DRIFT 59

Volume No59 £10.00

Truth and

ILLUSION Taking an experimental approach to image making

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C OC NO TNETME P MOP ROARRAYR YG AGLALLELREYR Y

Michael Michael Porter Porter | Coast | Coast and and Country Country 22nd 22nd August August to to 22nd 22nd September September 2026 2026 Master Master painter painter Michael Michael Porter Porter joinsjoins Whitewater Whitewater Contemporary Contemporary thisthis August August withwith a Solo a Solo Exhibition Exhibition of works of works inspired inspired

by Cornwall’s

by Cornwall’s coast coast andand paths. paths.

Michael’s Michael’s practice practice concentrates concentrates on extraordinary on extraordinary visual visual interpretations interpretations of the of the natural natural world. world.

His His artworks artworks are are drawn drawn from from the the overlooked overlooked minutiae minutiae of our of our environment: environment: a single a single pebble, pebble, an autumn an autumn leaf,leaf, a tangle a tangle of twigs of twigs andand branches. branches.

As one As one of the of the UK’sUK’s most most respected respected artists artists his work his work hashas been been exhibited exhibited in museums in museums andand galleries galleries in London, in London, Europe Europe andand America.

America.

Major Major awards awards include include the the National National Gallery Gallery ArtistArtistin-Residence in-Residence award, award, the the London London University University Lorne Lorne Award, Award, the the RWA RWA Odin Odin Award, Award, an Honorary an Honorary Doctorate Doctorate from from Derby Derby University, University, andand an Honorary an Honorary Fellowship Fellowship of University of University College College Falmouth.

Falmouth.

Take Take a 3D a 3D tourtour of the of the Gallery Gallery via via ourour website website

C O CNOT N ET MEPM O PR O AR RA Y RG Y AG LA LE LL RE YR Y

The The Parade, Parade, Polzeath Polzea,thCo , Co rnw r naw l la , lP l , LP 2L 72 7 6 S6RS R art@wwcg.co.uk art@wwcg.co.uk | 01208 | 01208 869301 869301 | www.wwcg.co.uk | www.wwcg.co.uk @WhitewaterPolz @WhitewaterPolz

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D I S C E R N I N G

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

We invite you to continue your lifestyle voyage online.

Find inspiring stories and uncover more luxury content on Instagram @driftjournaluk. Join our exclusive e-journal community at driftjournal.co.uk to receive recipes, reviews and insider knowledge of some of the South West’s most-loved luxury destinations. driftjournal.co.uk A

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05/08/2026 15:26

On the cover Seashore Series 28-11-17 (detail)

by Michael Porter as featured from page 24.

wwcg.co.uk

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ISSN 2632-9891

DRIFT is published by: Leven Media Group LTD Holbrook, The Moors, Porthleven, Cornwall TR13 9JX www.levenmediagroup.co.uk

© All rights reserved. Material may not be re-produced without the permission of Leven Media Group Ltd. While DRIFT will take every care to help readers with reports on properties and features, neither Leven Media Group Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Leven Media Group Ltd strongly advises viewing any property prior to purchasing or considerations over any financial decisions. Leven Media Group reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. Leven Media Group 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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06/08/2026 10:57

T E A M

Foreword To gather is to reach outward and pull inward at once, a gesture that closes distance. Long before it meant collecting a harvest or convening a room, it meant to bring together what had scattered, making one thing of many. Painters have known this for centuries. A still life is nothing but gathered things persuaded to hold their breath. Architecture makes the same argument at a larger scale. A courtyard gathers weather and holds it still, so that rain in a cloister sounds different from rain on an open street.

Walk into any building designed with intention and you can feel where its centre of gravity sits, the spot the architect wanted your body to drift toward. Good buildings, like good tables, have a place where things collect. And food, of course, is gathering’s plainest expression, the one that needs no theory because it needs no explaining. Then there is the particular kind of gathering that has nothing to do with objects at all, and that’s the

gathering of ideas; taking what’s loose in the world and giving it a shape it didn’t have before. The best creative work, whatever form it takes, tends to come from people who are good at collecting.

Take artist Michael Porter (24) for example, whose time is spent collecting natural objects as source material for his paintings. Architectural practice STUDIO/gather (71) chose a name that places it at the heart of the argument against scatter.

For its architects and technicians, lifestyle-led design isn’t simply about adding more space, it’s about understanding how people want to live and gather, shaping their home around it. Jane Gray (92) takes the idea to another level, with the picking of nettles central to her entire creative practice. We are creatures who cannot help but gather, whether it’s driftwood from a tideline, friends around a fire, or fragments of thought. We invite you to join us, as we gather our own over the coming pages.

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06/08/2026 10:57

CREEK VIEW | 4 THE LOOKOUT | ST JUST IN ROSELAND | ST MAWES OIEO £500,000 AN ELEGANT CONTEMPORARY COASTAL HOME WITH PANORAMIC WEST-FACING ESTUARY VIEWS, STYLISH REVERSE-LEVEL ACCOMMODATION AND A PRIME CREEKSIDE SETTING. A beautifully presented contemporary coastal home enjoying breathtaking panoramic views across the Carrick Roads towards Mylor Harbour and the surrounding Cornish countryside. Occupying a prime position within the picturesque creekside village of St Just in Roseland, just moments from St Mawes, this highly specified residence combines stylish reverse-level living with light-filled interiors designed to make the most of its exceptional setting. Extending to approximately 1,113 sq ft, the property offers three-bedroom accommodation, a south-west facing garden, private parking and an enviable lifestyle, equally suited as a permanent home, luxury coastal retreat or successful holiday letting opportunity.

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THE OLD SCHOOL HOUSE | TRESILLIAN | TRURO | OIEO £400,000 A RARE OPPORTUNITY TO ACQUIRE A BEAUTIFULLY CONVERTED FORMER COUNTY SCHOOL, BOASTING EXCEPTIONAL RIVER FRONTAGE, OWNERSHIP TO THE MEAN LOW WATER MARK, AND OUTSTANDING WATERSIDE LIFESTYLE APPEAL. A truly exceptional and increasingly rare waterside opportunity, this remarkable former County School has been sympathetically converted to create an impressive riverside residence enjoying an enviable waterfront setting. Rich in local history and character, the property combines the charm of its educational heritage with the versatility of contemporary living, whilst its most compelling feature is undoubtedly the extensive river frontage, offering direct access to the water and ownership extending to the mean low water mark, a highly coveted attribute that is seldom available and of particular appeal to boating enthusiasts and those seeking an unrivalled waterside lifestyle.

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05/08/2026 11:40

Mowhay Barn St Ervan

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Beautifully converted and thoughtfully extended to an exacting standard, Mowhay Barn effortlessly blends authentic period character with refined contemporary design. Exposed natural stone walls, soaring vaulted ceilings and magnificent timber beams combine with high-quality finishes and elegant interiors to create a home of remarkable warmth, style and sophistication.

Designed with both family llfe and entertaining in mind, the accommodation extends to a series of beautifully proportioned reception rooms, each enjoying a unique connection with the surrounding landscape. The principal sitting room is centred around a wood-burning stove, creating an inviting atmosphere throughout the seasons, while a second snug provides an equally comfortable retreat.

Adjoining this space, a stunning glazed garden room provides the perfect setting for relaxed dining, morning coffee or evening drinks while enjoying uninterrupted views across the gardens. At the heart of the home lies a superb contemporary farmhouse kitchen and dining room, thoughtfully designed for both everyday living and larger gatherings. Beyond the kitchen is a spacious utility and boot room, thoughtfully designed to cater for the demands of country and coastal living.

Approximately four acres of glorious gardens and grounds, featuring a hot tub, summerhouse and far-reaching rural views towards the Atlantic Ocean complete the picture.

01841 532555 sales@jackie-stanley.co.uk Jackie-stanley.co.uk 1 North Quay | Padstow | Cornwall | PL28 8AF

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C O N T E N T S

At a glance 58 S E T I N S T O N E

12 F R A M I N G A F E E L I N G

Crafted to be enduringly stylish and timeless, these diamond pieces are a sublime symbol of sophistication

A background in design gives photographer Rachel Hoile an edge

24 T R U T H A N D I L L U S I O N

61 C O A S T A L R E T R E A T

Exploring Michael Porter’s unique perspective on painting the landscape

Taking inspiration from afar, Palm Court Retreats brings an American vibe to Cornwall

36 L O V I N G L Y M A D E

66 G E N E R A T I O N A L V I E W P O I N T S

Creating pieces of jewellery as individual as the people who wear them

An exercise in observation brought to fruition by a shared artistic interpretation of Penzance

40 A N E L E C T R I C I C O N

71 A P L A C E T O G A T H E R

Having reimagined its bestselling SUV for the electric age, Porsche takes the Macan to a completely new level

It started with a simple ambition: to make a meaningful difference through architecture

83 F I S H F O R T H O U G H T

43 E T E R N A L M U S E

A weekend immersed in Rick Stein’s Padstow

An invitation to jeweller Corrinne Eira Evans’ new jewellery ateliere

92 A N E T T L E A N D T H R E A D

54 L U X U R Y H O M E S

From rescued hens to resilient fibres, Jane Gray follows her curiosity wherever it leads

At the pinnacle of the Cornish market

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Framing

a FEELING 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

A background in design gives photographer Rachel Hoile an edge in her approach, and a deep understanding of communicating an engaging aesthetic.

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with the years spent designing and styling giving her a different way of looking at her subjects and compositions. “I'm particularly drawn to businesses that place sustainability, craftsmanship and thoughtful design at the heart of what they do. Whether I'm photographing food, clothing, products or the people. Working with independent brands that care deeply about their craft is where I feel most at home, and it's the direction I continue to develop my work.”

hotography has always been there for Rachel Hoile: “Long before it became my work, as a teenager, I rarely went anywhere without my camera, but I never imagined photography could become a career.” At art college, Rachel found herself torn between photography and fashion. “This was before the digital camera, internet or social media and fashion felt like the more practical path. I went on to study Fashion Design at Kingston University, before working as a womenswear designer in London and after moving back to Devon, a childrenswear designer for a Cornish brand.”

Rachel offers fresh, contemporary photography to clients who seek a natural presentation of their brand, personality or product. It is this approach that she has become known and recognised for; a distinct story-telling style that she brings to crafters, artisans and makers. This compelling touch is equally appreciated by and well-suited to interior, food and lifestyle brands. It’s this representation with editorial-style imagery that has helped brands to engage with an audience at a higher, more meaningful level. Rachel’s work captures a mood in every shot, creating powerful and seductive imagery.

Life changed and Rachel found herself looking for a new creative direction.

“Someone suggested I take my photography more seriously. That was 12 years ago and I haven’t looked back.” Living in Dartington, near Totnes, Rachel feels fortunate to be surrounded by a community of artists, makers, chefs, amazing food producers, designers and independent businesses. “I began photographing the people around me and the work they created. I was lucky that this became the foundation of my photography business,” adds Rachel.

Rachel’s background in design continues to shape the way she approaches photography,

PREVIOUS Summer peaches with Fryth

rachelhoilephotography.com

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A B OV E Boat days with Salcombe Gin

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TOP Cornish beach

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A B OV E Summer in Switzerland

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T O P & A B OV E “The Almond Thief Days”

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A B OV E Cooking with Fryth

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A B OV E Personal work – “Homegrown”

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TOP “Pot made by Bob”

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A B OV E Apple pie made by Elly at The Millbrook Inn

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A B OV E “Lunch” – The Bull Inn/ The Albatross

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Contemporary, high-quality architecture that roots itself in the sensitive landscapes of coast and moorland.

01364 653503 hello@vesp.uk www.vesp.uk

VESP Architects, 2 Dolbeare Meadow, Ashburton Devon. TQ13 7FL

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A B OV E Ceramics by Ali Herbert

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rachelhoilephotography.com

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Truth and

ILLUSION 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

Exploring Michael Porter’s unique perspective on painting the landscape.

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Gallery Artist-in-Residence Award, the London University Lorne Award and the RWA Odin Award, alongside an Honorary Doctorate from Derby University, and an Honorary Fellowship of University College Falmouth. Now aged 78, he is respected as a Master painter and has worked at his studio in the industrial heart of Newlyn for nearly thirty years.

ichael Porter’s work centres on extraordinary interpretations of the natural world. I have heard him described as an Abstract artist by people who misinterpret the complexity of his work, but nothing could be further from the truth. “I would never call myself an Abstract painter,” Michael tells me when we meet at his quayside studio in the depths of a summer sea mist. “I am a painter who works from reality. I do not make photographic representations of a place, I make paintings that express that place, but I always begin with something specific from the landscape.”

I would describe his paintings as a balance of both truth and illusion, based on his extraordinary technical skill and his experimental approach to image making. The hyperrealist, seemingly threedimensional parts of his work are mesmerizing, while different areas of the composition reach deep into otherworldly spaces. His acclaimed public show at The Newlyn Exchange in 2008, titled The Passage of Time, neatly captioned the sense that Michael’s paintings also express both the ‘now’ and the ‘always’ of nature, taking us from the immediacy of his observations

Born in 1948 in the rugged and beautiful landscape of Derbyshire, Michael studied at Nottingham College of Art, Derby College of Art, and Chelsea School of Art in London. He became a Fellow of Gloucestershire College of Art in 1973 and has received awards including the National

PREVIOUS Seashore Series 10-01-14

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INSET Michael Porter at his Newlyn studio

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A B OV E Cornish Stones 19-08-14

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TOP Seashore Series 19-04-10

A B OV E Seashore Series 02-12-14

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TOP Coastal Path Series 05-02-11

A B OV E Coastal Path 12-06-06

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A B OV E Cornish Stones Series 19-08-22

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C R E AT E

are more intimately set amongst the ephemera that inspires them – the strands of seaweed, stones and sea shells that have caught his eye. As we browse an endless array of ob ects and artworks, Michael talks to me about the things that in uence him and fill his working day. He loves poetry, and uotes Modernist painter and poet Marsden Hartley, who wrote the verse a shell sitting still’. I love that phrase, he tells me. I use it a lot as a title in my work.

to the timelessness of the natural world.

Each artwork begins with the overlooked minutiae of the landscape, from a single pebble embedded in the ground, or a leaf drifting across a body of water, to a tangle of roots and branches. In his latest solo exhibition, Michael presents paintings inspired by his explorations of the Cornish coast and countryside, including large scale canvases and a series of smaller works.

Throughout his career, his engagement with the landscape has drawn only on locations that are familiar to him: Michael has made many collections that respond to woodland environments, particularly the forests of his native Derbyshire these days he spends his time walking Cornwall’s moors and coast path, taking photographs and collecting natural objects as source material for his paintings. “I like the idea of taking something ordinary and showing people that if you look closely, there is beauty in it, he says. I know people don’t like the idea of beauty in art these days, but beauty can be found in different things and in many ways. Think of a Francis Bacon painting. It is raw and challenging work, but there is beauty in it.

Each day in the studio Michael paints and draws inspiration from the visual world, the written word, and his varied taste in music. “I was listening to Bruce Springsteen yesterday he laughs, “but tomorrow it will be opera. On the studio wall the phrase ‘the deepest sadness with the greatest optimism’ is written in charcoal it defines his love for the work of English Contralto athleen Ferrier. Do you know her music he asks me. I find it so moving .

This daily engagement with painting, music and literature fulfils most people’s perception of the idyllic life of an artist. I know I’m lucky, says Michael, my mother used to say I wasn’t born rich, I was born lucky, but I don’t like the idea of en oyment in painting, because painting is work.

A friend of mine is a writer, and when you read his books the words ust ow – and that’s what you are supposed to see.

Seeing Michael’s work in the studio feels very different to viewing it in a gallery setting, where his deep palette and detailed imagery are contrasted by crisp white walls. Here, his paintings and photographs

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INSET Cornish Stones Series 10-04-20

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A B OV E Cornish Stones Series 04-12-14

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TOP anitas Series 10-02-18

A B OV E anitas Series 28-02-2S

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06/08/2026 10:26

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C R E AT E

as woodland surfaces, or as abstracted renditions of those things. But there is always something that draws me back to the figurative image I was painting, says Michael.

What you don’t see is all the screwed-up bits of paper on the oor, and that’s exactly what creativity is like.”

Creativity, for Michael, begins with a single ob ect, often placed on top of a at canvas and painted directly from life. “I am always looking for the simplest way to interpret the thing I’m looking at, he says, a stone for example, that says something to me in the way the light shapes it. Sometimes I use photographs of stones I will make prints in my darkroom and then paint onto those, so you don’t see the photo anymore, but you see through to it. There are layers and layers to all my work, because layering re ects the actuality of being in nature. When you walk through a landscape you see one thing beyond another thing, and another beyond that.

That’s what my paintings are about.

Michael builds those layers using different materials and gives them real power, letting acrylic, watercolour and wet oil paint merge so they repel each other before finding their own balance. The effects are accidental to an extent, but you get to know what’s going to happen he says. I’ve been experimenting with these techni ues for a long time and getting it wrong again and again before I got it right.

That passion for draftsmanship is evident in both his huge paintings and his smaller works on paper. I love painting fine detail, and I make lots of small paintings because I find it meditative. I can still get absorbed in making a large work of art, but on a smaller scale I can focus on the really tiny details. Often, Michael takes three or four months to complete a single painting. But I don’t care about time, he says, a painting takes as long as it takes. I am not trying to do something magnificent I am doing something simple. I think of myself as an ordinary bloke who happens to paint. We all look at the world differently and have something to say about it.

All I am trying to do is to share the things I think are interesting. The ob ects that I find in a place, that define a place, that’s what fascinates me - those things, together with my memory of a place gathered over many years. If I can communicate a little of that in my work, I call that success.

See Michael Porter’s Solo Exhibition, Coast & Country, from 22nd August to 16th September at Whitewater Contemporary Gallery, The Parade, Polzeath, PL27 6SR and at wwcg.co.uk

That uni ue pairing of precise figuration and free owing materials means that a trompe l’oeil painting of a pebble, or an abandoned bird’s nest, might be set against complex marks that could be interpreted

wwcg.co.uk

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INSET Seashore Series 28-11-17

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B I J O U X

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

Creating pieces of jewellery as individual as the people who wear them.

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of skill that is becoming vanishingly rare.

As lead goldsmith, Rob has trained with the world’s finest craftsmen and is now himself one of the most experienced and respected goldsmiths in the country.

Combining centuries-old jewellery-making techniques with modern technology and innovation, the team carries forward a legacy of fine craftsmanship that has long-defined their work.

jeweller sits at his bench, expertly forming a ring claw ready to receive a carefully chosen precious stone. This is not a process that can be rushed, cast in bulk or replicated by machine. It is the work of Robins & Robins, a jeweller based in Plymouth, generations deep, where father, son and brother work the bench together. Every hand-crafted ring, pendant and bracelet that leaves the bench is designed to endure whatever life involves.

This depth of experience shows in everything Robins & Robins makes.

While much of the high street has turned to computer aided design and cast manufacture to keep prices competitive, Paul is candid about what that shift has cost the industry.

“While producing jewellery like this keeps the price down, the impact is on the longevity of the piece.” Rings that should become heirlooms are instead becoming disposable, hollowed out to save weight and cost in ways often invisible to the person who wears them. Where a handmade piece has claws formed

Established in 1988, originally based in Plymouth Market, Robins & Robins relocated a couple of years later to Cornwall Street, where the store remains today.

Paul Robins runs the business alongside his brother Rob, a fellow of the Institute of Professional Goldsmiths and internationally trained diamond setter, along with their father, who founded the business almost 40 years ago and still works as a jeweller himself.

Between them they represent a lineage

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before any design work begins. Once a stone is chosen, a computer rendered design and wax resin model follow, which allows customers to visualise and try on their piece before it is made. From there, the finished item may be cast, handmade or a blend of the two, depending on what the design demands. The whole process typically takes six to eight weeks, remarkably swift given the level of craftsmanship involved.

individually around each stone, a cast piece has them poured into place and finished in a fraction of the time. We choose to hand-form all of the claws that hold the stones,” Paul says, “which means our jewellery is designed to last more than a lifetime.”

Sourcing plays ust as significant a role as craftsmanship, with high-end gemstones growing harder to find. However, Robins Robins refuses to compromise, preferring to hand-select individual stones rather than settling for a cheaper, homogenous product. “We’re able to source really beautiful, high-end stones because of the relationships we have built up with our suppliers over the years,” Paul says.

“We know where to go for certain gems, and who’s likely to have them in stock.” Robins & Robins has always been committed to creating responsible and sustainable jewellery, long before such values became widely recognised. The jewellers work with recycled gold and platinum, as well as offering Fairtrade and Single Mine Origin (SMO) gold, with all diamonds being con ict free.

As time and taste evolve, sentimental commissions have become a particular speciality.

Family gold, handed down but no longer worn, is regularly reworked into new pieces built for another generation to inherit, a continuation of the Robins family’s own story told through the jewellery it creates.

Since its inception, Robins & Robins has always had an unwavering commitment to exceptional service and uncompromising quality, resulting in an outstanding reputation for personalised, first-class care, whether that be a repair, resize, restoration or complete custom remodelling. In an industry where so much has been sacrificed to speed and cost, Robins & Robins remains as something increasingly hard to find a generation of expertise, creating jewellery intended to outlast those who wear it.

The Robins & Robins design process is a two-way process. Customers connect through in-store visits or remote meetings, and will often arrive with an idea in mind, sometimes with existing pieces they want to reimagine. They are then guided through a selection of gems

robinsrobins.com

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TO RQU E

An electric ICON WO R D S B Y H A N N A H TA P P I N G

Having reimagined its bestselling SUV for the electric age, Porsche takes the Macan to a completely new level.

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the practicality that has made the Macan Porsche’s best-selling model since 2014.

en years after the Macan first defined what a Porsche SU should feel like, the model has been reborn entirely electric, without losing an ounce of its character.

Unveiled in Singapore back in January 2024, the new Macan and Macan Turbo marked the brand’s second all-electric model and its first attempt at taking an established nameplate fully into the electric era. Chairman Oliver Blume called it a completely new level for the Macan, with exceptional E-Performance, a new Driver Experience and an impressive design .

Eighteen months on, that story gained its even more traction. Launched in October 2025, the Macan GTS brought the initialism first worn by the 904 Carrera GTS of 1963 to an electric SU for the first time. With 420 kW of overboost power, a 0-100 km/h sprint of 3.8 seconds and the most powerful rear-axle motor in the range, the GTS was built for engagement rather than outright numbers alone. A 48 52 rear-biased weight distribution, standard Porsche Tor ue ectoring Plus, and the lowest centre of gravity in the model line sharpen the car’s cornering precision, while a 10 mm lower ride height and GTS-specific damper tuning complete the picture. Black exterior detailing, Race-Tex upholstery and two exclusive Porsche Electric Sport Sound profiles round out a car designed to feel, as much as perform, like a GTS.

Underpinned by the new Premium Platform Electric with 800-volt architecture, the Macan Turbo produces up to 470 kW and covers 0-100 km/h in 3.3 seconds, while offering up to 613 km of WLTP range. High-performance fast charging tops out at 270 kW. Design chief Michael Mauer was clear about the intent this was the first Porsche taken electric from an established identity, its proportions honed rather than reinvented, so that the Macan remains, in his words, unmistakably a sports car even in electric form. Two luggage compartments, a lower seating position, and a cabin built around large windows and analogue touches, such as physical air vent controls, kept

Together, the two launches trace a clear arc from establishing that an electric SU could still be a Porsche, to proving that its most emotive badge could survive the transition intact. The Macan’s second generation may run on batteries, but it drives, and sounds, like a Porsche icon reborn. porscheexeter.co.uk

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A B OV E The all-electric Macan GTS

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- PORTHLEVEN AN INDEPENDENT ART GALLERY ON THE HARBOURSIDE IN PORTHLEVEN, SHOWCASING A BROAD SELECTION OF THE VERY BEST ORIGINAL ART. COMMERCIAL ROAD, PORTHLEVEN, TR13 9JD | 01326 569365 WWW.CORNWALL-ART.CO.UK @CUSTOMSHOUSEGALLERY |

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THECUSTOMSHOUSEGALLERY

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© Beth Cath Key Photography

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

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An invitation to jeweller Corrinne Eira Evans’ new atelier.

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fabrics of woven gold and silver chainmail, alongside the unique beauty of naturally flawed diamonds and sa hires. he is also a sustainably minded maker who works only with fully traceable ingle ine rigin gold and silver, and antique or ethically sourced gemstones. “Sustainability is increasingly sought after in lu ury design, says Corrinne, “and it’s an aspect of my work that I’m very proud of. When you are lucky enough to be born and raised here in the South West, you know the value of nature and the ways our actions can affect it, good or bad. More and more, luxury designers and buyers are making good decisions, and that’s such a ositive thing.

ake a stroll around the Dartmoor village of Chagford this autumn and you might notice a new addition to the charming facades on Mill Street. Corrinne Eira Evans’ new jewellery atelier opened in July, but its o cial launch this e tember romises to be an altogether livelier affair. n Friday 11th September Corrinne cuts the ribbon on her new studio and gallery with a sparkling Gin & Gem Night event. he rst 1 guests to arrive will be welcomed with a complimentary Elder Bay Blush Gin and tonic from Devon’s own hunderflower in, and invited to discover unique pieces from Corrinne’s exquisite jewellery collections.

Corrinne’s choice of Gin & Gem ight artner reflects those values. hunderflower s gins and s irits are created at their fully sustainable Devon distillery, and they are committed to reducing their impact on the environment, including the use of eco ac aging and bottle re ll

ach handcrafted design, as featured in British Vogue and at London’s prestigious Goldsmiths Fair, is inspired by the beauty of Dartmoor where Corrinne lives and wor s. er ewellery is de ned by sil en

INSET Corinne Eira Evans

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A B OV E tac ing artmoor ings 1 ct yellow gold, platinum, silver and diamonds Image © Paul Mounsey

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Later living where less can be more

Stylish one, two and three bedroom homes on the seafront, boasting views across Falmouth Bay to Pendennis Castle. With just the final few homes remaining at this highly sought after community, now is the last chance to secure your slice of seaside living, within walking distance of all the costal charm that Falmouth has to offer. Exclusively for those enjoying life over 55.

Purchase from £600,000

Enjoy summer by the sea with a new home at The Fitzroy, Falmouth 01326 567 668 | sales@pegasushomes.co.uk www.pegasushomes.co.uk/the-fitzroy-falmouth Image shown is real photography of The Fitzroy and is indicative only. Prices shown are starting prices and correct at the time of print. These prices are exclusive of service charge which is payable monthly and reviewed annually. Terms and conditions apply, for details please visit pegasushomes.co.uk/termsandconditions

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tin was brought to hagford to be certi ed in the square outside, and at that time Mill treet was the site of a wor ing wool mill, she says. love that material connection.

Chagford was built by hardworking people who extracted metal from the ground here, who farmed wool here, and used traditional craft s ills to ma e things. could feel that heritage when I came to see the building, and it felt like the right place for me to ma e and share my wor .

options. The distillery is powered by solar panels which store surplus energy for distillation runs, and uses a closedloop chiller system so that no water is wasted during the distillation process. All of hunderflower s deliciously conceived craft gins are made using ure artmoor spring water, drawn at source, along with ritish botanicals, whose delicate flavours are e tracted by va our infusion. heir lder ay lush, which will be served at the atelier, combines a classic London ry gin base with elderflower and bay leaf, alongside macerated hawthorn, rowan berries, and rosehips foraged from artmoor. he idea behind our launch night is to spoil our guests com letely with craft gin and a wonderful display of luxury gemstone jewellery in one of the loveliest villages in ngland, orrinne laughs. nd if we are lucky, it will be a beautiful autumn evening, and the gems will really da le as the sun sets.

ringing evon, and a little bit of ritish and continental design together, Corrinne began transforming the space by commissioning local signwriter Beth arrold of artmoor Sign House to create hand painted signage that balances a classic French/Italian style script with English country elegance. t had to be eth, , says orrinne. ust love her wor . n the ground floor, orrinne has installed bespoke jewellery cabinets with vintage touches by inder of ondon, alongside a eweller s bench and seating area where she can present work to clients and discuss bespoke commissions. ere and there, individually sourced items of vintage furniture reflect orrinne s interest in antiques, while the walls are hung with aintings of the artmoor landsca e by local artist ndrew lly liver. n an affectionate nod to her elsh grandparents, Corrinne his decorated the

s visitors to the atelier will note, orrinne s attention to detail goes further than her craftsmanshi and her commitment to sustainability. It also extends to the acquisition of 1 Mill Street, and the renovation she has underta en since receiving the eys this summer. he rade listed building is stee ed in a artmoor history. s a stannery town, locally mined

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A B OV E hunderflower lder ay lush Image © Faydit Photography

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A B OV E oorland low 1 ct gold and sa Image © Beth Cath Key Photography

hire rings

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TOP ancing ew ro s ring, re ur osed old mine cut diamonds and 1 ct gold Image © Paul Mounsey

A B OV E ild rasses nec lace, recycled silver, titanium and 1 ct yellow gold Image © Paul Mounsey

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silver mists and the s ar le of s iders webs in frosted morning air.

atelier with fabrics and furnishings by wool makers Melin Tregwynt, a hundredyear old mill that she often visited as a child whilst holidaying with her family in embro eshire. he atelier s walls are now ainted with soft colours from osh aint of eham ton, in a considered alette that orrinne describes as lin ing to the story of my journey as a designer and maker so far, and to the history of the classic rench atelier.

n une, she launched her very rst collection of stackable, diamond studded, mi and match bands in gold, silver and latinum. lot of clients commission me to create bespoke engagement and wedding bands, says orrinne, and that has inspired me to create a diamond collection for all inds of love, maybe paired for friendship, or worn as eternity or anniversary rings. hey are the rst collection to be launched here in Chagford, so will always adore them for that.

Looking forward, Corrinne plans to release e clusive collections each season at the atelier, and to host more lu ury events for her clients and fellow residents. hagford is such a lovely, lively lace to be, she says. here is so much going on here, and ho e my jewellery soirees will be a great addition to that. m not sure you need an e cuse to come to this gorgeous town, but if I can add one more reason, will be glad to.

n the rst floor, a light lled s ace houses orrinne s design studio, and of course, beyond the window and the walls of the atelier are s ectacular views of artmoor, orrinne s eternal muse. s the landsca e changes from the green of springtime to the silver of winter, its tors, moorland, forests and rivers are the ins iration for her seasonal collections. The Moorland low collection is crafted from interlaced lin s of yellow and white gold, to reflect the colours of artmoor s summer grassland, alongside ethically sourced, natural parti sa hires. ne of a ind ieces include the artmoor at us in sa hire and diamond ring, a pair of Moorland Bracken yellow sapphire earrings, Moorland Moss and ild orse green sa hire ewellery, and the listening aters blue sa hire ring. Her most recent diamond collection was inspired by autumn and winter on the moor, and draws on glittering dew drops,

For further information on the ‘all-welcome’ atelier launch and to see Corrinne’s collections visit Corrinne Eira Evans Atelier, 1 Mill Street, Chagford, TQ13 8AW and corrinneeiraevans.com. or under ower in see t under ower.co.uk corrinneeiraevans.com

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P RO P E RT Y

Atlantic

PERSPECTIVE Every element has been considered to create an exceptional contemporary coastal home.

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P RO P E RT Y

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auformat kitchen, tted with iele appliances and Dekton worktops, forms the social heart of the house, while the principal suite brings a private terrace, bespoke dressing room and spa inspired en suite. Intelligent systems, including Lutron lighting, Sonos audio, MVHR and air source heating, enhance comfort, while sedum roofs, reclaimed Delabole slate, Corten steel and Cornish hardwood create an e terior that re ects both uality and careful design.

ccupying an elevated site above Mawgan Porth, Waylea presents contemporary coastal living with an air of con dence, its bold architecture matched by e acting craftsmanship and a speci cation that leaves little to chance.

Spanning more than 4,500 square feet, the ve bedroom home centres on generous open plan living spaces where eller Minimal glazing frames Atlantic views and broad terraces e tend daily life outdoors.

WAYLEA Guide price: £3.75M JACKIE STANLEY 01841 532555 sales@jackie-stanley.co.uk

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P RO P E RT Y

Pentire

PANORAMA Striking elevated coastal home with breathtaking Gannel Estuary views, versatile accommodation and terraced gardens.

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n exceptional detached coastal residence occupying an elevated position in the highly sought-after Pentire area, commanding breathtaking panoramic views across the Gannel Estuary from its light-filled living spaces and impressive full-width balcony.

Extending to approximately 2,596 s ft, this substantial three-bedroom home offers an outstanding combination of exible accommodation, generous proportions and a wonderfully private setting, ideally suited to modern family living, multi-generational occupation or holiday letting. Beautifully arranged to make the most of its remarkable outlook, the property also includes a selfcontained annexe, well-maintained terraced gardens, ample driveway parking and a double garage, all ust moments from Crantock Beach, the South West Coast Path and the exceptional natural beauty of the Cornish coastline.

53 TREVEAN WAY OIEO: £1.25M JACKSON-STOPS 01872 261160 cornwall@jackson-stops.co.uk

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Set in E

STONE

mbodying an enduring and timeless sensibility, diamond jewellery is a sublime symbol of splendour.

Ex uisitely crafted to showcase classical sophistication and emphasise the diamond’s natural beauty and refined proportions, these elegant designs combine contemporary style with perennial appeal. michaelspiers.co.uk Prices may vary according to model and size.

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B I J O U X

18CT WHITE GOLD CHAIN LINK P AV É S E T D I A M O N D L A R I A T NECKLACE

18CT WHITE GOLD DIAMOND NECKLACE

£39,950

£39,950

1 8 C T W H I T E G O L D S E V E N RO W D I A M O N D TENNIS BRACELET

£37,500

1 8 C T W H I T E G O L D G R A D UA L D I A M O N D D RO P E A R R I N G S

P L A T I N U M O VA L S O L I T A I R E DIAMOND RING 0.70CT

£6,500

£3,950

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SUSTAINABLE ARCHITECTURE SUSTAINABLE CONSTRUCTION

ARCO2.CO.UK ADDSC.CO.UK

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R E T R E AT

Coastal

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

Taking inspiration from afar, Palm Court Retreats brings an American vibe to Cornish shores.

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and natural materials such as rattan and ute. o s of colourful artwor are ins ired by uca s husband s career in the music industry and there are touches of music culture running throughout the whole house, including original signed osters. his is set to a bac dro of a astel alette ins ired by designer elly earstler s alifornia ollection of sun soa ed colours in collaboration with arrow all. he whole s ace feels light, airy and s acious, and there s even a curated seasonal laylist for guests to en oy, setting the mood and enhancing the feeling of being on holiday even further.

he rst thing you notice about alm ourt etreats is the veranda, with a flight of white ste s rising ma estically to meet its front oorch. ou might ust be minutes from ol erro, but little about this says ornwall its ainted timber, dee eaves and ro ortions lace it in warmer climes. hat, as it turns out, is rather the oint. he main house, alm ourt, was built in the 1 s, designed by an merican architect and it sat there being fabulous until uca and her husband found it in 2 21. t s little sister, alm odge came later and both houses have been furnished slowly, over years of travel.

alm ourt is built for larger grou s thin families, multi generational get togethers, anniversaries or big birthdays. t has a games room with a ool table, large screen television, sin into sofas and that im ressive music memorabilia is always a tal ing oint with guests. large, elegant dining room seats 12 around a vast bes o e table the lace for

he aesthetic is very deliberately built rather than bought off a shelf. alm ourt draws on the laid bac editerranean beach style of bi a and uca and her husband s love of merica from alifornia to the est oast and ast oast and out to he am tons. ns iration comes from the desert in the form of neutral colours

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INSET alm odge

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A B OV E & I N S E T alm odge

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A B OV E alm ourt

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Luca co-hosts retreats herself and is looking forward to two very special escapes this year. he olden utumn cean low oga Retreat from 5th to 9th October will be an intimate ve day retreat created for women needing to slow down, reconnect with themselves and embrace the next cha ter. olden utumn offers the time and su ort to ause, reflect and return home feeling lighter calmer and more connected. This retreat will include Kundalini yoga, breathwork, meditation, nervous system practices, sound healing, sauna and coastal walks.

setting the world to rights over multiple courses. Six individually styled bedrooms offer tran uillity and a sound night s slee for all. te outside and you ll nd a hot tub and two terraces one with a re it and the other with lounge seating and space to eat ma ing outdoor living effortless. alm Lodge, brand new for 2026, is perhaps the more surprising and unexpected of the two, being smaller and more intimate, suited to couples, romantic getaways, or walkers in the uieter shoulder months. This twobedroom, wooden-clad American ranch style home is blended with the clean, breezy coastal aesthetic of the Hamptons and Nantucket, inspired by the homes of Ralph Lauren. Every detail has been carefully curated, down to the Americana prints on the walls. t s calm, cosy and coastal, but with a distinct character of its own in deliberate contrast to alm ourt s beachy warmth. This juxtaposition makes for an interesting design conversation: two very different reference points but with the same instinct for laid-back, considered living.

Both properties can be booked separately or taken together for bigger

rom the 12th to 1 th ctober, alm ourt will lay host to he onscious ome Design with Intention etreat. ver this ve day immersive experience guests will discover how their home can become a sanctuary that supports wellbeing. “A topic close to my heart, we ll cover colour psychology, biophilic design, sensory design, make mindful mood boards and meeting ornish makers, with coastal walks and a sound therapy session,” explains Luca.

The location is stunning in itself and a ma or art of what ma es alm ourt Retreats so special. “We are just a short stroll from the historic shing harbour of ol erro, with the outh est oast ath running in both directions, says uca. t s a real escape from the city to something much more considered, which I believe is something we all need right now.” Staying at alm ourt etreats is slow lu ury, done properly.

he design of each ro erty at alm ourt has a ur ose beyond the aesthetic, as they lend themselves naturally to hosting creative, wellbeing retreats. Quiet, secluded and tran uil, there is am le s ace for facilitators with room to practice yoga or other mindful practices. The wood-clad interiors and peacful corners throughout the houses and gardens give everything a reflective, unrushed feel. acilitators can also dry-hire the space, with local chefs, teachers and activities arranged for them.

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C R E AT E

Generational

VIEWPOINTS WORDS BY JAMIE CROCKER

An exercise in observation brought to fruition by a shared artistic interpretation of Penzance.

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met her future husband, while Rhiannon grew up just beyond its boundaries, returning constantly for family, friends and the experiences that would shape her own life. Together they recognised that Penzance held more than 50 years of shared family history. It also offered sub ects that naturally suit both artists: lush planting, distinctive architecture, a working harbour and sweeping views across Mount’s Bay.

he Summerhouse Gallery has become known for presenting contemporary Cornish art with care and conviction. Since artist Rhiannon Cottam took ownership in 2023, the Marazion-based gallery has continued to champion painters, makers and sculptors whose work re ects the richness of creative practice across Cornwall. Every exhibition is thoughtfully curated, with each piece contributing to a carefully considered whole.

Those shared experiences emerge through places that carry personal meaning.

Morrab Gardens recalls childhood races to the fountain before circling the bandstand, followed by afternoons e ploring the Jubilee Pool and its marine life. Clarence Street and its network of narrow lanes remind Jo of hurrying to summer jobs during the 1980s and walking home from evenings spent in Chapel Street, then the centre of the town’s social life.

Annual family holidays, made possible by her grandmother’s rented cottage, strengthened those ties still further. The Scillonian III also appears within the e hibition, re ecting years spent living on the Isles of Scilly before children arrived,

This summer brings an exhibition with particular signi cance, as Rhiannon exhibits alongside her mother, Jo Cottam, for the rst time around a shared theme.

The idea began with conversations about West Cornwall and the Isles of Scilly, places that have shaped family life for generations. As sketches, notes and discussions developed, both artists arrived at the same conclusion: Penzance was the place that connected every thread.

For Jo, the town spans childhood, adolescence and early adulthood. She returned there as a teenager, where she

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Although inspired by the same place, mother and daughter speak through very different artistic languages. o s paintings are in uenced by the gestural energy of Impressionism, built through expressive colour and successive layers of acrylic and oil that create texture, depth and atmosphere. Rhiannon works in mixed media, combining nely observed detail with an illustrative quality shaped by memories of dance, performance and family life. Their paintings remain

alongside a long family involvement with gig rowing.

Rhiannon is equally drawn to the details that often escape attention washing hanging between houses, weathered rear elevations, uneven tiling and tall sash windows catching the changing light.

Together, these familiar scenes create a portrait built from lived experience, where everyday surroundings carry lasting signi cance.

TOP Jo and Rhiannon outside Jo’s studio in Ashton

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A B OV E Rhiannon left and o right in their respective studios

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TOP LEFT Evening Glow at Abbey Basin by Rhiannon (small section of painting

A B OV E Race You to the Fountain

by Jo Cottam

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TO P R I G H T A Sparkly Sunday at the Pool by Rhiannon ubilee painting

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C R E AT E

entirely individual while sharing a vivid use of colour that brings the exhibition together.

on supporting the artists she represents.

This year offered an opportunity to create space for her own work alongside that of the person who rst encouraged her creative instincts. Curating the exhibition together has become part of the experience itself, allowing mother and daughter to shape every relationship between the paintings.

The work also re ects a town whose character continues to evolve. Penzance carries evidence of changing fortunes, yet its creative spirit remains unmistakable.

Independent businesses continue to bring fresh energy to the streets, while Victorian buildings, mature gardens and the striking Art Deco lines of the Jubilee Pool sit comfortably alongside faded shop signs, old amusement arcades and weathered walls. Every layer contributes to the town’s distinctive identity.

Both artists speak of reaching a point where their individual approaches feel fully formed. Years of painting have strengthened their con dence without diminishing curiosity, allowing this collaboration to develop naturally. The result is neither a record of familiar landmarks nor an exercise in nostalgia.

It is a considered portrait of a town understood through decades of family life, observation and affection.

Preparing for the exhibition encouraged Rhiannon to experience Penzance at a different pace. he rented a room for a weekend, spending long hours walking with sketchbook and camera, allowing chance encounters and small observations to shape new work.

She watched swimmers return from the sea, paused beside conversations drifting through the streets and noticed an elderly woman enjoying tea on a small balcony. A man patiently balancing pebbles on the beach became another eeting image that found its way into her thinking. Human gures rarely appear directly within her paintings, yet the traces of everyday life remain present throughout.

The Summerhouse Gallery has long celebrated artists with distinctive voices, and this exhibition captures that ambition with sincerity. Through two generations of one family, it reveals how a shared place can inspire entirely individual responses, inviting visitors to see Penzance through fresh eyes while recognising something of their own experience along the way. PZ runs at The Summerhouse Gallery from 4the to 28th September, with a private view on 4th September, 6 to 8pm, open to all. Newsletter subscribers receive early access to the works and can sign up via the website or by emailing.

The exhibition also marks an important stage in Rhiannon’s own journey with The Summerhouse Gallery. For much of her time as owner, her attention has centred

summerhousegallery.co.uk

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D AY S W E L L S P E N T O N T H E

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A place

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

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A B O D E

It started with a simple ambition: to ma e a meaningful difference through architecture

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positive change and to establish a business that prioritised sustainability, supports the wellbeing of its people, and offers the e ibility for everyone involved to en oy a ful lling life beyond work. ith that, ten years of dreaming nally became a reality.

And if there is one thing that inspires you to make an idea succeed, it is having a young family. That responsibility became the greatest motivation of all.

n conversation with Julian Mills of STUDIO/gather, we talk beginnings, growth and an approach to considered sustainable architecture that lies at the very heart of this practice Tell me a little bit about the beginnings of the practice, how it was formed and the ethos behind it.

The idea for the practice began almost a decade before it o cially launched. aving spent my career studying and working in sustainable design, I was driven by the belief that architecture should leave a positive impact on both people and the planet. hen I found the place where I wanted to put down roots, it felt like the right time to follow in the footsteps of the architects and mentors who had inspired me by creating a studio built around those same values. The catalyst for turning that long-held ambition into reality came when I learned I was going to become a father. The arrival of my daughter gave me a renewed sense of purpose and urgency. I wanted to build something that would show her that with determination, anything is possible.

I wanted my work to create lasting,

PREVIOUS Boswarthen

The practice has grown from a founder-led studio into a small team of architects and technicians, how has your ethos evolved as the team has expanded and how do you keep that shared thread consistent across different people’s work?

In the early days of the practice, we invested a signi cant amount of time de ning a clear mission and vision. e worked with an industry specialist whose e pertise lay in helping businesses articulate their purpose and values. fter months of workshops, conversations, and no small investment of our edgling savings, we emerged with a statement that was remarkably similar to the one we had started with!

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A B OV E Boswarthen

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A B OV E armino ouse

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A B O D E

operates, asking di cult uestions about governance, culture, environmental impact and accountability. ore importantly, it challenged us to formally embed the values that had always de ned the practice.

n the train home from our nal meeting, I remember wondering whether we had ust wasted months of our time – or whether we had simply been given the con dence to trust what we had believed all along.

Looking back, it was undoubtedly the latter.

The process didn’t change who we were; it validated the principles that had inspired the practice from the start. The people who have oined us have been drawn not only by the work we do, but by what we stand for. They want to make a positive impact through architecture, specialise in lowenergy design, create buildings that respect the planet, and work in an environment with a healthy work life balance.

The process itself was demanding.

Fortunately, much of the work had already been done organically – it was less about reinventing the business and more about documenting and formalising the way we already worked. e began the ourney within our rst year of trading and only recently reached the nish line in . It was a signi cant undertaking, but one that the entire team is immensely proud of.

Corp has become a recognised benchmark for businesses committed to balancing purpose with pro t, and earning that certi cation felt like tangible proof that we were living up to the values we talk about.

Maintaining that culture requires ongoing commitment. e regularly step away from pro ect work to re ect on who we are as a practice and whether our actions continue to align with our values. Team reviews, away days, volunteering initiatives and open conversations all create space to listen, learn and evolve. It is through these moments of re ection that we ensure our founding vision remains as relevant today as it was on day one.

Our commitment to 1% for the Planet re ects a similar philosophy. It ensures that a portion of our pro ts is directed towards organisations working to protect and restore the natural environment, but it also acknowledges the in uence of von houinard and his approach to business.

Reading et y eo le o urfing had a lasting impact on how I thought a practice could operate. It presented a vision of a business that values people, embraces e ibility and sees commercial success as a means to create positive change.

STUDIO/gather is a certified B Corp, a member of 1% for the Planet, and signed up to Architects Declare and the RIBA 2030 Climate Challenge. Of all these commitments, which has actually changed the way you design or run the studio day to day and why are they important to the practice?

That has become something of a blueprint for T DI gather. hether it s taking advantage of lunchtime surfs when the conditions are right, supporting e ible working around childcare, or ensuring our success contributes to causes that bene t people and the planet.

They are all important in a different way, but if I had to single one out, the B Corp certi cation process has probably had the biggest in uence. It encouraged us to e amine every aspect of how the business

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A B O D E

aving commitments such as orp and 1% for the Planet acts as a constant reminder of the standards we’ve set ourselves and the purpose behind the practice.

Those commitments also encourage continual re ection. They in uence decisions that might otherwise seem insigni cant where we source our materials, which suppliers we choose, where our coffee comes from, and even the types of clients and pro ects we decide to work with. ustainability isn t a single decision; it’s a series of hundreds of small ones.

challenge and the part we en oy most is bringing those two ambitions together so neither is compromised. or us, lifestyle led design isn’t simply about adding more space. It s about understanding how people want to live and shaping their home around that. ometimes that means creating an e tension or introducing entirely new spaces. ust as often, it s about making an e isting home work harder improving comfort, reducing energy bills and giving people greater freedom to spend their time and resources on the things that matter most.

Our commitments to Architects Declare and the RI limate hallenge are slightly different. Rather than focusing on how the business is run, they shape the buildings we design. very pro ect involves balancing ambitious environmental goals with the realities of rising construction costs, changing supply chains and nite client budgets. There are often di cult conversations about where savings can be made without compromising the integrity of the design or the environmental performance we set out to achieve. Those challenges are now simply part of the ob.

very pro ect is different because every client arrives with a different story. e spend time with our clients at the very beginning to understand where the greatest opportunities lie, identifying what will have the biggest impact on both their lifestyle and the building s performance.

Interestingly, those conversations often reshape the brief. hat enables us to achieve this is our team who combine creative thinking with technical e pertise. Their ability to design homes that are both architecturally distinctive and e ceptionally energy e cient is what de nes the practice. e don’t see sustainability as something that limits creativity; instead, it becomes an integral part of the design process, allowing us to create homes that are as en oyable to live in as they are responsible to build and operate.

With Passivhaus, EnerPHit and retrofit as specialisms, how do you balance the technical rigour of those standards with the ‘lifestyle-driven’ design your clients are commissioning you for?

Most of our clients come to us because they want to create a genuinely low energy home. ustainability is usually the starting point.

They also know, through our previous work or reputation, that we design architecture that is thoughtful, site speci c and tailored to the people who will live there. The real

If a prospective client came to you today unsure whether ‘sustainable’ and ‘beautiful’ have to be a trade-off, what would you point them to in your work to prove they don’t.

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A B OV E Penrose

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ings

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sustainable architecture can sit comfortably within a sensitive historic setting. inished with reclaimed Delabole slate, the building has been described as resembling a mackerel swimming through the Cornish sea, with the changing light creating a shimmering, ever-evolving fa ade. Designed to perform as close to Passivhaus standards as possible without formal certi cation, hite ings proves that e ceptional environmental performance and timeless architectural beauty are not mutually e clusive they are at their best when they are achieved together.

very pro ect we undertake is shaped by the client rather than a predetermined house style. e don t believe in imposing a signature aesthetic. Instead, our design process responds to the people, the place and the e isting architecture. hat one person nds compelling another may see entirely differently. ome of our most rewarding pro ects are also the most challenging e tending and transforming historic buildings while ensuring they perform to modern environmental standards. t both armino ouse and The oswarthen iggery, we carefully balanced the character of the original buildings with contemporary sustainable design principles. Low carbon insulation was introduced in a way that allowed the e isting structures to remain breathable, improving thermal performance while protecting the integrity of the historic fabric. These are the fundamentals of sustainable architecture often invisible to the eye, yet critical to creating buildings that are healthy, comfortable and built to last.

The architectural e pression then comes through in the craftsmanship the careful selection of natural materials, the precision of detailing, the relationship between interior spaces and the surrounding landscape, and the way natural light animates the building throughout the day.

I can see that material choice is particularly important, can you explain why this is and how it fits within the sustainability piece? ne of the rst things you realise as an architect is the e traordinary volume of materials that go into creating a building. rom foundations to nishes, tonnes of concrete, steel, timber, glass and insulation arrive on site, each carrying its own environmental footprint. very material has a story long before it reaches a pro ect, shaped by the energy re uired to manufacture it, the resources it consumes and the impact it leaves behind.

As designers, it’s our responsibility to think not only about how those materials perform today, but also about the legacy they leave for future generations.

That said, one pro ect that perhaps best embodies both beauty and sustainability is hite ings. ighly ommended for its design within a conservation area (Falmouth), this new-build home demonstrates that contemporary

For me, that responsibility became deeply personal on the roof of one of my earliest pro ects in ornwall. ust a week before, I had volunteered on a Surfers Against

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adventure awaits..

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A B O D E

Sewage beach clean, collecting discarded plastic bottles, packaging and shing debris from the shoreline. Like many people, I had associated plastic pollution with careless littering and large manufacturers.

Yet here I was, less than 500 metres from the sea, watching contractors cut rigid plastic insulation as fragments blow effortlessly into the wind. It was a sobering moment. Those pieces of insulation weren’t likely to be collected on the next beach clean. Instead, they would gradually break down into microplastics, nding their way into the marine ecosystem and our waterways, where their impact would be almost impossible to reverse. The experience fundamentally changed the way I thought about material speci cation.

Looking across your portfolio is there one project that you feel best represents where the practice is heading now, and why?

The months ahead are particularly exciting. Over the next three months alone, we ll complete a certi ed assivhaus in ol eath, an intricate whole house retro t and landscape scheme on the Helford, a modest extension for a young family in St Columb Major and a characterful artistic renovation and extension in West enwith. ach pro ect is entirely different in scale, setting, and expression. All have their merits of which we would say show our studios colours stamped to the mast. We’ll be updating our website and social media accounts as they go live.

In many cases, replacing petrochemical-based products with biobased alternatives is remarkably straightforward – provided sustainability is considered from the outset of the design process rather than as an afterthought. Today, we actively seek to minimise the use of high-carbon materials across our projects, particularly those that contribute to plastic pollution.

Every material choice is an opportunity to reduce environmental harm while creating buildings that are healthier, more resilient and ultimately better connected to the landscapes they inhabit.

Our portfolio remains a true re ection of who we are as a practice. We enjoy working on projects of every scale, from carefully considered home extensions to ambitious new builds and comple retro ts. hat unites them isn’t a particular architectural style, but a shared commitment to thoughtful, sustainable design and the privilege of collaborating with passionate clients who want to create something special. studiogather.co.uk

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AWARDS 2026

WE ARE DELIGHTED THAT THE SHORTLIST FOR THE DRIFT AWARDS 2026 HAS NOW BEEN ANNOUNCED. Visit levenmediagroup.co.uk/awards or scan the QR code to vote now for your favourite business from the DRIFT Awards 2026 shortlist.

The DRIFT Awards 2026 will be held in October 2026.

Voting has now commenced, closing on the 30th September 2026. Make sure you’re subscribed to our newsletter to receive regular updates – driftjournal.co.uk/e-newsletter

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Fish for

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

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C U I SI N E

A weekend immersed in Rick Stein’s Padstow, reveals a business with seafood at its heart and people in its soul.

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the world walk by, the soundtrack of the low murmur of a kitchen already at work plays behind me. It is exactly the right way to begin a day that will turn out to be built almost entirely around the water.

I park close to The Seafood Restaurant – Rick tein s rst and agship of the group and step inside to nd warmth waiting and coffee poured. I m here at the invitation of the Stein family who are keen to share their ethos and the experience of Padstow and its seafood that has become the company’s marque.

As I sit at my table by the window, watching

uelled with coffee and delicious petit fours, we embark on our rst adventure of the day a shing trip hosted

by Jack Stein aboard the Emma Kate. Following in his father’s footsteps, Jack is Chef Director of Rick Stein and joins us on the quayside. Our skipper for the morning is a second-generation adstow sherman, the estuary written into him the way it is written into the town itself. He talks with the Cornish lilt and easy authority of someone who has spent a lifetime reading tides and currents. As the Emma Kate noses out past the harbour wall, Padstow reveals another face entirely. From the water, the town takes on a different

adstow arrives grey on the morning of my stay, the sky pressed low over the harbour and the water the colour of pewter. While it’s not the picture-postcard version of the town with blue skies and turquoise seas, there is something honest about it, the gulls wheeling and complaining over boats that rock gently at their moorings, the smell of salt and diesel and yesterday’s catch still hanging in the air. The mood feels contemplative and I really rather like it.

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Credit Rebecca Hope

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Credit Rebecca Hope

TOP St Petroc’s room

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A B OV E The Seafood Restaurant room

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Credit Sam Harris Credit Sam Harris

Credit Milly-Fletcher

TOP The Seafood Bar

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regular, same with pollack which mum would transform into the creamiest of sh pies. When dad ventured further out, it might be sea bass or whiting… on occasion Bernard the Gurnard would make an appearance, although we could never quite bring ourselves to eat him! If we were lucky, one of the cove s commercial shermen would add some crab claws to the bucket, from which the prized white meat would be picked out on the kitchen table, making for a lunch t for a king. This was the norm for us growing up and it’s only over recent years that I’ve realised just how lucky I was to be exposed to such seafood species.

perspective: a cluster of cottages climbing the hill, the Doom ar shifting beneath the surface. From this vantage point, the whole business of shing is laid bare in a way that is impossible to grasp from dry land. There is a particular pleasure, too, in being shown a place you think you know through the eyes of someone whose family has worked it for generations, in hearing which stretch of water still yields the best catch and which has long since been shed thin.

As we reach the estuary mouth, engine idling, ack wa es lyrical about forgotten sh.

Not the cod and the salmon that dominate supermarket shelves and restaurant menus, but the species that have slipped from fashion and from memory, gurnard, coley and pollack, sh that are abundant and sustainable and largely ignored. Jack’s argument is simple and persuasive: that by continuing to sh only the same handful of species, we place pressure on stocks that could be relieved if cooks and diners alike were willing to look again at what the sea actually offers. It is not a lecture, more a conversation with real feeling and it sets the tone. There is something compelling about hearing this argument from a chef, made not from a position of theory but from years spent at the sharp end watching the same handful of species move through the kitchen while others, equally worthy, seem to be passed over.

Meanwhile, back aboard the Emma Kate… Our skipper has set up multiple boat rods with colourful mackerel feathers. Eager to relive the excitement of my childhood, I drop my line over the side and begin the meditative practice of whi ng as it s known down adgwith essentially pulling the rod upwards so that the feathers race through the water, mimicking the fry the mackerel are after.

Three whiffs in and I feel the line pull.

Reeling in, I ve got a line full. The sh were coming up fast and ghting and I take nostalgic pleasure in watching them hang from the feathers, their scales catching the light in ashes of iridescent blue and green, a colour that seems almost implausible against the grey of the morning. It is a small thing, but it stays with me, that icker of oil slick brilliance on a sh most people only ever encounter tinned or smoked. Rods around the boat are nding similar success and soon we have a basketful of fresh mackerel.

I grew up in the shing cove of adgwith, my youth misspent messing about in boats and landing a catch always taken home in the same old battered orange bucket for mum to llet. resh mackerel was a

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restaurant, the beautiful central bar area has been reimagined. Here, you can now walk in, order a glass of wine and a few plates of something delicious to share. The cocktails are extraordinary, mixed with the precision of a magician, each one arriving with a ourish and Rick tein s own blend white Burgundy is a triumph.

While on board, we lunched on Stein’s deli favourites; savoury pies with crisp pastry, sausage rolls to die for and cakes in every direction. There is a generosity to the spread that feels in keeping with everything else about the Rick Stein operation; proper food made well and offered without ceremony. We’re on a dropping tide, so as slack water takes hold, we reel in the nal catch, stow the rods and motor back to Padstow, the Emma Kate’s twin diesels opened full throttle as we return to shore.

Then comes the tapas… the prawn toast is immense, the octopus char siu skewers smoky and succulent in equal measure, charred at the edges and tender within, and oysters, of course, come three ways – raw, tempura, Rockefeller.

There is something rather wonderful about a place with this much culinary pedigree behind it, choosing to keep its bar unpretentious. It feels glamorous though and that’s part of its appeal.

I nish with an indulgent, but palate-cleansing sgroppino, a decadent dessert that I simply cannot recommend enough.

Credit Sam Harris

ack on land, I get my rst proper look at the rooms, all designed by Jill Stein, whose eye for interiors runs through the whole business.

I am staying at St Petroc’s Bistro and it is a space that seems to have absorbed the town around it. The sound of the harbour drifts up through the window, along with the cry of gulls and, more than once, the unmistakable smell of something good happening in the kitchen below. The room wants for nothing, right down to Jill’s own signature products on the shelf. It is worth noting, too, that Ed Stein, the eldest of the three brothers, works alongside Jill and his wife Kate on exactly this kind of detail shaping the bones of the business from behind the scenes.

The evening is spent at the Seafood Cookery School, and it is here that the Stein family’s collaborative energy is most visible. e are there to learn how to llet and cook red mullet, which we serve with a tomato and potato sauce, nished with chermoula and fresh herbs. Jack leads the lleting class, his deft and unhurried skill coming from years of experience, while Charlie waxes lyrical about wine.

We channel our inner aster hef, lleting,

Smelling of Jill Stein’s beautiful signature scent, Porthdune, I take the short stroll down to The Seafood Restaurant, where I’m excited to try the new tapasstyle Seafood Bar. At the centre of the

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A B OV E Rick Stein’s Cookery School

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Credit James Ram

seasoning and tasting with a concentration that comes from being slightly out of our depth, but the result is delicious and a reminder that there’s no need to be afraid of cooking sh you ust need a few pro tips and you’re away. We drink a particularly delicious Greek wine, a choice that says something about Charlie’s willingness to look beyond the obvious regions. fter a night s sleep fuelled by sea air and a nightcap at Ruby’s Bar, the following morning dawns with the return of blue skies and a light breeze. A walk out to the beach and back is much needed after so much culinary indulgence. adstow is ust waking up and has that unique feeling you get when you’ve got a place almost to yourself.

Lunch at The Seafood Restaurant is hosted

by Jill Stein as ever, graceful and eloquent, dressed in a buttery soft green leather acket that draws admiring glances from every woman at the table. What strikes me most, though, is not the acket but the manner behind it. Jill speaks of her sons with obvious pride, but never once does it tip into boasting. There is a gentle, humble

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nature here, and yet it is impossible not to notice that she has been the framework behind the business, the steadying matriarchal presence that allowed Rick, and now Ed, Jack and Charlie, to build something so expansive. She supports the next generation of Steins without needing to claim any credit for herself, and that, perhaps, is the truest measure of her role in all of this. Talking to her, it becomes clear that the business, for all its restaurants and hotel rooms and television series, still runs on the same values it was founded on back in 1975, and that Jill has spent ve decades making sure of it.

Credit James Ram

What lingers, days later, is not any single dish or view but the sense of total immersion in a particular way of life. The Stein family have built something unique; a business run on instinct and ambition.

Padstow may have greeted me under grey skies, but by the time I leave, the place has revealed itself in a hundred small, glinting moments, not unlike the mackerel on my line, catching the light when I least expect it. rickstein.com

A B OV E Jill Stein

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A nettle and

THREAD WORDS BY JAMIE CROCKER

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From rescued hens to resilient fibres, Jane Gray follows her curiosity wherever it leads.

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something about them that lingered in her thoughts long after she had left.

ost people would walk past a patch of nettles without a second glance, perhaps making a mental note to avoid the sting. Jane Gray sees possibility where others see weeds, cordage where others see garden waste and stories woven through plants that have grown alongside people for centuries. pend an afternoon in her company and it becomes impossible to look at a hedgerow in quite the same way again.

The transformation has less to do with textiles than the woman herself, whose enthusiasm has a habit of making the ordinary appear extraordinary.

Life intervened before she returned. There was illness, the discovery that she was dyslexic and the loss of a close friend whose encouragement changed the direction of her life. He urged her to leave work that had become physically and emotionally draining. His advice proved decisive.

Creativity had already begun to take hold. Jane’s home was lled with rescued chickens, creatures she describes with genuine affection and admiration.

Their personalities inspired a collection of stitched artworks celebrating their intelligence and character.

The images found an audience well beyond Cornwall, appearing on greetings cards, mugs and cushions before catching the attention of a top Birmingham lawyer and owner at Tyndallwoods, udy Dyke, who lled her o ces with ane s work before organising an exhibition that opened with civic fanfare.

The paintings carried a gentle message about respecting animals and recognising the lives behind the food people consume so casually.

Her route here has been anything but predictable.

Jane enrolled at Falmouth University aged 59, determined to discover something that would sustain her curiosity for the rest of her life. The decision came after years spent in banking, care work and innovation, with a patent already to her name. While visiting the university on an unrelated project, she found herself walking through the weaving department. Rows of looms stood waiting between teaching sessions. There was

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own Cornish studio. Through her growing initiative, Nettle Revolution, she now reconnects people with nettles through bre, creativity, workshops and the rediscovery of plant wisdom.

Then everything changed again. The sudden death of her friend Howard Lyons, a professor at he eld allam niversity, on hristmas Day left ane searching for purpose. During a charity fashion show, she found herself chatting with another mature student who happened to mention university. coffee, a conversation and an application followed. oon afterwards she was studying extile design in Penryn, beginning a chapter that would rede ne her life.

Her enthusiasm extends beyond the nished fabric. ane delights in e plaining how bres behave, why particular plants produce exceptional yarn and how materials return naturally to the soil at the end of their useful life. She speaks with the excitement of someone continually discovering something new, inviting others to join the journey.

niversity offered far more than technical skills.

It encouraged investigation. Jane became fascinated by sustainable bres, e amining a , cotton and other natural materials before she even encountered nettles. The discovery was immediate and instinctive. She laughs that perhaps the plant chose her.

The modest studio beside her home re ects that approach. Built during lockdown, it has evolved into a place where weaving, experimentation and conversation happen in unison.

Shelves over ow with botanical samples, handmade yarns, woven textiles and curious objects collected through years of research.

Research soon revealed a global community exploring the forgotten potential of nettle bre. ith yarn being di cult to source in ritain at the time, it eventually led Jane to suppliers in Nepal, where traditional methods had survived for generations. Each new discovery opened another door. Conversations with growers became conversations with researchers.

Researchers became collaborators. Today she contributes to European initiatives exploring the future of nettle cultivation while continuing to experiment in her

Nothing appears beyond consideration.

Dandelion stems become surprisingly durable cordage. Nasturtiums reveal unexpected strength. Hay is transformed into baskets. ew ealand a becomes decorative forms that hint at ancient techniques still relevant today. Every object begins with the same question: what can this become?

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an e ample of creative circular thinking, sharing it during conferences, public events and presentations, including at the ouse of Lords. lipper Tea embraced the pro ect, featuring the dress across its own channels and sending ane a celebratory hamper.

That spirit of enquiry runs throughout Jane’s practice. She has little interest in treating craft as nostalgia. Traditional knowledge inspires because it continues to offer practical solutions. kills once considered commonplace remain valuable in a world increasingly concerned with waste, environmental responsibility and the origins of the materials surrounding everyday life. hat began with te tiles has grown into a wider philosophy embracing nature, wellbeing and resilience, with ane increasingly recognised as an educator and storyteller as much as a maker.

The garment sits alongside another enduring passion nettle te tiles themselves. er work has connected her with the documentary The ettle Dress, where she appears in the lm s acknowledgements following early involvement with its development. or ane, recognition matters less than the conversations these pro ects generate. very e hibition, demonstration or workshop becomes an opportunity to encourage people to reconsider materials they have overlooked all their lives.

ne of her most celebrated creations emerged almost accidentally. Tea bags had become an unlikely collection. ane had been saving the compostable bags from her favourite tea, imagining they might one day become part of an artwork. An opportunity arose through eter niversity s nvironment and ustainability Institute, where contributors were invited to create work using e isting materials. ane proposed making a dress, even though she had never made one before. ver si demanding weeks, more than , used tea bags became an elegant garment, strengthened through weaving and careful construction before being nished with vintage embroidery inherited from her grandmother. rofessor lan le ander later adopted the story as

Teaching has become an increasingly important part of that mission. ane en oys introducing people to spinning, weaving and plant bres, as well as the other ama ing bene ts to be gleaned from nettles their ability to ease oint discomfort and nourish the blood, soothe the nervous system and their cleansing properties, to name a few. he wants visitors to leave with fresh curiosity. nce someone discovers that string can be made from dandelions or cloth from nettles, familiar landscapes ac uire new meaning. ardens become places of possibility, whilst hedgerows become

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living libraries. er work now e tends through ettle Revolution and ettology, bringing together practical craft, traditional knowledge and contemporary thinking in ways that encourage people to build a deeper relationship with the natural world.

woven sample, every stitched piece and every e perimental pro ect asks the same simple uestion what have we forgotten that deserves another look erhaps that e plains why an encounter with ane lingers so long afterwards. ou leave seeing weeds as if there ever was such a misappropriated name differently. ou notice the bres hidden inside familiar plants. ou wonder what previous generations understood instinctively before the easy path obscured those lessons. uriosity, it turns out, can be remarkably infectious and eye opening.

amily remains close to everything she does. ane is grandmother to eight, and much of her thinking centres on the world they will inherit. resents are often handmade. They may pu le younger recipients today, she admits with a smile, though she suspects their signi cance will become clearer in years to come. assing knowledge from one generation to the ne t matters every bit as much as creating beautiful ob ects.

ane has built a creative practice from that simple instinct. ne thread leads to another, another conversation sparks fresh research and every nished piece becomes the beginning of the ne t story. omewhere along the way, the humble nettle has become an unlikely ambassador for imagination, resourcefulness and craftsmanship.

Through ettle Revolution, that conversation continues to grow, reaching well beyond te tiles into a broader understanding of how plants can support creativity, health and resilience. ane could not have planned that when she rst paused outside a room lled with silent looms. et, looking back, every twist in the thread seems to have been waiting patiently to be woven together.

That generosity of spirit e tends well beyond her family too. isitors rarely leave empty handed, whether carrying a newly learned skill, a handful of ideas or simply a fresh perspective. ane possesses the rare ability to make enthusiasm contagious without ever becoming evangelical. he shares discoveries with warmth, humour and genuine delight.

It is tempting to describe ane ray as an artist, a weaver, a researcher or an environmental campaigner. ach description contains some truth, though none quite captures the whole picture. he is, above all, a storyteller. er materials happen to be bres, leaves, yarn and cloth, but the stories concern people and their relationship with the natural world. very

INSET ane ray

nettlerevolution.co.uk

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