the mixture into the prepared loaf tin, smooth the surface and bake in the oven for 1 hour 15 minutes or until a skewer inserted into the middle comes out clean. If you’re using a ceramic baking dish then you’ll need to add 15 minutes to the cooking time. 4. Remove from the oven and allow the cake to cool in the tin for about five minutes before removing. Cool completely on a wire rack before serving. 

minutes to coat the squash nicely with oil. 3. Place a frying pan over a low heat and add the crème fraîche and Cashel Blue cheese. Whisk together. Next, whisk in the saffron and season with sea salt and freshly ground black pepper. Allow to cook for another three minutes. The sauce will begin to thicken. 4. Put a large saucepan of salted water over a high heat and when it comes to the boil, drop in the fresh pasta. It will only take three minutes to cook – it overcooks really easily. Drain off all the water. 5. Place the cooked fresh pasta back in the saucepan, and stir in the blue cheese saffron sauce and roast butternut squash. Toss together really well and transfer to a warmed serving dish. Sprinkle the pumpkin seeds on top. ANTHOLOGY AUTUMN 2018 37

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Ruth Wood A

s a Fine Art graduate of the Limerick School of Art and Design, Ruth Wood has worked as a professional painter in Munster since 2004. Originally from Killaloe, she has painted Limerick, Clare and its environs over time, highlighting their unique beauty. Her successful run of limited edition prints has promoted the West of Ireland both at home and abroad. Her original drawings on paper are very popular. Ruth uses a traditional architectural Rapidograph pen to create a fine line on smooth watercolour paper. Then a light wash of watercolour is applied to bring the image to life. The images do not dominate – they are a gentle reminder of a place to which the viewer can bring their own memories. On a practical level, her work on paper complements, rather than overwhelms, contemporary living spaces. Ruth is regularly commissioned to create images of family homes. Typically, this would be for a family reunion, a birthday or an anniversary. A run of prints can also be produced, enabling other family members to enjoy the image of their parents’ or grandparents’ home. As a multidisciplinary artist, Ruth also creates original paintings on canvas. Commissioned work includes the outdoor mural Dreams and Aspirations at Ennis National School under the Per Cent for Art Scheme. As a recent MA History of Art graduate from the University of Limerick, and having achieved a distinction QQI award in training, delivery and evaluation, Ruth’s academic education informs, enhances and energises her artistic endeavours. She runs workshops as a creative facilitator for both budding artists, craftworkers and people experiencing disability.

Bonfield’s Shop, Ross, Kilbaha, Co. Clare

38 autumn 2018 anth o lo g y

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Kilfenora Cows, Co. Clare

Carrigaholt Pier, Co. Clare

Garryowen, Limerick City

Bandstand, Kilkee, Co. Clare Kilkee, Co. Clare I T: 353 86 2478908 I E: I Ruth’s work is also available to view at Kilbaha Gallery & Crafts, Co. Clare I

anthology autumn 2018 39

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Joe Flannery Dingle Design


rish artist Joe Flannery is giving us a new fresh view of Kerry’s iconic coastal landscape with a striking contemporary feel. He clearly shows his architectural roots in his recent collections. His use of imagery and colour strikes a chord at many levels. Joe sees art as an expression of energy and likes to feel that everyone can experience this. His analytical vision of images on Ireland’s Wild Atlantic Way recreates powerful seascapes with a strong use of vibrant colours. His connection to the sea extends far beyond painting. As a long-time sailing enthusiast he has a viewpoint of this rugged coastline not seen by most people. He can usually be found in his studio and gallery on Main Street in Dingle, while his work is on view in other significant galleries in Kerry and is sought by enthusiasts on both sides of the Atlantic. Gallery at Main Street, Dingle, Co. Kerry T: +353 87 1733814 I E: I

Brenda Biggar B

renda Biggar is a Killiney-based artist who uses white porcelain as the foundation for her work, much as others use a canvas. Brenda first took up the art of painting on porcelain when her husband’s work took her to Geneva; there she received a thorough grounding in traditional designs. She subsequently received training in more modern techniques, including those used in Scandinavia and the very different open-oil methods used in North America. Drawing on these varied influences, and incorporating methods of her own devising, Brenda’s work melds colour, design and texture to produce unusual, eye-catching objets d’art. Some of her pieces are purely decorative, while others, such as her vases, jewellery and boxes, also fulfil a practical function. Brenda has exhibited her work for many years at the National Craft and Design Fair (now rechristened ‘Gifted’), as well as in galleries in New York, Dublin and Sofia (Bulgaria) and will be exhibiting at Art Source RDS from 9th–11th November 2018. A selection of Brenda’s work can be seen at T: +353 87 2219238 I E:

40 autumn 2018 anth o lo g y

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Jean Lowndes Dublin-based Artist


sing a palette knife and oils in vibrant colours, Jean’s paintings are incredibly rich and inviting. They are characterised by an impasto technique, which creates depth, mood and atmosphere. She is renowned for her paintings of woodland, trees, poppies and coastal scenes with little yachts, for her series of fun paintings of balloons, ‘Let’s Celebrate’ and her latest series, ‘The Farm’. Jean’s work can be viewed at Gallery Intermarium in Cornelscourt, Crafters Kilrane in Wexford, and Dross Evolution Gallery, Naas. She exhibits regularly at Merrion Square, Art Source RDS, House RDS, Gifted RDS and Kilkenny Arts Week. Her work has been showcased on TV3’s Showhouse Showdown with Hamilton Interiors. Jean takes great pride in the way her art has touched many people on an emotional level. She recently donated a painting of Jenkinstown Wood, which raised €2,900 for the homeless charity, The Good Shephard Centre in Kilkenny. Other artists have now donated paintings, and a fundraising event is to take place in 2019. T: 086 8154805 I E: I

John Fitzgerald

Equine, Portrait and Sporting Artist


ecognised as one of Ireland’s leading equine, sporting and portrait artists, John Fitzgerald lives and works from his home studio in the heart of the countryside of his native Co. Meath. He studied Industrial Design in Letterkenny RTC and at the University of Wales, Swansea. While in college he developed a strong understanding of drawing and design and the different techniques used to complete an original piece. This year John was commissioned by the BBC and film-maker Alison Millar to paint Shergar for the TV documentary Searching for Shergar, shown on BBC1 NI and RTE1 in July 2018. His work is collected worldwide by leading owners and trainers in the equine world, and his pieces are now to be found in galleries as far afield as Kentucky. In 2013 he was invited by the Curragh Racecourse to be their artist-in-residence. His new gallery space is located in the new Curragh Racecourse at the Queen’s Room. T: +353 86 2567797 I E:

anthology autumn 2018 41

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Sharon McDaid Silver Birch Gallery & Studio


ontemporary art inspired by the beautiful Inishowen Peninsula. Award-winning artist Sharon McDaid works primarily in oil on canvas and is now regarded as an emerging talent in Irish contemporary painting. Her paintings are inspired by her native Inishowen. These distinctive works capture perfectly the immediacy and diversity of the ever-changing light and shade of the Irish landscape. Suggestive mark-making and a unique ability to exploit the medium enable Sharon to produce these exciting works that leave something to the viewer’s imagination. She exhibits and works from her own private gallery/studio, The Silver Birch in Carndonagh, North Inishowen. The gallery houses three spacious exhibition rooms that carry a body of original oils, mixed media artworks and a large collection of limited-edition giclee prints. Visitors to the gallery have the opportunity to meet Sharon while she works on her latest collection. The gallery also provides a bespoke framing and canvas reproduction service. Over the past eighteen years, Sharon has exhibited her work widely at home and abroad, and her pieces have become part of many public and private collections. Sharon’s latest collection of original oil on canvas paintings will be showcased at Art Source in the RDS, Dublin, 9th–11th November, followed shortly by the release of her new collection of limited-edition giclee prints to be held at Ireland’s largest Christmas Craft Fair – Gifted in the RDS, Dublin 5th–9th December. Located on the stunning Wild Atlantic Way outside Carndonagh, en route to Ireland’s most northerly point, Malin Head.

Silver Birch Gallery & Studio, Malin Road, Carndonagh, Co. Donegal T: +353-74-9373082 I E: I Open 10am – 6pm, Monday – Saturday I Car Parking – Wheelchair Accessible


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Anna Marie Leavy W

atercolour and acrylic painter Anna Marie Leavy was born in Co. Donegal and now lives on the shores of Lough Sheever in Mullingar, Co. Westmeath. Her love of nature stems from her childhood years growing up on the family farm, and while at secondary school she won a scholarship to attend the National College of Art and Design. Throughout her artistic career, the Irish landscape continues to be her main source of inspiration. A long-standing member of the Water Colour Society of Ireland, she has exhibited in galleries throughout the country and with the Royal Hibernian Academy. Her work has been exhibited in the USA, Canada and the UK, and in Tokyo’s Municipal Art Museum as part of the UNESCO International Friendship Exhibition. Anna Marie feels that an artist’s palette reflects their personality, and painting is her way of communicating her ideas. She captures the vivid hues and colours of Irish wild flowers and mountain scenes in her compositions. Through workshops and masterclasses she has passed this knowledge on to others. To view a selection of Anna Marie’s original paintings and her limited-edition giclee prints please visit her website. They are also available in the Irish Design and Craft outlets, Handmade Studio in Mullingar and Glasson Craft Gallery in Co. Westmeath.

T: +353 (0)86 3819472 I E: I


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What on Earth?

A public arts project in aid of GOAL


hat on Earth’ is a collection of 100 resin globe sculptures painted by some of Ireland’s top artists and celebrities with the aim of raising valuable funds for the vital work that GOAL carries out.

The sculptures will be put on public display in a series of exhibitions touring a num-

ber of key cities in Ireland this autumn before being auctioned in November to raise

sally o ’ sullivan

funds to enable GOAL to continue its work to ease the plight of some of the most vulnerable people in the world. Each globe was constructed of resin fibreglass and primed and ready to decorate before being delivered to the

artist. Land mass was presented in a 2mm relief. The globes are mounted on three-foot-tall plinths displaying the artists’ names and details, along with other information relating to the charity. Pictured here are some of our favourites from the collection.

bernadette dool an

john fitzgerald

don o ’ neill

john nol an lorraine fenlon 44 AUTUMN 2018 ANTHOLOGY

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Studio B, The Carnegie Building, 121 Donegall Road, Belfast Call us on 028 9024 0040 or find us online at

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AEntrance Grand An elegant entrance hall introduces your home and welcomes your guests. Here are some tips to ensure that your hallway is as spectacular as the other rooms in your home WORDS LOUISE HIGGINS

You only get one chance to make a good first impression, and this applies to your home as well as to meeting people. Whether your hall is a large space with a dramatic sweeping staircase and crystal chandelier or a less-is-more, chic minimalist entrance, the use of elegant decor details sets the tone for the rest of your home. Here are some ways to create the perfect first impression to wow all your guests.

The front door The front door establishes the overall ambience for the rest of your home. It must be tough enough to withstand constant outdoor exposure, would-be intruders and daily use, yet attractive enough to make you enjoy walking through it every day. The paint colour should reflect your personality and be sympathetic to the exterior style of the building. Distinctive accessories such as the door knocker and letter box can give a little individuality.

The entrance A well-lit entrance is practical, but it also needs to be enticing and create an inviting atmosphere for guests. If you have a large front door with two side panels, consider emphasising its symmetry by adding planters or lanterns on each side of the door. A stylish doormat is a good way of introducing a little colour. ANTHOLOGY AUTUMN 2018 47

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Flooring Hallway flooring needs to be functional and highly resistant to wear and tear. But it’s the first thing your guests notice when they arrive, so it also needs to be attractive. There are so many different styles of flooring on the market – beautiful parquet, herringbone and tiled flooring. Consider the way you and your family use the space and decide what suits you best. For the staircase you may prefer carpet or carpet runners to add additional depth and warmth.

Statement lighting Lighting is a key component to any entrance and a fantastic way to make a real statement. Depending on the height of your ceilings it can be a great opportunity to add a large lighting feature, especially over a staircase. For the perfect ambience ensure you use a combination of light sources. You might like to try ceiling pendants, downlighters, table lamps and floor lamps.

Console table A console table is a must for any hallway if there is sufficient space. Not only does it look great but it’s also functional, giving you somewhere to store your keys, display candles and place a table lamp. You might even want to opt for a hall bench with built-in storage baskets for shoes, hats, bags and umbrellas to help keep your hallway neat and tidy.

Fireplace If you have a large entrance hall, then you could also consider adding a fireplace. For ease of use consider a gas or electric fire that can be turned on minutes before guests are due to arrive. A beautiful fireplace will add interest to your space as well as make it cosy and inviting.

Mirrors Mirrors are not just functional; they also help to maximise light in hallways and can make small spaces feel larger. Areas to consider hanging mirrors are over console tables, fireplaces or radiator covers. They’re also great for a last-minute check before you leave home.

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Art If you want to express your personality, then what better way of doing it than through art. Ensure you choose pieces that appeal to you and work well together with your interior. Find out about the artist and the inspiration behind their paintings so you can discuss the work when your guests admire your taste in art.

Appeal to all the senses Strive to appeal to all the senses with beautiful scented candles, diffusers or purifying air fresheners which infuse a pleasant scent throughout your entrance space. If you’re expecting guests, then consider some soft ambient music in the background to create a cosy inviting atmosphere.

Radiator covers Disguise the unpleasant sight of radiators with some beautiful radiator covers to create a stylish design feature. When choosing radiator covers ensure you get the right size for your radiators, with front and side vents to maximise heat output.

Flowers and plants Flowers are a great finishing touch for any room, but particularly so in your hallway where you want to create impact. A stunning flower display on your console table will bring life to your entrance hall, instantly brightening the space and boosting your mood too. You could also consider large potted plants for any empty corners.

Louise Higgins, founder of Perfect Headboards and Aspire Design, is an award-winning designer and a graduate of the Interior Design Academy of Ireland. Louise is a full member of the Interiors Association and is also a member of the Crafts Council of Ireland. For further advice, contact Louise at 045-982265 or


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24/09/2018 07:46

The Art of

Movement In their exquisite award-winning book, photographers Ken Browar and Deborah Ory celebrate the beauty of movement and dance



n 2014, husband-and-wife team Ken Browar and Deborah Ory began shooting contemporary dancers for a personal project. As word spread among professional dancers and dance enthusiasts, demand grew for

their work and the NYC Dance Project was born. With a growing body of work, they decided to produce a hardcover coffeetable book. The Art of Movement contains over 300 pages featuring more than seventy dancers from American Ballet Theatre, New York City Ballet, Martha Graham Dance Company, Alvin Ailey, Royal Danish Ballet, the Royal Ballet, and many more. The arresting images are dramatic, energetic and elegant, capturing the beauty and skill of their graceful subjects. In conversation with Edel Cassidy, Deborah talks about her love of dance, how the project came about and plans for a second book to be launched next year.

Your love and knowledge of ballet, com-

married Ken [Browar] who was also a

bined with your mastery of photogra-


phy, were essential elements in produc-

The inspiration for our book, The Art

ing this beautiful book. When and how

of Movement, came from decorating our

did you make the decision to embark on

then 13-year-old daughter’s room. Sarah

this project and publish the book?

was an aspiring ballerina, studying at

I had grown up dancing and only started

the American Ballet Theatre school, and

photography while I was injured in

wanted her room filled with dance pho-

college. I photographed the rehearsals

tographs. We made extensive searches

I should have been a part of and found

at bookstores, online and in galleries.

I loved photographing dance. I pursued

We weren’t able to find photographs of

photography as my career and later

the current dancers that Sarah admired.

Indiana Woodward, Soloist, New York City Ballet


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BELOW: (Top) Daniil Simkin, Principal, American Ballet Theatre; (Bottom) Holly Dorger, Principal, Royal Danish Ballet (Swan Lake Photo)

Renan Cerdeiro, Kleber Rebello and Jovani Furlan, Principals, Miami City Ballet

‘Word spread in the dance community, and dancers from all over approached us to collaborate’

There were beautiful images of famous

What is the most challenging situation

dancers from past generations, such as

you faced during the process? How did

Baryshnikov or Markova, taken more than

you overcome it?

forty years ago, but nothing of the current

The project has truly been a pleasure for

stars. So we decided to photograph these

us and we are fortunate to work with

dancers ourselves. We contacted one

such talented artists. For me, the most

of our favourite dancers, Daniil Simkin,

challenging part of the project is that

a principal dancer with American Ballet

our photo studio is also our home! That

Theatre, and asked him if he would like to

has its advantages and disadvantages,

Did you envisage and plan each shot

work with us. He agreed, and after a suc-

like most living/working situations. The

before setting it up, or was the process

cessful photo shoot he arranged for other

dancers are coming into our house and

more organic?

dancers to get involved. Before long, NYC

it’s not uncommon, during the photo

We’ve learned not to plan out the pho-

Dance Project was officially launched.

sessions, for the kids to come home

tographs too much in advance. It’s better

Word spread in the dance community,

from school or the cats to walk across

to allow things to evolve on the set. The

and dancers from all over approached

the set. When working as a husband-

magic happens when we are all – dancers

us to collaborate. The project quickly

and-wife team and from our own home,

and photographers – open to making

evolved and we decided it would work

it can be hard to get away from the pro-

images that feel right and when we don’t

well in book format. We were very lucky

ject. I’ve tried to make sure I schedule

have preconceived ideas of what the im-

to find a wonderful publisher who helped

time away from the house and get out

ages will look like. So working organically

us make this happen.

to exercise and see friends.

and being in the moment allows everyone


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Gillian Murphy, Principal, American Ballet Theatre

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Tiler Peck, Principal, New York City Ballet


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to explore and be creative, which in turn

To what extent does music play a part in

the height of their jump or when the lines

makes for the most beautiful photos. We

your photo shoots?

don’t look correct. Dance is a language

also now focus on capturing a few special

Music plays less of a role in these sessions

and it’s something I’ve known for so many

images in each session instead of taking

than you would imagine. We often ask the

years that these things are second nature

lots of photographs.

dancers what type of music they’d prefer

to me. Ken didn’t come to this as easily. He

and they generally don’t care, although

had been a fashion photographer before

Who decided on the clothing and hair-

occasionally we get some requests. It

photographing dancers. He would look at

styles for the dancers?

seems as though everyone gets into a zone

the images and think the dancer looked

I spend a lot of time before each shoot

in these sessions where we’re so focused

beautiful. Then the dancer and I would say,

deciding on the clothing for the dancers.

on the image and the movement that we

‘but the feet are not in the right position!’

We think about how the dancer moves,

don’t notice anything else that’s happening.

This surprised him at first – fashion models never commented on their feet. He looks

what would look best for them and what will complement their movements. I

Obviously having a knowledge of ballet

have a background working at fashion

has some advantages in knowing the

magazines, so we’ve used a lot of couture

right moment to release the shutter in

clothing for the shoots. Sometimes the

order to capture the most elegant line or

dancer wears costumes or just simple

the maximum extension during a jump.

tights and a leotard. Ken and I have

But how difficult is this to achieve?

planned this out with the dancer before

I’ve grown up dancing, so for me it’s very

they come to the shoot.

natural to know when a dancer will be at

‘We’re so focused on the image and the movement that we don’t notice anything else that’s happening’

Artem Ovcharenko and Olga Smirnova, Principals, Bolshoi Ballet

ABOVE: (Top) Misty Copeland, Principal, American Ballet Theatre; (Bottom) Céline Cassone, Les Ballets Jazz de Montréal ANTHOLOGY AUTUMN 2018 57

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at things very differently now, observing movement, lines and form in the photo-

well when they are enlarged. We take turns with who is behind the cam-

fashion, expanding on what we started in our first book. We worked with a few de-

graphs. We also focus on capturing expres-

era and who is on the computer and directing.

signers in the first book, but this second one

sion and passion through the movement.

We feel it doesn’t matter who takes the

has many more, and some really fantastic

shot; we create the images together.

pieces. We’ve been getting vintage clothing

What are your favourite cameras

as well as modern-day couture, and a range

and lenses?

Your book won an International

from casual wear through to some high-fan-

We’ve been working entirely with a

Photography Award for best book.

tasy pieces. The clothing all feels timeless,

medium format Hasselblad camera and

What did this award mean to you?

not focusing on any current trends.

one or two lenses. It’s a very slow camera

We were very excited to get the Interna-

and we can only shoot one photo at a

tional Photography Award for The Art of

Apart from dance, where do your

time – each jump or movement has to

Movement. It’s a bit overwhelming to make

inspirations come from? Any other

be caught at exactly the right moment.

a 300-page book, so it felt really good to

artists or photographers?

We’ve been making very large prints for

have it acknowledged. It’s also opened

Both Ken and I draw inspiration from

our exhibitions, so the images from the

some doors for us in the art world. We

many of the great master photographers,

Hasselblad look beautiful and hold up

now exhibit in two galleries – the Holden

especially Richard Avedon and Irving Penn.

Luntz gallery in Palm Beach and the

However, I would say that a lot of our in-

Lanoue Gallery in Boston.

spiration is not from photography but from

‘We’ve been working entirely with a medium format Hasselblad camera and one or two lenses’

watching dance and movement. You are working on another book. Are you taking a different approach to this project? We are working on a second book which will hopefully be published in October 2019. The new book will focus on dance and

For further information visit:

James Whiteside, Principal, American Ballet Theatre 58 AUTUMN 2018 ANTHOLOGY

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Miriam Miller, New York City Ballet ANTHOLOGY AUTUMN 2018 59

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Michael Jackson Jr and Sean Aaron Carmon, Alvin Ailey American Dance Theater 60 AUTUMN 2018 ANTHOLOGY

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The Carol Cronin Gallery, Upper Green Street, Dingle, Co. Kerry Tel: 086 103 1074 • • 61_Carol_Cronin.indd 61

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AUTUMN DAZE Autumn trends underline what great fashion has always been about – making women feel good. Reflecting the popular sentiment of female empowerment, this season’s runway styles speak of confidence, intelligence and an appetite for change. Tailoring and suiting are enjoying a major renaissance with lots of day-to-night wardrobe flexibility.

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ALEXIS MABILLE The focus is on casual elegance, where ultra-feminine accents such as ribbons and flouncy sleeves are complemented by the more masculine silhouettes of perfectly tailored garments, including touches of pristine suiting. The designer named his autumn collection ‘French Kiss’, and deployed a vivid palette of jewel tones of Prussian blue and fuchsia applied to silky drawstring dresses and voluminous silk poplin skirts.


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AKRIS Giant Egon Schiele drawings lined the back of the runway and the clothes were inspired by the works of Gustav Klimt. Creative director Albert Kriemler drew inspiration from the Vienna Secession, a movement he describes as the ‘birth of modernism’. The polished collection draws parallels between the freedom and feminism that burgeoned over 100 years ago and today. 64 AUTUMN 2018 ANTHOLOGY

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CAROLINA HERRERA Carolina Herrera has taken her final bow, handing over the reins to Wes Gordon. Her clothes have always reflected her personal sensibilities, exuding sophistication and propriety, and her final collection is no exception. The show was a celebration of elegant femininity and discreet glamour, with sharp silhouettes and no distracting fuss or frills.


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DELPOZO A symphony of bright, exuberant colours set a girly tone in contrast to asymmetrical silhouettes, making a dramatic statement. As a former architect, creative director Josep Font likes to experiment with the shapes and line of his designs. The elegant 3D sculptural leather belts have the appearance of flowers in full bloom.


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RALPH & RUSSO Epitomising effortless elegance, the collection presents an adaptable offering for the modern woman and her multifaceted lifestyle. The emphasis is on daywear for the busy woman whose wardrobe is required to facilitate her constant travel to different climates and the transition from day to evening. Embodying strength, elegance and femininity for the empowered woman of today.


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ERDEM Classic country wear and jewel-encrusted gowns are inspired by the unlikely romance between the 1920s Broadway star Adele Astaire, sister of Fred, and Lord Charles Cavendish, an English aristocrat whom she married; they lived at Lismore Castle in Co. Waterford. Merging two worlds: an American 1930s stage wardrobe with the appropriate attire for a lady of the manor.


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SIMONE ROCHA Drama was most definitely on the agenda, with elements of early nineteenth-century style on the cusp of Victoriana, featuring layers of ruffles, lace, netting, ribbons and pretty botanical prints but with a punkish twist. Romantic and feminine but at the same time somewhat rebellious attire that is equally appropriate for work or play.


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R O N A L D VA N D E R K E M P Couture meets conscience: in an industry where luxury and sustainability are not always aligned, Van der Kemp uses vintage and found fabrics to produce these one-off looks. The unifying theme is the unmistakable 80s vibe with his love of big shoulders, crossed with space-age modernism. The collection celebrates creativity, craft and an obsession with the unique.


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ROLAND MOURET Stepping away from his signature dress, Mouret manipulates his draping technique to create, as he describes it, a ‘sexy, luxury day dress’ – a looser, A-line silhouette that sees soft fabric falling on the body. The flowing dresses are offset with capes and coats in rich varying textures. The dynamic variation throughout explores the hard, the soft and a reaffirmation of a strong mature femininity.


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GEORGES HOBEIKA Renowned for his signature expression of femininity, romance and elegance, Hobeika captivates us with his creative style as always. This collection is refined, sophisticated, sensual, and surrounded by fantasy and romance but beautifully structured, some pieces detailed with intricate hand-embellishments. This anthology of graceful, yet cryptic, silhouettes features a fantastic galaxy that exalts a love for nature and mystery.


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Luxury Escapes


With the onset of cooler days, why not plan a break at one of Ireland’s elegant hotels. It’s a lovely time of year to enjoy outdoor pursuits or just curl up with a book in front of a log fire. Here are some of our favourites.

Waterford Castle Hotel & Golf Resort


ander through the magnificent castle and courtyard as you relax and unwind with a luxury break fit for a king or queen! This iconic private island hotel is a perfect getaway where you are transported to a different world. The beautifully appointed guest rooms offer gracious style combined with all the modern comforts you might expect of a world-class hotel. Guests are welcome to enjoy an assortment of engaging activities, including an 18-hole championship golf course, tennis, clay pigeon shooting, falconry and croquet. Walking and biking trails allow guests to experience the beauty of a vast array of wildlife and access to the Island Lighthouse. Dining at Waterford Castle provides an opportunity to taste the best of traditional and contemporary Irish cuisine, complemented by an extensive wine cellar and exciting seasonal menus. Autumn Lodges Escape: 2 nights in the self-catering lodges (sleep 6) starting from €229. For details of luxurious packages for both exclusive use and boutique hotel stays, visit

Belleek Castle Hotel Ballina, Co. Mayo


ocated in north Mayo, this charming hideaway is the ideal choice for a midweek or weekend break or for those seeking a romantic getaway. At the entrance you will be welcomed by the sweet smell of burning turf in an open fire in the original Great Hall. The castle is the perfect base to explore this beautiful area on the route of the Wild Atlantic Way. Situated on the banks of the River Moy and nestling on the edge of Belleek Woods, a 200-acre walking-friendly woodland with trees up to 300 years old, the hotel offers great walking, running and cycling routes to explore. Belleek Castle is home to the Marshall Doran Collection, one of the finest collections of arms and armour, fossils and antiques in Ireland. Escape from reality and enjoy attentive hospitality and award-winning food and service. For details of the Autumn Dream and Dine Package visit

Four Seasons Hotel, Spa & Leisure Club Carlingford, Co. Louth


f you are looking for an inspired and different experience for Christmas, this is the perfect choice for all your festive celebrations. The hotel, with its medieval and picturesque surroundings, is located only sixty minutes from Dublin and Belfast. The hotel has recently undergone a number of renovations, including the fabulous Luxe Spa and classically decorated lobby with a modern twist, featuring sphere-hanging chandeliers and chic button-tufted couches. Take advantage of the many eatery options in Lough Lounge, including an exquisite Festive Afternoon Tea, which you can peacefully enjoy in the lobby or mezzanine overlooking Carlingford Lough and the Cooley Mountains. The perfect location for your Christmas parties, or for Christmas Eve, Christmas Day and New Year’s celebrations.

For a whole host of special offers check out ANTHOLOGY AUTUMN 2018 73

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A meeting of

Craft and Design The Council of Irish Fashion Designers collaborate with the Design and Crafts Council of Ireland words edel cassidy


subject dear to my heart is the preservation of traditional craftsmanship and the ongoing cultivation of makers’ skills and knowledge.

I was thrilled to be invited to the Council of Irish Fashion De-

signers Autumn Show for a unique presentation of the work of Irish fashion designers in collaboration with the Design and Crafts Council of Ireland that showcased the ways in which traditional skills and methods can inspire innovation, creativity and design. The final pieces demonstrated how the use of heritage crafts within fashion can lend a sense of luxury and exclusivity to a garment.

Margaret O’Connor, milliner, and James O’Toole, blacksmith This collaboration, entitled ‘Unconscious Suspension’, uses modern iridescent PVC materials set into a metal grid that is attached to a beret-style hat to hold it softly on the head. The hat takes a contemporary approach to traditional blacksmithing skills and a modern approach to millinery. The creation represents the heavy weight that humans sometimes carry in life. The coloured panels represent broken pieces that combine to make one whole piece, suggesting how people whose lives have been broken can put the pieces together again and shine brightly.


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Caroline Mitchell, knitwear designer, and Dolores Dempsey, Mountmellick Lace During the nineteenth century, the world-renowned Victorian whiteon-white embroidery known as Mountmellick Work was developed. It was carried out on white cotton satin denim fabric using white cotton thread. Designs of local flora and fauna were used, such as blackberries, dog rose, wild clematis and viola. The craft has a long association with the Quakers who fostered the tradition by teaching it in the schools. This stunning dress is made up with knit, crochet embroidery and appliqué inspired by original pieces from the Mountmellick Lace Museum. It features embroideries of blackberries, flowers and grapes, combined with knitted fringing on a white denim base, the fabric traditionally used for Mountmellick Lace.

Keira & Dairine Kennedy/KDK, accessories, and Caroline Ryan, textile artist Design can work well when there is a contrast of elements within the work and this piece is a good example of that. The customised silk dress uses two design aesthetics (geometric and abstract) to expand creativity within one garment – a merging of rigid geometric shapes with softer organic contours. A variety of traditional print mediums, including dip-dyeing and screen-printing, were employed to achieve this look in a modern, fashionable and wearable way.


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Hazel Greene, accessories designer, and Jane Murtagh, blacksmith It used to be that every town and village in Ireland had at least one forge and blacksmith. Demand for traditional horse-shoeing may be diminishing, but artist blacksmiths and decorative metal workers are keeping the craft alive. The challenge was to create a piece using both the lightest and the heaviest of materials – silk and metal. The silk twill sleeved wrap features a digitally printed hart’s tongue leaf. The model also wore a neck band of forged solid copper with a large forged copper hart’s tongue leaf, finished with verdigris patination. 


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Leonora Ferguson, milliner, and Dorota Majzer, lace maker Applying old methods to modern designs, this work incorporates traditional motifs with layering, texture and 3D effects that fade out, disintegrate and merge into a wire lace, giving ground to new ways of working and thinking. This piece combines exquisite crochet lace with Leonora’s signature wire lace and explores the tension between the strict rules of the old and the new adaptations of today within lacemaking. Antique wood-turned bobbins hang from the wires, clacking together as the model walks the runway.

Aoife Harrison, milliner, and Friederike Grace, goldsmith While the CIFD Autumn 2018 collection placed emphasis on a sustainable approach to fashion, this beautiful creation brought the idea of upcycling and the reuse of existing materials to a whole new level. Aoife and Friederike found inspiration on the beach – literally. ‘From Sea to Sky’ is a wool felt hat trimmed with dried seaweed, wood, feathers and shells, all of which were added to this unique, organic headpiece giving new life to the natural ‘found’ materials used.


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Autumn There was once a time when the essential attire for men

in the city was a white collar and tailored suit, while many held to the adage ‘never wear brown in town’, referring to the ultimate sartorial faux pas of wearing brown shoes. But business dress code has become more relaxed and power suits now seem stiff rather than savvy. Whether for smart



accessories or fashionable apparel, the trendsetting colour


combos for the stylish exec this season are navy or indigo blue paired with shades of brown, burgundy and rust.







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9 16

10 15



11 12

1 Overcheck Doonalt Coat at Magee 1866, €429 2 Wanted Eau de Toilette 50ml from Azzaro, €57 3 Bredon Luxury Navy & Orange Belt Magee 1866, €99 4 Tom Hope Gold Tone Anchor Navy/Gold 3 Strand Rope Small Bracelet at Weir & Sons, €55 5 GANT Multi-Check Scarf at Brown Thomas, €65 6 Kent & Curwen Caradon striped wool jumper at Brown Thomas, €380 7 Blair Slip-on Shoes at Dubarry, €75 8 Holden Executive Briefcase at Holden Leather Goods, €920 9 The W Shot Glasses Set of 4 at House of Waterford, €225 10 Sea Print Silk Pocket Square at, £35 11 Bird Print Shirt at www.kellydawnriot. com, £220 12 Tateossian Gears Carbon Fibre Cufflinks at Louis Copeland & Sons, €235 13 TAG Heuer Monaco Calibre 11 Gulf Chronograph Watch at Weir & Sons, €5,250 14 RJR.John Rocha Khaki Patchwork Harris Tweed Wool Flat Cap at Debenhams, €52.50 15 Juku Rhythm Bluetooth Earphones at Compu b, €29.99 16 Meyer Belted Roma Navy Tailored Trousers at McElhinneys, €109.95 ANTHOLOGY AUTUMN 2018 79

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David Collins The Irish mastermind behind some of the world’s most iconic and treasured interiors words edel cassidy


avid Collins, renowned for some of the world’s most beautiful and innovative interiors, was born

and raised in Glenageary, Co. Dublin, and studied at the Bolton Street School of Architecture. In 1985 David Collins began to take on personal interior design projects in London. In 1988 he was joined by business partner Iain Watson and the David Collins Studio was established. Since then the studio has collaborated with many eminent brands, including Alexander McQueen, Fortnum & Mason, the Ritz-Carlton Bangkok, Bergdorf Goodman, Harrods, Nobu, and Jimmy Choo. If David had followed his childhood ambitions, the world would have been denied some of the most stunning interiors of the twentieth and twenty-first centuries. Fortuitously, his family talked him out of becoming a fashion designer

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The Vogue Lounge in Bangkok created by David Collins Studio. The use of brass and rich colours against a white-and-black setting clearly captures the David Collins’ signature look.


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Corinthia Hotel, Whitehall Place, London The luxurious Corinthia Hotel, occupying an imposing Victorian building on the site of the old Metropole Hotel, is located in one of London’s most prestigious areas, moments from Trafalgar Square and Whitehall and overlooking the River Thames. Opened in April 2011, Bassoon explores the parallels between music and design and features a twenty-foot grand piano. Of the project David Collins commented, ‘Design and music are aligned: the symmetry, balance and harmony are all subliminal reminders of how the environment influences us.’ The bar is art deco with a jazz theme, and is at once contemporary and elegant but never takes itself too seriously.


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and a musician. Instead, he followed in his father’s footsteps with a degree in architecture. When he completed his studies, he travelled around Europe and settled in London, where his career took off almost by accident when he was asked to redecorate a friend’s home. The friend in question happened to know Chef Pierre Koffmann who admired Collins’s work and enlisted him to work on the refurbishment of his Chelsea restaurant, La Tante Claire, on Royal Hospital Road. A commission from Marco Pierre White followed. These projects were the foundations of the earliest iteration of the David Collins Studio, at that time a modest practice specialising in small interior architectural commissions. The business quickly grew to be a market-leading interior architecture practice designing and seeing through to completion inspirational hospitality interiors, and residential and retail projects worldwide, picking up numerous awards along the way. Collins merged luxury, glamour and heritage in a unique and distinctive fashion, and so the studio became a globally recognised brand, known for its expertise in contemporary luxury design. The studio collaborates with distinguished brands and businesses and with private clients who share DCS’s obsession

Aqua Hong Kong

One Peking, Hong Kong, China David Collins Studio redesigned this iconic glass-walled flagship bar and restaurant that boasts an incredible view of Hong Kong’s harbour, one of the world’s most striking modern waterways. Opened in November 2011 for Aqua Restaurant Group, it is located on the twenty-ninth floor penthouse of One Peking Road. The two-storey dining room is ribbed with iron girders and floorto-ceiling glass walls looking out over the magnificent Victoria Harbour. Using bespoke screens, mirrored surfaces and lens details, the design has been realised in a palette of peacock blues and Sahara yellows.


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Vogue Lounge

MahaNakhon Cube, Bangkok, Thailand Launched in November 2014, Vogue Lounge is housed on the top floor of the MahaNakhon Cube, the tallest tower in Thailand. The Cube is part of the iconic MahaNakhon development, a luxury retail and lifestyle centre in the heart of Thailand’s capital. The lounge was designed by David Collins Studio and created in collaboration with CondÊ Nast and PACE Development, the leader in Thai luxury property and hospitality. The lounge comprises a restaurant, bar and terrace. Taking inspiration from iconic black-and-white photographs from the Vogue archives, the concept reflects the timeless luxury and glamour of the Vogue brand.


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for detail, innovation and functionality. The hallmark of each David Collins Studio project is brilliant use of colour and light, combined with a deeply textured interior that feels simultaneously contemporary and established, rooted in the life and traditions of its location. Sadly, David died aged only fifty-eight in 2013 following a brief illness, and his sudden death deeply moved the fashion and design world. Fortunately, his legacy lives on through the work of his interior design studio under the leadership of CEO Iain Watson and creative director Simon Rawlings. DCS cultivated a creative team who shared the founder’s design perspective: a sophisticated blend of modern luxury with a bold use of colour and a passion for craftsmanship and detail. ‘Both Iain Watson and I had worked with David for many years,’ says Simon Rawlings, ‘and this meant that the studio could continue as a well-oiled machine. David’s vision remains at the core of our work. We strive to cultivate a brilliant creative team who deliver a sophisticated blend of modern luxury with a bold use of colour and a passion for craftsmanship and detail.’ Here, Anthology features a selection of unique and distinctive bars designed by the David Collins Studio, including recent work at Adare Manor in Co. Limerick.

The Century Bar

Gleneagles Hotel, Perthshire, Scotland The iconic Century Bar, renowned for housing one of Scotland’s finest collections of old and rare whiskies, featuring more than 120 single malts, is the main bar at Scotland’s Gleneagles Hotel, the world-famous golf resort which has hosted the Ryder Cup and the G8 summit. The bar was created by David Collins Studio for their client, Ennismore, in June 2016. The design team was tasked with creating an elegant and contemporary space that enhanced the guest experience, while celebrating Gleneagles’s heritage and Scottish identity. Restored original panelling, art deco-style lighting and a brighter colour palette reflect the history of the hotel, while window spaces have been opened up to maximise views of the Ochil Hills and provide a connection between the interior and exterior of the property. An atmosphere of warmth and understated elegance has been created through traditional textiles and upholstery, including accent fabrics sourced from Johnstons of Elgin, accessories made by Scottish ceramicists and custom stained-glass screens created by Dunblane-based firm, Ramoyle Glass.


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The Carriage House

Adare Manor, Co. Limerick, Ireland Launched in spring 2018, The Carriage House includes a bar, restaurant, lounge and private dining room, as well as a glazed terrace and an outdoor cigar lounge. The building is part of the newly refurbished Adare Manor. The brief was to create a space that had a contemporary metropolitan feel, yet referenced traditional Irish culture. The entrance is via a grand arrival lobby leading to a dramatic rotunda with four arches, floor-to-ceiling wine displays and an exquisite vaulted ceiling with brass detailing. The colour palette throughout the bar is a medley of leather, burgundy and dark green shades, while the dark-stained oak finish of the furniture is repeated throughout the main areas to create a visual link between the various spaces. One entire elevation of the 170-square-metre space is glazed and a natural element introduced. Hanging baskets on the walls and planters bursting with foliage evoke a sense of the great outdoors inside. Lanterns in a hammered-metal and textured-glass finish pay homage to the carriage lamps of old. The elegant private chamber is beautifully lit by leaf motif wall lights in a brass finish and adorned with original artworks showcasing some of the very best of Irish talent.


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Portraits & Propaganda One of the great women of Irish history and Europe’s first elected female politician is to be honoured at the National Gallery of Ireland words edel cassidy


s the centenary marking women being granted the parliamentary vote in Ireland

draws to a close and as we approach the centenary of the formation of

the First Dáil, the National Gallery is hosting an exhibition that focuses on Countess Markievicz, one of the most significant, intriguing and provocative members of the first parliament of the revolutionary Irish Republic. The exhibition explores aspects of Countess Markievicz’s complex and enigmatic identity through her visual portrayal in painting, photography, illustration and film. Born Constance Georgine Gore-Booth, her family were wealthy and had a large estate at Lissadell in County Sligo. Her father, Sir Henry GoreBooth, was an explorer, but unlike many landowners in Ireland, he treated his tenants fairly and cared about their well-being. His example inspired in her a deep concern for working people and the poor. Constance studied art in London and Paris and, in 1900, she married Count Kasimir Dunin-Markievicz, a Polish aristocrat and artist. In 1903 the couple came to live in Dublin, where she developed a keen interest in nationalist politics. Countess Markievicz became a member of Inghinidhe na hÉireann and Sinn Féin, and she worked closely with James Connolly, helping to feed the workers during the 1913 lockout in Dublin. She subsequently joined the Irish Citizen Army and was undoubtedly one of the most important female figures of the Easter Rising of 1916. As one of the leaders of the rebellion, Countess Markievicz was sentenced to death. This was commuted to penal servitude for life because of her gender. In 1918 she became the first woman to be elected to the British parliament by winning a seat for Sinn Féin in Dublin. She opposed the Anglo-Irish Treaty of 1921 and was a founder member of Fianna Fáil in 1926.  The exhibition at the National Gallery of Ireland runs from 27 October 2018 to 17 March 2019. top: Countess Constance Markievicz wearing cloak and hat, seated; studio three-quarter length portrait. Image Courtesy of National Library of Ireland. right: The Artist’s Wife, Constance Comtesse de Markievicz (1868--1927), Irish Painter and Revolutionary (1899), by Kasimir Dunin-Markievicz (1874--1932). Oil on canvas, 205 x 91 cm. NGI.1231 Photo © National Gallery of Ireland ANTHOLOGY AUTUMN 2018 87

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Heroes & newcomers A

s someone who can never have enough cosmetics, nothing gets me more excited than a new


product launch. I absolutely love experimenting

with different brands and new products, which means my skincare routine is constantly changing. Despite this, there are some products that I go back to again and again – my heroes – the ones I can’t live without. Check out the list below for a mix of fascinating new finds and old reliables.

Guinot Crème Night Logic Stress throughout the day inhibits the skin’s ability to take in oxygen, and this moisturiser specifically acts at night to neutralise the effects of stress, ease tense skin and deeply hydrate. The key ingredients, chrononight, esculoside and hydrocyte complex, work side by side to help improve circulation and lock in hydration, all while the body sleeps – the best time for healing. With a smooth, lightly scented, non-greasy texture, the moisturiser gives you a morning glow even before you wake up. Note: Guinot is committed to ethical beauty care. They do not test on animals, their formulas are without parabens, and the active ingredients used are from non-GMO renewable plants.

Elemis Peptide4 Eye Recovery Cream Well known for fusing science with nature, Elemis is the first company to extract the seed oil of night-scented stock, rich in Vitamin E, for cosmetic purposes. They have combined it with an extraction of Star Arvensis™ oil to make up the main ingredients in this newly launched eye cream. The texture is exquisite, and after two weeks my eyelids were visibly lifted, the skin around the eyes was brighter and firmer and under-eye puffiness was reduced. This cream will definitely be earning a place in my permanent collection.


Ingenious Beauty Ultimate Collagen+ Not only are these capsules great for the skin, they’ll also give you stronger nails and healthier-looking, more voluminous hair. The instructions are simple – three at bedtime. They contain three 100% natural ingredients: natural marine collagen, which repairs and smooths skin; natural astaxanthin, which prevents and repairs UV damage; and second-generation hyaluron (HA), which hydrates and moisturises. It takes a few weeks to see results, but within a month my skin looked brighter and my complexion clearer. I also noticed an improvement in areas such as my elbows, which are often dry and flaky.


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Vintner’s Daughter Active Botanical Serum Everyone has been raving about this uber-popular product and I really wanted to try it. April Gargiulo, the founder and who is actually a vintner’s daughter, had become disillusioned with the amount of toxins, chemicals and fillers in products she was using for her problem skin. Nothing was working, so she decided to formulate her own product. Her objective was clear – it must be multi-correctional, high quality and non-toxic. With her agricultural and wine-making background she knew the importance of using the very best ingredients in the right combinations and ratios. Vintner’s Daughter may be made in Napa Valley, California, but the concept behind it is very relevant to our pale Celtic complexions, which are often prone to an array of skin disorders such as rosacea, acne and dehydration. April believes that all skin problems stem from inflammation, which this universally effective serum tackles and clears up. She recommends a simple routine: cleanse, tone and apply the serum. I’m prone to redness and dry patches and, as promised, both were corrected after two weeks using the serum. And my skin was positively glowing!

Reform Skincare Glycolic Acid Foaming Cleanser I’m a big fan of Reform Skincare, formulated in Ireland by leading dermatologist Dr Naomi Mackle of Adare Cosmetics Clinic. Of all Reform’s products this cleanser is the one I can’t be without. Having dry skin, I had always been a fan of cream cleansers, but once I used this foaming cleanser I was converted. It not only removes make-up but really cleans the skin, which is essential for treatments to work effectively. Formulated with glycolic acid, it’s a powerful exfoliating and brightening product that leaves the skin crystal clear. Designed for everyday use and for all skin types, but it’s exceptionally good for problematic skin.

L’Occitane Immortelle Overnight Reset Serum Nowadays, when there’s a problem that needs a full fix, the advice is always the same – reset. Our busy modern lives are full of stress, pollution and occasional ‘slips’ in keeping a healthy diet. We regularly function on less sleep than we should. As a result, skin fatigue is common. But what if you could hit ‘reset’ and wake up each morning with fresh, rested healthy-looking skin? L’Occitane has recently introduced a clever product that does just this. It also has a clever name –Immortelle Overnight Reset. This ultra luxurious-looking product is full of tiny suspended golden bubbles that deliver powerful ingredients, including Acmella oleracea, a natural alternative to Botox that relaxes muscle tension and helps to smooth fine lines. This little gem is great for travel. At 30ml it can go in your hand luggage and is ideal to keep skin hydrated during a flight. Its satin-like texture leaves the skin smooth but not sticky. With regular use skin feels plump, hydrated and well rested.

Caudalie Vinopure Range Long after their teenage years, many women with combination to oily skin notice the appearance of blemishes, shine and clogged pores, the signs of an imbalanced complexion. Vinopure, recently launched by Caudalie, is a highly natural, simple and effective solution to help clear the skin of blemishes without the drying effect that a lot of anti-blemish products have. They offer a line of three products designed for a three-step routine: purify with Clear Skin Purifying Toner; exfoliate and soothe with Blemish Control Infusion Serum; and hydrate with Skin Perfecting Mattifying Fluid. The products are 100% natural, paraben-free and smell so good. Vinopure keeps skin clear and free from any spots. Your skin remains matte yet hydrated for many hours and your complexion will look brighter.


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notes on pianos

The Metropolitan Museum of Art’s impressive collection of antique pianos built by master piano makers demonstrates both the visual aesthetics and the superb musical qualities of these instruments words edel cassidy


he story of the piano began in Florence in 1709, when Bartolomeo di Francesco Cristofori of Padua presented his masterpiece which he had named Gravicembalo col Piano e Forte (meaning ‘soft and loud keyboard instrument’). Cristofori was a famed musical instrument maker in Italy and was already inventing unusual instruments like the upright harpsichord before he was employed by Ferdinando de’ Medici, Grand Prince of Tuscany, as Keeper of the Instruments at the Pitti Palace. The Grand Prince recognised Cristofori’s genius qualities and granted him a large

annex to the palace to use as an invention studio. It was there that Cristofori experimented and improved on keyboards he had previously conceptualised, and this eventually led to the invention of the piano. Prior to its invention, most music was composed on either the harpsichord (for loud pieces), or the clavichord (for quieter pieces). However, performing artists could not convey the same degree of musical expression on these keyboards as they could on most other instruments. The most important feature of the new instrument, therefore, was the hammer mechanism that struck the strings within

the piano’s body. This allowed the volume to be altered depending on how hard a player pressed the keys. This innovation proved to be a major breakthrough. Among the remarkable assembly of fine pianos on display at the Met are Cristofori’s earliest surviving instrument, which dates back to 1720, a grand piano believed to have been owned by Napoleon’s second wife, Marie Louise, a piano that began its life as a harpsichord, and an unusual Irish piano made by Ferdinand Weber in 1772. Many of the pianos are playable and can be heard in concerts and on recordings, as well as in lecture demonstrations given by leading musicians throughout the year. An audio guide at the museum provides musical excerpts, along with a narration about the instruments’ functions, symbolism, decoration and technology.


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Grand piano Bartolomeo Cristofori, Florence, 1720

This example is the oldest of the three extant pianos by Cristofori. The instrument still generally resembles a harpsichord, although its case is thicker and the quill mechanism has been replaced by the hammer mechanism. Cristofori’s hammer mechanism was so well designed and constructed that no other of comparable sensitivity and reliability was devised for another seventy-five years.


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Harpsichord converted to a piano Jean Goermans, Paris, 1754

The harpsichord reached its greatest popularity and refinement in eighteenth-century France. The French Revolution of 1789 and subsequent turmoil caused many of these beautiful instruments to be destroyed. This example is a rare survivor that was later converted to a piano in the late eighteenth or nineteenth century. The harpsichord case is painted black and decorated in gilt with musical trophies, flowers, floral borders and small panels of lattice diaper. A separate stand has seven cabriole legs and scroll feet with carved acanthus ornaments. The inside of the case is painted red with chinoiserie decorations in black and gold. The inside lid decorations include an Asian-style pavilion and multiple Asian musicians playing European instruments, including the violin, viola da gamba, hurdy-gurdy and harpsichord. The lid also

features exotic birds and large flowers. The sound board is decorated with polychrome flowers and a large parrot. The makers name, ‘Ioannes Goermans’, is surrounded by a large floral arrangement. The instrument originally had two-manuals and three sets of strings (two eight foot

registers and a four foot register). In the conversion, the top keyboard was removed and the four foot bridge and strings were also removed. The lower keyboard has 61 keys (FF-f3) with ebony naturals and bone slips over painted accidental blocks. The removal of the upper keyboard and the jacks provided room for a simple piano mechanism based on the German Prellmechanik.


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Square piano

Ferdinand Weber, Dublin, 1772 Dublin had a flourishing music scene in the eighteenth century. The city had two cathedrals, St Patrick’s and Christ Church, that employed a retinue of full-time professional musicians. A state orchestra was also maintained to provide music for civic occasions. Musicians were attracted to Dublin for these positions and found ample additional opportunities for music making in the numerous concert halls and theatres across the city. The city even attracted George Frideric Handel, who premiered the Messiah there on 13 April 1742. This vibrant music scene fostered a highly active market for the sale of musical instruments, which understandably appealed to instrument makers. One such maker was the German keyboard builder Ferdinand Weber, born in Borstendorf, Saxony, in 1715 and apprenticed with the organ maker Johann Ernst Hähnel. In Dublin, he built

organs for several of the city’s churches (though none of the instruments survive intact), and maintained and tuned the organs of Christ Church Cathedral and Trinity College. Weber also built stringed keyboard instruments, including harpsichords, spinets and at least one clavicytherium (upright harpsichord) that still exist. However, this square piano is the only instrument of its type that survives from his workshop. This unusual Irish piano has a mahogany case on a folding stand. The most interesting feature of the instrument is that it has two hammers for each note on the

keyboard, one with a relatively hard striking surface and the other with soft, buff, leather coverings. A hand stop to the left of the keyboard shifts from the hard hammers to the soft hammers. A second hand stop raises the dampers. Two pedals, which are later additions, link to the hand stops and accomplish the same tasks. The mechanism is the German Stoßmechanik action. The keyboard has 59 keys (FF-f3), with ivory naturals and ebony accidentals. This remarkable piano was given to the Met by Murtogh D. Guinness, a member of the prominent Irish brewing family. ANTHOLOGY AUTUMN 2018 93

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Grand piano Joseph Böhm, Vienna, c. 1815–20 Napoleon’s second wife, Marie Louise, is believed to have owned this grand piano while she was grand duchess of Parma. The exotic elm veneer is enriched by mercury-gilt mounts depicting grapevines, acanthus and Psyche at a tripod brazier; imperial eagles crown the legs and nameplate. The original griffin-shaped pedal support was lost during World War II. The instrument has a six-octave range (73 keys), the size that was customary at the time, around when Beethoven was composing his late piano works. Joseph Böhm, the builder of this sumptuous piano, was a member of Vienna’s civic keyboard-maker’s association.

Lyraflügel Johann Christian Schleip, Berlin, c. 1820–44 This type of upright piano was made almost exclusively in Berlin between 1820 and 1850. The Lyraflügel was a fashionable fixture of middle-class Biedermeier parlours in northern German lands. In the period of the Napoleonic occupation (1806–13), the lyre had become a symbol of freedom and liberation. It was popularised in songs based on the collection of patriotic poems, With Lyre and Sword, by the poet Theodor Körner (1791–1813). Schleip was the principal manufacturer of the Lyraflügel, even claiming in 1820 to be its inventor. The early Lyraflügel still had knee levers and straight legs. From about 1825 on, Schleip built it, as here, with pedals. Finally, in about 1832 he began building heavier instruments with hanging actions. Its three pedals are for una corda, bassoon effect and release of the dampers. A technical particularity of the instrument is that the sound board is suspended only on the right side so that its left side can vibrate freely like a tuning fork. To balance the volume between bass and treble and to prevent the bass from becoming too dull, the bass side of the sound board is spared. Finally, to further the harmony and beauty of the sound, the strings, the grain of the sound board and the beams of the supporting structure run parallel to each other at the same angle. 94 AUTUMN 2018 ANTHOLOGY

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Grand pianoforte Érard, London, 1840

This piano, designed by George Henry Blake, is one of the most elaborately decorated instruments of the nineteenth century. It was commissioned from the London branch of the distinguished French firm of Érard by Thomas Henry Foley, Baron of Kidderminster. When closed, the centre of the lid top features a large music-themed marquetry trophy illustrated with sheets of music and a volume of Beethoven’s symphonies and with instruments that include a hurdy-gurdy, tambourine, viol and bow, lute, panpipes, hunting horn and French horn. The exposed underside of the lid flap has a large decoration of the Foley family coat of arms. The entire instrument has heavy gilt wood edging in the Louis XV style that incorporates carved flowers, scrolls,

musical instruments, shells, and masks of Bacchus, Apollo, Diana and Venus at the top of each leg. Each of these likenesses is said to represent a member of the Foley family. The instrument sits on a stand with a stretcher, in the style of eighteenth-century French harpsichords. In the centre of the stretcher is a reclining painted figure of Apollo with his lyre. The keyboard compass is CC-g4 (80

keys) with ivory naturals and ebony accidentals. The piano has the double-escapement action invented by Sébastian Érard, the most advanced for its period and the basis for the modern piano action. It is triple strung, except for the five lowest notes which each have two overwound bass strings. The strings for the top 26 notes pass beneath a pierced brass bar, Pierre Érard’s ‘harmonic bar’ patented in 1838.


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Upright harp piano F. Beale & Co., London, 1843 The short-lived euphonicon (from the Greek, meaning ‘sweet-toned’) was patented by John Stewart in 1841 and manufactured under his supervision. Hand-painted designs and gilded brackets soften the industrial aspect of the solid iron frame. The Macassar ebony case encloses three soundboxes that replace a normal sound board. Tuning is by means of screw-threaded rods reached by a long wrench. The 82 double-strung notes are sounded by soft, felted hammers; the top 23 notes lack dampers and vibrate sympathetically. Damper and una corda pedals modify the tone. Decorated on all sides, the euphonicon can be free-standing. Delicate scrollwork and carving belie its great weight. Similar harp-pianos (so called because of the exposed strings) were popular in America around 1860.


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Grand piano

Steinway & Sons, New York, 1868 This grand piano was known as a ‘Plain Grand Style 2’ piano. The eight-foot-five-inch piano was Steinway’s flagship model and their first piano with 88 keys. It was the ancestor of the Centennial Grand, introduced in 1875, that became the iconic ‘Model D’ Steinway concert grand piano. This instrument has Steinway’s patent resonator and patent double repeating action inside the rosewood case and is supported by three serpentine legs. Heinrich Engelhard Steinweg began making pianos in his kitchen in Sessen, Germany, when he was just twenty years old. Twenty-five years

after building his ‘kitchen’ piano, and 482 instruments later, he decided to move to America. He anglicised his name to Henry E. Steinway upon advice from friends who concluded that the German surname would be disadvantageous for doing business. By the time this instrument was built, Steinway & Sons had become the leading piano manufacturers in the United States. Innovations such as the cast iron frame and overstringing, both of which feature on this instrument, were adopted by piano manufacturers worldwide.


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Grand piano

Carl Bechstein, Berlin, 1893 This Bechstein Model IV grand piano is finished in a French polished rosewood case. Features include turned octagonal legs, fretwork music desk and ornate lyre. Carl Bechstein set up a factory in Berlin in 1853. Having studied and worked in France and England as a piano craftsman, he realised that the most accomplished pianists of the time were searching for a grand piano that would suit both robust virtuoso playing and a more delicate touch. Brahms, Liszt, Debussy and Scriabin all

highly prized Bechstein pianos and played and used them when composing. Many modern artists have also been supporters of the brand, including The Beatles, Elton John and Freddie Mercury. Claude Debussy once said, ‘One should only write piano music for Bechstein pianos.’ In 1885 Bechstein supplied a piano to Queen Victoria, a gilded art-case instrument that was delivered to Buckingham Palace. Then several more Bechstein pianos were delivered to Windsor Castle and to other roy-

al residences. Bechstein was also the official piano maker for the Tsars of Russia, the royal families of Spain, Belgium, the Netherlands, Italy, Sweden, Norway, Austria, Denmark, and for other royalty and aristocracy. The list of royal patrons of Bechstein is to be found on the soundboard of this grand piano. The list is part of the maker’s original trademark logo and can be seen under the strings in the centre of Bechstein piano soundboards that were made before the Second World War.


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Anthology Magazine Issue 8 - Autumn 2018  

A collection of beautiful experiences

Anthology Magazine Issue 8 - Autumn 2018  

A collection of beautiful experiences