DRIFT 60 by Leven Media Group

Volume No60 £10.00

A life

IN PAINT A simplicity of composition and colour that has inﬂuen e a generati n

J O U R N A L

F O R

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J O U R N A L

F O R

T H E

D I S C E R N I N G

rift /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

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On the cover Evening Moor detail by ohn iper as featured from page

lighthouse-gallery.com

Editor

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itter

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DRIFT is published by: Leven Media Group LTD olbrook, The oors, orthleven, ornwall T 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 even 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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Leven Media Group Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of this magazine. Leven Media Group Ltd is a multi-platform media business with a passion for everything Cornish. Visit www.levenmediagroup. co uk to find out more ur mission is to create T I media opportunities marrying together consumers with the fabulous businesses across ornwall ur publishing and marketing teams are specialists in creating print and online communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and maga ine e perience we develop e ective communications that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.

10/09/2026 15:19

T E A M

Foreword To move forward without losing what makes something itself is a question of balance: how to evolve without erasing, to absorb what is new while retaining the qualities that made something worth keeping in the first place The most compelling stories of change are rarely about reinvention for its own sake. They are about continuity, principles carried forward, places allowed to mature, materials given another life and ideas refined, not discarded hat endures is not always visible. Sometimes it is a way of making, a relationship with landscape, a line of thought, or simply an instinct about what should remain. This volume of DRIFT Journal considers that space between permanence and progress. It looks at people, places, objects and practices that have changed hands, generations, uses or technologies, yet emerged recognisably themselves, because evolution, at its best, is not a departure from what came before but a deeper understanding of it. The idea runs

through these pages in di erent forms ohn iper’s retrospective traces a career influenced by formative mentorship and the surrounding landscape. e consider , an architecture practice putting decades-old ideas to work in the most direct way possible, by building its own space. There are also stories of continuity measured in generations, where place and inheritance become almost inseparable. aroline leave’s work is anchored to ort Isaac by generations, her connection to the harbour town written into both family history and the fabric of the place itself t atek hilippe , continuity takes another form: a watch passed through four generations of the tern family since , carrying not only the name on its dial but the history of those who have owned it. In both cases, what is inherited is more than an object or an address; it is a sense of responsibility towards what comes ne t i erent narratives perhaps, but all with the same instinct.

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AWARDS 2026 WE ARE DELIGHTED TO ANNOUNCE THAT THE SHORTLIST FOR THE DRIFT AWARDS 2026 HAS NOW BEEN ANNOUNCED! Vote now for your favourite business from the DRIFT Awards 2026 shortlist. Visit levenmediagroup.co.uk/awards to nominate now, or scan the QR code. Voting will close 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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Mousehole Deli & Kitchen mouseholedelikitchen.co.uk

Porthminster Gallery porthminstergallery.co.uk

R E T R E A T

S U S T A I N

Budock Vean budockvean.co.uk

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St Moritz Hotel & Cowshed Spa stmoritzhotel.co.uk

Cornwall Wildlife Trust cornwallwildlifetrust.org.uk

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A B O D E

I N S P I R A T I O N

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Children’s Sailing Trust childrenssailingtrust.org.uk

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BOX COTTAGE | OLD HILL | GRAMPOUND GUIDE PRICE £700,000 A CHARACTERFUL DETACHED HOME, FLEXIBLE ACCOMMODATION, BEAUTIFULLY ESTABLISHED GARDENS, ENJOYING A HIGH DEGREE OF PRIVACY ONTO OPEN COUNTRYSIDE BEYOND. Box Cottage is an attractive and substantial detached home occupying a wonderfully established setting on Old Hill, close to the historic village of Grampound. Set within exceptional mature gardens which directly adjoin open countryside owned by the Trewithen Estate, the property enjoys a high degree of privacy and seclusion while remaining conveniently positioned for village amenities and excellent connections across mid and south Cornwall.

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TREGIDDRIS FARM | ST MARTIN | HELSTON GUIDE PRICE £1,000,000 GRADE II LISTED FARMHOUSE WITH SEPARATE ANNEXE, FAR-REACHING RURAL VIEWS, WORKSHOP AND ARTIST’S STUDIO, SET WITHIN APPROXIMATELY 2 ACRES OF BEAUTIFUL GROUNDS. Tregiddris Farmhouse is a beautifully restored Grade II listed home dating to circa 1798, set in an Area of Outstanding Natural Beauty on the Lizard Peninsula. Originally part of a small hamlet, the property retains its historic character while offering well-appointed living spaces. A welcoming entrance hall leads into the main living area, where a striking stone inglenook fireplace with a freestanding log burner creates a cosy focal point. The formal dining room, with its ornate fireplace and tiled surround, enjoys views over the front lawn. The kitchen is both spacious and functional with far reaching views over the open countryside.

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C O N T E N T S

At a glance 63 E X P A N S I O N W I T H R E T E N T I O N

14 A L I F E I N P A I N T

Maintaining a local identity underpins Mounts Bay Holidays

A special retrospective of John Piper’s work

26 P R O O F O F P R I N C I P L E

71 A R E I M A G I N A T I O N

Architectural principles in everyday practice

OF SPAC E

e ebrating rances ea contribution to interiors

W HER E TI ME SLOWS DOW N Finding peace and relaxation in luxury surroundings, oﬀ the beaten track

78 A F A R M T O S T A Y

40 S A F E H A R B O U R

A Cornish farm stay where families and animals share space

Life anchored to the coastal village of Port saac in e er concei ab e a

FOR T HE N E XT GE N ER AT ION

T R A NSM U TAT ION OF M AT T E R

CL A RITY OF FORETHOUGHT

s rich and aried

86 B U I L T F O R T H E C L I E N T

Stutt Associates puts people at the heart of legal practice

Patek Philippe remains one of the most revered names in haute horlogerie

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

Porsche takes the Macan to a completely new level

ma ob ects o desire turned into lasting heirlooms

91 W H E R E T H E L A N D E N D S

At Cornwall’s westernmost point, a Victorian hotel continues to reinvent itself

Upfront honesty from the outset

13 D R I F T J O U R NA L . C O. U K

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A Life in

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

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Introducing a special retrospective of John Piper’s work

considered a Master of British Modernism. “I used to draw as a teenager, says ohn, “but it wasn’t until I was 17 that my interest in art really began, when I moved from Essex to Cornwall and attended Humphry Davy School. Because my first year of evels in sse were not compatible with those at my new school, I should have started the year again but decided not to. The headmaster wasn’t happy about that. He told me I was a waste of space, and that I should ‘go to the art room

his autumn, Lighthouse Gallery presents an exhibition that celebrates the 80th birthday of John Piper, one of Cornwall’s best loved and most recognisable artists. “John’s contribution to Cornish art is significant, says curator and ighthouse Gallery Director Tracey Spry. “His work is as much part of the West Cornwall landscape as any landmark. We sell his paintings to collectors all over the world This important exhibition arose from a conversation between John and Tracey over a year ago, at his studio near Land’s End. “John and I were chatting about his forthcoming birthday, and he asked me to put together a retrospective which looks back across his career. I was so honoured to be asked, and to be honest a little daunted at the same time! A retrospective like this is such an important part of any artist’s story

That teacher’s careless and shortsighted instruction proved pivotal in the very best way. It put John into the orbit of sculptor Denis Mitchell, who was to have a profound e ect on his future “The school had a great art teacher, but also a technician who helped run the art department. That was Denis, and although I didn’t know it at the time, he was a struggling sculptor who worked for Barbara Hepworth. Later, of course, he became an internationally recognised sculptor in his own right. He used to talk to me about painting in

That story began at Humphry Davy School in Penzance, where John’s talents were recognized by an artist who is now

PREVIOUS Towards Sennen Church Town

INSET John in his barn studio

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TOP Self Portrait

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A B OV E Standing Nude

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A B OV E Blue on Blue

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TOP Farm Buildings

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A B OV E Farm

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TOP Below Chapel Carn Brea

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A B OV E Chapel Carn

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C R E AT E

they display a simplicity of composition and colour that has influenced ornish landscape painting ever since. “It was Denis who taught me that I didn’t need to use a whole array of colours” says John, “and to this day I only use three colours in my work – a middle red, a middle blue and a middle yellow – plus white. The high and low horizons came about from my early interest in Abstract art. I realised that a painting does not need to be filled, it needs space. I learned the saxophone years ago and my teacher impressed upon me the importance of space between notes, that these spaces are as important as the notes themselves. I apply that same idea to constructing a painting.”

St Ives, and suggested I visit the Penwith Gallery, which was founded by Nicholson, Hepworth, Heron, Lanyon and other important artists.” John took Denis’ advice and began to visit exhibitions and read up on as many painters as he could. “That Easter, in 1964, I went to the Penwith and was taken aback by the paintings they had on show,” he says. “I was fascinated with the work. By the time I left the gallery that day I was determined to become an artist, so my spare time was spent making painting after painting In his twenties John began teaching art at Penzance Secondary Modern. “The Head of Department there was painter Michael Praed, and he really helped me with my work. We became lifelong friends and have held many exhibitions together.” Like most young artists, John had to work hard to balance the demands of daily life with the energy and focus required to succeed as a painter. “John told me that when he started to paint full time, he was supporting a young family and was at the easel from dawn until dusk, experimenting, working through di erent subject matter, and finding his own style, says Tracey, “and he discovered that his paintings of cottages in the Cornish landscape seemed to resonate with collectors.”

John’s technical knowledge of building the image, and of handling his materials, are crucial to his passion for painting. “John once told me that what he loves most is the process of applying paint,” says Tracey. “It almost doesn’t matter what the subject is, that’s secondary Those subjects have been many and varied. Alongside John’s iconic landscapes there are nudes, moored fishing boats, tall cli s and standing stones, and Tracey’s curation reflects that “I wanted to share ohn’s journey as an artist, she says, “to take the audience back to his paintings of figures, of boats, to the importance of the blackthorn tree in his work, and to those hamlets tucked into the landscape against huge, dramatic skies. I also wanted to showcase the painterly joy of the works

Those paintings, with their exaggerated low or high horizon line, are among John’s most recognized images. Importantly,

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INSET Mooring

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A B OV E Harbour St Ives

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TOP Hill Farm

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A B OV E Moorland Blackthorn

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C R E AT E

most magnificent nudes They were so simple, with very little detail and just a few descriptive lines, but they conveyed great strength It is ohn’s paintings of est ornwall, however, that have remained his most admired and career defining works “ y obsession with painting has reflected my love of ornwall he says, “in particular, far west enwith I love the starkness of the landscape, and the small groups of farm buildings and miners’ cottages, many of which were derelict when I began drawing them in the sixties. I love the lichen covered granite, and its wonderful te tures

he has made in recent years, which are so richly textural and anchored by a vibrant underpainting. John’s studio is huge, so at first, we both felt overwhelmed at the idea of putting together a collection that represents the last forty years e had to approach the job methodically, so we went through each area of the barn and each group of work one at a time e had the garden outside literally full of artwork, with paintings propped up against every available bush, tree and garden chair, so that we could decide on a cohesive collection. It was incredibly hard to rule paintings out, and it took three studio visits until the whole show was selected hat was special about having such open access to John’s studio was the unusual paintings I came across. For me, one of the most fascinating is a self portrait ohn looks to be in his twenties in the painting, and it is quite edgy. It is an image of a young man setting out on his life as a painter, with a pencil or a brush between his fingers It has the dark, brooding uality of oy olfenden rown’s work I really love it.”

I have spent many hours walking the coast path from and’s nd to ennor and t Ives, making drawings of rocky outcrops and isolated cottages and barns any painters have e plored di erent styles and forms, and then ultimately come back to landscape painting I think that, historically, that’s a very nglish thing here my work sits in that history is not for me to say, but what I will say is that I am constantly surprised that people like my paintings so much, and that’s wonderful, because they are all very personal to me.”

ther works in the show are also of the human figure “That period of painting was the result of my love of odigliani, of e anne’s figures, and the watercolour sketches of odin, ohn e plains “It was also inspired by my dear friend, the late John Emanuel, who used to paint the

See John Piper’s Retrospective, A Life in Paint from 19th September to 7th October 2026 at Lighthouse Gallery, 53 Causewayhead, Penzance, TR18 2SS and at lighthouse-gallery.com. lighthouse-gallery.com

INSET John at his barn studio

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Proof of

PRINCIPLE WORDS BY JAMIE CROCKER

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I N SPI R AT I O N

s ne o ce puts its architectura princip es into e er da practice.

The result is a simple, single-storey rectangular building organised around a large central studio. Meeting rooms and supporting spaces sit to either side, keeping circulation to a minimum and allowing the main workspace to remain open. There are currently 12 people in the practice, while the studio has capacity for considerably more. The arrangement encourages colleagues to see and speak to one another, and gives each person a direct relationship with the wider working space.

building designed by architects inevitably says something about its occupants, but VESP rchitects’ new o ce in Ashburton goes further: it is a working demonstration of the ideas the practice has spent two decades developing for its clients. Designed and built for themselves, the assivhaus o ce gives those principles a daily test. The practice had reached the limits of its previous premises, one of Ashburton’s converted Brunel railway buildings. It was cold in winter, hot in summer and short on useful meeting space, while the practice itself had grown. The original plan was to rent a new commercial unit being developed nearby, but when that arrangement fell through, the developer o ered the chance to buy a plot and build its own o ce That changed the proposition completely. The practice could design a building around the way it actually worked, with room to accommodate future growth.

That openness is carried into the building’s relationship with daylight and the landscape. Large areas of triple glazing bring natural light deep into the studio and provide views towards the trees beyond the car park. Although triple-glazed, the windows still presented the weakest point in the thermal envelope, so additional insulation was incorporated into the walls, floor and roof to compensate. A shallow-pitched zinc roof projects beyond the façade, creating overhangs that help control

27 D R I F T J O U R NA L . C O. U K

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carbon burden than converting an existing structure. Their argument rests on the building’s operational performance and on the relatively low-carbon construction system used once the decision to build had been made. The building structure is timber, which is a natural ‘carbon sink,’ balancing the concrete slab, which remains an unavoidable carbon cost.

solar gain, while three rooflights bring daylight further into the plan and assist natural ventilation. The construction is similarly straightforward in principle, though carefully resolved in detail. An insulated raft foundation supports a timber frame superstructure, while the wall and roof envelope uses twin timber studs connected with plywood fins The mm cavity is filled with armcel blown cellulose insulation, made from recycled newspaper. Internally, the construction achieves an airtightness of ach twice as good as the passive house requirement. Even the concrete slab has been asked to earn its place: sitting within the thermal envelope, it forms the structural floor while acting as a thermal ‘heat-sink’. Ground and polished, it provides a beautiful finished surface, removing the need for another flooring material

That admission matters because sustainability in architecture can easily become a matter of labels. Passivhaus certification provides measurable standards, but a genuinely responsible building also requires decisions about materials, longevity and how a building behaves once the photographs have been taken. VESP is now in the useful position of having to live with those decisions every working day. The building’s performance so far has been encouraging. Its mechanical ventilation and heat recovery system serves a person o ce and incorporates an integrated heat pump, providing the sole source of heating and cooling. In winter, the occupants, computers and solar gain contribute enough warmth that the heating has barely been needed. fter the o ce closes for the three day weekend, the internal temperature can fall only a few degrees before rising again once the team returns.

The choice of timber for the external cladding carries another piece of the practice’s thinking. VESP worked with a nearby supplier using ash a ected by ash dieback, thermally modifying the timber to create a durable cladding material from a resource that might otherwise be wasted. The treatment also gives the ash a darker appearance, while the exposed timber will gradually silver with weathering. Six to eight months after occupation, that process was already visible on the more sun-exposed elevations. There is a useful honesty in VESP’s description of the material choices because the practice does not claim that every decision represents the absolute endpoint of sustainable construction. The directors acknowledge that building from scratch carries a greater

That is perhaps where the o ce becomes most interesting. It is an experiment with consequences. VESP can see what works, what needs refinement and how occupants actually behave within the spaces it has designed. The practice is continuing to monitor the building’s in-use performance

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the new o ce serves as a full scale demonstration project. Clients can experience the window systems, see the timber construction and examine the polished structural slab. Materials that might once have been discussed through drawings and specifications can now be encountered in person. The architects are living inside their own argument.

with its assivhaus certifiers, arm, and intends to use the o ce as a place where local architectural and sustainable construction groups can learn from the project. Inside, the environmental ambitions have been matched by a desire to make the place pleasant to occupy. There are two substantial meeting rooms, a kitchen and breakout area, glass partitions that preserve visual connections between spaces, and a polished concrete floor that has already become a talking point with visiting clients. The kitchen was produced with local companies, alongside other elements of the interior. The intention was to create an o ce that feels domestic enough to be comfortable, while still functioning as a serious professional workplace.

VESP’s new studio is the practice’s clearest statement of intent. Every surface, sightline and material choice was considered exactly as it would be for a client. Light moves through the space with purpose, softening over timber and stone, shaping workspaces. It is a designed to welcome clients, contractors and other collaborators into an environment that reflects how the team thinks and works together. More than an o ce, the building acts as a signpost: a physical demonstration of VESP’s values and the talent that lies behind every project they take on.

The social dimension is important, too. VESP operates a four-day working week, with Fridays free to enjoy their Devon location The new o ce has been designed around a collaborative studio culture, where fle ibility allows the team to work together to achieve the best outcomes. Its generous shared spaces give the arrangement physical form, while the kitchen has proved particularly successful: at lunchtime, people actually gather there, talk and take an hour away from their desks.

That makes the new o ce a useful advertisement for the practice, but also something more demanding: a building that has to prove its principles every day. Its success will ultimately be measured through use, performance and durability, not simply through the language attached to its construction. VESP has given itself the most exacting client it could have chosen, because every decision accompanies them to work each morning.

For a practice whose portfolio is largely focused on high-end private houses,

esp.uk

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Where time

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

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Finding peace and relaxation in luxury surroundings, oﬀ the beaten track.

he moment you realise you have stopped checking the time, is a moment unheralded by grand entrances or glittering excess, but rather by a gentle appreciation of the surroundings. At Tredarrup, a collection of beautifully converted holiday cottages set on a working farm in the Cornish countryside, that feeling arrives quickly. Turn o the road, pass through the granite gateposts and follow the private track towards the farm, and the pace of life at once begins to change The tra c noise disappears and as landscape opens out, the only real question becomes whether to go exploring or just to stay exactly where you are.

The journey from London is predominantly via major roads, with the final stretch across the A30 and the A39 making the property remarkably straightforward to reach. Once there, guests are within easy driving distance of some of North Cornwall’s most celebrated beaches, villages and attractions, while enjoying the rare luxury of retreating from the crowds at the end of the day. The property is the result of a dramatic lifestyle change for its owners Nicky and Mark, who moved from ondon to ornwall after decades in the capital. The decision to make Tredarrup their home was, by their own account, not entirely part of the original plan. Sometimes, however, the right place has a way of rewriting the brief. Today, the farm o ers four high end self catering cottages, each with its own character and private space, alongside a warm, personal approach that comes from the owners living on site. That combination

For those travelling down from the capital, that sense of escape is particularly appealing. Tredarrup is far enough from the city to feel like a genuine change of scene, yet considerably more accessible than many visitors might imagine.

PREVIOUS Mill Barn

INSET Tredarrup’s owners, Nicky and Mark

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lived in There are bookshelves filled with novels, cookbooks, maps and local guides, along with binoculars and compasses for guests who want to venture out and explore. Outside, each cottage has its own seating area, barbecue and fire pit, while the communal grounds o er sun loungers and wide views across the Allen Valley. At the end of the day, the sunset becomes an event in itself, with the last light slipping across the landscape and an unhurried evening waiting to follow.

of independence and hospitality is one of Tredarrup’s greatest strengths. uests have the freedom of a self catering escape, but without the familiar frustrations of arriving at a property only to discover that the essentials have been forgotten. The cottages are thoughtfully equipped with everything needed for a genuinely comfortable stay, from beautiful crockery, cutlery and glassware to high quality kitchen appliances. There are also the practical details that make an enormous di erence dishwasher tablets, bin bags, foil and cooking essentials are all provided, meaning that a short break does not begin with an unwanted supermarket trip.

The sense of welcome begins before guests have properly unpacked. Each cottage receives a generous arrival hamper featuring tea, co ee, biscuits, cheese and other treats, alongside the ingredients needed to settle in comfortably. ean to cup co ee machines provide a proper morning ritual, while the attention to detail e tends to the four legged members of the family. Tredarrup is not merely dog tolerant dogs are genuinely welcomed. A dedicated canine welcome pack includes blankets, towels, poo bags, treats and a toy, making it clear that bringing a dog is not an inconvenience to be managed but part of the experience.

The interiors are equally considered. Original stone floors and wooden flooring sit alongside beautiful, high end furnishings, with leather or velvet sofas softened by throws and cushions edrooms feature generous king si e beds dressed in Egyptian cotton bedding, while flu y towels and bathrobes add a hotel like sense of indulgence. Toiletries are provided, and every cottage has a television with etfli and superfast i i for those evenings when the weather, or simply the desire to stay in, wins out.

That dog friendly philosophy is particularly valuable because luxury and dogs do not always go hand in hand. At Tredarrup, the two have been thoughtfully

Yet, this is not luxury that feels precious or over styled Tredarrup is designed to be

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A B OV E A warm welcome awaits

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A B OV E Farm friends

MIDDLE Stable Cottage

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The

TOP agon

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reconciled. The surrounding farm provides plenty of space, with walks available directly from the property and further opportunities to explore nearby countryside and Bodmin Moor. There is even a secure garden attached to one of the cottages. Guests are expected to be responsible dog owners, naturally, but the overall approach is relaxed and welcoming rather than restrictive.

Location is another compelling reason to choose Tredarrup. The nearest beaches are within easy reach, while Boscastle, Port Isaac, Tintagel and Bude are all accessible for day trips. Bodmin Moor is close enough for walking and cycling, and the property provides a useful base for discovering both the north coast and Cornwall’s inland landscapes. The Eden Project, the Lost Gardens of Heligan and the gardens, farm shops and villages of the wider county are all within reach too.

Families are equally well catered for. The farm is home to pygmy goats, sheep, hens, a goose and running ducks, and animal feeding can become part of the holiday experience. Children can collect eggs and meet the animals, while adults can enjoy the simple pleasure of watching a family day unfold without needing to organise an itinerary. One of the property’s greatest lu uries is precisely this fle ibility a day can be spent exploring Cornwall, or it can be spent doing very little at all.

The real advantage, however, is what happens when you return. Cornwall’s most famous coastal destinations can be gloriously beautiful, but in high season they can also be gloriously busy. Tredarrup o ers the best of both worlds beaches, restaurants and attractions within easy reach, followed by the restorative quiet of the farm. There is no need to negotiate a crowded resort or navigate a busy holiday park. Instead, guests return to a private, peaceful setting where the day’s only remaining decision may be whether to light the fire pit or settle in beside the wood burner.

That choice is central to the Tredarrup experience. Couples can retreat to the privacy of their cottage for long, la y mornings and leisurely evenings Families can use the accommodation as a comfortable base for days out to the Eden Project, the coast or the surrounding villages. Larger groups can book all four cottages together, creating a natural setting for multi generational gatherings, milestone birthdays and celebrations while allowing each household to retain its own space.

The personal touch is subtle but significant Because the owners live on site, help and local knowledge are close at hand, without the sense of intrusion that can sometimes accompany a more traditional hosted stay. A comprehensive digital guide provides

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from a high end stay, while the farm o ers something more di cult to manufacture space, quiet and a genuine sense of place.

recommendations for restaurants, farm shops, attractions, children’s activities and dog friendly beaches, while personal suggestions are available when guests want them. It is the kind of service that makes a destination feel easier to navigate without ever dictating how a holiday should be spent.

For those seeking a Cornish escape without the stress of a complicated journey, Tredarrup makes a persuasive case It o ers the coast without requiring guests to stay in the thick of the crowds the countryside without sacrificing comfort and a dog friendly welcome without compromising on style. Most importantly, it creates the conditions for a holiday that feels completely restorative.

There is also a pleasing sense that Tredarrup is evolving with purpose. The owners are exploring future possibilities including small boutique weddings and retreat experiences, while remaining selective about what fits the character of the farm. Not every fashionable holiday feature is automatically embraced. The absence of hot tubs, for example, is deliberate the focus is on the landscape, the quality of the accommodation and the slower rhythm of rural life rather than on adding amenities for their own sake.

The greatest endorsement may be that guests do not always want to leave. Some extend their stays, others arrive with plans to e plore and find themselves happily spending days on the farm instead. That is the magic of Tredarrup it gives you every reason to go out and discover Cornwall, but just as many reasons to stay put. In a world that increasingly pri es e periences, it is a rare pleasure to find somewhere that makes doing less feel like the ultimate luxury.

That authenticity is what makes Tredarrup feel so distinctive. It is luxury, certainly, but it is a grounded form of lu ury warm, comfortable, beautifully equipped and connected to its surroundings. The cottages provide the quality one expects

INSET Little luxuries

tredarrup.com

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A B OV E & T O P L E F T Mill Barn

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TO P R I G H T Shippon

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

Caroline Cleave’s life is anchored to the coastal village of Port Isaac in every conceivable way.

limewashed cottages and historic stone quay, which has endured a century of ocean weather. “Protection and safety were literally built into every stone that was laid here,” Caroline says. “It is a small, isolated community, but historically its harbour has always been a safe haven for boats. Over hundreds of years, Cornish slate and granite were used to create timeless defences that have made Port Isaac strong, and also beautiful, which is why people come here. When the sea rolled in it would devastate the fishing boats, so the breakwaters and the thick walls of the fish cellars were built as a fortress, whose strength still resists the wild winter storms that hit the north coast.

er family have lived here for hundreds of years, and with her three sons and her husband, Fisherman’s Friends singer Jon Cleave, she lives a truly Cornish way of life. As a painter and printmaker, Caroline works at her valley studio just a moment’s walk from the fishing harbour that has sustained this community for centuries, and when she isn’t creating artwork, she is rowing with the women’s gig team on the rolling Atlantic amongst pods of dolphins and soaring sea birds. Caroline’s love for Port Isaac is expressed in her autumn exhibition at Polzeath’s Whitewater Contemporary. Inspired by John Ruskin’s The Harbours of England, this new collection of monotype prints focuses on the harbour as a metaphor for refuge, healing and return. Within the protective embrace of Port Isaac’s imposing breakwaters, she details boats and tangled ropes beneath hordes of wheeling seagulls, alongside its cobblestone alleys,

“The fishermen’s cottages, too, were built safely at the bottom of the valley where we now live, all linked by little passageways and nestled together for protection. My family history is built into every fibre of this place, and for years I’ve been told stories and superstitions by the people of

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A B OV E Anchored

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A B OV E L E F T Harbour

TOP Port Isaac

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A B OV E R I G H T Village

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turning the key in my studio door the next morning, I have an overwhelming feeling of peace and safety, a real and profound sense of returning.”

the village, which I weave into my work. As children we were warned against swimming past the breakwater, because of the witch who lurked in Port Isaac’s pink pool, and such stories are still shared today, linking us to the past like the echo of seagulls. That generational sound is an endless source of inspiration for me as an artist. When I row out to sea with my team in the gig, the village looks like a magical landscape, ridiculously beautiful, like a storybook illustration. That’s why, in my work, I look towards the village as I see it when I’m rowing, held in the arms of the breakwater, cradled and safe.

“This whole body of work references that idea of safe harbour. The same elements are present in harbours all around the Cornish coastline and in my monotypes – the boats, the fishing ropes, the cacophony of seagulls. The artwork Harbour, in particular, references all those things, and if you look closely there are gig oars too, inspired by my other great passion. As a collection these works express my deep love for this part of North Cornwall, in an illustrative style inspired by the visionary landscapes of Samuel Palmer, and also the Neo Romanticism of John Minton, who was a painter, illustrator and traveller. The artwork Anchored pays homage to him.”

“I often reflect on those fishermen and travellers who, after a tumultuous sea journey, finally saw the harbour lights shining, and the sense of safety they must have felt at being home. I am fortunate enough to be able to travel, and my work has taken me to some lovely parts of the world, but I always have a longing for home. In the chaos of airports, in cars or on ferries, I feel secure and happy knowing that the journey will finally end, and I will descend the steep lane to our valley home and see the sea. Returning safely to the stillness of nature, to the owls hooting as I get into bed, and then

See Caroline Cleave’s Featured Artist exhibition from 18th September to 7th October 2026 at Whitewater Contemporary Gallery, The Parade, Polzeath, PL27 6SR and at wwcg.co.uk. wwcg.co.uk

INSET Fleet

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I N SPI R AT I O N

For the next

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

Following a remarkable year of exceptional releases, Patek Philippe once again demonstrates why it remains one of the most revered names in haute horlogerie.

his great grandfather, grandfather and father hili e, whom he succeeded in 2 .

emon Street catches the light differently in ugust as ruro s granite frontages soften in the late summer sun. s ste into the ichael iers showroom, that same light settles onto dials that have taken years, sometimes decades, to design. m here to e lore the world of ate hili e as ichael iers hosts an e hibition, or rather a rare gathering, of the aison s latest wor fresh from Watches & onders 2 2 , where 2 new creations and four limited edition autilus anniversary ieces were unveiled to the world.

ommenting during a revious visit to ichael iers in ruro, hierry tern remembered e actly when his own fascination began. was si years old, he recalls. n my dad s o ce near a e eneva, there were big drawers lled with oc et watches. remember o ening them all the time ust because loved loo ing at them. hat s where the assion started. nusually for a man now in charge of one of the world s most restigious brands, hierry tern did not begin behind a des . fter watchma ing school, he a renticed alongside ate hili e s own craftsmen, learning to machine s rings, hands, cogs and wheels, to engrave a dial and assemble a case by hand. very time a member of the family ta es over, he must rove himself, he says. watchma er has to evolve, to be creative, to ush further.

ate hili e is a watchma er li e no other. y assing down the helm from one generation to the ne t since 1 2, the tern amily has been the guardian of ate hili e values and now how, while successfully ensuring the continuous develo ment of the com any and its time ieces. t its helm today, hierry tern is the fourth generation of his family to run ate hili e, following

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A B OV E howcasing a tradition of innovation

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I N SPI R AT I O N

come from une ected laces, he says. vintage car, a beautiful house. ften when m slee ing, that s where have my best ideas. y res onsibility is to sur rise. hat s how we ee growing. uch is the attention to detail on all levels, that hierry himself still ersonally a roves the chime of every minute re eater to leave the manufacture, and for the very nest ieces, buyers are vetted directly by him, not for the si e of their fortune but for whether they understand what they are being trusted with.

uiding visitors e ertly through the ruro collection is iordano hirieleison, ichael iers resident ate hili e e ert, who comes from his own family of ewellers. e s uic to tell me that he does not sell these watches so much as introduce them. is role as advisor is art of an emotional ourney where both clients and team meet to become art of something uni ue. ust , ate hili e watches leave the eneva wor sho each year, the sim lest ta ing nine months to ma e, the most com le , the rand om lications that ll glass cases li e small scul tures, two years or more. mong the hibition s highlights are the Grand om lications elestial unrise unset 1 1, its dial a recreation of the night s y above eneva, ve years in develo ment and rotected by si atents, and the ubitus er etual alendar eleton 1, its latinum case revealing the skeletonised mechanism beneath. one of this decoration is for its own sa e. s have the rivilege of sliding a om lications nnual alendar oon hases 1 on to my wrist, feel the true signi cance of what it means to wear a ate hili e.

t is this very sentiment, more than the gold or the gemstones, that io im arts to every visitor who ste s into ichael iers ate hili e area. hese are not watches bought on im ulse rather they are heirlooms, built to be handed down through generations not yet born, and only those who truly gras the craftsmanshi and the story behind them are considered t to own one. very day, ate hili e creates something that will outlast its ma er. hese watches will still be wor ing in 1 , 2 , even years time. hat s the rivilege of wor ing here. nd for me, it s the leasure, too. io s role, in hosting a century of horological ambition, is to ma e sure whoever wal s away with a ate hili e understands what has been laced in their hands, and the two family businesses one wiss, one ritish who made sure it got there.

he most e ensive wristwatch ever sold at auction was a ate hili e, a randmaster hime that fetched 1.2 million in 2 1 . umbers li e that can obscure the oint rather than illustrate it, but hierry tern is well aware of this. hat he comes bac to is ermanence rather than value ns iration can

michaelspiers.co.uk

ate

hili

INSET he alatrava ross has been e s emblem for over a century

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The

transmutation of MATTER WORDS BY JAMIE CROCKER

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Justin Duance turns small objects of desire into lasting heirlooms that hold emotion and tread lightly upon this world.

alchemic mixing that goes into the making. An old walk-in safe door rests stolidly open, revealing a secret place inherited from the building’s previous owners. Inside, a trove of shelves is carefully stacked with blocks of wood hewn from oak, elm, cedar and cherry, salvaged from old boats and the o cuts of local tree surgeons, the wood still faintly smelling of resin and the sea. It has the aura of a netherworld, a liminal space that connects somewhere ancient with the present, twenty five years of raw material being collected, waiting to be called into the light.

f you didn’t know it was there, you’d miss it. It’s a place that has a literal high-street presence but manages to hide itself behind heavy wooden double doors and a metal plaque that hints at what’s within. This is the home of Justin Duance, Contemporary Jewellery on Alverton Street, Penzance. One senses that the feeling of mystery it encourages is deliberate, the first step on a journey that has the trappings of ritual, exposition and reverence. Once inside, a hall leads to a room housing crafters going about their business, various bottles of sand collected from Sennen Cove to Rocky Point, Hawaii, all neatly labelled and arranged on shelves, waiting to be uncorked so that their contents can become instrumental in the

LEFT Stacked rings at sunset

Purpose-built in 1885 for a group of solicitors, Justin and his team have rescued the structure from Dickensian-esque decay, ripping out musty carpets revealing ictorian tiled floors,

INSET Justin Duance

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Verity Westcott Verity Westcott

Verity Westcott

Verity Westcott Verity Westcott

A B OV E Alchemic mystery and mastery

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he shrugs o rather than begrudges, choosing instead to keep pushing the idea somewhere new, the way a tide keeps rearranging the same stretch of shore into something slightly di erent

It is a reward and staging point of a journey and passion that began many years ago. Justin started the business in 2001, straight out of a jewellery and silversmithing degree in London, at a point when his tutors had actively discouraged the wood inlay work he would later make part of his jewellery signature. The very first shop that agreed to stock his work wanted exactly what the university had waved o , something unlike anything else on the high street at the time. Type “wooden inlay ring” into a search engine now and page after page of imitators comes back. In the 2000s, it returned nothing, because as far as Justin can tell, nobody else was making them.

Raising these pieces above technical cleverness is the way a customer is invited into the making of them. Someone might bring in sand from the beach where they got engaged, or a scrap of driftwood picked up on a childhood holiday, and watch it become the substance of a ring worn every single day from then on. The wood in an inlaid ring darkens and softens over the years, taking on a driftwood grain of its own, while the surrounding metal collects the small dents and scu s of an ordinary life, of doors opened and washing-up done and hands plunged into cold sea water. Nothing here is made to sit in a box for best. It is made to be lived with. Verity Westcott

installing ground source heat pumps and solar panels that ‘the experts’ said wouldn’t heat a dolls-house, so that a bright and airy interior has emerged – a space that is both workshop and place to engage with clients.

All the metal is recycled, and every gemstone is either lifted from an old piece of jewellery or bought new with its journey fully traced, from the mine through the cutter’s bench to the workshop door.

The sandcasting followed the same crooked road. Justin worked out how to pour molten precious metal straight into damp beach sand, so that the grain and grit of a particular Cornish cove would be captured forever in gold or silver, every ridge and pockmark of a place pressed into the metal like a fingerprint It has since become something taught on courses across the country, a small ache of frustration that

Old mine-cut diamonds, faceted by hand before the s and often untraceable to any particular mine, are treated as the better ethical bet precisely because they are already above ground and circulating,

INSET The ‘choosing room’

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is sold with a plastic nurdle collected from Mounts Bay, a scrap of industrial pollution deliberately set alongside the sea glass and worn pebbles we are more used to prizing. Inspired by sea foam, the limited-edition locket draws attention to these tiny pieces of plastic, which can be mistaken for something natural and are readily eaten by wildlife. It asks what counts as treasure on a Cornish beach, while encouraging us to notice and remove what should not be there. Cast from recycled silver, just 25 have been made to mark the jeweller’s 25th anniversary, with of profits going to urfers gainst Sewage through Work for Good. Eleven have already raised almost £2,500.

needing only a new setting and not another hole dug in the earth. Catch one under a loupe, and it throws the light back di erently from a modern brilliant cut, carrying a depth in its imperfection that a machine-cut stone, for all its sparkle, cannot quite manage. The same care for what already exists shapes how Justin treats the people who work for him In a stance that flies in the face of the dominant neo-liberal culture, he speaks refreshingly about wanting to give his sta a sense of sovereignty and security, in a world that does not traditionally bother with such things. The workshop moved to a four-day week once the exhaustion of the pandemic years had passed, a change made for the sake of the team’s wellbeing rather than the balance sheet, cushioned by a pay rise that made the shorter week close to a genuine trade rather than a sneaky pay cut. Several of the current team, including jeweller and social media manager, Jamila, who has worked alongside Justin for 12 years, arrived with no jewellery experience at all and learned the craft at the bench, moving between roles as their own creative instincts surfaced.

None of this would carry much weight without the stories customers bring in through that enigmatic portal, and it is there that the workshop earns its keep. A father’s old gold ring gets reworked into something his son can wear without flinching at its original garish design groom who swears blind he has no interest in rings walks out unable to stop turning his new one in the light. A diamond inherited from a mother, too painful to see glinting on a hand every day, is reset into a shape that holds the memory without holding the grief uite so tightly Twenty five years on, the real material this workshop has always worked in was never only sand, wood or salvaged gold. It has been the willingness to let a person’s own history shape the thing they walk away wearing, cast, quite literally, from the place and the people it belongs to.

This year marks that quarter century, celebrated with an open day at the Penzance workshop and the launch of the Sea Foam Locket, a limited run of pieces cast in solid sterling silver and stamped with an edition number. Delicate yet sturdy enough for daily wear, the locket has a perforated shell through which small beach finds show themselves once dropped inside. Each one

justind.co.uk

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TOP LEFT Pendant oyster

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A B OV E Sea foam locket

TOP RIGHT Part of the Justin Duance collection

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P RO P E RT Y

A Cornish

HOMESTEAD A secluded valley retreat combining character and privacy in a sought a er ocation.

he Cober Valley, just outside Helston, is a very special place. Mature woodland, the winding River Cober and an historic railway viaduct create a bucolic idyll just waiting to be discovered ere you’ll find arveys Homestead set in seven acres of varied grounds, including gardens, woodland, an orchard, vineyard and former paddocks. Carefully developed by the current owners, the property o ers fle ible living for families, multi generational occupation or those looking to continue its established holiday letting business. Arranged around a central courtyard there are three separate dwellings the four bedroom main house, owena arveys ouse, a detached three bedroom cottage currently run as a successful holiday let and arveys odge, a self contained one bedroom lodge providing additional guest or family accommodation. A range of barns, workshops, timber buildings and outbuildings, maintained terraced gardens, ample driveway parking and a double garage, complete a rare combination of rural living and income potential. HARVEYS HOMESTEAD OIEO: £1.25M JACKSON-STOPS 01872 261160 cornwall@jackson-stops.co.uk

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P RO P E RT Y

An enviable LIFESTYLE

An exceptional family home with award-winning glamping.

ydcott arm o ers both a substantial family home alongside a seven unit established glamping business et in a wonderfully peaceful rural position near idegates and ooe, the site remains remarkably accessible ighly regarded, the seven lu ury cabins enjoy far reaching views towards the coast The business has been developed with a strong sustainable ethos, including a well providing filtered ornish spring water, low level e ternal lighting to preserve the area’s dark skies and wildlife friendly landscaping and planting t the heart of ydcott arm is its attractive family residence, providing a comfortable and private base from which to enjoy the surrounding countryside and operate the business The accommodation combines the character and individuality e pected of a traditional ornish farmhouse with the practical re uirements of contemporary family living There is generous living and entertaining space, together with well proportioned bedrooms and family accommodation, making this a very desirable property LYDCOTT FARM OIEO: £1.35M JACKSON-STOPS 01872 261160 cornwall@jackson-stops.co.uk

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Clarity a

FORETHOUGHT WORDS BY JAMIE CROCKER

No smoke and mirrors, no snake oil. Just upfront honesty from the outset.

need a more cost-conscious alternative. Either way, Evergreen’s role is to explain the choices, materials and implications so that the client can make an informed decision.

ome people know exactly what they want from a room. Others arrive with a photograph, a rough budget and the slightly unnerving feeling that they have no idea where to begin.

That approach extends to pricing. vergreen works to a fi ed margin model, applying the same margin across its products instead of relying on the inflated prices and perpetual promotions that can make interiors retail di cult to navigate. When a project exceeds a client’s budget, the conversation is about finding an alternative product or changing the specification while retaining the ualities that matter.

For Ross and Jodie, the founders of Evergreen Interiors and Design, good interior design begins with listening. Having each spent around a decade working for independent retailers, latterly within the kitchen industry, they saw an opportunity to create a di erent kind of design business: one where clients could bring their plans, budgets and uncertainties, and have someone guide them through the entire process.

For Ross and Jodie, transparency is part of the service. They are prepared to discuss the strengths and limitations of di erent materials, too, including natural products that may move or change over time. A cheaper product is presented honestly, with its characteristics explained, just as a more e pensive choice is justified by its particular ualities

vergreen’s design studio o cially opens this month, bringing together kitchens, bathrooms and interiors within a consultative environment. The emphasis is on understanding how people actually live, then designing accordingly. A client might want a handmade kitchen with a solid timber island, for instance, or might

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Waste is considered throughout a project. Usable kitchens can be directed towards organisations such as Rehome, which helps redistribute second-hand and exdisplay kitchens, while working appliances and furniture can be donated to local charities or passed on for refurbishment.

The same thinking informs their approach to sustainability. Evergreen works with local suppliers wherever practical, extending its search across the South West and UK when a suitable Cornish option is unavailable. In areas such as appliances and bathroom products, where manufacturing is often overseas, the business looks for companies whose own environmental practices and values align with its standards.

Evergreen also works with local waste companies to recycle materials wherever possible.

A B OV E Jodie and Ross

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They also want it to feel accessible to families, with a dedicated children’s area and an atmosphere in which clients can take their time.

Its supplier choices reflect the same scrutiny. Coat Paints, for example, makes its paint to order, uses recycled tins and o ers peel and stick colour samples designed to reduce waste. Evergreen also works with Cosentino, whose manufacturing processes include extensive water recycling and solar power. These choices are considered individually, with the team looking at how products are made and where they come from before recommending them.

That sense of openness extends to the people Evergreen hopes to serve. The studio is intended for local residents, people moving to Cornwall and those buying or renovating second homes. Ross and Jodie recognise the economic importance of the second-home market while wanting local clients to feel e ually welcome

There is a human element to all this that matters just as much as the specifications Ross and Jodie want people to design homes for themselves, whether that means a restrained scheme or a coloured ceramic toilet chosen simply because the client likes it. Their job is to understand the reason behind the decision and then o er e perienced advice

The business is rooted in Cornwall, too. Both founders grew up in south-east Cornwall before moving to Bodmin, where they have lived for several years. Their ambition is not to create a chain of showrooms, but to build a reputation for considered design, honest pricing and dependable service.

That can mean challenging a choice, but it can e ually mean e plaining why a seemingly extravagant detail makes sense for the person who will use it every day. The aim is to make the client feel informed and involved, with Ross and Jodie remaining present from the initial concept through to completion.

For a business concerned with creating beautiful interiors, Evergreen’s most distinctive material may ultimately be trust. Projects can encounter problems; supply chains can introduce variables and installations rarely unfold with absolute predictability. What matters, Ross says, is how those problems are handled.

Their ambitions for Evergreen are deliberately focused. They want the studio to become a useful hub for the local design and building community, with networking events bringing tradespeople, architects and other businesses together.

It is a straightforward philosophy, but one that makes the relationship between designer and client paramount. evergreendesigns.co.uk

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LUXURY, HANDCRAFTED MATTRESSES AND BEDS MADE IN DEVON USING NATURAL, SUSTAINABLE MATERIALS SOURCED DIRECTLY FROM DARTMOOR

ENCHANTED HOUSE BEDS

Topsham Showroom | Unit 2 Dart Business Park Topsham | Exeter EX3 0QH

T: 01392 877321 | E: topsham@enchantedhousebedsretail.com

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www.enchantedhousebedsretail.com 10/09/2026 14:27

Expansion with

RETENTION WORDS BY JAMIE CROCKER

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Maintaining a local identity underpins this Porthleven-based holiday letting company.

We can now represent properties across the whole of Mount’s Bay, but our commitment to being a local, independent business remains the same.

s with any company, growth is, in most instances, part of the process of continued existence. There is usually a price to pay, though, as core values are exchanged for profit and connection to community becomes compromised. This is not the case with Mounts Bay Holidays – here’s why.

The company describes itself as independent and deeply local. Can you give three examples of decisions you have made in recent years that would likely ha e een a e i erently y a large national holiday-let agency?

When Mounts Bay Holidays began life as Porthleven Holiday Cottages in 2007, hat s e i ga in the l al h li ay market did the founders believe needed lling an h has that riginal ur se evolved over the past nineteen years?

Firstly, we’ve deliberately limited our growth. We only take on properties that we believe fit our portfolio and that we can properly support. A larger agency might prioritise volume; we prioritise quality.

The holiday letting landscape looked very di erent then ost owners either advertised privately or were represented by large agencies that often lacked local knowledge and personal service. Our idea was simple: create a company that genuinely understood Porthleven, knew every property inside out and o ered guests a much more personal experience.

Secondly, we invest heavily in local content and destination marketing. Rather than simply selling accommodation, we spend time showcasing the villages, beaches, walks and businesses that make this corner of Cornwall special. Thirdly, we’re able to make decisions quickly and personally. If an owner needs support, a guest has a special request or a property needs tailored marketing, we don’t have layers of approval to work through. We know our owners, our guests and our properties personally, which makes a huge di erence

Nineteen years later, that original purpose remains unchanged. We still believe that local knowledge matters, that owners deserve a relationship with real people rather than a call centre, and that guests value honest recommendations and personal service. What has evolved, though, is our reach.

PREVIOUS Porthleven

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TOP & MIDDLE Trigg Cottage

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A B OV E Porthleven

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The most successful holiday homes aren’t necessarily the largest or most luxurious; they’re the ones where thought and care have gone into every detail. Many guests see only the finished holiday e perience

Why was 2026 the right moment to change the name from Porthleven Holiday Cottages to Mounts Bay Holidays, and were there any concerns about stepping away from a brand that had built recognition over nearly two decades?

What happens behind the scenes, from booking to departure, that most people would be surprised to learn about?

The business has grown significantly over the past few years. While Porthleven remains at the heart of what we do, we are now expanding to represent beautiful properties across Mount’s Bay. The new name reflects who we have already become We wanted a brand that better represented both our geographical reach and our ambitions for the future.

Before guests arrive, properties are professionally cleaned, inspected and prepared. Maintenance issues are resolved, welcome information is updated, and arrival details are checked. Throughout the year we’re constantly reviewing pricing, monitoring bookings, updating listings, creating marketing campaigns and responding to guest enquiries. On top of that, there are the unexpected challenges that every holiday business faces, from storm damage and plumbing emergencies to last-minute travel disruptions. The aim is that guests never notice any of this. If we’ve done our job properly, their holiday feels e ortless

Of course, there was some nervousness about moving away from a name that people knew and trusted. Nearly twenty years of reputation is something you don’t tinker with lightly. Ultimately, though, we felt that the trust we have built comes from our service, relationships and local expertise rather than the name itself. Mounts Bay Holidays gives us room to grow while staying true to our roots. Mount’s Bay covers a diverse stretch of coastline. What qualities are you looking for when deciding whether a property or location belongs within the Mounts Bay Holidays portfolio?

Property owners have a growing number of management companies to choose from. What feedback do you hear most en r ners h e their properties to Mounts Bay Holidays from another agency?

The location is important, but so is the e perience a property o ers e look for homes that help guests connect with the area, whether that’s a harbourside cottage in Porthleven, a sea-view apartment overlooking Mount’s Bay or a family home within walking distance of the beach. We also look for owners who care about their properties and the guest experience.

The most common comment we hear is that they finally feel looked after any owners tell us they felt like just another number with their previous agency. They struggled to speak to the same person twice or felt disconnected from decisions being made about their property.

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wners often appreciate that we’re accessible, transparent and proactive. They know who they’re speaking to, they receive honest advice, and they feel involved in the process. That’s something we’re very proud of. Our owners know that we are here, we know their property, and we are able to o er first hand knowledge to potential guests

It’s an important conversation, and one that doesn’t have simple answers. Tourism is a major part of Cornwall’s economy and supports thousands of local jobs and businesses, but it’s equally important that communities remain vibrant places to live and work year-round. As a local business, we understand both sides of that discussion. We encourage guests to support local businesses, explore responsibly and engage with the communities they visit. We also work closely with property owners to help them operate successful holiday homes in a way that contributes positively to the local economy. Ultimately, we believe tourism works best when it benefits both visitors and the communities that welcome them.

Cornwall continues to wrestle with questions surrounding housing availability, second homes and tourism. How does Mounts Bay Holidays view its role within that wider debate, and what responsibility does the business feel it has towards the communities in which it operates?

A B OV E Harbour View, Porthleven

D R I F T J O U R NA L . C O. U K

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ARCHITECTS

With you at every step

We design homes that reflect your lifestyle and vision. From concept to completion we’re by your side, transforming ordinary spaces into extraordinary, sustainable homes across the South West. Your dream, beautifully realised.

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get in touch +44 (0)1392 435051 studio@barcarchitects.com barcarchitects.com

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R E T R E AT

businesses, expanding our destination content and continuing to raise the standard of service we provide. We’d also love to develop more partnerships that help guests experience the area in a deeper and more meaningful way.

Your website highlights care, community and sustainable tourism. Can you point to measurable actions or outcomes that demonstrate those values in practice? One of the most visible examples is our commitment to promoting local businesses. Every year we direct thousands of guests towards local restaurants, cafés, shops, attractions and activity providers through our recommendations, guides and communications. We’ve also invested heavily in creating detailed destination content that encourages guests to explore beyond the obvious hotspots, helping spread visitor spending throughout the area

Every holiday business promises personal service, local knowledge and memorable stays hat e i en e ul y u er t a sceptical guest or property owner that Mounts Bay Holidays genuinely delivers something distinctive and does not simply rely on familiar industry language? We’d encourage them to speak to us, read our reviews and meet the team. Every member of our team lives locally and spends time in the places we recommend. We visit the properties we represent, know the owners personally and deal directly with guests from booking through to departure.

On the operational side, we’re increasingly encouraging longer stays, reducing unnecessary printed materials and supporting owners who wish to introduce more sustainable practices within their properties. ing ahea e years, what would success look like for Mounts Bay Holidays? Are there particular places, services or partnerships you hope to develop across Mount’s Bay?

Many of our owners have been with us for years, and a significant proportion of our bookings come from returning guests who choose to holiday with us time and time again. For us, personal service matters. It’s the way we’ve always worked, and it’s the reason owners and guests have trusted us for nearly 20 years.

We want to become the most trusted holiday letting company in Mount’s Bay for both owners and guests. That means strengthening our relationships with local

mountsbayholidays.co.uk

A B OV E Porthleven

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A reimagination OF SPACE WO R D S B Y H A N N A H TA P P I N G

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Celebrating Frances Healy’s rich and varied contribution to interiors and exploring why the decoration of interior space is as signi cant as its structure.

For Frances, colour is clearly central to everything she designs and I’m intrigued as to how she is able to read a space before ever introducing a palette and if there is a moment where she knows what a room wants to be? “Actually,” she tells me, “what I want is irrelevant, it’s the client that matters and my job is find out what they really like and then work with that. Of course, I will add in some extra magic and new ideas for them to consider, but I design for them and their home.”

rances Healy has always been artistic, something which she believes informs her design in a way that allows her to have an unashamed and strong sense of colour alongside an understanding of the necessity for good proportion. Having honed her interior design skills at Charles Hammond on Sloane Street, Frances tells me that: “Every day I use what I learnt in that great studio. It was classic, traditional, at the top of its game and has stood me in good stead for all of my working career.” Her experience over many years has covered the full gamut of interior design and her eminence in the design world means that, while based in Cornwall, she now works on projects across the South West and beyond.

While Frances’ work spans period country houses, contemporary riverside apartments and coastal new builds, there is a common thread that joins them: listening to the client, asking about their wish list, exploring their lifestyle and then creating

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has influenced rances’ design sensibility and does the landscape find its way into her work? “I was brought up in Cornwall and so the region runs through me. We live in one of the most beautiful parts of the world where the changing seasons are very apparent. The weather is never the same from one day to the next, so the scenery also changes daily and so, without doubt, influences my designs

a design that suits and is unique to them. This, of course, can often be influenced by the style and location of the property as Frances explains, “I do feel that a house ‘talks’ to you and from this I get a sense of what will and won’t work”. For Frances, every home should feel welcoming, restful and safe. In a world of Instagram interiors and fast-moving trends, it’s important to her to ensure that a client’s home doesn’t feel dated in years to come. “I try to avoid trends (and social media!) and will always discourage clients from following them, as they never last. I work very hard to create designs that are timeless and will last for years and years.”

eyond the influence of the landscape, and the use of colour, craftmanship always holds a place of importance for Frances: “I absolutely love to use real craftspeople in my business especially those who are local to the property. In this technical age, it’s a delight to actually communicate personally with a supplier and work together to achieve just the right piece and know that you are helping another

Having worked in London and ahead of a move back to the West Country 25 years ago, I wonder how living in the South West

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Serenity, Croyde Serenity, Croyde

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High-end residential design is clearly an incredibly intimate process as you’re essentially shaping how people live, so I ask rances how she navigates the balance between her creative vision and the deeply personal nature of someone’s home “It’s really very simple, she replies “ ith a lot of listening, a lot of e perience and some deep breaths ith over three decades of e perience behind her, rances approaches each new project with the same e citement “ very day is school day and you never stop learning, which keeps me fresh and on my toes very house and every client is di erent, so there is no time to rest on your laurels or be bored I’m always e cited by the ne t new project

small business in the process. The client also gets something totally bespoke and unique.” Recent projects have included some significant ambitious and comple properties. “I have been so lucky to work in amazing houses with adorable clients who often become friends, but two projects stand out, rances tells me “One was a very contemporary build in South Cornwall where nearly every room had a curved wall and was shaped like a segment It was particularly tricky finding furniture that suited the shape of these rooms, as you can imagine, but we did it The other was a much more traditional house in outh evon, the client lived in the USA and the pandemic struck just as we started work, so we had to do all the designing via hats pp and oom, which was quite a challenge.”

franceshealyinteriors.co.uk

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A farm

TO STAY WORDS BY JAMIE CROCKER

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A Cornish farm stay where families and animals share space.

The experience lasts around two hours, with the trek itself usually taking about an hour, and children can take part, subject to the requirement that under-12s share an alpaca with an adult fterwards, there is time to meet the pygmy goats, rescue ducks and chickens, and possibly some of the alpaca youngsters. The current trekking experience costs £25 per person when each has an alpaca, or £35 for two people sharing one.

here are holiday cottages that provide a place to sleep and there are places that become part of the holiday itself. Old Lanwarnick belongs to the latter category. Set across 34 acres near Duloe, the working farm combines six self-catering cottages with three glamping capsules, giving families, couples, friends and their dogs plenty of reason to spend time on the property instead of treating it as a base they leave each morning. The site has evolved around the idea that a stay can include a proper encounter with the countryside, with alpacas at its centre and woodland, fields and farm animals providing the setting. The result is a holiday business with a distinctly practical understanding of what families actually need.

That relationship with animals runs through the wider site. Dogs are welcomed throughout the accommodation, with secure e ercise fields giving them space to run, while walking routes lead around the alpaca fields and through the woodland There is dog agility, a woodland walk and practical facilities intended to make bringing a pet straightforward. The cottages also provide dog welcome packs, with towels, blankets, bowls and treats, while spare beds, crates and leads are available on request. Families with younger children receive a similar level of thought,

Animals are central to that experience. ld anwarnick breeds alpacas and o ers trekking across its grounds, beginning with an introduction to the animals and a short demonstration before guests head along woodland paths and into the fields

PREVIOUS The Old Farmhouse

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outdoor space and nearby shared hot tub give it a strong appeal for families who want somewhere comfortable to return to after a day out

with travel cots, high chairs, bed guards, stair gates and other essentials available. For children, the attraction is that the farm gives them somewhere to go without requiring a car journey. There is a den-building area, a fairy trail and outdoor games, while the board-game and puzzle library gives families an option when the weather turns. Children can occupy themselves outside, dogs can exercise, and adults can have a little more breathing space without organising an excursion every few hours. The farm becomes part of the itinerary whilst the cottages o er a place to relax and kick back.

Hob Nob takes the idea of a gathering further. Formerly the home of the old cider press, it has a first floor living area with high vaulted ceilings and countryside views. Three bedrooms can accommodate up to six guests, while three bathrooms make it suitable for families or groups who prefer to have their own space within a shared holiday house. The large kitchen and dining area are made for communal meals, with room for eight around the table, and there is a private garden, hot tub, barbecue and access to the wider facilities.

Beginning with Blackberry Barn, which is among the most popular choices for smaller families and groups, it has a king-size bedroom and a twin, with vaulted ceilings, full-height windows and a south-facing courtyard garden. Its private

TOP Blackberry Barn

Honey Pot is the smallest of the cottages, sleeping two in a king-size bedroom. Its wood burner, private patio and

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T O P L E F T & A B OV E Spice Barn

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TOP RIGHT Honey Pot

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A B OV E The Old Farmhouse

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include a fully fitted kitchen, underfloor heating beneath the original flagstone floor and walk in showers, allowing the building’s history to remain visible without turning a family holiday into an exercise in historical reconstruction. A private hot tub completes the picture.

views across the valley make it a natural choice for couples, while its dog-friendly arrangements mean a weekend away does not have to involve leaving a much-loved companion behind. Spice Barn, proudly awarded the prestigious Visit England ROSE award (Recognition Of Service Excellence), also sleeps two and occupies a former agricultural building whose high ceilings now give its upper floor living space a generous feel. The private patio, jacuzzi bath and access to the site’s hot tub and gym add the comforts expected from a luxury stay.

The farmhouse also illustrates the way Old Lanwarnick handles larger groups. Multiple cottages can be booked together, while the whole site is advertised for groups of up to 37 people. That creates an unusual degree of fle ibility for e tended families or groups of friends: people can spend time together when they choose, while individual households still retain their own accommodation.

Rainbow Cottage sits between the smaller retreats and the larger group accommodation, sleeping three across a king-size bedroom and a single room. Its previous life as the farm’s stables remains part of its character, while a Juliet balcony in the living room takes advantage of its position on the south-facing slope. The views extend across the gardens and woodland, and a walled garden provides a private outdoor area. At the top end is The Old Farmhouse, a Grade II-listed property sleeping eight across four bedrooms. Its history is unusually tangible: part of the building is recorded in the Domesday Book, while the rest dates from the seventeenth century.

The three glamping capsules, Swallow, Buzzard and Wagtail, extend the same approach to guests who want a closer connection with the outdoors. Each sleeps up to four, with a king-size bed and sofa bed, while toddler mattresses and travel cots can be requested. A handy two-ring hob indoors and a BBQ outdoors provide all the comforts required for a more substantial stay and they also have use of the site’s communal fire pit located nearby Across the accommodation, the detail is in the practical provision. Guests receive a welcome hamper containing eggs from the farm’s hens, alongside milk, butter, bread and cake sourced nearby. The cottages have kitchens equipped for proper self-catering, with dishwashers, washer-dryers and,

Original details include vaulted bedroom ceilings, flagstones and a clome oven in what is now the dining room. Modern additions

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exploring south-east Cornwall as well as a destination in its own right.

in some cases, utility rooms. Egyptian cotton bedding, bathrobes, Wi-Fi and Smart TVs sit alongside baby equipment and dog supplies. There are also three electric-vehicle charging points and bike storage on site. Together, they answer many of the practical problems that can turn a family holiday into a logistical exercise.

Old Lanwarnick’s character comes from how these elements overlap. A child can build a den, meet an alpaca and then return to a cottage with underfloor heating dog can run in a secure field before settling beside a wood burner. A couple can spend the morning walking the farm and the afternoon e ploring the coast before returning to a hot tub. The comforts are considerable, but the setting keeps pulling people outdoors.

The same thinking extends to the site’s environmental approach. Old Lanwarnick has installed solar panels, uses eco-friendly cleaning products and is working to enhance local biodiversity. Logs supplied for cottages with wood burners are harvested on site from fallen trees or trees removed as part of woodland management. Compostable bags, recycled-paper kitchen roll and refillable bathroom products form part of the wider provision for which the business has received recognition through Green Tourism with a silver award.

Old farm structures and stables have been converted into accommodation, retaining features such as flagstone floors and vaulted ceilings. The approach avoids turning the past into decoration for its own sake. A former cider press becomes part of Hob Nob; old stables become Rainbow Cottage; the farmhouse continues to reveal evidence of its agricultural history. The buildings remain legible as former working spaces while accommodating the expectations of contemporary holidaymakers.

At Old Lanwarnick, guests encounter those choices in the kitchen, beside the wood burner and in the way the woodland is managed. They are asked to recycle during their stay, while restrictions on candles, paper lanterns and drones reflect the practical demands of running a holiday business around livestock.

For Vicky and the team behind Old Lanwarnick, the farm is consequently more than a collection of holiday units. Its appeal depends on the interaction between accommodation, animals and land, with each part giving the others a reason to exist. For a business built around holidays, that may be the most persuasive idea of all: giving people the freedom to decide what their day looks like once they arrive.

Yet the property has not been designed to keep guests on site at all costs. The coast is close enough for a day at the beach, while Looe, Polperro and Fowey are all within roughly half an hour’s drive. The site itself as around 15 minutes from the sea, making the farm a useful starting point for

oldlanwarnick.co.uk

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TOP Blackberry Barn

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A B OV E Hob Nob

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C O M M E N T

Built for

THE CLIENT WORDS BY JAMIE CROCKER

Stutt Associates puts people at the heart of legal practice.

the branding, marketing and values, with clients, community and workers placed at the centre of decision making ccessibility was fundamental The intention was to create a legal service where people could make contact comfortably, including those who found themselves caught in gaps between available funding options

hen Lisa Haywood and Lee Stutt look back at the beginnings of Stutt Associates, there is a sense that the firm was always going to happen The timing was less certain isa had spent five years parenting after the local firm where she trained closed in 2013, before returning to work as ee’s assistant ee was already a partner and one of the owners of one of ornwall’s largest law firms, where he had headed the litigation team for more than a decade omewhere along the way, they discovered they made a very good team professionally and personally

That philosophy continues to influence how the firm operates tutt ssociates has challenged conventional o ce hours, fee structures and the formality that can surround legal services, while using technology to make its work more e cient mong its tools is a bespoke egal I ystem developed for the firm’s own way of working ee and isa say it helps refine workflows, identify details that might otherwise be missed and provide clients with deeper analysis, with the resulting e ciencies helping to control costs

They also discovered a shared dissatisfaction with the conventions of legal practice oth describe themselves as non conformists, and both had become frustrated by what they saw as an archaic approach to running a law firm, with rigid procedures and a style of business that could leave clients feeling intimidated hen the opportunity came to create something of their own, they took it

For all the technology, the heart of the business remains decidedly human itigation can arrive in someone’s life at an already di cult moment, whether it involves a business, property or another serious dispute The tutt ssociates approach is to

tutt ssociates was isa’s original vision, with ee fully behind the values that shaped it tarting with a clean sheet, she developed

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C O M M E N T

property disputes, with particular e pertise in commercial property

understand the individual circumstances of each client and work towards an outcome they can live with very case brings a di erent set of problems, which is one reason the work continues to hold their interest

sked whether tutt ssociates would e ist if they had never met, their answer comes with characteristic humour there would be no firm, and no youngest three children either Their joke about being ornwall’s “biggest power couple in ornish legal is swiftly followed by the admission that it is, of course, a joke hat is serious is the partnership itself two e perienced lawyers who found that working together gave them the chance to build a firm around the kind of legal service they believed people needed

Their partnership is an important part of that isa describes herself as fiercely organised, admitting that she can take this to the point of being over ealous ee is technical and persistent, with what they cheerfully describe as the determination of a “nerdy dog with a bone Their professional strengths occupy di erent territory, too isa’s focus is commercial work, particularly the challenges businesses encounter through success and failure, while ee specialises in

stuttassociates.co.uk

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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.

the practicality that has made the orsche’s best selling model since

en years after the acan first defined what a orsche should feel like, the model has been reborn entirely electric, without losing an ounce of its character nveiled in ingapore back in anuary , the new acan and acan Turbo marked the brand’s second all electric model and its first attempt at taking an established nameplate fully into the electric era hairman liver lume called it a “completely new level for the acan, with e ceptional erformance, a new river perience and an impressive design

acan

ighteen months on, that story gained its even more traction aunched in ctober , the acan T brought the initialism first worn by the arrera T of to an electric for the first time ith k of overboost power, a km h sprint of seconds and the most powerful rear a le motor in the range, the T was built for engagement rather than outright numbers alone rear biased weight distribution, standard orsche Tor ue ectoring lus, and the lowest centre of gravity in the model line sharpen the car’s cornering precision, while a mm lower ride height and T specific damper tuning complete the picture lack e terior detailing, ace Te upholstery and two e clusive orsche lectric port ound profiles round out a car designed to feel, as much as perform, like a T

nderpinned by the new remium latform lectric with volt architecture, the acan Turbo produces up to k and covers km h in seconds, while o ering up to km of T range igh performance fast charging tops out at k esign chief ichael auer was clear about the intent this was the first orsche taken electric from an established identity, its proportions honed rather than reinvented, so that the acan 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 could still be a orsche, to proving that its most emotive badge could survive the transition intact The acan’s second generation may run on batteries, but it drives, and sounds, like a orsche icon reborn porscheexeter.co.uk

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The all electric

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A B OV E acan T

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

I S L E S O F S C I L LY discover the season beyond summer

A short hop from Cornwall. A w o r l d a w a y. As summer fades, the Isles of Scilly settle into a slower rhythm. Walk empty beaches, explore wild coastlines, discover island produce and linger over long lunches, with the Atlantic stretching beyond the table. Come for the wild coastline. Stay for the slower pace. Leave with a reason to return.

Fly. Sail. Discover.

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Where the

LAND ENDS WORDS BY JAMIE CROCKER

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D I A LO G U E

At Cornwall’s westernmost point, a Victorian hotel continues to reinvent itself.

fter years standing empty, the hotel returned to its former glory in 1953, following the end of rationing and the Queen’s Coronation. It remained in Cornish family ownership until 1982 and has since seen changes in ownership, style and decoration, while its original purpose remains unchanged: providing comfortable stays in an extraordinary location. Today, its Victorian heritage is complemented by contemporary touches and modern comforts after a million pound refurbishment of its restaurant, bar and rooms.

t Land’s End, the view and sensation of having reached the edge of the world have always been the obvious appeal. Yet the hotel standing beside it has had a rather less predictable life. Beyond the famous signpost, this is a hotel whose story has been shaped by far more than its scenery. Its latest incarnation is part of that story. Here’s why. What is the history of the Land’s End Hotel, and how has its role evolved sin e it rst ene The current hotel dates to 1881, when it was known as The Land’s End House and welcomed overnight guests. Electricity was installed in 1893, and during the Second World War the hotel was re uisitioned as a war o ce and rest stop for American troops before the D-Day landings. It was damaged when a uftwa e aircraft jettisoned bombs onto the building.

What does the hotel’s siti n at an s n ean in ra ti al ter s r guests staying there ey n the i us ie s It o ers a true bucket list stay within an Area of Outstanding Natural Beauty, surrounded by history, wildlife and miles of spectacular walking. Guests can

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D I A LO G U E

step straight onto the South West Coast ath, e plore the coastline, enjoy family attractions and experience the unique atmosphere of Land’s End, waking up to the sound of the waves and going to bed with an incredible sunset.

Its recent refurbishment has added some more local character. Some of the highlights include: Signature styling and lighting pieces throughout the restaurant by Cornwall lighting specialist, Tom a eld, who uses the ancient skill of steam bending to create these oak lighting features. Handmade curtains and soft furnishings to frame the breathtaking views of the Land’s End seascape and Atlantic Ocean, made by the hotel’s long-term employee, Cynara Jory, who is a passionate seamstress. A fully restored and upgraded bar and restaurant delivered by our on-site Estates Manager, eigh erryfield, and his wonderful events team new bar handcrafted by bar manager Chris Rowell, who has used hardwoods salvaged from across the hotel to create a bespoke o er in the regularly used function room. And Executive Chef Ian Mitchell, who has created a really special menu. He has a simple philosophy of creating honest local food, perfectly cooked with a contemporary twist, using the most incredible produce we have right here on our doorstep.

With our incredible on-site chef and team, we are also able to o er ornish specialities and à la carte dining with a locally sourced menu, making it not just a place to stay but somewhere for a great culinary experience. Who stays at the hotel today, and what y u thin they are l ing r hen they h se it Our guests come from all over the world and include walkers, families, couples and those looking for something a little di erent They’re choosing an e perience rather than simply a hotel stay – the combination of the location, food, wildlife, history and incredible scenery makes it unlike anywhere else. ul y u es ri e the hara ter an at s here the h tel an hat etails gi e guests a sense rn all

hat e r esign a

The hotel retains the character of its Victorian heritage while introducing contemporary touches. It has a relaxed, welcoming atmosphere that allows the location to take centre stage, while our chefs bring Cornwall to the table through seasonal menus featuring locally sourced produce. It has a stunning restaurant bar and terrace that means you can watch the sun set at the edge of the world and wake up to stunning views across the ocean.

an s

guests e e t r the arti ularly in ter s rt ie s an the range ati n a aila le

The hotel has 30 individually styled en-suite bedrooms, each with its own character, many overlooking the sea at the edge of the world. Recently refurbished, they o er contemporary comfort with a distinctly ornish flavour, across single, twin, family and superior rooms, alongside

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D I A LO G U E

dishes inspired by the Cornish landscape and shoreline. For the kitchen team, this relaunch is about more than new menus; it’s about rebuilding a food identity for the hotel that feels authentic to the location and sustainable for the future. Training, consistency, local sourcing, and team development have all been major focuses behind the scenes.

pet-friendly options. Homely touches make it easy to settle in, while thoughtful details ensure guests can relax and make the most of their stay. Tell e a ut the h tel s an rin hat is ser e here ingre ients e r an hat in r s the enus The Land’s End team, across the site, has worked tirelessly to create a unique hotel o er at this iconic landmark with refurbished rooms, handmade furnishings and upgrades in all areas. There has been a major upgrade to the restaurant, bar & terrace experience, with many of the team adding their personal touches, as well as focusing on the creation of a new locally sourced and carefully curated menu.

Ultimately, we want guests to leave remembering not only the views, but the food and hospitality too. hat e erien es an guests ha e ith ut getting in the ar and how does the surr un ing lan s a e inﬂuen e a stay There is an extraordinary amount to explore on foot. Guests can watch sunsets over the Atlantic, look towards the Isles of Scilly and Longships Lighthouse, walk the South West Coast Path, discover shipwrecks and natural sea arches, or spot wildlife such as seals, seabirds and even bluefin tuna uests also receive complimentary access to the four family attractions on site, including the 200-yearold farmstead, 4D cinema, adventure golf and Aardman Experience. And, of course, the iconic Land’s End Signpost is right on the doorstep.

The menus have been created to celebrate Cornwall, while also making sure guests feel comfortable, rela ed, and fulfilled after a day exploring. The kitchen approach manages to blend rustic coastal cooking with modern touches. We want dishes to feel generous, full of flavour and rooted in place rather than overcomplicated. There’s a strong emphasis on seasonality, freshness, and creating food that visitors remember as part of their overall Land’s End experience. The relaunch has allowed us to rethink the dining experience across the hotel, from relaxed daytime dining and family favourites through to evening

hat hanges r in est ents ha e een made at the hotel recently, and what r te th se e isi ns

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D I A LO G U E

The hotel recently underwent a £1.2 million refurbishment, covering the bedrooms, restaurant, bar and terrace. The investment was focused on creating a more contemporary guest experience while respecting the character of this iconic location. Handmade furnishings, upgraded spaces and a new locally sourced menu have all helped create a more considered hotel experience.

feel at home, whether they’re travelling as a couple, with family or with their four-legged friends.

Gi en the h tel s e tra r inary setting is there a anger that the ie e es the h le e erien e an h y u ensure the h tel itsel earns its la e in a guest s stay

There is certainly energy and excitement during the day, but as the visitors leave and the sun begins to set, Land’s End transforms. The sound of the waves, the changing light and the Atlantic horizon create a wonderful sense of calm. Outside the busiest months, that feeling of escape is even more pronounced, and with more than 100 acres to explore, there is always space to find your own uiet corner

an s n attra ts large nu ers of visitors, so how does the hotel re n ile eing at ne rn all s usiest t urist estinati ns ith ering guests the sense es a e they e see ing

The views are undoubtedly a huge part of the draw, and they change beautifully with the seasons and weather, but the hotel is about much more than the view. Our team, chefs, food and Cornish heritage create a place where guests can genuinely relax and

landsendhotel.co.uk

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Old Lanwarnick Cottages Escape • Unwind • Reconnect.

Nestled in the Cornish countryside, Old Lanwarnick offers luxury self-catering cottages and glamping pods within 34 acres of peaceful private grounds. Blending historic charm with modern comfort, it’s a tranquil retreat surrounded by nature, friendly alpacas and woodland walks — with beautiful beaches just 15 minutes away.

A cornish retreat for every kind of escape info@oldlanwarnick.co.uk | 0790 999 4331 |

oldlanwarnickcottages

www.oldlanwarnick.co.uk

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