DRIFT Volume 21

Volume No21

£10.00

Beautiful

UTOPIAS Unlocking the imagination with numerous stories and associations

THE

PIN NAC LE

OF

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L U X U RY

L I FE STY L E

I N

C O R NWA L L

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T HE

PINNACLE

OF

L U X U RY

L I F E STY L E

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C O R N WA L L

Drift /drift/

noun 1. the act of driving something along 2. the flow or the velocity of the current of a river or ocean stream

verb 1. to become driven or carried along, as by a current of water, wind, or air 2. to move or float smoothly and effortlessly

3

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On the cover Abigail Reynolds, ‘Library hands door’.

Window film applied to both sides of an existing door, with glazed panels. 2020 © the artist.

Courtesy the artist. Read more about Abigail Reynolds’ work from page 45. abigailreynolds.com

CEO

Editor

Ben Pratchett – 01326 574842

Hannah Tapping

Miguel Belert

ben.pratchett@enginehousemedia.co.uk

hannah.tapping@enginehousemedia.co.uk

miguel.belert@enginehousemedia.co.uk

Operations Manager

Content & Project Manager Dan Warden Managing Director

dan.warden@enginehousemedia.co.uk

Finance & HR Manager

Creative Designers

charlotte.forster@enginehousemedia.co.uk

Richard McEvoy – 07771 868880 richard.mcevoy@enginehousemedia.co.uk

Charlotte Forster Spencer Hawes Jamie Crocker

Client Director

Digital Content Creative

Credit Control

Jonathan Perkins – 07587 072706

Thomas Elliot Brown

Tracy Dart – 01326 574842

jonathan.perkins@enginehousemedia.co.uk

Rebecca Hawkey

tracy.dart@enginehousemedia.co.uk

PROUD TO BE PART OF

Drift is published by: Engine House Media LTD Holbrook, The Moors, Porthleven, Cornwall TR13 9JX www.enginehousemedia.co.uk www.levenmediagroup.co.uk

ISSN 2632-9891 © All rights reserved. Material may not be re-produced without the permission of Engine House Media Ltd. While Drift will take every care to help readers with reports on properties and features, neither Engine House Media Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Engine House Media Ltd strongly advises viewing any property prior to purchasing or considerations over any financial decisions. Engine House Media reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. Engine House Media Ltd cannot take responsibility for loss or damage of supplied materials. The opinions expressed or advice given in the publication are the views of the individual authors and do not necessarily represent the views or policies of

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Engine House Media Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of this magazine.

Engine House Media Ltd is a multi-platform media business with a passion for everything Cornish. Visit www.enginehousemedia. co.uk to find out more. Our mission is to create READ-WATCHEXPERIENCE media opportunities marrying together consumers with the fabulous businesses across Cornwall. Our publishing and marketing teams are specialists in creating print and online communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and magazine experience we develop effective communications that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.

19/05/2022 09:02

T E A M

Foreword Looking beyond the ordinary is a skill that sets apart the great from the good. Having a unique perspective allows for a freedom of expression that transcends the everyday and adds new dimensions to what is created. Ceramic artist, Hannah Billingham’s (17) intricate mark-making with clay slip on paper thin pots affords an outlet for her perfectionism and results in a flawless display of beauty and skill. Photographer Elliott White’s (26) view through his lens brings the story of product and place to life via a still image; the meticulous use of lighting capturing intricate detail and atmosphere. Abigail Reynolds’ work covers the full gamut of sculpture, collage, print, moving image and performance, and much of her work is inspired by a deep love of books and libraries (45). Her depictions offer distinctive

layers of texture and meaning that are used to unravel a place or an idea and focus a set of thoughts. It’s not just in the arts that we find those who are working outside the box. Makers and creators – whether they be of products to be driven, sailed, worn, drunk or indeed eaten – stand ahead of the crowd when their approach has a point of difference and their processes are unfettered by the constraints of what is considered to be the norm. These people enrich our lives with their diverse approach and create an exclusive narrative that runs throughout the coming pages. Being a part of the DRIFT community allows an immersion into a lifestyle that is luxurious in ways that go far beyond the obvious, and in this volume we invite you to discover those leading the charge in enriching our lives.

Our contributors

Hannah Tapping

Mercedes Smith

Dan Warden

Rosie Cattrell

Martin Holman

Lucy Studley

Join our team

Proud to sponsor

We have an exceptional and loyal team here at Leven Media Group but as a fast growth business we’re always interested in talking to outstanding individuals. If you’re a superstar of extraordinary talent then we would love to hear from you.

Call Richard McEvoy on 07771 868880 or email richard.mcevoy@enginehousemedia.co.uk

Visit drift-cornwall.co.uk to read more about our writers

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We invite you to continue your lifestyle voyage online.

Find inspiring stories and uncover more luxury content on Instagram @driftcornwall. Join our exclusive e-journal community at drift-cornwall.co.uk to receive recipes, reviews and insider knowledge of some of Cornwall’s most-loved luxury destinations. drift-cornwall.co.uk T HE

PINNACLE

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L U X U RY

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C O N T E N T S

At a glance 17

T H E A RT O F P E R F E C T I O N

26

A V I S U A L S T O RY T E L L E R

37

A STORY OF FI NE FL AVOUR S

45

BEAUTI FU L U TOPI AS

58

L U X U RY H O M E S

67

MAKING MEMORIES

A discipline with endless potential

Photography from Elliot White

An evening with Michael Caines

76

A STITCH IN TIME

86

S U S TA I N A B L E S T Y L E

89

H A L C Y O N D AY S

103

Where knowledge is brought together

113

At the pinnacle of the Cornish market

122

To the backdrop of the Cornish seaside

Striving for a better future for fashion

Coastal couture from Celtic & Co.

At the World Belly Board Championships

SPLIC E O F LIFE Playful design meets historic significance

SEEKING CHANGE Creating a go-to foodie destination

EVENTIDE A final word from Ian Armstrong

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The art of

PERFECTION WO R D S B Y M E RC E D E S S M I T H

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C R E AT E

Whitewater Contemporary’s new exhibition is a flawless display of beauty and skill.

A

For a number of years she worked alongside potter Lee Steele, who taught her how to run a studio, how to mix glazes from raw materials and, crucially, gave her the run of his studio so she could develop her own practice.

Now, Hannah works from her own studio in the East Riding of Yorkshire, making extraordinarily accomplished work for such a young artist, and she has recently become this year’s Prestige Awards Yorkshire Ceramic Artist of the Year. She was also awarded the Gibney Prize for Outstanding Achievement in 2016 and was nominated for the Emerging Artist Award in 2019, making her hot property for collectors of contemporary ceramics.

t only 25 years old, Hannah Billingham is still considered to be an emerging artist, but in her first few years as a ceramicist she has already succeeded in defining a unique creative identity and attracting a swathe of collectors. This is all the more impressive when you consider that Hannah is almost completely self-taught: in 2015 she briefly studied Art and Design on a one-year foundation course, but when her ceramics tutor left after just a few weeks, she had to teach herself to throw clay on the wheel. “But I had found my passion,” says Hannah, “and then realising how self-driven I was, I decided to find a local potter to volunteer with and to set up my own business, rather than pursue a degree.”

INSET Hannah Billingham

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C R E AT E

Each of Hannah’s works is made entirely through the precision of hand and eye, and they can take months to create from start to finish. “I start by wedging clay and throwing a form on the potter’s wheel. After a day or two, the piece will have dried to the ‘leather hard’ stage and then goes back on the wheel for turning.” Turning – or trimming – is the process of shaving off ribbons of clay to remove excess weight and refine the shape.

“I have a little obsession with making the pot’s walls as thin as possible, while still giving it the structural integrity needed to withstand later firings,” she adds. The decoration of each piece is the next stage, with dots added through a process called ‘slip trailing’. “I pipe tiny dots of liquid clay onto the surface, completely freehand,” says Hannah.

“This is the most timeconsuming part of my working processes, and it can take days to complete one piece.

The moisture levels in the clay are vital at this stage: if the clay is too dry, the dots do not adhere to the surface, but if the walls become too saturated with moisture the pot can collapse. It’s a tricky balance as the slip itself adds moisture back into the clay walls as they fuse to one another.”

Hannah’s practice combines her passion for clay, glazes and texture with her obsessive love of symmetry. “I struggle with perfectionism and OCD tendencies,” she tells me frankly, “so my work is an outlet for that, and also quenches my desire to create.

I find many of the processes involved in ceramics both immersive and calming, and working with my hands benefits my mental health.” The results of this perfectionism are delicate, hand-thrown clay forms that are precision detailed with an intricate surface of raised dots, created in naturally occurring patterns that emerge from Hannah’s subconscious as she works. This gives them what she calls “significant therapeutic value” as the clay is transformed into beautiful artworks defined by rhythmic patterns. “My surface decorations were originally inspired by patterns in nature, such as coral and sea life,” she says. “As my work has developed further, I have found I am more inspired by the properties of the clay itself and its boundaries, as well as the patterns and shapes my subconscious creates when I am deep in concentration.

The forms themselves are inspired by both historical and contemporary pottery. I’m always sketching new ideas. I’ll often throw a completely new shape on the wheel and think I’ve come up with it on the spot, but there will probably be a drawing somewhere in an old sketchbook. It’s amazing how the subconscious mind works.”

The piece is then left to dry out completely to a bone dry stage, and then “once I have built up a big enough collection, the pots go into the kiln for their first firing, to around 1,000C. This transforms the clay into a state that can no longer be broken back

INSET The painstaking process of piping the dots

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C R E AT E

down into clay. However, the walls are still porous – which is vital for the next stage.”

Next is glazing the piece, a scientifically complicated process that requires a great deal of specialist skill and knowledge.

“Glaze chemistry plays a large part in my work, and there are complexities to the art of glazing that most people aren’t aware of,” says Hannah. “I can spend months testing and developing glazes from raw materials, to enhance my delicate textured surfaces. Both the visual and chemical changes that occur with glazes absolutely fascinate me.” Once she has created and refined a glaze, she dips, brushes or sprays it onto each piece. “Each glaze behaves differently, so it is vital that it’s applied correctly, to achieve the colour and quality I want.” The kiln is then fired up a second time to around 1,200C, for glaze firing. Finally, some pieces are decorated with 24ct gold or Mother of Pearl lustre, delicately hand painted onto the surface and then fired for a third time, to around 800C. “That’s not high enough to re-melt the glaze,” Hannah explains, “but it’s hot enough to burn off the additional resin in the lustre, so the gold or mother of pearl is fused with the surface.”.

It continues to be a discipline with endless potential. “21st century ceramic artists use the same techniques to craft objects as would have been the case for most of human history,” says Hannah, “but now we are taking advantage of modern technologies and approaches to create amazing new works. When I took my first workshop in ceramics, I fell in love with the vast array of techniques there are to explore. Now, I push the materials I use to their limits, creating artworks which look like they couldn’t possibly have been created by hand, and yet this is exactly the case.

I strive to make pieces that evoke a reaction in the viewer through their precision and ethereal appearance, and I find comfort in the repetitive, labourintensive processes that my work demands.

There is always a certain level of unpredictability when firing glazeware, which is a huge contrast to the rest of my processes, but the combination of obsessive control in the first stages, and then surrendering to the fluctuating nature of firings, keeps me completely transfixed.”

See Hannah Billingham’s new collection from 1st to 30th July 2022 at Whitewater Contemporary, The Parade, Polzeath, PL27 6SR.

The unique process that Hannah has developed within her practice reflects the way that potters today are constantly reinventing their ancient art form.

whitewatercontemporary.co.uk hannahbillinghamart.co.uk

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A visual

STORYTELLER WO R D S B Y H A N N A H TA P P I N G

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F O C U S

Expressing the personality and spirit of a brand through photography, Elliott White brings story, passion and product to life in a still image.

F

like to actually be there enjoying a hotel, holiday let or restaurant,” continues Elliott.

His meticulous use of lighting, angles and styling, whether that be on location or in the studio, lovingly capture details that the client has paid such close attention to and allows the viewer to immerse themselves in the atmosphere that awaits. Elliott’s Redruth studio, has a full kitchen set up, styling station and an everexpanding mountain of boards, utensils, crockery and handmade props as well as a dedicated workspace so clients can make themselves at home.

or Elliott, photography was a passion when writing, maths and even painting didn’t come easily. Leaving secondary education without an academic GCSE to his name due to dyslexia, it was testament to his unique ability that he was offered a place on a photography course on the strength of his portfolio alone. Fast forward to the third year of his photography degree at university in Falmouth and he was already shooting for companies such as Perfect Stays and Cornish Sea Salt.

“I was once told that to be a successful photographer I would need to specialise in just one area, but with a divided love for shooting food, products and interiors, I decided to focus on all three. I love the variety this gives me, and while it may seem like a lot of photographic disciplines, what ties them together is all of the photography I shoot is the brand narrative,” explains Elliott, “whether I’m shooting food, products or for hospitality, I focus on crafting the exact lighting, colours and composition needed to make the brand’s personality pop from the page or screen.”

Originally from Norfolk, Elliott has made Cornwall his home for the last 12 years with his partner and two gorgeous homeschooled children. When not behind a lens, he takes solace from surfing, skateboarding and family time spent walking his Cockapoo through the Cornish woodlands.

Elliott White has shot for some of the south west’s most prestigious and stylish hotels, including Watergate Bay Hotel, St Michael’s Hotel and Spa, Harbour Hotels and The Scarlet. He also travels extensively across the UK to photograph luxury hotels and boutique retreats.

“Compelling hospitality photography isn’t just about creating magical images – that’s a given for every single shoot. It’s also about giving people a feel of what it’s

elliottwhitephotography.com INSET Elliott White

LEFT Scarlet Hotel

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TOP LEFT Tregawne Farm Cottages

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A B OV E Eco Spa, Mawgan Porth

TOP RIGHT Nicola O’Mara Interior Design

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A B OV E Lympstone Manor

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A B OV E Greens of Padstow

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TOP The Liner Falmouth

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A B OV E Compass Point, Coverack

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A B OV E The Beach House

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TOP St Michaels

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A B OV E Molesworth Manor, north Cornwall

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TOP Twilight in Porthtowan

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A B OV E The Hide at dusk

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A B OV E St Eval – Lights Out

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Untitled-2 1

05/05/2022 14:40

An evening

with MICHAEL WORDS BY ROSIE CATTRELL

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C U I SI N E

A story of fine flavours, a passionate craft and shared celebration during an exclusive night with Michael Caines at The Harbourside Refuge.

T

he arrival of spring in the sleepy fishing village of Porthleven brought with it a strange feeling of excitement which hung over the harbour as we made our way past the bobbing boats and buoys that find home in the water below. Though quiet, for now, the village was alive with an atmosphere of anticipation for the weekend ahead, a date for the diary that had been three years in the making.

After cancellations that would break the hearts of locals and food lovers for two years in a row, the much-loved Porthleven Food Festival was finally in sight, and this strange and wonderful Thursday evening in April would mark the beginning of a wild weekend that would set the world straight for many. As seven o’clock approached, the last rosy fingers of sunlight grew warm and inviting, and it felt as though I held a golden ticket as we stepped through the open doors of The Harbourside Refuge for an epicurean evening that wouldn’t easily be forgotten.

Simon Wilson, the Restaurant Manager, met us gladly at the door, taking our coats and inviting us in with a smile. Polished and pristine, The Harbourside Refuge made for the most stunning of settings with an ocean view, and the product of thoughtful preparation for the evening ahead did not go unnoticed. Gleaming glasses of amber liquid adorned with a slice of orange and a sprig of rosemary were offered into grateful hands; a Chandon Garden Spritz, sweet to taste and delightfully aromatic.

The lure of a soft leather sofa kept company by twin armchairs proved too tempting to resist as we sat amongst the buzz of mingled voices and friendly faces dotted with familiar Porthleven characters.

Waiters and waitresses in crisp striped uniforms found their way through a throng of cheerful guests bearing plates of canapés, fresh from the kitchen and ready to offer the first flavours of the night. Wild mushroom,

PREVIOUS Michael Caines

INSET The Harbourside Refuge

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A B OV E The warmest of receptions

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TOP LEFT Chandon Garden Spritz

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A B OV E Raspberry Parfait

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C U I SI N E

coriander oil. With an exchange of glances and expressions of sheer delight, we knew then, if we didn’t already, that tonight was going to be something really special.

black garlic and parmesan gougères, duck liver parfait cigars with apricot and balsamic, and salmon tarts topped with pickled cucumber and salmon roe offered only a tantalising glimpse of the delights to come as the evening progressed. A collection of well-placed Edison bulbs hung from above, casting a glow on the heads below, the night ahead brimming with delicious promise.

Next came a starter of Cornish duck breast with a hazelnut crumb, morel mushroom and nettle, paired with a beautiful pinot noir to complement the rich flavours of the duck, succulent and perfectly cooked to melt in the mouth. Muted grumbles of enjoyment were openly shared amongst us, mixed with words of intrigue and clinks of wine glasses as we paid homage to the chef. No one lingered over their meal, and it wasn’t long before our plates were cleared to make way for the fish course; hand dived scallops with caramelised cauliflower, raisins and a cumin velouté. As a lover of seafood this was the course for me, and it certainly didn’t disappoint. Placed in front of me was the biggest scallop I’d ever seen, resting in the centre of a gleaming white shell and lovingly embraced by the cumin velouté, a perfect complement alongside a glass of Albariño 2020. It is difficult to describe in words the sensation of tasting the very best version of a meal you had already established as a favourite, but I can say that any scallops I may come across in the future simply won’t compare to the masterpiece of that evening.

Still with bubbles and fragrant flavours on the tongue, we found ourselves gradually guided upstairs to take our seats at freshly laid tables on the mezzanine above to sit and wait in anticipation for the next culinary delight.

Alive with a buzz of fevered conversation the restaurant stilled, wine glasses put down to rest, heads turning to the top of the stairs as the man of the evening made his entrance.

Michael Caines, standing proud with his Head Chef and staff smiling alongside him, expressed his delight in welcoming his guests on the most special of evenings. A better way to celebrate the return of the famed Porthleven Food Festival than with a night of exquisite culinary indulgence in the heart of the village simply didn’t come to mind.

With passion in his voice and a glint of pride in his eyes, the urge to lean forward in your seat as he described the night ahead was sure to be felt by all, while a calm humility redirected our focus to the food on this oneoff menu specially designed for one night only. With an introduction from Michael for each course as it was laid in front of us, the first dish of the evening was an off-menu surprise of aerated squash and coconut soup, warm and rich with the flavour of spices and curry, laced with lime and

The time for the main had come, as Michael introduced the beef fillet accompanied by charred onion, carrot puree and a beef red wine jus. Fleeting looks of eager excitement swept through the restaurant, and with a glass of Margaux 2016 in hand we brought our glasses together across the table before taking a sip and bringing our knives and forks to the plates in front of us. The flavour

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architects & designers Take your story beyond its walls 01326 617007 www.marraum.co.uk

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C U I SI N E

which we shared our favourite moments and consign the precious flavours we’d experienced to memory.

was entirely irresistible, and the texture couldn’t be more perfect; soft and succulent, and wonderfully matched with the dedicated wine. One by one we each sat back to enjoy the calm satisfaction that naturally follows such an outstanding meal, and took an opportunity to savour the wealth of flavours we’d experienced so far.

With the last of the wine in our glasses, Michael and his team joined us once more in celebration of a unique and successful evening, and a well-earned round of applause rang around the restaurant. With his Executive Head Chef and Head Chef smiling beside him, Michael exchanged final handshakes and fervent thanks with his guests, each of us glad to be a part of this wonderful night.

With stomachs full and heads dizzied with spectacular flavours, we each found our way out into the salt air, unsure of how the weekend ahead could possibly compare to our evening with Michael Caines at The Harbourside Refuge.

We were soon brought to our senses once more with the arrival of the evening’s dessert, a raspberry parfait with pistachio crème patisserie and a raspberry sorbet. Fresh and light with a tangy edge, taste buds were set to tingling as we spoiled the impeccably presented display with eager spoons. Paired with a Barossa Valley Botrytis Semillion, a pleasant feeling of refreshed contentment settled over the restaurant as the evening began to draw in, but not before a final treat of coffee and delicious petit fours over

theharboursiderefuge.co.uk

A B OV E Executive Head Chef, Stuart Shaw and Head Chef, Jack Wilkinson alongside Michael Caines

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UTOPIAS WO R D S B Y M A RT I N H O L M A N

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Abigail Reynolds celebrates the lost and living worlds of libraries.

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for the future”. The archive centre conserves thousands of documents recording the voices and actions of Cornish people. The imagery in the window celebrates the homecoming of one special example, the Ordinalia.

Comprising three 14th century mystery plays written primarily in Middle Cornish, this early manuscript version has returned to Cornwall for temporary display and study. Titled ‘Tre’, the Cornish word for ‘homestead’, Reynolds’ window returns the plays to their physical origins in the land.

bigail Reynolds has given Cornwall a new way to look at itself. Her stained-glass window at Kresen Kernow, the county’s archive centre at Redruth since 2016, combines an extraordinary view over the historic collection’s town and surroundings with her own fascination with time, place and books.

Incongruous at first, the window in its boldly rectangular copper frame projects a little way from the first-floor frontage of the rustic former brewhouse.

Rising an imposing four metres high, it resembles a gigantic futuristic docking port. In fact, Reynolds conceived her window, inaugurated this March, in a similar spirit, setting in motion stimulating exchanges between inside and outside spaces, between present times and the past.

Mystery plays once planted Biblical stories into illiterate local communities through theatre. The window contains two figures who meet across the centuries within the window, as if beamed in from other temporal dimensions to assume new roles today. One is borrowed from medieval book woodcut illustration, dressed in the copious garments of the time. The other is noticeably modern: Reynolds discovered this image in

For St Just-based Reynolds, libraries are where “knowledge is brought together and held

PREVIOUS Gropius, unique lithograph print 2015 © the artist, courtesy the artist

INSET Abigail in the entrance to cave 17, the library cave, Dunhuang, China 2016

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A B OV E ‘ Tre’, Kresen Kernow, Cornwall. 2022 Photograph: Nick Cooney © the artist, courtesy the artist

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A B OV E L E F T Tol, installed at PEER, London 2018, courtesy the artist and PEER

TOP ‘ Library hands door’. 2020 © the artist, courtesy the artist

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A B OV E R I G H T Tol, installed at Kestle Barton, Cornwall 2017, courtesy the artist

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libraries lost to history. Her destination was the legendary Silk Road, the ancient network of international merchant routes stretching between China, the Middle East and Europe where knowledge was also traded. And she travelled that road by motorbike.

a photograph, also printed in a book in 1971 about the revival of festivals, a medieval form of gathering. This figure looks out from the glass – towards the exterior view and inwards to address visitors.

The window acts out the story of Seth, told in the Ordinalia. An angel gave him three seeds from the Tree of Life in Paradise to save Seth’s father, Adam who, with Eve, had been expelled from Eden. Adam dies before Seth returns so the seeds are planted and, legend claims, eventually spawned the wooden cross on which Jesus died to redeem mankind.

The opportunity came about by winning the BMW art prize in 2016, unanimously chosen from other entries for proposing an itinerary of 15 locations connected by the historic highway. They included Yinchuan, Xi’an and Dunhuang in China, Kokand in Uzbekistan, Tehran in Iran, Ephesus in Turkey, Cairo in Egypt and Rome and Naples in Italy. All had in common the precious distinction of once hosting fabulous libraries. All have disappeared, the casualties of war, migration and looting as well as of nature: earthquakes and fire have taken their toll.

The Tree of Life is visualised in several panels with printed patterns of foliage, like an ancient screen through which the present-day Cornish landscape is tinted magenta or green, or starkly clear through plain glass. Moreover, the window has a special feature: set into the angled planes are small, coloured roundels made with sand and seaweed collected from beaches near Reynolds’ home. Following an age-old recipe of scouring, grinding and burning the ingredients into bubbles of glass, she created a lens-like opening to view the county through material made from its own natural resources.

Recent events added urgency to her plan. As Reynolds told Forbes magazine at the time: “We are losing our libraries in the UK because of funding cuts when they are so important to small and large communities. In the Middle East, libraries are being destroyed by Islamic State.” Unsurprisingly, the journey was intensely moving as well as creative because not all the libraries disappeared centuries ago. At Baisigou in north-west China, the twin conical pagodas built in 1075 once housed a library valued for its early printed books. Partially destroyed by Genghis Khan in 1227, there was barely a trace of it after Mao’s Cultural Revolution 50 years ago.

The composition of ‘Tre’ unlocks the imagination with numerous stories and associations. The angular shapes of the window panes flutter across the background scenery like pages turning in an open book.

Then Reynolds offers a visual play on words: ‘window’ has acquired new meanings in the digital age where glass screens become everyday portals into learning and global realities, words and moving pictures.

In Cairo, the historic Jewish storeroom of medieval manuscripts was cleared out in the 19th century by visiting academics from Cambridge. Given permission from the Jewish community to take what they liked, the scholars made off with 193,000 priceless manuscripts and books, explaining later that they ‘liked it all’. And in Tehran, treasured

Reynolds is acutely aware that the survival of libraries is not guaranteed. To explore their perilous existence, she set off on a trip dedicated to uncovering some of the great

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in old guidebooks to add a third dimension to that surface by ingeniously folding one photograph into another, creating pleats and ridges. Taken years apart and published in diverse places, the photographs she commandeers are combined so precisely that the same location is viewed simultaneously at two separate moments in its history.

books have been hidden from the authorities since the Islamic revolution in 1979 banned numerous topics, including literary masterpieces and international bestsellers freely available in Britain.

Reynolds travelled for five months and recorded her finds in several forms – the written word, photographs and, for the first time in her career, in 16mm film, using a lightweight, wind-up Bolex camera, famous among avantgarde film-makers for its precision and simple operation. Finally, her illustrated travelogue received high praise when, naturally enough, it was published as a book, Lost Libraries: The Ruins of Time, in 2017.

Reynolds trawls bookshops to buy her raw materials. She discovered that many guidebooks repeated the same viewpoint on a major monument, like St Paul’s Cathedral, over the years, although taken by different cameramen. So changes in skyline, traffic volumes and even fashions worn by passersby marked the passage of time. The quality of print also changed with time; from deep black and white to colour-saturated photographs, images supply their own notion of ‘dated’.

In ‘Waterloo Bridge 1959/1947’, an older monochrome view bursts through the more recent coloured scene in a honeycomb of vignettes. In both, the outlines of the bridge are continuous. But at intervals, major differences have appeared in the 12 years that separate them. The Festival of Britain has been and gone, transforming rows of drab, bomb-damaged warehouses on the South Bank into a crowd-pulling cultural destination built on leisure. One view exists alongside the memory of itself.

Reynolds studied literature at university and not art. After graduation she had a job with the Oxford English Dictionary checking when words first appeared in print. That meant the precious collection of early books at the Bodleian library became her unofficial office for three years. “Working for a dictionary gives you an incredible respect for libraries,” she told a journalist on her return from travelling, “and for the attempt to be encyclopaedic about knowledge, even if it’s doomed to fail.”

Her fascination with printed sources could strike modern audiences as nostalgic when so much today is accessed online. Her loyalty, however, remains the physical object. “I could have travelled the Silk Road digitally,” Reynolds says, “but that misses out all the sensuous experience. I am a fan of materiality.”

The effect is even more extraordinary and jarring in ‘The Red Library’ (2014) in which five separate libraries, in five European locations, photographed by five different photographers have become five unconnected pockets of time merged into one. “If you look hard ... you will see the library ‘mirror’ is just an aperture between two rooms - the busts on the mantelpieces are different sizes, as a clue.”

Looking hard is the key: a ripple of neatly patterned facets break across the surface like the famous ‘winds of time’.

Her preference for substance and texture is obvious from her ongoing series of collages called The Universal Now, begun in 2004.

Collage is the technique of combining different flat materials, often paper cuttings, into a completely new picture. The cutting and folding involved resembles sculpture on a flat surface. Reynolds uses images found

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TOP ‘Red Library’, cut and folded book pages 2010 © the artist, courtesy the artist

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A B OV E ‘ The Universal Now: St Michael’s Mount 1928 | 1949’, cut and folded book pages 2020 © the artist, courtesy the artist

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A B OV E ‘Many Ways’, cut and folded book pages 2015 © the artist, courtesy the artist.

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Quarryman Side Office, Edmonton, Wadebridge Cornwall PL27 7JA

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Tel: 01208 369007 Web: www.cornwallkitchencompany.com Email: info@cornwallkitchencompany.com

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standing stones at Mên-an-Tol, about three miles from Madron.

Art was not her first choice of career. After considering the theatre, she discovered art’s greater potential as a tool for looking critically at the world while working at the dictionary.

Then, in 2000, she enrolled for a master’s fine art degree in Lo at Goldsmiths’ College, famous for nurturing the ‘young British artists’ Damien Hirst, Sarah Lucas and their contemporaries in the 1980s. Other alumni include the sculptor Antony Gormley, op-art painter Bridget Riley and film director Steve McQueen.

Reynolds knows the stones well: they are on her regular route to her studio in St Ives. So when she taps into the rich folklore surrounding their origins, she releases a popular archive of florid storytelling accumulated through centuries. Other references co-exist in the same piece: to the physical experience of sky, land and sea; to Barbara Hepworth, whose sculpted abstract forms owed so much to the ancient heritage of her adopted home; and to Virginia Woolf, recalled in the image of Godrevy Lighthouse.

Her career as a regularly exhibited artist soon took off. She was picked in 2003 for New Contemporaries, a nationally touring exhibition annually showcasing the most interesting emerging practitioners. Her sizeable table-top sculpture called ‘Mount Fear’ introduced her eye-catching and conceptually sophisticated method of interrelating time, place and printed sources with sculptural form. Translating East London’s violent crime figures for 2002-3, she literally pushed the statistician’s flat phrase about ‘peaks and troughs’ of performance into a new dimension by carving a mountainous landscape from a mass of cardboard into Alpine summits, plateaux and ravines, suitably conceived in uniform, bureaucratic grey.

Reynolds has a writer’s knack of letting her work resonate in numerous directions; complexities evolve from frequently simple beginnings. Selected for the prestigious nationwide British Art Show 9 (which visits Plymouth in September), one contribution combines coloured glass into a screen, like books on shelves from which the words have dissolved leaving images that colour our imagination. Words return, however, in regular readings organised on the show’s tour when the public gather in libraries to share extracts from favourite books.

“For me,” Reynolds wrote in the exhibition’s catalogue, “books are inextricably tied up with a process of self-discovery – forging my own identity and finding out where my allegiances sit and what my values are.”

Since then she has shown her work in Britain and abroad. Her sculpture has become as immersive as her collages and public artworks, like the ‘Tre’ window. Similar elements connect all aspects of her practice.

In ‘Tol’ (2016), a screen-like metal structure frames coloured glass sections that turn right angles to create a shallow space. Inside the viewer feels enclosed by images of landscape printed from found photographs onto glass set at different heights. One image comes from Daphne du Maurier’s celebrated 1967 book, Vanishing Cornwall, of the Neolithic

The exhibition Abigail Reynolds: Flux continues at Kestle Barton, Manaccan, until 12th June. abigailreynolds.com kestlebarton.co.uk kresenkernow.org

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TO RQU E

Performance

MEETS EMOTION The heartbeat of Aston Martin’s sports car range became just a little bit faster with the introduction of the Vantage Roadster.

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oining the Vantage Coupe, which was launched in 2018, this convertible model amplifies the emotional appeal of a model renowned for delivering a compelling blend of awesome performance, outstanding dynamics and all-round everyday usability.

Powered by Aston Martin’s four-litre twinturbo 510PS/685Nm V8 engine and mated to an eight-speed ZF automatic transmission, the Vantage Roadster accelerates from 0-60mph in just 3.7 seconds and is capable of 190mph. Careful development of structural shear panels and chassis components ensures the Vantage Roadster retains the strong dynamic ability and sporting character achieved in the coupe, with no compromise to feel or refinement.

Matt Becker, Aston Martin Chief Engineer, says: “Convertible sports cars are often seen as compromised when compared to their coupe equivalents, but the Vantage Roadster remains absolutely dedicated true to its mission of delivering precise, agile and expressive handling dynamics combined with stonking straight-line performance.

And of course, there’s the added dimension of driving a great-sounding sports car with the roof down.”

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© Astron Martin

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P RO P E RT Y

A CHARMING abode

A beautiful 19th century former rectory set in just under an acre of manicured gardens.

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ating from the late 1700s, this fine and rare example of a perfect Georgian, former rectory is distinguished by its south-facing, wisteria-clad façade, sash windows and many original features throughout. The accommodation, which extends to about 3387sq. ft, is arranged over three floors providing plenty of room for entertaining and a large family.

The property is approached via a quiet country lane, leading to Ravenscourt’s imposing entrance and gravelled driveway, which offers plenty of parking space, both in front and to the side of the house. The immaculate gardens, which extend to just shy of an acre, wrap around the house to the south and west.

They provide large areas of lawn, terraces and borders, a pond and a variety of mature trees and shrubs, including a magnificent copper beach. Mature hedges to the south and west give plenty of privacy and seclusion to complement the property’s fabulous setting.

RAVENSCOURT, LAUNCELLS Guide Price: £1.25M SAVILLS CORNWALL 73 Lemon Street, Truro TR1 2PN 01872 243200 cornwall@savills.com

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FOUNDED on family

A wonderfully spacious family home just a short walk from Lusty Glaze beach.

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ccupying an immensely generous plot in the sought-after Lusty Glaze estate on the edge of Newquay’s town centre, the considerable dormer bungalow that is 74 Bonython Road boasts 2,536 square feet in total. With four double bedrooms throughout, the principal suite offering fitted wardrobes, a walk-in wet room and a balcony on which to enjoy stunning, uninterrupted sea view, there’s plenty of space for all the family to settle in. The home office also means that working from home need not be an issue.

A bespoke fitted timber kitchen plays host to a stunning deep-red, gas-fired Aga which is complemented by a one-of-a-kind, handpainted tiled splash back and granite stone work surfaces. The garden to the rear is truly the gem in the crown, abundant with flora and featuring a lush level lawn, offering spots aplenty in which to come together under the summer sun.

74 BONYTHON ROAD Guide price: £925,000 DAVID BALL LUXURY COLLECTION 01637 850850 sales@dba.estate

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PERIOD charm

Constructed in 1850, this imposing Georgian stone property comes to the market for the first time in 30 years.

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mposing and characterful, this fivebedroom Georgian property has been sympathetically extended to provide a peaceful five-bedroom haven right in the heart of Rock. Set in its own mature grounds of almost 0.75 acres and approached by a long private drive with gravelled parking and a carport, this much-loved home boasts lots of charm, retaining many of its original features.

An open-plan kitchen, dining room with slate floors and an original Rayburn alongside an electric cooker, provides ample space in which to cook and entertain, while a separate office and study alcove sit alongside three impressive reception rooms, all with woodburners and picturesque views of the garden. Upstairs, a total of five bedrooms all with garden views can be found, served by a charming family bathroom and additional shower room.

IONA Guide price £3.75M JB ESTATES 01208 862601 sales@johnbrayestates.co.uk

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LAND

and luxury A gorgeous farmhouse with charming accommodation, an attached cottage and barns for conversion, set in around 4.5 acres.

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et in a peaceful country setting just inland and equidistant from the beaches of Maenporth and Swanpool, Roscarrack Farm comprises a charming former farmhouse with attached cottage, a barn with planning consent for conversion into two units, alongside further barns ideal for storage. There is also the set-up remaining from a former cattery.

The main house offers delightful interiors and features, including inglenook fireplaces and stone flooring. The sitting room is utterly relaxing, with views over the rear courtyard, while the kitchen is perfect for entertaining with easy access through to the dining area and living room, as well as out into the gardens.

With six bedrooms of flexible accommodation, plus an attached cottage that has been used as a successful holiday let, not to mention the delightful gardens flowing to the paddocks which themselves are perfect for all manner of animals, Roscarrack Farm has plenty to offer a family in need of the room to roam free.

ROSCARRACK FARM Guide Price: £1.75M ROHRS & ROWE 01872 306360 info@rohrsandrowe.co.uk

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This limited edition book is a celebration of the artists for whom Cornwall provides constant inspiration. Intriguingly current and timelessly readable DRIFT Art Review is at once a valuable tool for collectors, a coveted addition to coffee tables for the year ahead and a collectible for those who value the enduring appeal of the arts.

Visit www.drift-cornwall.co.uk/artreview and quote ‘DRIFTART#21’ to get 10% off your copy (RRP £29.99). Offer ends 18.7.22.

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Making

MEMORIES WORDS BY LUCY STUDLEY

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A B OV E Sea Thrift

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R E T R E AT

A hand-picked portfolio of properties, curated by local experts, makes for a specialist holiday letting agency that remains proudly independent.

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and her agile team remain very much ‘on the ground’, with a busy office in the heart of the area they love to call home – St Ives and Carbis Bay. “I love this part of the world. It’s where I grew up and where I’ve chosen to raise a family,” says Claire. “I want to help visitors make their own amazing memories here, in a way that keeps our corner of the world special for years to come.”

sk anyone what their earliest memories are, and there’s a good chance the answer will feature holidays with the extended family.

There’s something about multigenerational breaks that sticks in the mind, and the heart, like nothing else; precious time cherished by all age groups, albeit in their different ways. Whether your family are inclined to go away together for a few weeks, or a few days, you’ll come home with shared memories (and probably some amusing anecdotes too!) to be banked and relived many times over.

For Claire, being an independent specialist agency allows her to support fellow local businesses through recommendations, a hamper service and a ‘Boutique Butler’ guide to help visitors discover hidden gems and niche experiences. Plans are also afoot to assist local charities and community projects by encouraging guests to make a small donation each time they book – a donation which would be matched by The Cottage Boutique and used to help fund social and environmental initiatives.

For one holiday agency, these milestone breaks have become something of a specialism. The Cottage Boutique was founded by Claire Gilbert 15 years ago and is now one of the few independent letting agencies left in the St Ives area. While other agencies have become absorbed into national competitors, Claire

INSET Claire Gilbert

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is that they all have unique appeal,” Claire explains, adding “I’d book any one of them for my own family at the drop of a hat!”

From humble beginnings, Claire now has over 60 properties on her books and puts this success down to the energetic, handson approach of her dedicated team and their intimate knowledge of the area. She explains: “We’re a home-grown team with plenty of personality, so owners and guests get a more personal level of service. Many guests return to our properties year after year, asking us for recommendations for new properties to try and tapping into our local knowledge for things to do and see in west Cornwall.”

Claire has some useful tips when it comes to multigenerational breaks. “I’ll say what everyone is thinking, which is that extended families – and indeed large groups of friends – need space! Holidays work better when you have different corners to retreat to, so play and relaxation don’t always collide in the same contested area. A garden of any size can be a godsend, so that small children can run off steam and grandparents can have a restorative doze.”

And for families, west Cornwall is a holiday destination like no other. “Now that we’re all able to travel again, like most other people I’ve been looking at holidays abroad,” admits Claire. “For me, the full package has to be extremely tempting to get me booking flights, hire cars and more, especially when you’re official ‘holiday secretary’ for a large group with varying needs. I haven’t been successfully tempted yet!” With four young daughters, Claire and her partner Adam are aficionados of family breaks. “For me, it always starts with finding the perfect property, and that generally has to be on the larger side when you factor in the six of us plus other family members too. That in itself can be a challenge when you’re looking for a high-end property with character, so I’ve searched diligently for the best such properties in west Cornwall to offer to our guests.”

Two of The Cottage Boutique properties go a step further than a large garden, opening out onto glorious countryside. Corva Farmhouse and The Holding House are on the rural edges of St Ives and Carbis Bay and combine spacious surroundings with easy access to the restaurants, boutiques and beaches of the coast. “Some families will always want to be beachside, and I totally get that,” says Claire.

“Especially if you don’t live near the sea, it’s a wonderful holiday novelty. But personally, I like to wander off into the countryside with the kids and explore with a flask and a packet of biscuits, or maybe even head off for a morning run before everyone else gets up.”

Both these large rural holiday properties boast three distinct living areas a piece, so there’s plenty of space for board games, catchups over a glass of wine, or a dive into Netflix if it all gets a bit too much. However, another option is to look for a holiday base which combines several autonomous properties, giving even more independence. The Courtyard is unique, in that it offers groups of up to 24 a luxurious base in a central St Ives

Claire has made it her mission to bring larger properties into her portfolio, providing the kind of holiday settings her own family gravitates to. The Cottage Boutique now has a wide range of destinations to choose, from modern apartments to former fishermen’s cottages, luxury townhouses to country farmhouses. “The one thing that unites them

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A B OV E The Holding House

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A B OV E & FA C I N G The Old Police Station

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arco2.co.uk

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S U S TA I N A B L E A R C H I T EC T U R E SUSTAINABLE CONSTRUCTION

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R E T R E AT

exhausted after days rock pooling or making sandcastles on the beach!”

location. Made up of four separate properties which can also be booked individually, the 11 bedrooms are spread over a large house with two wings, and two stand-alone apartments, all within a private gated courtyard. “We have families who book The Courtyard year after year as it meets their needs so perfectly,” says Claire. “Each property has been individually designed to create bright, inspiring spaces which invite families to relax and enjoy time together. All the delights of St Ives are right on the doorstep, but The Courtyard is a little private haven.”

For those not requiring quite so much space, Sea Thrift and Thimble Cottage offer another option for a combined family bolthole.

Understated style is the theme here, with exposed brick walls, wood floors and natural textures throughout. “This is my go-to recommendation for families with teenagers,” says Claire. “Sea Thrift has four bedrooms, all the mod-cons and contemporary style, plus it’s in a great location for enjoying town by day and night. Thimble Cottage is a little selfcontained hideaway for anyone in the party looking for some peace and quiet!”

Originally the town’s police station, guests now enjoy king-sized beds, palatial living rooms and luxurious bathrooms in Sergeant’s Retreat, Inspector’s Watch and The Briefing Room, with upcycled furniture and local artwork adding individuality. The décor throughout all four properties is whimsical and, although the fixtures and fittings are top spec, there’s a homely feel. “Young children especially love these properties,” says Claire.

“I imagine they sink into bed very happy and

As The Cottage Boutique portfolio reminds us, there’s a reason that the British seaside is the backdrop to countless children’s storybooks and family photo albums. It’s because simple pleasures are the best, and that’s what the Cornish coast has in bucket-loads!” cornwall-cottage-boutique.co.uk

A B OV E Corva Farmhouse

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A stitch

in TIME WO R D S B Y H A N N A H TA P P I N G

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C O U T U R E

Striving for a better future for fashion with a combination of sustainable fabrics and timeless styling.

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Senior Product developer, Morgan WebberNewman, heads up what is termed as their ‘bought product’ ranges. With a core set of styles, some of which remain in the collections year on year due to their popularity, Morgan works with various suppliers, factories and manufacturers predominantly around the UK but also at some select locations in Europe.

y first encounter with Celtic & Co. was some 30 years ago at a small warehouse in Newquay, when I ordered my first pair of bespoke pull-on sheepskin boots – a fashion item that was considered de rigueur on the Cornish surf scene. Back then, you could choose the colour of each panel, resulting in some wild and wonderful boots adorning postsurf feet. I was slightly more decorous in my choice of navy suede and brown leather and they are unbelievably still going strong, testament to the quality of fabric and craftsmanship.

Fast forward and the company, while still offering the range of sheepskin slippers and boots that they have become wellknown for, has expanded to include its own boutique clothing collection offering a slow-fashion, capsule wardrobe with sustainability at its heart.

“At the start of the season, once we’ve done our trend research,” explains Morgan,” we decide what the colour palette is going to be and what direction the range is going to take. This is always inspired by Cornwall’s coast and countryside and especially nature’s textures and colourways.”

For the SS22 collection there are three colour stories which follow the seasons. The first is transitional wear designed to take the wearer from winter into spring, with rich shades

LEFT Lyocell Curved Hem Dress

A B OV E Supersoft Geelong V Jumper

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available year-round, kept fresh with colour updates. This gives them a loyal customer base as Morgan explains: “With classic pieces such as our merino crewneck, some regular customers will buy one of each of all the new colours every year!”

of green inspired by local woodlands. The second sees a much warmer palette accented with shades of pinks and oranges, echoing the blooms of Cornish spring gardens.

The final drop is high summer, very much inspired by washed-out beach views and those bleached and pale tones you find on shells and driftwood. “We always listen to our customers’ likes and wants (they are very vocal and we love them for that!) and their input is hugely important to us. With that in mind, this year’s collection includes new summery knits and wovens and, after launching online with Marks and Spencer, Next and John Lewis, our range now has a broader reach for new customers,” says Morgan.

Founder and hands-on director, Kath Whitworth adds: “Our customers appreciate value for money, but I think the difficulty lies in that because of the fabrics we use our product is never going to be the cheapest and so one of the challenges that Morgan faced developing our high summer range is that we wanted it to work really well throughout the year. It had to sit well for summer, but when it came to a dress for example, we wanted to extend the wear season so that it could be something worn with a jumper or cardigan and tights in the winter.” By taking this approach, even though you might pay more for a Celtic and Co. piece, its style, versatility and quality means that it won’t date and will outlast cheaper, faster fashion.

“As with everything that we develop, it’s all about using natural materials and looking at the most sustainable manufacturing processes. Sustainability in fashion is very much at the fore with new developments, materials and manufacturing processes getting better, cleaner and more planet friendly. As a nation there has certainly been a move away from throwaway fashion; people are buying iconic pieces and realising that they can wear them basically for decades, which is where we position our collections.”

Their core knitwear range is testament to this ethos. It is knitted from Geelong yarn, a 100% natural lambswool that rivals cashmere, being just as soft but without the price tag.

The yarn comes from a breed of sheep found in Geelong, Australia and is renowned for its fine micron – which basically means that the yarn is very, very fine and very, very soft.

The Geelong used by Celtic and Co. comes almost entirely from one spinning mill based

Celtic & Co. don’t feel the need to reinvent the wheel each season; 70% of their range has a season crossover and a large majority of their footwear, outerwear and knitwear is

INSET Supersoft Geelong Crew Neck Jumper

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TOP LEFT Lyocell Midi Shirt Dress

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A B OV E Supersoft Geelong Crew Jumper

TO P R I G H T Lyocell Maxi Shirt Dress

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Every mission starts with you

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C O U T U R E

the animal welfare very good, but that the farm and surrounding land the sheep live on is also being well looked after.” The vast majority of the Geelong pieces are knitted in the UK, with some being made in Portugal and include the hugely popular Geelong Slouch Roll Neck that features in the collections all year round. These pieces have to be hand-washed due to their purity and so Celtic and Co. have developed their own laundry detergent that is suitable for use on all of their knitwear; although as pure wool has anti-microbial properties it is almost self-cleaning. “I’ve worked in the fashion industry for a long time,” says Morgan, “but since joining Celtic and Co. it has given me a completely different outlook on laundry and caring for my clothes – I was definitely over-washing! If you make better buying choices you can wash your clothes less, which means using less water and less electric, which is a win-win.”

in Biella in the north of Italy. Celtic and Co. chose to work with Lanecardate, a mill that has been operating in the wool business since 1663, not only for its obvious experience and quality but also for its sustainability, transparency and excellent eco-credentials – the mill is certified to Standard 100 by OekoTex 100® which covers all processing steps, from the thread to the end product. To the layman, that means that there are no nasty banned chemicals used in the dyestuffs or cleaning products and the mill also operates under a zero discharge scheme, recovering and treating their effluent water.

Morgan expands: “The wool is fully traceable, right back to the farms in Australia and comes from non-mulesed flocks. It has two certifications, one from the SustainaWOOL Integrity Scheme and the other from the Responsible Wool Standard.

This means that we know that not only is

A B OV E Chunky Fisherman’s Geelong Rib Jumper

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LEFT Printed Yarn Jumper

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A B OV E Geelong Slouch Roll Neck

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C O U T U R E

equivalent that has been made from virgin material you wouldn’t know the difference”.

“We are very much concerned with using natural and recycled materials,” sums up Kath, “we avoid anything manmade, and also recycled manmade materials as well.

We’re not into things like recycled polyester as although it purports to be climate friendly, it really isn’t, because at the end of the end of the use of the garment (bearing in mind we hope our customer will keep the garment until it’s worn out) we want it to be as easy for the customer to dispose of as possible.

So, if we make sure that the majority of our products are compostable, or biodegradable, even if they get put into landfill as rags, they’re not doing any harm.”

A fabric called Lyocell is also a feature of Celtic’s new collections. It’s a form of viscose that has been developed by the Austrian yarn company Lenzing, which operates a closed loop manufacturing process. The fabric is made using wood pulp from FSC managed forests, so not only is it a renewable source, it is also biodegradable and compostable. The yarn is taken from the Austrian spinning mill and woven very locally to the factory, where garments are all dyed and washed together to give a lovely soft, tumbled finish. As the Lyocell is a breathable material the pieces are easy to wear as they don’t crease easily.

Taking the recycled story further, Celtic’s new canvas trainers are made from linen spinning waste. The leftovers and offcuts are woven into a canvas material that is used for the uppers, while the soles of the trainers are from a recycled rubber. Their printed yarn jumpers are knitted from recycled cotton, spun in Italy and GRS certified, which is the global recycled standard for textiles. The yarn is actually made from recycled jeans, re-spun and overprinted to obtain the textured and mottled effect. Cotton vests are made mostly from recycled linen, which is again made from post-consumer waste, while their 100% recycled linen pieces, such as the Linen Open Knit Cover Up Beach Dress, are also made from spinning waste. As Morgan explains she is careful to select these yarns from the best mills “so that if you put it next to an

“If you buy a recycled polyester garment, it can’t be recycled again. There is a massive noise at the moment about desert islands whose beaches are littered with plastic water bottles. Well, in 15 years’ time that litter could very well be recycled polyester t-shirts and blouses. We try to take everything as far down the line as we can and ensure that we’re being as honest and as transparent to the consumer as we can.”

The SS22 collection from Celtic and Co. is featured online and at their new flagship store at Indian Queens, where click and collect is also available. celticandco.com

INSET Geelong Slouch Jumper

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A B OV E Lyocell Cap Sleeve Shirt

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C O U T U R E 1. LIGHTWEIGHT CULOTTES – SAGE £68

Sustainable

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STYLE U

sing natural materials that are kind to the environment such as lyocell, linen and hemp, Celtic & Co.’s summer collection combines a coastalinspired colour palette with effortless style.

These enduring, contemporary pieces are designed and carefully crafted with slow fashion in mind, allowing the wearer to enjoy them for longer. celticandco.com

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2 . L Y O C E L L L I N E N S K I RT – £ 7 8

3 . S TAT E M E N T D O N E G A L J U M P E R OAT M E A L – £ 1 1 2

4. HEMP MIDI K A F TA N – £ 1 0 8

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C O U T U R E 5.LINEN OPEN WORK KNIT DRESS – £118

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6. LINEN OPEN WORK KNIT J U M P E R OAT M E A L S T R I P E – £ 9 8

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7 . L I N E N C OT TO N D R AW S T R I N G JUMPSUIT – £98

8 . L I N E N V- N E C K D R E S S SAGE PRINT – £98

9. POINTELLE TUNIC – £109

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Halcyon

DAYS WO R D S B Y LU K E G A RT S I D E

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SUSTA I N

Tales from the World Belly Board Championships, a highlight in Cornwall’s surfing calendar.

I

’m in conversation with Nick Holden, contest organiser of the now famous World Belly Board Championships, an event he has helped to run for over ten years. Standing proudly at the helm as it has grown from a small gathering into the south west’s most celebrated alternative sporting spectacle; an all-out bonanza of tea, cake, classic cars and vintage swimwear, centred around the humble art of riding waves on a 4ft wooden plank.

sea conditions, the group would head for the beach. Upon arrival, Chris Ryan, the Chapel Porth parking attendant – who got to know them well over their many visits – would wave them in and park them up along the wall.

Except for Arthur’s car, which Chris would place right at the front, so his mother could observe as the crew strode down to the water’s edge – boards underarms, bare skin bracing against the September chill – and embark on their morning slide.

The story of how the event came to be starts with a group of unassuming holidaymakers, who would meet up every year throughout the 90s on the same week in September and go bellyboarding at Chapel Porth beach. They hailed from all corners of the country, but each shared a deep fondness for riding waves, fostered over many decades of trips to the Cornish seaside.

Among them was Arthur Traveller, a Londonbased mechanic, who would travel down each year with his elderly mother. Every day at the crack of dawn, no matter the weather or

In 2003, the crew were getting ready to assemble as normal when they learnt the sad news that Arthur had passed away of a heart attack.

When they arrived in Cornwall that summer, they decided to hold a memorial belly board competition in his honour. It was just a small affair; the usual holiday gang, a few of the staff from the café on the beach who’d got to know Arthur, plus Martyn ‘Turnip’ Ward, a local lifeguard and Chris, the car parking attendant, who took it upon himself to fashion a few trophies for the occasion.

Images: Alexa Poppe ©National Trust

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A B OV E An all-out alternative spectacle

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by a hodgepodge of holidaymakers, fringe surf enthusiasts and more senior belly board savants (including the local postman, Ben Stockley, who later had the coveted ‘Spirit Of Bellyboarding Award’ created in his honour after he sadly passed away). The judging was generally undertaken by a few ladies from the village, plus whoever they could grab off the beach. “Chris would run up to someone and say ‘Fancy judging a couple of heats for us?’ and thrust a clipboard at them,” remembers Nick. “‘Well what am I looking for?’ they’d ask. ‘Whatever you want’, we’d say!”

After attracting a bit of interest from local friends of Chris and Turnip, the event returned the following year. But this time, they decided to change the name from ‘Arthur’s Memorial Hand Board Contest’ to the slightly catchier ‘World Belly Board Championships’. It was tongue in cheek, of course, but they figured if Gloucester could host a world championship in cheese rolling, then why couldn’t they do it for bellyboarding too?

It was during its inaugural year as a bonafide world champs that Nick Holden first found himself at the event, rubbing shoulders with the gang and getting his first taste of bellyboarding culture. It was 2004 and he’d just settled in St Agnes after a few years travelling the world, surfing his way through New Zealand, Australia and Indo. His roots in the sport, however, were decidedly less exotic, having learnt in his early twenties on weekend trips to north Wales from his home in Manchester. Witnessing the unbridled enthusiasm of a wave-riding crew from similarly landlocked locales resonated with him instantly. “Just the way they were when they came back out of the water,” he says of the group, “the pure enjoyment and the thrill they got from it. These were people who were much older than me. But I felt some kind of connection to them.”

By 2008, Nick was working as a ranger for the National Trust, who owned the beach at Chapel Porth, and after a few years lending a hand at the event, he convinced the organisation to throw some of their managerial and promotional might behind it.

Soon after, he took up the role of lead organiser, alongside National Trust surf ambassador Robyn Davis. However, according to Nick, it was Chris the parking attendant’s charisma and deep understanding of the event’s original appeal – articulated jovially on the tannoy throughout the day – that was really responsible for the Champs taking off in the years that followed. And take off they did.

By 2011, the event was attended by hundreds, with a collection of marquees, a yurt, a bar and a cinema tent all clamouring for space down in the valley. Of course, this didn’t leave much room for cars, so people would leave them up in the village and get shuttled down the hill in the small parish minibus, spilling out onto the sand upon arrival, regaled in period swimsuits and assorted fancy dress.

The press loved the spectacle of it, and Nick remembers corralling an ever-growing throng of journalists from the national media into their own improvised press area.

Local businesses were similarly keen to get involved, from big brand backers like the

While surf culture has slipped into a more fun-centric, ride-what-you-like mould over the last decade or so, back then, that seemed a long way off. In fact, stand-up shredding was in its peak-seriousness phase at the turn of the millennium. It was competitive. High performance. Thrashy. The World Belly Board Champs were the perfect antithesis and accordingly, most of the core badlands surf crew kept well away from the event as it slowly gathered pace over the following years. Instead, the original band were joined

LEFT The brighter the better when it comes to costumes

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‘Hayle!’ And we’d go ‘Hayle! You’ve come all the way from Hayle?’ Someone would say ‘Hampshire’ and we’d go, ‘No! Can’t be true.’

And then there’d always be an Aussie or a Kiwi. There was this guy who came from the British Virgin Islands for about four years in a row, and a lad called Nick who came from New York three times.”

RNLI and Skinners Brewery, who laid on a special beer for the event, to traditional belly board makers, Dick Pearce & Friends, a company established in 1929, who continue to make classic plywood steeds to this day. According to Nick, they were “tickled pink” by the resurgent interest in their ancient craft. “The Pearce family were great supporters of it,” says Nick, “they’d always send me a little note beforehand with a couple of dozen boards to give out to the winners.”

Master shaper and international wooden board aficionado Tom Wegner even turned up one year, after receiving an invite from Cornish bellyboard maestro John Isaac.

“Tom was like, ‘Can I stand up?’ I said ‘Nah mate it’s prone.’ He said ‘Well can I wear fins? we said ‘No you can’t wear fins man!

Push off the bottom!”

In the end, though, they decided to create a special expression session in his honour, designed for alternative board enthusiasts to experiment with an approach that fell outside the original decree.

Despite all the developments on land, in the line-up, tradition reigned supreme, with the rules for entry the same as they ever were: No leashes, no fins, no wetsuits and wooden boards only. Nick loved hearing the stories behind each little plywood plank – many as old as the hills – often reclaimed from a relative’s shed or dug from the depths of an attic in honour of the event, still resplendent with original artwork. “That side of things was fascinating,” he says. “You’d get drawings on boards that kids had done when they were eight years old, that were still there 50 years on. When their mum and dad had passed away the board had become something special that they got. They were such treasured possessions within the family.”

While any sense of performance was always secondary to the carnival atmosphere, in later years, the event began to draw in a smattering of talented wave riders from different disciplines. Among them was Jack Johns, one of Britain’s finest bodyboarders, who won the Belly Champs in 2010. “Jack was insane,” remembers Nick.

“We had the best waves we’d ever had the year he won, and he was just riding it like he would his lid.” He’d kick in early, scoop off the bottom into the pocket, even tucking into little tubes and throwing spray off the lip with a flex of the nose when the occasion called.

And what did the older attendees, themselves dedicated to the traditional straight-inthe-white-water approach, reckon to these

Meeting people who’d travelled from far and wide was also a high point for Nick. “We had a long-distance prize,” he explains. “It was our party joke at the awards do. Chris would say, ‘So, anyone here who’s come further than…

Mingoose?’ And I’d go ‘No one’s come from further than Mingoose!’ And someone would shout ‘Perranporth!’ And someone would say

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A B OV E Everyone is invited to get in on the action, even the infamous Betty Stoggs

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TOP Vintage surfing ephemera is a given

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A B OV E Contestants ride their boards with pride

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W O O D F O R D ARCHITECTURE

INTERIOR DESIGN

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SU STA I N

one of the many deckchairs – a car appeared at the top of the hill, sending the crowd into rapturous applause, as the new belly board world champion descended to his thrown.

new-fangled moves? Was there a grandschism afoot, I ask Nick, as one often finds in wave-riding styles where a new element of performance is suddenly introduced? “Oh no, they loved it,” he laughs. “The older crew would come and stand on the beach and if someone got a wave that really stood out, they would never say ‘Oh that’s not proper bellyboarding,’ they’d go ‘Blimey! Did you see that?’”

The following year was to be Nick’s last as the organiser and the event’s final showing at Chapel Porth. “It’d just outgrown the beach,” he says, “and the Trust pulled the plug to focus their time and resources on core work, protecting places and nature conservation.”

He left the event in the safe hands of friend and original organiser, Martyn ‘Turnip’ Ward, who took over the running of things, along with the RNLI, in 2018, moving the Champs up the coast to Perranporth.

There was always a sense of mutual admiration between the generations, of which many were represented. The beauty, of course, was that anyone could be the world champ. Whether you were eight or 80, the crowd would cheer just as loudly. “One year we were doing this massive awards ceremony,” remembers Nick. “Best patina, best swimsuit, best hat, it goes on and on – we had a million trophies. Finally, we came to World Belly Board Champ and we called out his name. And someone said, ‘He’s gone home!’ ‘Where’s he live?’ we shouted back. ‘Mount Hawk!’ they said. ‘Shall I go and get him?’

‘Yes! Go and get him,’ we said! So someone thumbed through the sheets and got his details. Then, they had to run all the way up the hill because the café phone wasn’t working to give him a ring.”

Nick reflects on his years at the helm with an affection that swells with each anecdote. Listening to him now, it’s clear the appeal he recognised in bellyboarding the first time he encountered is exactly what’s led it to its growth in popularity in the 20 years since. “Back then, it was completely alienated from mainstream surf culture, but at the same time it’s the essence of it; just riding a wave and getting that fun into your soul,” he says. “I’ve never belly boarded and not come out with a smile on my face.”

After a minute, they shouted back down the hill, excitedly alerting the crowd of hundreds gathered for the ceremony that he was coming back. “We had to radio through to the top of the hill – because the road was still closed,” says Nick, “and tell them that the next guy to arrive was the winner, so they should let him through.” After a short wait – palpable tension alleviated at least somewhat by a few pints from the bar and a quick sit down on

Dick Pearce and Friends are makers of wooden belly boards and beach goods. Their new initiative, Surf Wood for Good, offers free wooden belly board rental as a sustainable alternative to cheap polystyrene bodyboards, thousands of which end up broken and discarded on our beaches every year. dickpearce.com lugarts

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SUSTA I N 1 . S U R F R I D E R B E L LY B OA R D L E S U R F G E O T E A L £ 8 5

The Board

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ROOM

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ick Pearce and Friends have been making wooden bellyboards since 1928. Made up of a small but passionate group of individuals, the team make long-lasting sustainable products.

Their recent initiative, Surf Wood For Good, in association with Surfers Against Sewage, is a bid to rid our beaches of polystyrene bodyboards by offering free bellyboard rental at sites around the UK coast. dickpearce.com

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2 . R E C YC L E D C OT TO N G E O B L A N K E T H E A T W AV E £ 1 0 0

3 . TO WA N B E A N I E £ 3 5

4 . S U R F R I D E R B E L LY B OA R D NAKED £55

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SU STA I N 5 . H E AV Y D U T Y B E L L Y B A G L I M I T E D E D I T O N £ 8 5

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7 . C U S T O M B E L LY B OA R D S F RO M £ 8 0

8. BEACON BEANIE £35

9 . P U F F I N T E E L AV E N D E R £ 2 5

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Splice of

LIFE

WO R D S B Y H A N N A H TA P P I N G | I M AG E S B Y P E T E R C H E S WO RT H

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C R E AT E

The tale of the ditty; where playful design meets historic significance.

Y

ou might be excused for thinking that a ditty was a little song – and you wouldn’t be wrong – but, as I recently discovered, it’s also the name for a traditional bucket bag used by sailors from the 16th century in which to keep their tools and personal items. For apprentice sailmakers and young seamen, a ditty would be their first foray into stitching, splicing and sewing eyelets and the resultant bag would be an essential part of their seafaring kit. Taken aboard, alongside the ever-important sea chest, the ditty would be traditionally hung from the sailor’s bunk so that he always had the tools of his trade to hand.

Jane Miners, of the Mariners Supply Company, is very much keeping this tradition alive, as I found out during an opportune meeting on a Cornish harbourside. A lunchtime stroll took me past a row of brightly coloured stalls, behind which was someone I

recognised from my formative media years – Cornwall’s certainly a small world! Jane and I had met some 25 years ago when we were both working for the traditional boat magazine, The Boatman. Unfortunately, the magazine folded and we all went our separate ways, so I was keen to find out where life had taken Jane.

Sadly, the demise of the magazine was to coincide with Jane losing her parents, after which she spent time travelling across America.

Returning to Cornwall, Jane’s plethora of talents have seen her work for leading national media companies as well as more local design agencies here in the Duchy, prior to setting up her own agency for maritime clients. Jane has always been a part of the sailing community in Falmouth and when a sailing friend and former colleague said she was going to live in Australia and sell her business, Jane’s career took a very different path; at the helm of the Mariner’s Supply Company.

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C R E AT E

always so keen to finish things quickly,” says Jane, “and as a punky teenager I made a lot of my own clothes so there was a familiarity there already. Although, working with canvas is a very different way of sewing because everything’s so thick. On top of the splicing, Tina also had to teach me how to insert the eyelets correctly. It was a steep learning curve and is actually quite a physical process. I use an industrial sewing machine with a very large gauge needle that would sew through rhinoceros hide! I make the bags using 14oz cotton canvas and in some places have to sew through five or six layers at once.”

“I had sold advertising space to the owner, Tina Rangecroft, all those years ago at Classic Boat magazine and had also sailed with her for many years. I knew the business really well – and absolutely loved the brand – so I bought it from her,” explains Jane. “Tina had been taught to splice by an old guy named Don Hill, whose converted lifeboat, the Ella Speed, was well known amongst Falmouth’s traditional sailing fraternity. She, in turn, taught me and so I like to think we have kept a little bit of Falmouth tradition alive.”

Although Jane had no formal sewing training, like many of us, she had been taught to sew by her mother. “Mum used to say that I used ‘a red-hot needle and a burning thread’ as I was

In days gone by, sailors would have made these bags from whatever offcuts or odds of sailcloth they could get their hands on, as Jane explains: “many of the originals were embroidered and embellished by the sailors in their spare time – an early form of personalisation – and some would have eyelets around the top so that they could be drawn together with a cord like a duffel bag. Mine are a paired-down design, creating a very useful carrier and making the best use of the canvas size to produce as little waste fabric as possible.” The design of the bags is ingenious in that they don’t need additional reinforcing materials; the circular base and weight of the canvas provides the structural integrity, making them ideal for tools, crafting kit, picnic lunches and more. A dip in the canvas supply chain, caused by a combination of Brexit and the Covid-19 pandemic, has recently caused

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a bit of a headache for Jane: “But with the help of the South West Manufacturers Association, a government-funded body who help manufacturers large and small, we were able to find a supplier who was actually better than my original one. Consequently, I have had a more consistent supply chain and been able to add more colours to the range.”

Eyelets and rope are both UK-made, keeping supply miles low, and Jane chooses to use a synthetic hemp rope as it creates a cleaner finish: “When I come to finish the splicing, I basically burn the ends, which creates a seal and helps to maintain the integrity of splice.”

They say that the compass was one of the inventions that changed the world, enabling mariners to navigate safely far from land,

opening up the world for exploration and the subsequent development of global trade, and now we know that each of those mariners would have had a ditty bag. With the advent of so much modern technology it’s comforting to know that there are still makers out there honouring traditional methods. Without them, we would lose our connection with the past and sometimes things work so well, they just don’t need to be reinvented.

You can buy your ditty bag from the Mariners Supply Company online or from a number of craft markets, details of which are listed on the website. marinerssupply.co.uk

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NAU T I C A L

GRACE and favour

Exquisite superyacht tenders created in Cornwall turn heads and attract a discerning international clientele.

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f you seek to impress your house guests or deliver VIP vibes to your clients, look no further than the ultra-stylish Grace, which is available for charter. Built on the banks of a Cornish creek by Cockwells Modern and Classic Boatbuilding, this glamorous day launch reflects the design and build of the 9.5m Owner’s Tender that the Mylor-based boatbuilder created for Perini Navi’s 73m Vitruvius motor yacht, Grace E. Luxurious does not even come close as a descriptor. With her rich mahogany decks, she oozes opulence. She also delivers on practicality with a galley and large table in the cockpit for entertaining, and every amenity for your comfort. Powered by twin 250hp Yanmar engines, her speedy 38 knots provide dynamic days out on the water.

Cockwells is renowned for fusing advanced techniques and modern materials with intelligent design and exquisite craftsmanship to create unique tenders that perfectly complement the distinctive personalities and lifestyles of its clients. Grace is the ultimate manifestation of that and offers contemporary chic and a smooth ride in the process.

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MADE IN CORNWALL – FOR OVER 30 YEARS

01209 215 759 | enquiries@philipwhear.co.uk | www.philipwhear.co.uk DRIFT--05--AD--Philip Whear--1.00.indd 1

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In the

Market

for CHANGE WO R D S B Y H A N N A H TA P P I N G | I M AG E S B Y K A S I A M U R F E T

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Championing local produce and shortened food chains, a humble farmer’s barn has been transformed into a go-to foodie destination.

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here is nothing more important than food… well maybe coffee, and sometimes wine! Joking aside, food is vital for both life and pleasure. It shapes families, communities and even nations and research has shown that the simple act of eating together not only has psychological, social and mental health benefits but can have a lifelong impact on our relationship with food.

It makes sense then, that the food we eat should be the best it can be, and for me that means re-educating myself in the way that I shop.

It’s all too easy to use a supermarket for your weekly provisions and lockdown made this even simpler with the increase in the number of ‘click and collect’ or delivery slots. There came a point when I was so far removed from what I was buying that it became almost a robotic process; even the selection of my food was given over to a stranger.

buy selectively, for provenance and quality, and only what I needed. Yes, the cost may have been slightly higher, but actually buying consciously rather than at the click of a button meant we ate better and wasted less.

I began to yearn, not just for a European holiday, but also for its food markets; those places where your senses are assaulted with incredible smells, colours and tastes of fresh produce, piled high on stalls with their owners proudly stood behind. Here I would

Starting with just five stalwarts, Soul Farm, Sailors Creek Shellfish, the TinBox Coffee Company, Little Crumb Bakery and New Dawn Traders, all of the sellers had a shared ethos that we don’t need food that has travelled hundreds of miles, we can buy fresh local food

As you can imagine, discovering that there was a place where you can buy fresh, local, sustainable and regenerative produce here in Cornwall, was music to my ears. The Food Barn Tregew is a not-for-profit Community Interest Company started when Sailors Creek Shellfish and Soul Farm, both tenants at Tregew Farm near Flushing, came together with its visionary landowner to create a space where they could safely sell direct to local people. With the first Food Barn happening in December 2020, the fact that its home was a three-sided ventilated barn was all to the good, providing a Covid-safe environment for both buyers and sellers.

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grown and produced in a regenerative and careful way. It’s worth pausing for a moment to take a closer look at the formative five…

Soul Farm grows vegetables using organic principles and no-dig methods. The crops are grown in ‘alleys’ between the trees of a fledgling cider orchard and flourish in a Cornish maritime microclimate, protected by high hedges and nourished in well-drained loamy soil. Near neighbours, Sailors Creek Shellfish, hand-dredge native oysters and queen scallops from the Fal. Much of the catch is destined for France, where some family businesses have been trading with them for generations, while a proportion remains in the UK, including their shellfish counter at the Food Barn.

TinBox Coffee hasn’t missed a single market since the start, keeping traders and visitors alike topped up with Origin hot and cold brews, while Little Crumb bakes kept everyone sweet. New Dawn Traders are a sail-powered cargo company trading in ‘wild ideas and delicacies’ and importing produce from across the Atlantic and along European coastlines to include the world-renowned sea salt of Noirmoutier, organic dried almonds from Trás-os-Montes and extra virgin olive oils from Azeite Caixeiro.

Word quickly grew and Sophie Smith joined the team as Market Manager, adeptly booking, organising and marshalling the stall holders.

It very much grew organically in its infancy; word of mouth is a wonderful thing, especially in a small community. As the high street opened up, there was some nervousness as to whether people would still come, as Sophie explains: “We really weren’t sure when all the

non-essential shops were allowed to reopen in April last year, if we were going to actually be able to continue. We were worried that people had just used it as something to do when there was little else on offer and that when the high street returned, it would be ‘see you later’!

But that couldn’t have been further from the truth. It’s just gone from strength to strength.

We added in Wednesday evening summer markets last year that attracted a different crowd and had a very chilled out and relaxed vibe, as well as craft markets over Christmas, both of which have continued.”

Having only had to cancel one market during that time, when a big storm stopped play, the Food Barn is very much a part of the Saturday morning calendar. Having heard such good things, I grab my basket and head off to see what all the fuss is about. I arrive at 9:30 (trading starts at 9am) to find an already burgeoning car park and many early birds queuing for the Pavilion Bakery and TinBox Coffee that have clearly made a name for themselves amongst the pastry and barista aficionados.

There is a core group of regular traders who come every Saturday, with a wide range of others that dip in and out, allowing for flexibility and keeping the market fresh and vibrant. Carefully curated by Sophie, sellers of the same goods are not allowed on the same days to maintain balance and variety. The vibe is chilled, with a DJ playing sweet tunes as the smell of buttery pastries and freshly brewed coffee pervades the air. Fully stocked with breakfast, my daughter and I peruse the stalls amidst a happy murmur of fellow shoppers.

Our first stop is Soul Farm whose produce is fresh and vibrant, filling many a basket with

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C U I SI N E

organic vegetables. You could happily shop for a weekend of delicious dinners here. Homage to the Bovine, famous for its beef from retired, grass-fed cows, has provenance and flavour at its core, with cow welfare being their number one goal. Hung for at least 28 days, this results in exquisite tasting beef. Another success story is Jack’s Kombucha as Sophie explains: “They set up in lockdown and have literally gone from strength to strength. They started by trading with us and now they’re bottles of Kombucha are available in cafés and delis across the county. Everyone loves them and they have Kombucha on tap at the Food Barn so you can refill your bottles.”

Each and every trader is conscious of using good quality, sustainable produce that is always sourced as local as possible and there’s a conscious awareness of this. Similarly, the typical Food Barn customer is particularly discerning. “Whenever we get new traders, I always ask how they’ve got on at the end of their first market and they always make mention of the fact that our customers are really into their products and their provenance,” says Sophie. Alongside the stall holders that sell their products, there is always a handful of hot

food producers. On the day we visit, we are blessed with the sweet smell of French onion soup from Bien Manger which we devour with hunks of sourdough baguette from Pavilion, while looking out across the water – set up on the hill, the view from here is beautiful. As we pause to refuel, it gives me a chance to mull over why this market feels so different from others I have been to. I conclude it’s the traders that make the difference – most are young, all are enthusiastic, honest, inspirational and talented – and the common goal behind these growers, producers, makers and bakers is what sets them apart, something which is reiterated

by Sophie: “We make every effort to maintain the collective ethos, ensuring traders fit the bill for what we want to offer as a market, offering food and drink with the highest quality to create a market for all seasons.”

The Food Barn, Tregew is open every Saturday from 9am-1pm and some Wednesday evenings during school holidays. Follow on social media for the latest events and trader lists. foodbarn.tregew foodbarn.tregew tregewfarm.co.uk

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C O M M E N T

Eventide WORDS BY IAN ARMSTRONG

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hat does Cornish architecture mean to me as a Cornishman?

Having grown up in Cornwall, and lived my whole life here, it is fair to say I have a love for everything Cornish; as a local architect this includes the architecture.

I am passionate that architecture should speak of its time and place and should be inspired by the beauty of the landscape, seascape and local environment. It should be progressive, using the latest technologies and innovations to leave our mark in time. It is said that great architecture is timeless and transparent, something which every architect aspires to achieve.

I have always been interested in our past; especially the innovations during the industrial eras, in particular through the wealth of tin mining which left iconic engine house structures and miners’ cottages all the way up to and including wealthy estates such as Lanhydrock. We can, of course, learn a great deal from history, with the past being able to inform the future. Whilst most people associate Cornwall with this architectural heritage, together with the earliest constructions found on Bodmin Moor and in west Cornwall, we should also appreciate what the Victorian, Edwardian and Georgian eras brought to Cornwall; a walk through Truro is fascinating.

The vernacular architectural styles are also varied throughout Cornwall, including quaint cob and thatched cottages, slate buildings with scantle slate in the west and large rag slates in the north of the county.

Many people find it more difficult to appreciate our modern architecture such as the brutalist style of Cornwall Council’s New County Hall which is a Grade II listed building. In fact, there are many 50s, 60s and 70s buildings which have been listed, many also winning prestigious architecture awards. I have learnt to appreciate these buildings with their differing architectural styles and influences, which continues the historical journey allowing our history and progression as a society to be visually read. As fashion and technology has advanced, so too has architecture.

I am a firm believer in designing buildings of our time that are truly sustainable and which complement our beautiful county. I can’t help thinking that this generation has lost its way with poorly presented pastiche representations that we now see scattered across the county in the form of housing estates… of course beauty will always be in the eye of the beholder! I feel that many new buildings have lost their identity and our regional distinctiveness. I believe we should embrace creativity, innovation, uniqueness and, of course, good-quality design.

Cornwall is, and always has been, blessed with talented designers and innovators, so keep an eye out for these people as they are prepared to share their passion with you and make Cornwall a more vibrant and interesting place to live.

Ian Armstrong is the Co-Founder and Director of ARCO2 Architecture Limited. arco2.co.uk

INSET Ian Armstrong

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