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ISSUE 30/31



to the issue 30/31 of ESTILA Edit!


When curating the content for this ESTILA Edit edition, I wanted to focus on telling the stories of independent lifestyle brands, and the people behind them, who are perfect examples of what makes life exciting, meaningful and authentic. And so the following pages are filled with stories not only inspired by travel and human creativity, but also share resourcefulness, functionality and purpose in common. As always, thank you so much for reading and your support! Love,

Karolina xx Karolina Barnes editor in chief










34 3

editor's recommended reads interiors wicklewood 16 Our shop spotlight this month is Wicklewood, a lifestyle brand that specialises in carefully curating room sets in a variety of bold designs that will spruce up any room.

Beauty seamless self-tan 40 In preparation for the coming warmer months, our beauty editor, Nicola, gives tips on seamless self-tan application.

open up & inspire study 34 62 An inspirational interview with Eleanor O'Neill, the founder of Study 34, about her journey into ethical fashion and her bigger mission.

Cover: AAKS p.36


WIN A FAIRY CHIMNEY SINGLE QUILT FAIRY CHIMNEY QUILT The punchy print on this crazy and colourful handmade single quilt, designed by Safomasi and available at Postcards Home, is inspired by the surreal landscape of Cappadocia in Turkey. Watch hot air balloons float over the famous conical ‘fairy chimneys’ on one side, and get lost in a geometric interpretation of the landscape on the reverse. You can just flip the quilt over and instantly restyle your room to suit your mood. Made from hand screen-printed cotton and hand quilted, this single quilt is completely unique and will bring bags of personality to your home. Closing date: 30.05.2018

ENTER PRIZE DRAW POSTCARDS HOME This beautiful quilt is by Postcards Home, an online boutique selling unique homeware and gifts inspired by travel and design. They partner with independent designers to curate a quirky and colourful collection that transports you to your favourite places around the world. This female-founded business also works with social enterprises, so you can purchase with purpose.

T&C apply. 5


Get your copy here





Very Me Interiors words by Karolina Barnes, photography by Anne Marie Stoltman

I came across Very Me Interiors on Instagram as I was looking for something little different worth featuring in this ESTILA Edit. With a home full of colour and personality, the story of Very Me Interiors is based around working with what you've got to achieve a beautiful and happy home. Anne Marie started her blog to fulfill her passion for interiors and DIY, with a mission to inspire others mainly about how you can do thing yourself, while spending as little money as possible. It's not necessarily about buying but rather making. This mini tour shows how, with creative thinking and limited resources, one can make an amazing home.



For more project ideas, please visit




shop we love

Wicklewood text by Karolina Barnes, photography provided by Caroline Downing Nadel

1. What has been your journey so far? How did you get to where you are now. Fabrics and design have been part of my life for as long as I can remember. When I was ten years old, my mother, Liz Downing, and her business partner Anne Dubbs, founded Blithfield, a London based fabric and wallpaper company. I grew up in London surrounded by antique documents, fabric cuttings and wallpaper samples and spent many weekends and holidays helping out at trade shows and in the Blithfield sampling department! Blithfield taught me how to modernize classic designs, play with colour and scale, and the importance of textiles in a home. It became clear early on that I wanted to follow in Blithfield’s footsteps. Their entrepreneurial spirit was contagious. I moved to the states for university where I studied history at Yale. Afterwards, I lived in NY for five years, working in fashion and then returned to London in 2015 to start working on Wicklewood! Through the many times I moved in my twenties, and the numerous rental flats which I've decorated, I had become frustrated by the lack of affordable and original design options that can change with each season, mood or move and so, I launched Wicklewood to make interior design easy.

“Blithfiels taught me how to modernize classic designs, play with colour and scale, and the importance of textiles in a home.” 13

2. How is Wicklewood different from other brands? We design for the modern nomad, and help you shop that way too. We carefully curate room sets, which include a variety of bold designs in complimentary colours that will spruce up any room. With an area rug anchoring each collection, we add in cushions and throws in different schemes guaranteed to brings the colours of the world to your home with ethically produced artisanal fabrics and designs that will brighten up your home. Wicklewood is also unique as it is inspired by three generations of women in my family passionate about textiles, design and individuality. Our designs are influenced by classic weaving motifs from the archives of my great, great grandmother, the renowned Guatemalan textile collector Lilly De Jongh Osborne, the colourful designs of the iconic fabric and wallpaper company, Blithfield founded by my mother, Elizabeth Downing and Anne Dubbs, and my own personal experiences traveling and moving from home to home. (A little more about my Great Great Grandmother or ‘Mamita’ as she used to be known…) My great, great grandmother, Lilly De Jongh Osborne was a prolific collector of textiles and crafts from Central America in the 1930s. Lilly was a Dutch woman raised in Costa Rica. She had a love of meeting new people, a distaste for ladies’ luncheons and a fascination with Guatemalan traditions and culture. Lilly spent her days traveling on horseback through the highlands and exchanging new textiles with old. She carefully documented her discoveries and dedicated decades to becoming a pioneer collector, writer and lecturer. I grew up hearing her legendary stories and surrounded by the motifs, colours and designs from her archives — one of the world’s largest of Guatemalan textiles. All of this inspired and formed the foundations for the inaugural Wicklewood collections.


3. What is your mission with Wicklewood? To make interior design easy. Like me, people are moving around the corner or around the world more frequently than ever before but still seek a space that reflects their individual style, so Wicklewood set out to create a “Home for the Modern Nomad.” We make decorating easy by offering carefully curated room sets, featuring four design essentials that will instantly transform a home with distinct decor. Our cushions, rugs, quilts and one-of-a-kind accent pieces are small enough to move easily and bold enough to make an impact, harnessing the power of colour and pattern to brighten up a home.

4. How important is ethical trading to you and Wicklewood? Very! First fashion was in the spotlight for the lack of ethical trading across the mass-produced products and now it’s time people start thinking about where their interiors come from too. Our products are ethically produced globally, from Guatemala, to India and back to the U.K. We design our collection in our studio in London and work with expert artisans around the world who use classic textile techniques to bring our designs to life. We work with a women’s cooperative in Guatemala, who weave ikats on backstrap looms, craftspeople in India, who hand block print our quilts and hand weave our rugs and women in the U.K., who turn our fabrics into beautiful final products. 15

5. Can you tell us more about the challenges you had to overcome when setting up Wicklewood? Working with people around the world is incredibly rewarding but challenging at times. Our products are handmade by artisans in parts of the world that are often affected by adverse weather patterns and so delays can occur which can affect our lead times, something we have had to learn to plan for to avoid any delivery issues down the line. Being a small independent business with high ethical standards means products are handmade and not mass-produced. The artisans that we work with are compensated for their unique skill, which makes it harder to compete with high street brand prices. And so, from the start we have built a brand that attracts people who are interested in the craft and the story behind the brand and understand the value of our products.

“We have built a brand that attracts people who are interested in the craft and the story behind the brand.� 16

6. What are your biggest lessons learnt so far in terms of what you’ve learnt on the way - businesswise and ethicalwise. Diversification – don’t put all your eggs in one basket. This lesson can be applied to multiple aspects of the business – whether it is the products we have chosen to make, the people we have selected to work with or the team that you surround yourself with every day.


COLOURS of the month


Desert Winds words by Harjit Sohotey-Khan, styling and photography by Karolina Barnes

GLOBAL ACCENTS FOR YOUR HOME Our new "Desert Winds" collection is a range of handwoven cushions and throws designed to add touch-me artisan textures and globally - inspired accents to your home. Handwoven on traditional pit-looms, the collection has an organic, natural feel where raw edges, bold colours and geometric patterns add authentic, playful Rajasthani influence.


We work directly with a not-for-profit organisation that empowers vulnerable weavers in the harsh, inhospitable regions of the Great Thar Desert of Rajasthan. By providing fairly-paid work and training to marginalised weavers they invest in social and economic change, health and human rights projects.




on Instagram Follow us for behind the scenes, latest news and sneak peeks!



Orangutan 22


Spontaneous approach words by Karolina Barnes, photography by Anna Williams

Muted colours, grandeur, chintz and abstract art comes to mind when looking at Anna Williams work. Anna uses watercolours to create patterned prints (a debut product collection coming soon!) with heritage style and modern accent in mind. Here we talk to her about her unique style, pattern play, inspiration and the way she approaches her design work.


1. How do you approach work when designing your collection of prints? What is the process and steps? I take a really spontaneous approach when I first take pen or paint to paper. It may be that I remember a piece of stunning architecture or pretty detail from an old print or book cover, or just a colour combination I’ve been inspired by which is the starting point. It’s really about mark making to begin with and seeing what comes out. If I like the look of that initial sketch or painting then I’ll develop it a bit more, play with scale and colours and see how it looks when repeated, which is really the test to see if it’s workable or not. With my terrazzo/ditsy inspired print, it was a relatively quick process. I copied the colours from a small section of terrazzo we have in our porch and painted this onto an A4 piece of paper with gouache. Only the background colour has been altered and the scale blown up for the larger version, so that design has really retained its original spontaneity. The oak leaf wallpaper design was more engineered by adding lots of layers of detail and colours to the original motif, it’s a different look and feel but I love both processes.


2. How important is pattern and colour to your design work? It forms the absolute crux of everything I love and do. I have developed a sort of pattern and colour spotting eye, wherever I go I’m drawn to that sort of detail that may otherwise go unnoticed in the most random of places. I’ll take pictures or screen grab on my phone as I go and bank up an inspiration folder which I flick through every now and then. I remember, not long ago, going to see my friend’s Gin distillery in a Battersea trading estate and taking endless photos of the nearby bridge which was the most glorious peachy terracotta colour. That ended up being the inspiration for our living room alcove paint colour. 25


3. Has your style evolved over time or have you always been drawn to geometrics and shapes? I think some of it has evolved as a result of writing my blog because I’ve been opened up to so much more in the design world and it’s massively broadened my horizons. I’ve been to places and met people and fallen in love with designs and styles I may not have necessarily liked before. I used to be obsessed with buying fabric that had chickens on it, now I wouldn't be able to deal with that at all. I’ve always been an avid 80’s design fan and love everything the Georgians did. I’ll also always love ticking, that's for sure! I’ve learned to appreciate good design even if it’s not really my taste, which I think is important.

4. Where do you find inspiration? Have you got a role model you look up to? My dad has done some pretty epic design projects in his career so I always look up to him first and foremost. He designed some furniture for a couple of the James Bond films back in the 80’s and had flats him and my mum developed featured in magazines - something I would love to have happen to me one day. I love the old Laura Ashely prints from the 80’s and 90’s, those pretty small- scale designs which adorned the walls of my childhood home. I had a pair of amazing Laura Ashley yellow floral dungarees which I wore with my converse high-tops, and would love to make some out of my fabric one day. In contrast, I love Mattisse’s cutouts and the freed up feel to his work, I always find it hugely uplifting. I love anything Picasso and my style icon is Audrey Hepburn, pure understated, timeless elegance.

“I've learned to appreciate good design even if it's not really my taste, which I think is important.” HOUSEANNA.CO.UK | @HOUSE_ANNA_ 27




the rise of the new status bag words and images by Flavia Young

As it were, a few years ago when two sisters launched a new concept in handbag materials and shapes, they could not have, in their most ambitious career dreams, foreseen just how the launch of Mansur Gavriel would disrupt the fiercely disputed world of handbags. With the combination of a small production line and the enormous, quite unexpected attention of the Instagram world (still in its infancy then) brought to the label, it was no surprise to see that it was unable to keep up with the huge demand that its small Italian factory could not simply cope with. The infallible combination of gorgeousness and hard to get your hands on created long waiting lists and the rest of the story is... that history was made - Mansur Gavriel achieved cult levels. In the fast world of fashion though, these Italian vegetable leather pieces were then quickly picked on by other aspiring handbag designers and by the time Mansur Gavriel had caught on with the demand for its designs, other brands with similar aesthetics were starting to pop up. In fact, this season I would go as far as to say that the tanned vegetable leather handbag has become the modern woman's new trophy piece. Keenly priced and hardly ever seen on the arms of "over the top" women, it is a revolution I am betting on for the long term. And, of course, when it comes to the colour choice, who could possibly argue against the delectable appeal of a classic contemporary marriage? Tan. Amongst the new era handbag designers now stocked in chic boutiques around Europe, here are some of the most notable names to pay attention to.

Flavia xx 29



Wandler Lotta leather tote ÂŁ575, from

Acne Studios Musubi leather handbag ÂŁ750, from



Danse Lente



Mini Johnny Light Brown £294, from Danse Lente

Mini basket bucket leather bag £401, from Luisaviaroma




LIKE THEM, GET THEM research and graphics by Emilia Vespoli

1. 2. 3. 4. 5. 6. 7. 8.

M’ODA ‘OPERANDI – VERANDAH Beaded Maxi Dress BOHEMIA Eye Print Wash Bag

COULEUR LOCALE Wood Bead Chandelier – Bali NET-A-PORTER – FIGUE Caravan Embellished Embroidered Suede Slides

BOHEMIA Embroidered Scarf EVA SONAIKE Aluro Cushion NOT ON THE HIGH STREET – I LOVE RETRO Nomadic Pink and Blue Circular Patterned Rug COULEUR LOCALE Olijfhouten Stoel Geel



brand story uncovered 34

AAKS text and photography provided by AKOSUA AFRIYIE-KUMI

I grew up around basket bags as a child in Ghana, I used to give them as gifts and also use them for storage. I remember having a lot of ‘I wish it was more like this, I wish it was more like that’ moments… I wanted it softer, almost foldable and also more colourful with blends of colours which were modern with a beautiful finish and detail. Building on this idea I started researching into bag designs and fibres and found a lot of attractive benefits which were in line with my vision and ethos I had for my dream brand. I established A A K S after seeing a gap in the market for beautifully handcrafted bags. I knew I wanted to go out on my own and pull together all my passion and talents to create something unique that would be fulfilling both personally and professionally so I embarked on my journey to Ghana to make this happen after my studies in the UK. Design and colour is extremely important to my brand. It is our brand DNA. If you think of colourful woven bags or baskets. You think of AAKS. Our Spring/ summer 2018 collection explores the finite shapes of 10 exuberant handwoven bags which compliments and convey a sense of spontaneity. The celebration of the design process embraces unusual colour combination which brings to life the impeccable craftsmanship of artisanal work in Ghana through unique stylish pieces. Our key pieces are the Baw Pot which has been a favourite shape since we began, our Hana Mini and Como Ruffle bags which incorporates our classic style silhouettes. All our pieces are finished off with vegetable tan leather handles with cotton or linen drawstring inner linings. I seek inspiration from everything around me be it nature, photography or people. There is so much ideas that I get through observation, photography and travelling around Africa and Europe which influences my design aesthetic. I look up to my Mum a lot, she has been extremely supportive from day one when it was all just an idea to AAKS becoming a reality. 35



I would advise any aspiring designers to find a niche. Something new that hasn’t been done before and to create high quality products with attention to detail which will be eye catching for buyers around the world. It is really easy to get wrapped up in the planning of your business but sometimes you have to know what you want and just go for it.

“Find your niche and do something new that hasn't been done before. Create high quality products with attention to detail.”





Seamless self tanning words and photography by Nicola McCullough

It's that time of year when the first flash of bare skin is enough to prompt a return to bottled bronzing for those of us who like to look safely sunkissed all summer long. With the right product and know-how, no-one need know you've self tanned except you... Seamless, natural looking colour is totally achievable with a few tactics to avoid the orange streaks, patchiness and muddy knuckles of our youth. Prep Skin prep should be done 24 hours in advance and include exfoliation, hair removal (if required) and all over moisturising. Exfoliating removes any dead surface skin cells and ensures smooth application that doesn't catch on dry skin. Sanctuary Spa Salt Scrub with dead sea salts, jojoba, coconut and almond oils both exfoliates and conditions skin in one.


Which Product Choose a self tan that suits your colouring and skin type. Many formulas are now available in light to ultra dark tones; gels or creams are the most moisturising on dry skins; mousse is easy to work with; and a colour guide helps with even application. A Few Favourites Fake Bake Coconut Tanning Serum is great for beginners and gives a very natural golden tan. Vita Liberata Invisi Foaming Tan Water is 90% organic, unscented and won't tan your sheets or clothing. He Shi Dark Foaming Mousse is easy to apply and gives a convincing post holiday hue.


Seamless Application Tips Tan in front of a mirror if you can - it makes it easier to spot any areas you might have missed, including your back, shoulders and backs of legs. Don't forget your neck and ears... tans that stop at the collar line are never a good look, especially if you wear your hair up. Use a barrier such petroleum jelly on heels, blonde brows, or anywhere you don't want any colour to adhere. Always apply tan with a mitt - orange palms don't look good on anyone. Use equal amounts of product on each limb and tan each side of your body in 'pairs'... e.g. left arm - right arm; left knee to thigh - right knee to thigh. Use a lighter tan or dilute with a little moisturiser on areas where you want a more subtle wash of colour - e.g. face, hands and feet. Apply with a fluffy blusher brush to ensure even coverage and blend into the surrounding areas for a seam free finish. Buff over any tricky areas to finish with a cotton pad or face cloth - e.g. elbows, wrists, hairline, ankles and knees.





in pictures

Set on the south-east coast Leigh on Sea is a town full of unique character and charm, and is a must-see when visiting Southend-on-Sea. With galleries and craft shops, a selection of pubs, excellent fish restaurants and the famous cockle sheds, this little gem in Essex is a destination perfect for a weekend break or a family day out. We have recently designed a Leigh on Sea guide featuring some of the best small businesses in the area. You can read their stories here.


eat Salwater Café The new Saltwater Café nestled close to Chalkwell beach at the beginning of Southend seafront is a place where family and friends can meet up, enjoy the view in a safe environment for all. The community spirit of the café runs throughout all aspects of the business. From sourcing local and ethical brands to the use of biodegradable packaging, Saltwater café wants to be at the heart of its community. Enjoy their tasty breakfasts to vegan speciality foods and enjoy the beautiful surroundings our beautiful town has to offer! . 46

shop Store Thirty 3 Inspired by Scandinavian design, Store Thirty 3 showcases a unique and contemporary selection of lifestyle, homeware and fashion designers including House Doctor, Bloomingville, luxury clothing brands such as Soaked in Luxury and Coster Copenhagen, and stunning jewellery from Black & Sigi. Nestled in the heart of Leigh on Sea, Store Thirty 3 is a shopping and experiential destination that will leave you inspired and empowered.





Apple & Blueberry Meringue Pie words and photography by Karolina Barnes

This pie is one of our favourite recipes in our house. It's quick to make and doesn't require a long list of ingredients. The kids love it, it's full of fruit and what's more, it looks good on the table too! Feel free to adjust the sweetness and be adventurous with the fruit filling. While passion fruit and lime will turn this pie into an exotic dessert, apricot and raspberries will turn it into a comforting delight.

ingredients For the pastry: 250g self-raising flour 150g soft butter 80g caster sugar 2 egg yolks 500g apple & blueberries (together)

For the meringue: 2 egg whites 2 tbsp caster sugar Equipment: 20cm loose-bottomed tart tin

method Pre-heat the oven to 180 degrees Celsius. Mix all base ingredients together into the pastry. Roll out the pastry on a well-floured work surface and line the tart tin with the pastry, then put in the fridge to set (around 30 min.) Once the pastry is firm, prick it with the fork, fill the tin with baking or dried beans (on a sheet of baking paper), and blind bake in the oven until it's light blonde (around 20 min.). Once cooked, remove the baking beans and paper and set aside to cool down. Turn down the oven to 150 degrees Celsius. For the filling, wash and chop your fruit to desired size (strawberries can be chunky)and pour the filling into the tart case. Sprinkle with caster sugar and adjust sweetness the way you like it. Make the meringue by whisking the egg whites using an electric hand whisk and add sugar. Continue whisking until the mixture becomes stiff and shiny. Then, dollop the meringue over the top and bake in the oven for 20 - 30 min, until the meringue is crisp.



“open up & inspire”

Study 34 text and photography by Eleanor O'Neill

1. What has been your journey so far? My university education was entirely focused on knitwear, which I know might seem unusually specific – but I really learnt how to make clothes properly which is what I’ve always wanted to be able to do. I was drawn to knitwear because, unlike other fashion disciplines, it allows you to create a whole garment from scratch – to make the fabric as well as the final shape. I have always be interested in designing the ideal basics when in comes to knitwear.


Once I had graduated from university, I worked for a few international brands and companies in the US and Europe. After a relatively short time, I decided that working in a specific ‘design’ or ‘production’ role wasn’t allowing me the personal and professional development I really craved. I wanted to improve as a designer and not being able to see for myself the whole supply chain from start to finish really hampered that development I think. This was also partly due to the way I learn – which is by doing. This is why I think running a business suits me. I need to see, touch and be involved in a process to really understand it and work out how I can improve it – reading or hearing about it is not enough for me, I have to experience it. So three years ago I set up STUDY 34 and it has grown and changed a lot since the beginning which means I am learning all the time and it always keeps me on my toes! I started by making jumpers to order – designing small collections and making the size and style when it was ordered with end of line luxury yarn. I loved making things but ultimately, it wasn’t scalable. I moved on after this to manufacturing in a British factory, still with end of line yarns, which was a step forward in experience and quantities produced but still not scalable in the long term either because of how I sourced the yarns which was always going to be unpredictable. I was really interested in the materials that I was using so if I was going to use a ‘virgin’ material, I needed to find something that was more traceable and more sustainably produced. I had done a lot of writing about this and won a few competitions as well and in October 2016 I was invited out to Peru to learn about the manufacturing capabilities as well as the fibres native to the country (Alpaca and Pima Cotton). I really loved going round the factories and meeting everyone who had such amazing skills in making clothing with these fibres. I was also attracted to the manufacturer I now work with because I know they manufacture for Eileen Fisher (the largest women’s fashion company to be B Corp certified), whose business values and mission I really admire. That’s a very brief summary of my journey so far , which makes it seem very straightforward! What is missing of course, is the emotional ups and downs throughout this process – the mental challenges have by far been the aspect I most underestimated before starting my business.


2. What’s different about STUDY 34? Well-designed and well-produced, luxurious and functional knitwear is what I am always aiming to produce at STUDY 34. Suitable for all women, whatever their age or their job, I want to offer her knitwear that is comfortable and can be easily styled from day to night, so that she can focus on achieving her goals for that day and in life generally without thinking for a moment about what to wear. But there is more to the label than the product I sell. I am one of those women who is trying to pursue her goals and challenge herself to make a living out of what she loves to do. And it’s hard but I, alongside all the other women I have met along the way, are proof that we can all do it! As the label grows I want to help other creative and entrepreneurial women achieve their goals. Right now, making knitwear that empowers and enables women to follow their dreams is just the beginning of the road.



3. How important is sustainability to you and your brand? Sustainability is a fundamental part of my business but it is always a work in progress – reading and researching into advances in sustainability in the fashion industry is a big part of my working schedule. I recently wrote an article for Courier Magazine on the subject of sustainability and how difficult it is to tackle for a small business. It’s certainly about going one step at a time. I approach sustainability in two ways. The first is in the sourcing of yarns and the manufacture of the clothing by researching fibres and investing in quality craftsmanship. The other is in the style. I only manufacture simple and classic styles that can be worn by women of any age and styled in whatever way pleases her. STUDY 34 knitwear can be worn smartly to the office, dressed down with jeans or with a nice skirt/ pant for dinner with friends or and event in the evening. I use neutral colours that go with lots of skin tones and clothing of different colours. While I am aware of the trends, they do not come into my design process. STUDY 34 knitwear is timeless in its quality and its style. 4. What is your mission with STUDY 34? My mission at STUDY 34 is to empower and encourage women to follow their dreams – myself included! At the moment, STUDY 34 embodies my dream of designing and making clothing that women really want to wear and love to wear because the pieces are so easy. It embodies my dream of investing in craftsmanship and interacting and valuing everyone in the supply chain. My mission is to perfect this and grow my team with women who believe in this too. In the long term, I see STUDY 34 being run by women who have their own ideas to bring to the table. And I would like to use my experience to work with other creative entrepreneurial women early on in their journeys and help them realise their dreams as I am in the process of doing myself. I’d like to partner with and help develop accessible funding opportunities for women too, as I know this can be more difficult to access. I am one of many women pursing my dreams and by buying STUDY 34 knitwear you are investing it that – so that in the future I may invest everything I have learnt and my experiences with other women and their ideas to help them achieve their goals.





ESTILA BOOKAZINE Subscribe to ESTILA and get: ESTILA VOLUME 1. For limited time only, we are offering FREE digital version of our Volume 1. The Style Tales. All you have to do is to click below and get the issue featuring: • an interview with Matthew Williamson • an interview with Kim Winser, MBE • an interview with Grace Bonney, the founder of Design*Sponge ..and so much more.



ESTILA BOOKAZINE editor in chief

Karolina Barnes fashion editor

Flavia Young @ Luxe Layers beauty editors

Nicola McCullough @ StrawberryBlonde Beauty Karla Cihak food editor

Ellen Stanton @ Pale Blue Plate design editor

Emilia Vespoli @ ViaSanVito interiors editor

Anouska Lancaster @ Noushka Design travel editor

Sabrina Chakici @ Clutch and Carry-on online editor & stylist

Athina Bluff @ Topology Interiors researcher & proof reader

Claire Smith @ Eclairesva CONTRIBUTE Have you got something interesting to say? New product launch or inspirational story to share? We want to hear from you. Submit your story to


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ESTILA EDIT - March/April 2018  

When curating the content for this ESTILA Edit edition, I wanted to focus on telling the stories of independent lifestyle brands, and the p...

ESTILA EDIT - March/April 2018  

When curating the content for this ESTILA Edit edition, I wanted to focus on telling the stories of independent lifestyle brands, and the p...