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A JOURNAL FOR THE DISCERNING
On the cover
ide Tanner essie atson rown, as featured in photojournalist Suzy Bennett’s new book Artisans of Dartmoor, from page . dartmoor-artisan-trail.co.uk oakandsmoketannery.co.uk
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DRIFT Journal was born from a desire to share rarity with its readers and in we published the inaugural volume, inviting readers to experience the pinnacle of Cornwall’s luxury lifestyle. avigating a pause during the pandemic, DRIFT returned stronger than ever, determined to bring the ultimate in luxury to its elegantly designed and carefully crafted pages. s we celebrate our th volume, DRIFT Journal’s sophisticated, relevant and exclusive narratives continue to be created with intention, taking its audience on an editorial odyssey. The DRIFT brand is now multi-channel, with a wide and ever-growing digital reach, and the introduction of a collection of special annual volumes has allowed us to celebrate our brand pillars of ABODE, RETREAT and EPICURE, in finer detail. n , we e panded our reach beyond the uchy to cover the wider South West, in addition to making three magnificent forays into the capital with DRIFT London.
Establishing itself as the authority on design and architecture, art and fashion, food and drink, landmarks and visionaries, commentators and communicators, DRIFT Journal has continued to inform, educate and excite. Fittingly, we open this volume with horelines , a meditation on reduction and perception from photographer Chris Tuff, who has been part of the DRIFT narrative since our early days, while photojournalist Suzy Bennett invites us to meet a community of craftspeople who are breathing new life into some of Britain’s oldest and rarest trades . n the other side of the design gamut, a state of the art estination orsche Centre in E eter is redefining lu ury as time well spent, and Princess, one of the most respected brands in lu ury yachting , combines ritish craftsmanship with advanced engineering and technology. Wherever DRIFT’s narratives sit on the spectrum, each plays its part in creating a journal for the discerning.
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16 SHORELINES
Distilling the seascape into its purest elements of sky, sea and shore
27 ARTISANS OF DARTMOOR
In her new book, photojournalist Suzy Bennett invites us to meet inspiring cr sp op
39 FROM THE TERROIR
Wine, like knowledge, is meant to be shared; unlocking the mysteries bottle by bottle
48 THE SHAPE OF EXPERIENCE orsch tr t r is r i u ur as time well spent 54 VERDANT DINING UNFURLS
A Nordic-inspired dining space bringing r s so p t s to rur or
63 FIT AND FEMALE FOCUSSED tsuit r ui t o rst h p ri c t sti m i si ht
77 A NEW CHAPTER
The coastal landmark that is Pedn Olva reclaims its mantle
87 THREADS OF PURPOSE
Where elegant, timeless design meets artisan cr sm ship iro m t r sp ct
96 DISTINCTION IN DESIGN
One of the most respected brands in luxury yachting
99 STRUCTURE AND DETAIL
Richard Holliday’s sculptures reveal a purity o orm com i ith t i i
106 THE PLOT THICKENS
Myrna Combellack, delivers a novel that is both entertaining and authentic in equal measure
109 INTIMATE VISION OF A SHY PAINTER
“Either you fall in love with painting and believe i it or ou o t. h t off
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WORDS BY HANNAH TAPPING
A meditation on reduction and perception, distilling the seascape into its purest elements of sky, sea and shore.
As a master monochrome, photographer Chris Tuff has always eschewed conventional colour photography, preferring to work with the abstracted reality of black and white; so when he did feel inspired to try and capture the colour palette of the Cornish landscape it was perhaps inevitable that he would take an alternative approach. In the ‘Shorelines’ series the images are at once both familiar and abstract, inhabiting a liminal space between photographic representation and pure abstraction, inviting the viewer to see landscape not simply as topography, but as geometry, rhythm, and the interplay of colour and texture.
The horizontal bands or blocks of colour and texture that characterise many of the compositions carry both a sense of serenity and gravity, evoking the horizon as a threshold –between permanence and transience, the known and the unknowable. They are also suggestive of time’s passage: the drift of memory, the lingering trace of a place once seen. While anchored in photography, the works echo painterly traditions, evoking the meditative expanses of Colour Field painting and the disciplined restraint of minimalist abstraction.
and sensory resonance of a shoreline. It is less a literal representation of a seascape than an image of what it feels like to remember standing on a beach, staring out to sea.
The images are undoubtedly influenced by the meditative rigour of the Japanese Photographer, Hiroshi Sugimoto’s ‘Seascapes’ where horizon lines bisect the frame in austere symmetry. Like Sugimoto, they reduce the ocean to its essential forms, stripping away all anecdotal elements of place, evoking a sense of timelessness. But the Shorelines series is more aligned with the fluidity of perception than with Sugimoto’s pursuit of pure absolutes.
Earthy ochres, muted greens, and infinite gradations of blue speak of a particular place and provenance, yet the fragile seams between sand, water, and sky generate a quiet tension, as if the image itself is holding these realms in delicate equilibrium. The artworks invite ‘slow looking’. asking the viewer to suspend the desire for detail and instead connect with atmosphere, essence
From a painterly perspective, the images resonate with Colour Field abstraction, especially the horizontal divisions of Mark Rothko or the landscape-based minimalism of Agnes Martin. The photographs share Rothko’s concern with immersive fields of colour, that suggest emotion rather than depict form, while their tonal shifts parallel Martin’s meditative grids and stripes, both artists seeking transcendence through reduction. At the same time, the seascapes inherit something of Turner’s atmospheric dissolutions, though pared down to the point of austerity. What emerges is a hybrid sensibility: photographic works rooted in the specificity of Cornwall yet reaching toward the universality of abstraction. They continue the long artistic inquiry into how little is required to summon a landscape – and how a horizon, reduced to a line, can carry the weight of memory, reflection, and the metaphysical.
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ABOVE Shorelines
In her new book, photojournalist Suzy Bennett invites us to meet a community of inspiring craftspeople breathing new life into some of Britain’s oldest and rarest trades.
Blacksmiths and basket makers, plant dyers and potters, woodturners and weavers –over the past decade, Dartmoor National Park in Devon has quietly evolved into one of the UK’s most vibrant craft hubs. Drawn by the moor’s untamed landscapes, abundance of natural materials and deeply rooted sense of community, a new generation of makers are settling into its hillside towns, to breathe new life into centuries-old skills.
My new limited-edition book, Artisans of Dartmoor, celebrates this creative resurgence, exploring what it is about this rugged region that draws so many craftspeople. Through evocative photographic stories and in-depth interviews, the book takes readers behind the workshop walls to meet an extraordinary community of moorland makers – people preserving,
reinterpreting and passing on some of the nation’s oldest and rarest crafts. Amongst the artisans featured are Jessie Watson Brown, one of Britain’s last oak-bark tanners, who salvages animal hides to create beautiful leather goods on a farm near Moretonhampstead. Also included is basketmaker John Williamson, who has not only revived a 15thcentury Devon basket, he’s made it fashionable. Others include letterpress printers who create their own ‘wild inks’ from foraged oak galls and hawthorn, a natural dyer who is on a mission to clean up the toxic petrochemical industry, and a potter who forages for her clay in Dartmoor streams.
I first became aware of an emerging craft scene on Dartmoor in 2007 when a quest for a curtain pole for a wobbly-walled alcove led me to my local blacksmith who works in a wonderfully atmospheric
PREVIOUS
Jessie Watson Brown – The Hide Tanner, Moretonhampstead
INSET
Suzy Bennett
Victoria forge in the Dartmoor town of Moretonhampstead. Greg introduced me to other local creatives and I very quickly became captivated by their working lives. My new interest in traditional, ecologically sound ways of working led me to resign from the climate change catastrophe that was my job as a travel journalist and photographer, and instead began profiling Britain’s craftspeople for the national press. It’s through this work that I’ve realised how unique Dartmoor is. Elsewhere, Britain’s craft scene is dwindling, but on the moor, it isn’t just surviving, it’s thriving.
The idea of a book started to take shape, but it wasn’t until November 2023, when my headcount of local makers reached 230 – four times that in 2007 – that I knew it was time to document the life-affirming, cultural movement happening right on my doorstep.
Page is pictured in his awe-inspiring studio overlooking Fingle Gorge. We see toolmaker Jordan Harris restore vintage tools in an old milking parlour, while polelathe woodturner Sharif Adams creates beautiful bowls in a threshing barn on a working farm near the thatched village of North Bovey.
The book reveals the passion, painstaking care and integrity that goes into producing oneoff goods. It discovers how modern-day makers compete with globalisation, explores the profound mental health benefits of working by hand, and discovers why this remote and rugged corner of the UK draws so many creative souls.
An antidote to a world of mass production, the stories in these pages celebrate the ethical and sustainable, the local and original, the handmade and human.
From kitchen tables to stables, Artisans of Dartmoor gives us glimpses into worlds that are normally hidden from view. Sculptor supremo, Peter Randall-
Artisans of Dartmoor By Suzy Bennett (RRP £40) is published by Wild Ink Press.
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WORDS BY HANNAH TAPPING
Wine, like knowledge, is meant to be shared; unlocking the mysteries bottle by bottle.
On St Clement Street in Truro, there’s a place where wine is more than just a bottle on a shelf. Step inside Old Chapel Cellars and you’re met not with rows of intimidating labels or hushed conversation, but with a warm welcome, the kind that feels like walking into an old friend’s kitchen. This independent wine merchant has built its reputation on people, provenance and passion, shunning the prestige and pretence that often surrounds sommeliers and viticulture.
“We’re a small, independent wine merchant based right here in Truro,” says Jamie Tonkin, Founder and Co-Owner, and winner of Independent Merchant Wine Buyer of the Year at the London Wine Fair this year. “We specialise in high-quality wines, exceptional value and outstanding customer service. Our mission is to offer the community a friendly, approachable wine shop, whether you’re picking up a midweek bottle, choosing a gift, hosting at the weekend, or planning something special.”
business began with a simple goal; to make great wine accessible to everyone, without the intimidation that can sometimes come with it. In an age of choice and information overload, Jamie and his team have created something refreshing; a place where curiosity is encouraged, and questions are welcomed.
Dealing direct with small, independent vineyards wherever possible, every bottle has a story to tell and this is what makes their collection unique “We’re lucky to have built incredible, longstanding relationships with the producers we work with,” Jamie explains. “One of the best (and toughest!) parts of our job is visiting them in person, tasting new vintages and ensuring quality at the source.”
That sense of community runs through everything Old Chapel Cellars does. The
These aren’t anonymous suppliers hidden behind distribution chains, they’re families, artisans and growers whose vines are tended by hand and whose labels tell generational stories. “One example is Château Haut Pougnan, a small, family-run vineyard in Bordeaux,” explains Jamie. “Some of the team recently returned from visiting Jean Bernard at Haut Pougnan and I’m told the
new vintage is fantastic. The château only produces one red and one white wine and every invoice still arrives handwritten from France. That’s personal for you!”
That word, personal, seems to capture the very essence of Old Chapel Cellars. The whole team strives for connection between people and places, between grape and glass, between tradition and sustainability. For them, wine shouldn’t be an exclusive club. “We’re passionate about making wine accessible to everyone,” says Jamie. “We stock a wide range of styles and prices starting from just £9 a bottle, so there’s something for every taste and every budget. We’re a friendly team and open to any conversation about wine and helping the customer find just the bottle they want.”
That down-to-earth attitude is exactly what draws customers back. There’s no jargon, no pressure, just genuine enthusiasm. If you arrive with little or no wine knowledge, that’s absolutely fine. In fact, that is one of their favourite types of customer and exactly what they’re here for. You can expect to start by chatting about what you usually enjoy and then the team will suggest wines that match your preferences. The goal is to help everyone discover something new they’ll love, in a relaxed, no-pressure way.
Step inside on a Saturday afternoon and you’ll see it for yourself: the casual flow of conversation, the easy laughter between staff and regulars, the faint clink of bottles being lifted from the shelf. Wine, here, is an experience, shared one story and one pour at a time.
For those who want to explore further, the shop’s tasting events offer an open door into the world of wine. “Each event includes six different wines, a welcome drink, and plenty of nibbles,” says Jamie. “They’re always relaxed, friendly and informative, so ideal for anyone who enjoys wine, from total beginners to seasoned enthusiasts.”
There’s something wonderfully communal about these evenings: friends gathered around tables, glasses in hand, conversation flowing as freely as the wine. They also host private and corporate tastings, tailored to the group’s tastes and interests. So, whether you’re celebrating a birthday or deepening your palate, these tastings make the world of wine approachable and start an exploration guided by passion rather than pretension. While Old Chapel Cellars might be rooted in tradition; it’s about innovation too. One of their most forward-thinking areas is their range of keg and canned wines; an idea that may surprise traditionalists but makes perfect sense in a changing world.
“We’re big advocates for alternative wine formats due to their lower impact on the environment,” explains Jamie. “That’s why we’ve dedicated part of our shop to them. We work with brilliant producers like The Copper Crew and The Uncommon, who specialise exclusively in high-quality wine in cans and kegs.”
These formats offer both sustainable and practical benefits. They’re portable, perfectly portioned and ideal for life on the move, whether that’s at the beach, a festival or on the train. For a Cornish
summer spent between sea and sand, it’s a match made in heaven.
For all its warmth and friendliness, Old Chapel Cellars is also leading the way in responsible business. “Sustainability is at the heart of everything we do,” Jamie tells me. s the first orp certified wine merchant in the UK, we’re committed to running our business responsibly, for both people and planet,” and for them, certification isn’t just a badge, it’s a daily practice. Every online order is packed in fully recyclable materials, local deliveries are made using recycled wine boxes and the business tracks its miles, waste and carbon footprint every month. “We’re always looking for ways to reduce our impact wherever possible,” Jamie notes. “We believe in balancing purpose with profit. It’s about being a force for good in the world, not just a successful business.
ranked 9th in the Harpers Top 50 UK Drinks Wholesalers, which was a huge honour.” The team works closely with chefs, sommeliers and hospitality venues, offering next day delivery, staff training and ongoing support.
Their list of clients reads like a who’s who of Cornish dining: The Headland Hotel, St Michaels Hotel, Nancarrow Farm, riftwood Spars and aul insworth’s No.6, among others. “They’re all venues that share our passion for great food, great wine and genuine hospitality,” says ouisa. It’s wonderful to collaborate with people who care about the same things we do.”
In many ways, their approach mirrors the small producers they champion; businesses built on care, craftsmanship and continuity rather than excess or speed. It’s this alignment of values, from vineyard to counter, that sets Old Chapel Cellars apart.
eyond the shopfront, ld hapel ellars is a key player in Cornwall’s thriving food scene. Their wholesale arm supplies many of the county’s most respected restaurants and hotels which is a mark of both trust and taste. “We’re incredibly proud of our wholesale side,” shares Co-Owner Louisa Fitzpatrick. “We were recently
At its heart, Old Chapel Cellars is a business built on relationships with growers, customers and the community it serves. It’s this blend of passion and purpose that has turned a modest Truro wine shop into one of Cornwall’s most admired small enterprises. There’s an authenticity here that’s increasingly rare. erhaps it’s the way every bottle tells a human story; or the easy warmth of the staff who treat every visitor as a friend. erhaps it’s the understanding that wine, in the end, is about a connection between soil and sun, maker and drinker, one conversation and the next. Whatever it is, Old Chapel Cellars has found that sweet spot where tradition meets innovation and good taste meets good conscience, one pour at a time.
oldchapelcellars.co.uk
WORDS BY HANNAH TAPPING
Reshaping what it means to arrive, orsch tr t r is r i luxury as time well spent.
Luxury has always been a mirror to its moment. Once, it was about polish and prestige, chrome and command, a vision of the world as something to be conquered. Today, the meaning of lu ury has softened, widened, slowed. It’s no longer simply about ownership but about experience; not just possession, but presence. In a culture where time is both rare and restless, the most precious thing a brand can offer is not an ob ect, but a moment that feels entirely one’s own.
It’s this idea, of time as the ultimate luxury, that is at the heart of the new Destination Porsche Centre in Exeter. Conceived as a sanctuary rather than a showroom, it is a space where the transactional yields to the tactile, where conversation takes precedence over salesmanship and where every detail has been designed to encourage curiosity and connection.
“We’ve moved away from having traditional waiting areas and now have customer lounges,” explains Centre Principal Gareth Thomas. “People can come and have a coffee. They can charge their car, meet friends, even work from the centre. They are invited to use it to suit them.”
That phrase – to suit them – encapsulates everything about Porsche’s reimagined philosophy. This is no longer simply a glass-andsteel temple to horsepower, but an experience attuned to contemporary life. The Exeter centre feels more like a boutique hotel or a uietly confident restaurant than a car dealership. The lines are softer, the materials more organic, with wood and fabric where once there was chrome and leather. The scent of coffee replaces the tang of polish. “It’s about making it more relaxed,” Gareth says, “but still luxurious and professional.”
Gone, too, is a static grid of tightly packed vehicles. Instead, each car is given space to breathe, carefully positioned through the interior as part of the flow of the room. As if a nod to Porsche’s roots in motorsport, a ‘racing line’ guides customers through the Centre, “The cars complement the environment,” Gareth continues, “and we’ll never have more than eleven on the showroom floor at any one time.
n an age where the digital e perience often eclipses the physical, this move towards atmosphere and tactility feels a little radical. The space invites you to linger, not as a consumer, but as a guest. Here, Porsche has distilled the art of hospitality into a new kind of commerce: one that recognises that the most meaningful encounters often happen over coffee, not across a desk. There are lounges where customers are invited to sit down and chat over a coffee or a bite to eat. t is, uite literally, a conversation piece.
shift from transaction to transformation is mirrored in the way Porsche now sells its cars. “It’s a lot more consultative,” Gareth explains. “When you’re buying a Porsche, there are so many different specifications, colours, combinations, you really do need to spend time getting it right.”
n a glass fronted fitting lounge, this philosophy takes form. There, customers can run their hands across swatches of leather, examine paint samples under different light and e perience a visual walk-through of their chosen model; day to night, doors open to closed, every stitch visible. The experience is immersive and utterly personal.
Time, though, remains the constant. “It could take numerous visits, or it could be done in forty five minutes, areth admits. “It really depends on the customer. We have to spend the amount of time that’s right for each individual. This fle ibility marks a profound departure from the rigid sales systems of the past. Gone are the uniform scripts and stopwatch service models. “The motor trade used to have a very rigid sales process,” adds Gareth. “What we do here, turns that on its head. You’ve got to spend the time the customer needs rather than what is dictated.”
In truth, with the accessibility of information on the web, many Porsche buyers now arrive knowing almost everything about the car before they step through the doors as Gareth acknowledges: “When they come in, they may have already built the car online, but still want to have that personal connection when placing their order.” It’s a telling distinction. In a world of algorithms and instant purchases, that what’s valuable is not the click but the conversation and the reassurance that someone understands why you’ve made your choices, not just what you’ve chosen.
The result is an experience that unfolds like a story and one that continues long after the sale is complete. f you are really able get to know your customers,” says areth, it benefits the whole orsche journey for both parties.” Handover – a word that, in most industries, implies a brief, perfunctory e change is redefined at Porsche Exeter becoming almost a moment of theatre. “We’ve got two huge handover bays and they are the biggest I’ve ever seen in all my time in the motor
trade,” says Gareth. The practicalities –paperwork, compliance, signatures – are often handled remotely, freeing the space for something more celebratory. “It’s about tailoring that handover experience to the customer,” he adds, “and we are able to make it bespoke to why they’ve bought the car.”
It’s a reminder that, for many, a Porsche isn’t just a purchase; it’s a milestone and often a long awaited dream. hether it’s a new Porsche owner or someone who’s had multiple cars over many years, you must treat each handover like it’s the very first one,” says Gareth, “and that takes knowing your customer.”
Two dedicated Porsche Pros guide each buyer through the technology at the handover, offering a masterclass two weeks later to revisit details once the excitement has settled. It’s another example of a human antidote to the complexity of modern engineering; time given, not taken. And for those watching on – partners, children, friends there’s coffee, food and space to share the moment. “People forget that children are our future customers,” he smiles. “I’ve been in the industry long enough to have sold to parents and now to their grown-up children. They remember being here, watching the handovers. That’s the connection we strive for.”
Community, it turns out, is the engine behind the new centre. It powers not just sales, but belonging. “We want to make sure that the relationship doesn’t end when our customers leave the door,” says Gareth. From dinners to yacht days, golf sessions to bespoke experiences, the Porsche calendar
is rich with invitations to connect, both with the brand and other owners. The approach is refreshingly inclusive. “There are no barriers,” Gareth insists. “Existing customers are more than welcome, but so are all future ones. We want people to come and visit and they’ll always be made to feel welcome.”
Already, the centre has opened its doors to everyone from business groups to yoga instructors, wanting people to use the centre as their own space. And crucially, they mean it. When a group of local budding teenage photogrpahers recently walked in, cameras in hand, they were greeted not as interlopers, but as welcome guests. “They were excited to photograph the cars,” recalls Gareth. “We treated them with respect and, in turn, they treated the cars with respect. Everybody’s welcome. It’s luxury, but it’s not exclusive.”
There’s something beautifully circular about this ethos. A brand long associated with precision and performance rediscovering the poetry of presence. To spend time at the new Porsche Centre Exeter is to witness a recalibration of luxury itself. In the end, it isn’t about the cars… not really. It’s about what they represent: the freedom to move, the pleasure of design, the art of attention. The cars are still there, of course, gleaming, elegant, unmistakably Porsche. However, they are no longer the whole story. The other narrative is the one that unfolds in the soft light of the lounge, in the conversation over coffee, in the smile of a young visitor allowed to dream. It’s the sound of engines as heartbeats; steady, familiar, human.
porscheexeter.co.uk
WORDS BY JAMIE CROCKER
A relaxed, Nordic-inspired dining space bringing re ne seasonal plates to r ral ornwall
Chef Paul Welbern speaks with an unyielding yet humble, passion about what he does and the creations he brings to life. A Yorkshireman by birth, his unpretentious manner calls to mind some of that county’s other favourite sons – albeit without the peevish guile of an opening batsman or a football pundit’s gruffness. This passion for food was kindled as he grew up in Scarborough, where he delighted in seeing people’s reactions to his early, humble culinary creations. It was here that his journey began, being guided on his forward passage by the likes of Andrew Pern at the Star Inn at Harome and the spiky-haired and much-missed TV chef Gary Rhodes, before eventually ending up via a conjunction of personal necessity and opportunity in Cornwall.
Oaks, the creator of the building that houses the restaurant itself – Paul was more than willing to enthuse about his new venture.
What’s the core concept behind Fern – how do you want people to “feel” when they walk in?
Tracking him down at Fern, Nanstallon, near Bodmin – a joint undertaking with Steve
Fern is designed to be an ever-evolving space with a cool, almost Nordic feel. Set on the edge of Nanstallon, beside the passing steam train and seated on Pendewey Farm, it offers a rela ed yet refined rural escape. The menu of small and larger plates shifts with the seasons, guided by what local suppliers have to offer and, quite simply, by what tastes best. Fern is a place to unwind and en oy refined, not fine, dining – where dishes arrive when they’re ready, to share or savoured individually, and where you set the pace, stopping when you feel truly nourished.
How has your prior experience (Oxford
How has your prior experience (Oxford Kitchen, Rhodes W1, Cygnet) shaped what you’re attempting at Fern?
I think all the places that I have worked in before have influenced my plans for ern, but for me, moving to Cornwall for family reasons this time was a key factor. was looking for a fresh, blank canvas where could bring my food vision to life. ow, with ern, the team and are e cited to create a fresh, cool venue, offering both drinks and food in an area of Cornwall that currently doesn’t have anything similar.
What dishes or ingredients are nonnegotiable for Fern’s menu – what must always be present?
think the only non negotiable is that every dish has to be ust damn tasty. ngredients and techni ues will evolve as new dishes are added and favourites return, but don’t want the menu to feel fi ed or constrained. want first time diners to en oy whatever we create, while regulars can always discover something new maybe not across the whole menu, but enough tweaks to keep things e citing. Camel alley sparkling wine will always be on offer, given how close they are hopefully, visitors to their vineyard might come down and try ern too. That would be a wonderful partnership.
How did you settle on Nanstallon as the location – it’s not Oxfordshire, London or the Home Counties! It can feel quite isolated. Are you hoping to pull your diners from the golden enclave that is Padstow and Rock?
didn’t e actly choose the site got wind that something was happening here after moved to odmin, but when the opportunity arose, met with the owner to
see how it compared with what was already in the vicinity. That’s when we realised, because of its location, that we were plugging a hole in the culinary landscape, freeing us of the necessity to compete with the coastal restaurants. n fact, have to say, the moment walked in, knew it was the perfect venue to create my food and build a great team.
hope to make anstallon a new foodie destination that complements Cornwall’s incredible food scene a stopping point for both tourists and locals, whether they’re heading down or coming back up the county. e’re not on the coast, so we’re not tied to hyper seasonal trends, which gives us the freedom to develop the site and take it to where truly believe it can go.
What’s the philosophy behind the building/design/architecture, especially of that glass-walled dining space?
think the building has a distinctly candinavian feel like a serene, holistic retreat in Cornwall love it. The full height glass windows frame stunning summer views, and in winter, let you witness the elemental forces at work from a cosy space. The building’s philosophy and aesthetic perfectly mirror our rela ed, natural, and ever evolving approach to the food and drink we want to serve. t’s the perfect building.
What do you see as the biggest operational challenges – especially in a rural Cornish setting with seasonal fluctuations?
think all hospitality venues are facing challenges in these tough times, be it in Cornwall or up country. ut we have to keep positive. or sure, the seasonal changes will give us headaches, but we have
plans to pivot and add offerings once we realise business re uirements. hope that with being new, we can navigate this winter and then look at the business again before ne t year.
How are you approaching staffing and team culture? How do you plan to retain talent in this setting?
e are building a team who share our vision, and we are committed to ensuring they continue to do so as we evolve. eeping everyone informed about developments and menu changes is key. perating four days a week helps maintain a healthy balance for the team. aturally, the business must remain viable, so staff retention is crucial looking after our team gives us the best chance to create a sustainable and successful business model.
To what extent will local Cornish producers be featured, and how do you balance ambition with supply constraints?
lthough ’m still getting to know all the suppliers in the area, aim to use Cornish producers wherever possible. uilding trust is key, so, like the site itself, this approach will evolve. t the moment, ’m working with a few trusted ones from outside the region as well as from the outh est, but my goal is to gradually e pand and incorporate more local producers as we grow.
Do you plan to experiment with guest chefs, special events, pop-ups, or shifts in menu format over time?
es have plans to introduce a different menu format on undays alongside our
small plates offer not a traditional roast, but something that offers both great value and interest. e have already discussed wine events for ne t year, and hope to plan some guest chef four hands dinners special culinary events where two chefs collaborate to create a uni ue, limited time menu, often blending their individual styles .
e hope to persuade both local chefs and those from further afield to take part. ut for now, our focus is on building our reputation with the team we have here.
Where do you see Fern in three to five years – what would success look like to you (in terms of reputation, community role, accolades)?
ow, well, first and foremost, the industry as a whole needs more support to make business longevity realistic for everyone. or me, success would be a busy, popular restaurant with a loyal regular customer base for our owner, teve, a local venue that appeals across all demographics.
hope for a consistent, committed team building a strong reputation and helping make anstallon another Cornish foodie destination, alongside others in the county. s for accolades, ’m not focused on chasing them all can say is that if we, as a team, create a consistent and well loved restaurant, the future will take care of itself. ’ve been fortunate to achieve accolades before in London and ford, but still hope we can share that success together here in Cornwall let’s see. bove all, hope ern brings great success to everyone involved.
ferncornwall.co.uk
nature inspired interior of soft tones and clean design complements refined plates
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A memorable dining experience awaits
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WORDS BY JAMIE CROCKER
wetsuit rand uilt on rst- and experience, eld-testing and female insig t.
When Jenna Goldsack talks about wetsuits, she speaks plainly, drawing on years of cold-water dives, heatstruck fashion shoots, skin flare ups, long haul flights and hard won lessons about the limits of both neoprene and patience. Fulmar, her Cornwall-rooted wetsuit brand, began not with a business plan, but with a rash.
I’ve always suffered from eczema,” she explains. “Every time I rented a wetsuit on a dive trip, I’d come up in hives.” That recurring problem, itchy, inflamed skin after just an hour underwater, prompted her to explore the materials being used. She found that standard neoprene, derived from petroleum, didn’t suit her. “I bought one made from limestone-based neoprene instead and had no reaction,” she says. “It was softer, more flexible and way more durable.”
decade in the fashion industry, a career she still maintains, fitting in modelling assignments around her growing business. But the draw of the sea and the disconnect she felt between glossy shoots and meaningful work left her wanting to build something of her own.
ulmar, named after the fishing boat her father once owned, reflects that shift in direction. She grew up on the Cornish coast, in Cadgwith, “right on the beach until I was about five,” she recalls. “I’d either go out on the boats with Dad or watch the other fishermen heading out and coming back. I wasn’t scared of the sea like a lot of people, it just felt normal.”
That discovery planted the seed. At the time, Jenna had already spent over a
fter taking up diving around six years ago, Jenna also became an ambassador for the Sea Life Trust, working with the team behind the world’s first beluga whale sanctuary in Iceland. “They were rescuing two whales from captivity in China,” she says. “I went over there and wrote about
it for Vogue. But I didn’t want to just post about it on Instagram and feel like that was enough. I wanted to be more involved.” Fulmar now donates a share of profits to the Trust.
The business started with two products: a long wetsuit tailored to cooler waters like Cornwall’s, and a two-millimetre spring suit, better suited to milder climates or shorter swims. friend went surfing for four hours in the long one and came out saying she was still warm,” says Jenna. That’s when I knew I’d got it right.”
She kept the initial run small. “I didn’t want to mass produce anything or end up with stock sitting in boxes,” she says. So, I started with just two colours, a rich blue and a soft brown and produced only what I knew I could store and ship.” That storage, as it turns out, is in a shipping container
on her parents’ land in Cornwall. “My dad had bought it as a home gym, and although I had planned to run my business from the US as I spend a lot of time there with my modelling work, when S tariffs changed I messaged him saying I might need it instead!”
Although Fulmar’s wetsuits are made in hina, enna is clear about the reasons. There’s still this stigma about hinese manufacturing,” she says, but I’ve had a brilliant experience. The factory already makes wetsuits for other brands, and they were recommended by the supplier who makes the limestone neoprene.” She keeps all stock in ornwall and sends out orders with help from her parents. “It’s become a bit of a family thing and means I go home a lot more than I used to – I’ve been back three times this month already.” unctionality is central to ulmar’s appeal,
not just in terms of thermal performance. Jenna has rethought design details that are usually treated as afterthoughts. The full length wetsuit includes a back ip because I have tight shoulders and hate the constriction of over the head design” , reinforced knee pads, and a secure internal key loop. The cut is intentionally shaped for women, with a nipped in waist and generous chest area. “Most wetsuits are designed for men,” she says. That’s why they feel frumpy and we often end up with all this extra material.”
The material itself plays a significant role. Limestone neoprene isn’t without environmental costs uarrying still carries a footprint but it does offer advantages over petroleum-based alternatives. “I never want to say it’s sustainable,” says Jenna. “You’re still making something in a factory. ut it lasts a lot longer than regular wetsuits, so you’re not replacing them every year. That makes a difference.” ulmar suits also use recycled yarn in the outer layer for colour and texture and excess material is turned into accessories. We had some leftover fabric from the long suits, so I made headbands. Great for diving, or running, or just keeping hair out of your eyes.”
The longer term aim is to expand ulmar’s product offering while sticking to small batch principles. I’d love to do a beach bag from old suits,” says Jenna, “or a wet bag for swimsuits. I’m also researching ulex, a plant-based neoprene alternative.” urrently working on achieving the perfect stretch and feel, there are designs in the works for next year. I’ll likely trial the ulex as a sleeveless suit, maybe something for warmer waters, and
am excited for the feedback once the prototypes are launched.”
eedback is key. enna listens closely to the women buying her suits. “I didn’t know which si es would be most popular, so I launched with limited range.” The suits run from si es to at launch, but she’s mindful of stretch. I’m usually an , but I can wear a , so the is more of a . They’re very forgiving and the subse uent fit is nice and tight, as a wetsuit should be.”
That attention to detail stems partly from her background in fashion. I’ve seen how much gets pinned behind the scenes,” she says. “I didn’t study design, but I’ve worn enough clothes and wetsuits to know what feels good and what doesn’t.” Her handson approach has shaped every part of the brand, from sketches to final stitching. I was my own fit model. I changed the arm seams three times because they felt too tight when I moved.”
ulmar is also unashamedly focused on women and unapologetic about it. Some men have asked why I don’t make suits for them,” enna says. The surf industry is still male-dominated and I just don’t feel that there are enough women specific options.” er goal is simple: to give female surfers, swimmers and divers kit that fits properly and performs under pressure.
s the brand grows, that principle won’t change. I don’t want to make thousands of wetsuits. I want to make ones that people buy and keep,” she says. “It’s not about chasing scale. It’s about making something that lasts.”
fulmarworld.com
A landmark Truro residence where classic elegance meets modern living.
Trevint House represents one of Truro’s most distinguished private residences, combining timeless period architecture with contemporary sophistication. Set discreetly behind mature trees and a gated entrance, it offers privacy ust moments from the city’s cathedral, schools, and cultural heart.
nside, light filled reception rooms showcase fine detailing, high ceilings, and modern enhancements, from integrated sound systems to underfloor heating throughout. The bespoke inge kitchen, crafted with precision and equipped with premium Miele and Siemens appliances, forms the centrepiece of the home – a space where design and functionality align perfectly. Accommodation includes a luxurious principal suite overlooking landscaped gardens, si additional bedrooms, and fle ible areas for work or leisure. eyond the main house, a detached anne e and a remarkable subterranean living space add versatility and intrigue, while manicured gardens, terraces, and secure parking complete this rare offering.
TREVINT HOUSE Guide price: £2.75M
JACKSON-STOPS 01872 261160
cornwall@jackson-stops.co.uk
jackson-stops.co.uk
Architect-designed residence off ri u ur com i ith mo r mi pr r uisit s.
In the prestigious village of Feock, just outside Truro, Grosse Point presents an extraordinary architect-designed home of striking contemporary design. Built to exacting standards, it combines high specification with intelligent planning, offering four double bedrooms including a luxurious principal suite and four bathrooms finished with illeroy och sanitary ware. The light filled living space, olte kitchen with Miele appliances, and integrated Sonos system set the tone for modern convenience, complemented by underfloor heating and Ted Todd oak flooring. versatile self contained o ce and games room with independent access adds fle ibility for working or entertaining.
E ternally, the property e cels with an outdoor kitchen, pizza oven, hot tub and beautifully landscaped gardens extending to half an acre. ith an integral double garage, energy e cient features and enduring architectural details, this is a rare opportunity in one of Cornwall’s most desirable locations.
GROSSE POINT Guide price: £1.75M
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Historic Port Isaac home with chapel, gardens and harbour proximity.
Tucked away at the far end of Middle Street, Roseleat is one of Port Isaac’s most characterful homes, offering the rare chance to own a piece of village history. This detached, three-bedroom stone house, dating from the mid s, stands within . acres of secluded valley gardens bordered by a leat. nside, the ground floor features a welcoming sitting room with log burner, a separate dining room and a traditional galley kitchen opening onto the garden, while upstairs offers three comfortable bedrooms and a family bathroom.
Behind the main house lie the remains of the original esleyan Chapel, part of which has been retained as a garage and workshop with parking to the front. The rest forms a walled garden, pond and terrace, leading up to a summerhouse, orchard and greenhouse, each with far reaching views across the village. ess than yards from the harbour yet remarkably private, Roseleat combines heritage, space and tran uillity in one of Cornwall’s most sought after seaside settings.
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Fresh from a considered overhaul by St Austell Brewery, the coastal landmark that is Pedn Olva reclaims its mantle.
Standing above the water overlooking Porthminster Beach in St Ives, it has been part of the harbour aspect since 1911. No stranger to change, this ‘lookout on the headland’ has evolved to meet the expectations of perspicacious travellers through the decades. And as such, its latest transformation is just part of the process. But let us pause for a moment in contemplation and assess the latest metamorphosis through the eyes of St Austell Brewery’s Estate Operations Director, Gareth James.
Can you tell us the history of Pedn Olva and how it became part of the St Austell Brewery family?
focused on enhancing and preserving our venues. Overlooking the stunning St Ives coastline, this iconic pub has been thoughtfully renovated to celebrate its incredible setting, blending striking design with unbeatable sea views. Built on the site of a former engine house that once served the nearby copper mine at Pedn Olva Point, the pub’s refreshed look takes inspiration from its rich industrial heritage and distinctive coastal character.
How does the building’s location –perched on the rocks between Porthminster Beach and the harbour – shape its identity?
The Pedn Olva, part of our managed estate for the past 25 years, is one of our latest CAPEX projects – a major investment
The Pedn Olva’s location is iconic. The pub now features a reconfigured layout, expansive terraces, and a reimagined interior design inspired by its mining roots and coastal surroundings.
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Where ocean views and comfort converge
Built on the site of a former engine house for the nearby copper mine at Pedn Olva Point, inspiration from the location’s rich history ows through the pub’s new look. A striking granite feature rises from the new lobby, complemented by a sculptural staircase and expansive glazing that frames uninterrupted views across the bay.
At the heart of this pub-with-rooms is a new 10-metre bar, crowned by a bespoke copper sculpture by local artist Shelley Anderson, paying homage to the site’s industrial past. The reconfigured layout also includes new snug areas, a spacious dining room, and enhanced outdoor terraces – including a rooftop deck – perfect for soaking up the panoramic sea views. Bi-fold doors replace exterior walls, opening onto an expansive raised terrace overlooking Porthminster Beach.
Natural materials, including granite, wood, and copper, have been used throughout, while turquoise tiling and custom carpets evoke the textures and colours of the Cornish coastline. As a venue rooted in a town synonymous with art, the interiors showcase more than 25 pieces of original, commissioned and bespoke fine art, sculpture and stained glass, many by Cornish artists and sourced from local galleries – along with originals from renowned St Ives painters, including William Black and Victor Bramley.
In what ways does Pedn Olva reflect St Austell Brewery’s heritage as an independent, family-owned business?
Although the pub has been transformed, it offers a nod to the brewery’s past, heritage and people – from regal portraits of key figures like founder Walter icks and ester Parnell Walter’s daughter in the entrance lobby, to references to our beer brands accompanied by historical artefacts that adorn the walls.
How would you describe the atmosphere and experience for a first-time visitor from out of the county?
The experience feels like a breath of fresh air – quite literally. It’s a gentle shift from the fast-paced rhythm of the city to something altogether more serene. Think calm coastal mornings, the scent of sea salt in the air, and sea views that stretch for miles. The atmosphere is restorative and quietly lu urious, offering comfort and charm. Interiors are warm and welcoming, with thoughtful touches that make you feel instantly at ease, from locally sourced food and drink to cosy corners perfect for unwinding.
What is unique about Pedn Olva that distinguishes it from other coastal hotels in Cornwall?
The Pedn Olva offers a true coastal escape, shaped by its dramatic cliffside setting and design that celebrates it. Built into the rocks above Porthminster Beach, the hotel feels part of the landscape, with sweeping sea views from nearly every room. Inside, soft tones, weathered te tures, and natural materials like granite, wood, and copper
re ect both the coastline and the site’s mining heritage. Each of the rooms has been thoughtfully refurbished to frame the ocean, with small touches – from binoculars for seal-spotting to cosy corners for unwinding – encouraging guests to slow down and savour the view.
As a St Austell Brewery pub, the Pedn Olva pairs genuine hospitality with award-winning beers and locally sourced dishes. Recently named Best Brewing Pub Company at the Publican Awards, we’re proud to offer memorable e periences – whether it’s a rela ed postwalk pint, a special celebration, or a weekend escape by the sea.
Could you talk us through the guest journey, from checkin to waking up with sea views?
Filberts nuts, and Burts crisps. There’s a copy of the St Austell Brewery maga ine, The ocal, an OS map for e ploring, and a pre-stamped postcard to send home. E tra touches include Elemis pillow spray, Cornwall-based and Water toiletries, and complimentary Cornish biscuits. Some rooms also come with swimming robes for those bracing seawater dips.
Evenings are unhurried. Guests can en oy fresh seafood in the restaurant or linger on the terrace with a sprit in hand. Blankets, heaters, and soft lighting make it easy to stay out and watch the sun go down. At night, the sound of the sea becomes a gentle backdrop. A nightcap from the mini-fridge and a sprit of pillow spray set the tone for a restful sleep.
The welcome is warm and rela ed staff are on hand to offer local tips, and you’re shown to your room with everything you need to settle in.
Each room has a sea view, some with private balconies, providing a secluded spot to en oy from sunrise to sunset as you please. Inside, thoughtful touches make the stay feel personal a complimentary can of korev lager and a fully stocked mini-fridge with local treats like ernow chocolate,
In the morning, the view shifts again – fishing boats, paddleboarders, and the famed changing light St Ives is renowned for. Guests can start the day with coffee from their inroom machine before heading down to breakfast, served overlooking the water. Options include a full Cornish breakfast, fresh fruit, pastries, and fresh coffee. For those who fancy a swim, ust grab your robe and tote bag from your room before heading out. ate check-out is available where possible, and guests can leave bags at reception to e plore a little longer.
How does the restaurant menu champion local produce and Cornish suppliers?
We’re passionate about using South Westgrown, reared and landed produce and we build deep relationships with those who produce that food. We support partners who honour sustainability and employ and train e pert chefs to create high-quality, beautiful dishes.
From the Tenderstem of Castle Dean in St Columb to hand-picked rhubarb from the fields of Fo Farm in Pen ance, every ingredient we use is selected for its quality and freshness. It’s food you can feel good about – fresh from the field and straight to your fork.
Think grass-fed beef reared on Cornish farms, supplied to us by Brian Etherington, or clotted cream with e tra oo e from our partners at Trewithen Dairy.
We champion local – which means shorter supply chains and lower food miles. Our food is full of avour and prepared with care. Sourced from the waters surrounding our home in the South West, and through trusted suppliers like Mathew Stevens, based ust a stone’s throw from the pub in St Ives, we ensure the seafood we use is sustainably caught.
Whether it’s fresh crab or day-boat sea bass, our seafood-inspired menus re ect the quality and character of our coastal heritage.
Which St Austell Brewery beers, wines, or spirits are featured, and how are they paired with the food o erin
Our seasonal menus are designed to complement our award-winning drinks. The Gem-battered fish chips features batter made with our Gem amber ale, adding rich, malty depth to the crisp coating. Our Proper Job pies, filled with bold avours, pair naturally with Proper Job IPA, a punchy, citrus-forward beer that stands up to robust fillings.
The Mena Dhu Tiramisu offers a Cornish twist on the Italian classic, infused with our Mena Dhu stout to bring velvety chocolate and coffee notes that balance the dessert’s richness. We also offer e periences throughout the year that re ect the season and local provenance.
How do you see the pub evolving while staying true to its character?
This has been captured in Pedn Olva’s new look its transformation now fully realises the pub’s impeccable location, its Cornish mining roots with hints of copper and turquoise throughout, and highlights St Ives’ important artistic links, showcasing art and sculpture.
The Pedn Olva was already a landmark destination and one of our most iconic pubs with rooms, and with its sensitive and considered renovation, it will serve guests and locals for years to come.
pednolva.co.uk
WORDS BY HANNAH TAPPING
Where elegant, timeless design eets artisan crafts anship an en iron ental respect
When ucy Macnamara first stumbled upon a pair of beaded enyan sandals on holiday in South Africa, she had little inkling that they would spark the beginnings of a brand that now defines conscious fashion for women who care as much about where their clothes come from as how they look.
I found a lodge one day selling enyan sandals and thought, aren’t these beautiful she recalls.
I tried them on and thought that they would be well received in the . That simple spark set ucy on a path that would blend style with purpose and ethics long before sustainability became a bu word. At the time, she was working for
a charity connected to the Prince’s Trust, a role that had shaped her values and her belief in doing business that creates positive impact beyond the product. From working for the charity for years, I always wanted to give back. It wasn’t solely about making profits. I wanted sustainability written into our DNA, ucy tells me.
That ethos remains at the heart of Aspiga, the ethical fashion brand ucy founded in , built initially on the craftsmanship of enyan artisans. It began, quite literally, from the boot of her car. I started selling at different events and in the office, she says with a smile. At the end of the summer, I bought of these sandals and by September I only had pairs left
Within a year, she was exhibiting at Top Drawer in London and landing Aspiga products in 40 stores, including Fenwick on Bond Street. “I carried on working while my sister sent orders out from her house. It got to the point that my father said, I think this is going to kill you trying to do both jobs, I think your business has got legs. So I left the charity and worked full-time on Aspiga.”
From that point on, Aspiga grew with quiet determination and a clear sense of purpose. The company was self-funded and remains so: “I’ve done it all on my own, with one small step at a time,” Lucy says. The foundations were strong; what began with beaded sandals and belts evolved into full collections of beachwear, clothing and accessories that now fill Aspiga’s nine stores and a thriving online platform.
Aspiga clothing is instantly recognisable: colourful yet classic, rela ed yet refined and always made with fabrics that feel as good as they look. “The thing I love most about Aspiga is seeing three generations wearing it,” Lucy says. “One of our models was in Barbados with her mum and grandmother –all three were wearing Aspiga. That’s what I love: daughters, mothers, and grandmothers, all finding something that suits them.
That intergenerational appeal is no accident. ucy’s designs combine attering silhouettes, thoughtful details and natural fabrics. “We might not be the cheapest beachwear, but our clothes last,” she explains. “All our suppliers in India know how important quality control is for us. The checks they go through for us, they don’t do for other companies.”
While summer remains Aspiga’s natural season — with airy cottons, embroidered dresses and hand-beaded details that evoke barefoot days by the sea — the brand’s winter collection has quietly established its own loyal following. “People are often surprised by our autumn–winter range,” Lucy admits. “But the stretch corduroy dresses and suits are really beautiful on most people. They’re comfortable, figureattering, and unique. Some customers only buy our winter clothes!”
In fact, it’s this collection that has caught the attention of the fashion press. “Anna Murphy and Lisa Armstrong both love our winter suits and dresses,” Lucy says with delight. “They’ve got stretch in the cord, which makes them so attering. I wear them on repeat.”
Her personal wardrobe, she laughs, “is fully made up of Aspiga – for obvious reasons.” Her favourites include the brand’s classic Vienna white shirt and merino wool polo necks. “I’m a real fan of knitwear. Our merino and cashmere blends are beautiful and if looked after will last a lifetime.
For Lucy, style and ethics have always been intertwined. Aspiga became one of the ’s early B Corp certified fashion brands, formally recognising its commitment to social and environmental responsibility. et maintaining that certification hasn’t been easy in today’s retail climate. “It’s a tough environment out there,” she admits. “Three of my competitors have gone under in the last six months, but for me there’s no compromise. I have to stay true to my values, which I believe is at the heart of our success. B Corp certification requires brands to continually improve their impact, something Lucy sees as both a challenge and a strength. We couldn’t be recertified and come back with a lower score. So we came in seven points higher, which I’m delighted about. But it takes time and money – we had a full-time person working on it. It’s an added pressure, but it’s important.”
That integrity extends to every part of the supply chain. Aspiga’s partnerships in India and Kenya are grounded in respect for craftsmanship and community. We’ve just been to India and the wonderful block print story there is magical,” Lucy says. “The artisans learn to carve the blocks and print by hand, skills passed down through
generations. People don’t realise the work that goes into block prints – each colour has a new hand block carved, and each block takes a week. That’s six weeks just for one print before you even start printing.”
She pauses. Even our staff can’t always tell if something’s block printed or not – people can replicate the look, but not the feel or spirit behind it. That’s why we need to tell our story more.” The same meticulous care is evident in the brand’s beaded accessories. “Our hand-beaded belts and dog collars can take a day to make,” she explains. “They’re not made in factories, these are people sitting there doing this work by hand, bead by bead. When you see them work, it’s incredible.”
Cornwall, too, has become part of Aspiga’s story. “It was during lockdown that everyone was ooding down to Cornwall, Lucy remembers. “A friend told me about a shop in St Mawes, owned by the wonderful Hotel Tresanton, that was empty. We spoke to them, and they kindly leased it to us. We did so well that first day as everyone was holidaying there instead of abroad. A lot of our customers holiday in Cornwall, so it was an appropriate place. And I personally love it myself. When business is really tough, you’ve got to choose places you like going to,” she says, laughing.
For Lucy, the connection between Aspiga’s breezy, sun-drenched designs and the laidback Cornish lifestyle is seamless. “The summer collections really align, embracing
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looking lovely but being comfortable. Something you can walk on the beach in.”
In an age of fast fashion, Lucy’s belief in craftsmanship and longevity feels refreshing. Aspiga’s clothes are designed for longevity both in quality and in spirit.
“When you buy something handmade, organic, and made with love, it means something,” Lucy says. “It’s not gone through a machine. It has an inner depth.”
The human connection between maker, wearer and planet is what makes Aspiga special. “The artisans are the bit I love most, ucy re ects. Seeing the work they do, the care, the patience… that’s what our customers love too. Hopefully we can convey just a few of those stories when people buy them.” As Aspiga continues to grow, Lucy’s focus remains unchanged:
to create beautiful, sustainable fashion that gives back to the world it draws inspiration from. “We’ve always done it one step at a time,” she says. “There’s no investor money, no big corporate push, just belief in doing things the right way.” Perhaps that’s why Aspiga feels so authentic. It’s an independent brand that has stayed true to its roots, from Kenyan beads to Cornish shores. In Lucy’s words: “It’s about creating something timeless, pieces that last, that make you feel good, and that do good too.”
Aspiga has two Cornish stores, a pop-up at St Moritz Hotel, Trebetherick, PL27 6SD and Aspiga (previously Onda), St Mawes, TR2 5DQ, open Monday to Saturday 10am to 5pm.
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Richard Holliday’s sculptures reveal a purity of orm com i ith t i i .
Now living in Cornwall, Richard Holliday’s early working years were spent as an architectural stonemason apprentice in Cambridge, where he worked on many prestigious buildings including Ely Cathedral, King’s College Chapel and Westminster Abbey. fter more than a decade working with historical architecture he ventured into the world of public art.
“I feel that my background in architecture and experience in public art has enabled me to tackle both large-scale projects and smaller detailed studio work,” says Richard. “I enjoy the whole process of producing something in stone from the quarry to the gallery, house or garden but appreciate and execute, above all, longlearned traditional skills. efining my work entails a thorough understanding of technique and proportion that cuts across
all sub ect matter. t is a very different discipline designing from a brief with close contact with client to realising your own unique speculative ideas. There are different pressures and dynamics to both scenarios; both of which I embrace.”
Richard has been involved in many large projects which notably include; the artworks in Victoria Square Birmingham; the he eld eace Gardens; Boots the Chemist’s millennial garden at its Beeston headquarters; as well as being lead sculptor in the construction and carving of The Animals In War Memorial on ark ane. ichard’s venerable career doesn’t end there; he was also a long-term collaborator with the poet, writer, visual artist and gardener, Ian Hamilton Finlay, both at his artist’s garden ittle parta near Edinburgh as well as producing
and installing many artworks at Jupiter Artland and in France and Germany.
Working predominantly in Carrara marble and British limestones,Richard’s work is varied and very little escapes examination as a possible subject, as he explains: “I enjoy heavy stylisation and abstraction. The shapes and forms of fish and birds lend themselves to this very well. On a larger scale, my work designed for intimate external spaces gives away my background in architecture and displays a deep understanding of form and structure.”
Richard fully appreciates the high level of skill, observation and devotion required in producing realism and as an architectural sculptor, actually spent a long time within that discipline himself: “Hence, I now tend to choose uncommon and unfashionable subject matter within a certain narrative and play with heavy stylisation and exaggerated form, line and geometry into abstraction.”
Richard now lives works in Cornwall but is often to be found in and around his old stomping grounds of Cambridge and ondon. is home in the uchy, is a converted pumping station which acts as both dwelling and gallery with a garden landscaped designed specifically to house his larger works. An adjoining selfcontained apartment is available as an occasional holiday let where private clients, architects, gallery owners and interior designers can book to stay to fully immerse themselves in his work. “This allows them to get a feel for the sculpture in the landscape or interior and explore all the possibilities, ideas and practicalities necessary in order to introduce the work within their own projects,” adds Richard, “and although the garden can be a little sparse in early spring, midSeptember and early October are sublime as autumn approaches.”
Richard is currently investigating versatility and among his current designs you’ll find
large stone frames sited in the landscape. These are often housed in contemporary courtyard style spaces where you are at close uarters with the detail. The sub ect matter within these frames is changeable and open ended. s you might swap a painting upon your wall for another, you can change the sub ect within these frames. or e ample, one of his larger frames (as featured changes sub ect with the seasons, while others offer permanent structural abstractions.
Commissioning bespoke sculpture is a considered process between client and artist. ocation, scale and brief are thoroughly investigated and confirmed before commencement, and for the larger pieces Richard tends to chaperone them from conception to site. This takes the logistical concerns of commissioning a large piece away from the clients, says ichard. try to make the process as easy as purchasing something you can carry home, so deal with all the transport and installation myself.
contact if you would like to visit. hile the bright days of summer may be behind us, this time of year is the perfect time to plan a spring sculpture installation in the garden.
ichard will be running a stone skills clinic in May une for late stage beginners, or intermediates that need to work on any new techni ue or e isting skills they are struggling with. The clinic will span a two week period during which students can come and go, with a two day minimum booking period. Please call or email richardonholliday hotmail.com ahead to discuss re uirements and to book.
Richard’s work is available to buy from The Gallery and Studio at The Old Pumping Station in St Keverne, as well as at Whitewater in Polzeath, Thompsons in Aldeburgh, Seymour Place in London and Penwith Gallery in St Ives. The apartment is bookable via the artist hello@richard-holliday.co.uk or on Airbnb: o i i t r .
The gallery is now open up until Christmas Eve and through to the ew ear. ichard invites guests to get in
richard-holliday.co.uk richardonholliday
WORDS BY HANNAH TAPPING
Former medieval Cornish language scholar turned crime writer, Myrna Combellack, delivers a novel that is both entertaining and authentic in equal measure.
When Myrna Combellack sits down to write crime fiction, she brings something rare to the page: authenticity forged from decades of living between Cornwall’s two worlds. As a former academic specialising in medieval Cornish language at the niversity of E eter, and later a schoolteacher who experienced the realities of life both locally and abroad, Myrna understands the stark contrasts that define modern Cornwall and she’s not afraid to write about them.
er latest novel, Lithium Betty, plunges readers into a Gothic thriller set against the backdrop of Cornwall’s mining heritage and its uncertain future. The story follows etty, a carer who discovers a body in a remote cli op castle and becomes entangled in a sinister conspiracy involving a corrupt police commissioner, international mining interests and a mineral rights wrangle.
Myrna’s ourney to crime fiction writing began in childhood. orn in , she grew up as an only child in a remote
Cornish village where drinking water had to be fetched from a natural spring on Carn Marth, half a mile away. Myrna tells me: “I began reading and writing as soon as could. ithout electricity, there was no entertainment, e cept learning to play the piano, sewing, knitting, cooking and walking. I knew every road and lane for miles around. I remember men in brightly coloured, short sleeved shirts wandering about the lanes. They were miners returning from abroad. The hillsides were littered with heavy mining equipment and in the valley, there were the remains of the tin stamps, which my mother remembered working. There were cold arsenic flues and engine houses. child could stay out all day, but we were warned never to stray off the path, because the ground, covered in heather and gorse, could give way, and you could be lost forever in some shaft. t might take months to find you.
chool was school, continues Myrna, “with a map on the wall with a lot of pink, which depicted ritish territories.
Cornwall was special. It gave fast steam and the industrial revolution to the world. n the graveyards, the headstones recorded not only those who had remained or returned to the parish, but also those who died in Me ico, outh frica, ustralia, South America and the United States. Our family had cousins in all of those places, so the wide world was already a familiar place. fter studying English at university, then worked for many years for the University of E eter as an academic, still watching and scribbling, and ’ve never stopped writing fiction set in real Cornwall.
espite her literary background, Myrna is refreshingly pragmatic about her craft. orking with her mentor liver arris, a spy thriller writer, she learned the mathematics of successful crime fiction: a dead body within five pages, complications building to three uarters through, then the unravelling. “It can be done almost mathematically, she admits. Yet within these structures, Myrna’s distinctive voice emerges, one that is humorous, gritty, and unflinchingly honest about Cornwall’s economic realities. “There are rich pickings in Cornwall for the writer who is able to observe with a keen eye, she tells me. inston raham is a case in point. In his historical Poldark novels, he researched the comple ities of mining, banking and political influences on his characters, rich and poor.
mineral wealth, local communities desperate for prosperity and the collision between heritage and development.
Lithium Betty opens with its protagonist arriving at a cli op castle inspired by Carn rea but larger, more othic to care for the elderly ady egeia, only to find her already dead. What unfolds is part murder mystery, part social commentary, as etty navigates three very weird sisters, a corrupt police commissioner with designs on mineral rights and her own husband’s mysterious connection to an international mining conglomerate. While the novel’s setting is fictional, it evokes Camborne and edruth, mining towns where prosperity has departed and hope hinges on lithium and tin e traction. y the end, the international company has transformed the castle into its European headquarters. It’s a tale that’s ambiguous, unsettling and deliberately so. “It’s quite kind of sinister, the way the international company works, Myrna notes.
Her tongue-in-cheek approach asks uncomfortable questions about who truly benefits when Cornwall becomes a commodity and Myrna is committed to showing her readers something beyond the Cornwall that e ists when the visitors leave, when the mine closures bite, when the choice is one of survival. t’s this tension, between romance and reality, heritage and progress, insider and outsider, that makes Myrna’s crime fiction genuinely compelling.
Researching for Lithium Betty, Myrna delved deep into Cornwall’s mining traditions, its history, government grants and the environmental implications. The novel grapples with real tensions: international companies eyeing Cornwall’s
Lithium Betty by Myrna Combellack (PBK, RRP £18.00) is published by Lendal Press in November 2025.
WORDS BY MARTIN HOLMAN
“Either you fall in love with painting and believe in it or you don’t” Chantal Joffe.
Chantal Joffe has never fallen out of love with painting. She said to an interviewer in 2014 that painting is “a bit like a religion in that way that you can doubt it or believe it. It’s a belief structure”. The catalyst releasing energy combines colour and paint coaxed into an image with broad brushstrokes. “I’m not always in control,” she admits: a mark made one way for an elbow, say, or a hip, might lead the painting in a new direction.
Joffe paints quickly, with breaks after four hours, in a state of immense concentration mixed with doubt, the mark of a genuinely creative spirit. A work is usually complete within the day. She calls this experience of making a “kind of literal transformation”, a phenomenon other forms of faithful will also recognise. After all, she says, “an oil painting is really dirt on a canvas.”
Exciting, gripping, riveting are just three phrases that recur when Joffe talks about
creating images. The fascination started at school when she said she was going to be an artist. “It came from so deep within myself. But I didn’t know what that was, really.” Starting her foundation course at London’s Camberwell College of Arts, life drawing had a strong appeal. “I couldn’t wait to get there in the morning. I didn’t ever want to leave, even when it closed at nine o’clock at night.” She went on to study at Glasgow School of Art, graduating in 1991, before spending two years at the Royal College of Art. Her commitment to painting never wavered in the process, even though a new generation of conceptual artists, using objects in experimental installations, was emerging around her. Moreover, her subject matter then, as now, was portraiture, an historic genre still associated in the public imagination with commemorating people of rank and power.
Joffe’s intimate, expressive portrayals have none of that. Her sitters are famous mostly to her – her late mother and her
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daughter, friends and their children and her daughter’s friends. Some, like Fraser (2024), she paints at stages as they grow up. “As a painter,” she once commented, “you fall in love with everybody you paint.” Humanity, defensive and vulnerable, permeates the look of the sitter staring beyond the picture to meet the searching eye of the observer.
Nevertheless, these are not pictures of people sitting pretty. Joffe might also have them standing up or lying down. She carefully thinks out the pose beforehand. The composition is often a little restless, animated on the surface by a nervy, distorted paraphrase of details. “I’m not sure I think about beauty explicitly,” she says. Depictions can seem almost caricatural. But they are never cruel. “A portrait is not a Polaroid,” she says. Both the subject and the artist bring elements to the meeting that influence the outcome, contained within mood and memories. They interact with effects of light and colour, the time of day, the occasional chat and fabrics in her London studio.
Then there are the facts of making. The paint is as unflinching and unfussy as the portrayal itself. Drips occur, running this way and that on the canvas from her broad gestures to become part of the image. “I am making a painting,” she says, “I’m not just painting them.”
The apple green undercolour peeps through in places, breathing nervily into flesh tones or clothing. Green was used this way by
Degas, whom Joffe reveres. It covers the canvas to soften the cold white of the gesso layer beneath. The effect is startling and meant; it supports the emotional benchpress-impact some of these renditions deliver on first seeing.
Above all, Joffe is resolute and courageous when she paints herself. She has been her own subject on numerous occasions since the 1990s. The self-portrait is a standard idiom in art with a history reaching back centuries; examples by Rembrandt, Van Gogh and Picasso are merely the most celebrated.
Traditionally, such paintings reveal how an artist wants to be viewed by the world. Joffe’s make a bold statement; there is no vanity or flattery. She has no hesitation in showing how her body accepts the onset of years, registers emotional frailties and traces of motherhood. “Through art I describe what is happening,” she told one interviewer, “so I do not feel I have a choice; it is my way of understanding the world… I’m not one for symbolism.”
In one of the most recent, Self-Portrait in a Straw Hat (2025), she looks intently at the viewer, as if it was the person in the gallery who is being painted. She does not conceal the blemish on her face or the saggy frame of someone in her 60s. Her seated figure commands the large canvas, ungainly hands resting on the knees of her wide-legged posture. She has chosen to wear a red dress. It looks both glorious and defiant, set against the dappled puffball
shapes of the garden setting. Red is a hard colour to work successfully in big areas. Past artists come to mind on the back of this detail: John Singer Sargent in the “gilded era” of the 1890s or Anthony Van Dyck in early 17th-century Genoa, both of whom depicted aristocrats.
Moreover, at seven feet tall, the size of Joffe’s image challenges the grand manner of those artistic greats. Hers is not a demonstration of personal power or wealth but of immersion in the materiality of paint and colour, and in the physical challenge of labour on the scale that calls for ladders.
That is tougher still when the support is not canvas but wood, which is the case with The Squid and the Whale (2017). There two figures sit on the edge of a bed. The woman in the foreground, naked except for a pair of pants, leans forward so that her immense back almost obscures the child sitting upright and tense beside her. Anxiety is almost the third character and the monumental dimensions threaten to overwhelm the audience with emotion underlined by the spare tonality.
A special class of inner truth is exposed in these intimate depictions. In 2018, Joffe made a head and shoulders painting every day during a year of mental pain, coping with the split from her partner of 25 years, the father of their daughter. She was also travelling internationally and each pensive image in the sequence registers a pressure from within that determines what appears on the outside. Slowly, the
desolation, perceived in a cold British January, shifts with time somewhat, to a mood leavened by the warmer summer light of New York.
The young person who frequently appears in these paintings is Joffe’s daughter, Esme. She grew up in the household of painters and so understands artists’ fascination with everyday experience and passing time. Audiences have seen her since babyhood in oil paint, drawings and pastels, the media Joffe uses to report on the special bond she perceives between them. “We are so exposed by our relationships to our children,” Joffe says.
That is Esme beside her mother in The Squid and the Whale, seeming to assume the parental role for her mother’s distress. In Esme at the Kitchen Table (2019), she appears absorbed in reading, settled contentedly in her white shirt into surrounding tones of dark red, plum, pink and scuffed honey. Across the table from her a rather anthropoid chair keeps silent company.
Children were an early subject-matter of the artist. She has always tended to paint what is on her mind and around the early 2000s, among other concerns, she wanted to have children. At that time, too, she was making mostly small paintings, often on wood ply. Her source material for these precise little figures in lively details and rich in colour was mail-order catalogues. “I was interested in re-animating images,” she told an interviewer, “… and making these children real again.”
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round that time, too, she painted from her own photographs. They offered her emotional distance simply to watch. Such as the model observed backstage at aris ashion Week about years ago, making hurried, undignified changes in a cramped space to clothes, hair, shoes before stepping imperiously onto the catwalk. offe has long admired merican mid century photographers iane rbus and arry Winogrand. The awkward rhythms in their pictures of people staring sadly at the lens or looking slightly bewildered impressed her.
re there subjects she will not touch They are few for an artist who, at the oyal ollege in the mid s, sought out subjects shunned by other artists. t one point, she used pornographic imagery which was hard to find in days before the Internet.
ure landscape did not feature as a subject until . The art charity ospital ooms commissioned her to transform a communal space for long stay service users at ongreach ouse, the S mental health hospital for west ornwall in edruth. offe asked herself what she would want to see if she were a patient. er response was to be able to look at somewhere magical and inspiring. So offe connected with her own experience of painting in enice the previous summer.
The result was two rare, unpeopled paintings. She loves Italy, its cities and beaches she finds she uickly enters the life enhancing spirit of the country. The views she painted
of light sparkling on the water of the broad iudecca canal on two wood panels copied the exact si e and shape of her enetian studio windows.
ually rare are paintings of men. Some years ago, she explained that, tackling a male subject, I’ve really struggled to make it look like he was ever alive I think my brain is limited in that I can’t empathise with men.” That belief has now shifted. nce again, first sight of it has occurred in ornwall with offe’s exhibition of her luminous paintings of men at The xchange in en ance. lthough she was born in ermont, S , to expatriate ritish academics, she came as a teenager to ngland. In the s, her mother aryll lived in en ance and offe has visited West enwith often since then with her own family.
offe has broken her habit in an eye opening manner, with five huge hori ontal canvases featuring reclining male nude portraits of her partner ichard. udiences are still uncomfortable with male nudity even though the female nude has been a common subject for centuries. woman looking at a male figure that way,” she says, turns the tables on art history and on men.”
Stretched canvases, almost ten feet long, were left from a project that never took place. The material had a smooth, silky weave and somehow suited this bold career move. Who better to lavish them on than the man closest to her So she settled him into frontal and rear poses across a cream coloured cover on a bed.
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Perhaps the most striking is the crown to heel back view of Richard Naked 2 (2023). His head rests on a patterned cushion and then the painting travels along his broad back, diverts at one point into his arm and hand lying on one thigh, before tapering to Richard’s dirty soles placed one above the other.
They listened to recordings of Bach’s Goldberg Variations while she worked. She responded to pianist Glenn Gould’s fast tempo and bold play. The picture’s size meant that offe worked close to the surface. The brushwork takes on abstract qualities or resembles landscape as much as skin. She had to steady the canvas as it slipped and slid as she worked. Paint lies in thin, translucent layers. In places, it cascades in drips sometimes vertically and then horizontally when the stretcher was upended.
“Men are more self-conscious about being painted,” she suggests. She mentions the artist Lucian Freud, whom she admires and who was best with men as he shared their vanity. Her portrayals of friend Charlie Porter are particular, intimate and tender. uffused with sadness and sensitivity, they were made when both artist and sitter had suffered close bereavements. et they also fi with the speed of their making, to keep the light, and with a mutual love of pattern and fashion.
Chantal offe is one reason that figure painting has become modern again and highly sought after by museums and collectors. With contemporaries such as Marlene Dumas, Jenny Saville and Elizabeth Peyton, her work receives global attention. et somehow offe has kept both feet firmly grounded, eyes pointed forward and alert to the world outside her studio.
Needing to see the image close to as well as by standing back, the viewer is easily drawn into the orchestration of brush and medium, surface and gravity, speed and movement. The effect resembles exposure to a soothing breeze on a familiar, sunlit pathway in known and cherished country.
h hi itio h t off h ri c co ti u s t h ch c u ti th o m r . h t off m m r t s p c t ictori iro h r o o o rom o m r to u r .
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Fraser, 2024, oil on board, cm. Chantal offe. Courtesy the artist and Victoria Miro
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