Page 1


THE CREATIVES Guillermo Santomà NES Creative Liselotte Watkins Arent & Pyke Stefan Simchowitz Laura Jones Stephen Baker Shelley Steer Julian Meagher Petra Cortright David Flack




porcelain sheets.

Captain’s Choice A 22-Day Journey by Private Jet


Cairo to Cape Town Departing 30 January & 29 September 2019

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Witnessing the Great Migration across the Savannah is the crowning jewel of this extraordinary adventure. We trek in search of mountain gorillas, navigate the Nile and float over otherworldly landscapes.


22 26 28


In Vogue 30


LIFE OF THE PARTY Famously known as ‘Princess TNT, the dynamite socialite’, Bavaria’s Princess Gloria von Thurn und Taxis has evolved into the epitome of responsibility


PROFILE: LOUISE JONES Botanical motifs and explosions of colour highlight this designer’s vibrant range of upholstery textiles


PROFILE: JULIAN MEAGHER Through the touch of this


IN VOGUE EDIT Our decor refresh, plus meet the power

gifted Sydney artist, some of life’s most ordinary elements become extraordinary works of art

duo behind sustainable handmade rug collection Armadillo & Co


IMITATION OF LIFE Vogue Living invited three rising stars


in the Australian art world to interpret a series of still-life photographs we created, and to allow their imaginations to soar


POSH SPICE Energise your space with rich, exotic shades and luxe, tactile textures


BACK TO THE FUTURE Translucent finishes, pastel shades,


EN POINTE Call it dusty rose or ballerina blush, soft pink as

Deco-inspired shapes: yes, the ’80s are back an interior trend is still going strong. These floor coverings show how you can take it centre stage

Art & Design 57

FLOWER POWER With the new Gucci Garden in Florence, creative director Alessandro Michele has launched a magical mecca for superfans of the legendary house


SCENE STEALERS Turning the LA art scene on its ear, controversial collector Stefan Simchowitz takes time out from his ‘transparent trade’ to focus on the city’s ascendant stars


SWEET MYSTERIES Van Cleef & Arpels’ new jewellery collection is a whimsical display of craftsmanship and true artistry

In Store 85

AHEAD OF THE CURVE With an updated Sydney showroom,


KARAKTER STUDY Danish firm Karakter Copenhagen lands

Fanuli welcomes a new collection from Italy’s Flexform at Cult, with designs that are destined to become future classics


EXPRESS FROM THE US Rachael Fry, creative director of Melbourne’s Criteria Collection, has infused the Australian design scene with an exuberant, artisanal New York attitude VOGUELIVING.COM.AU 13



The grand Rajmahal Palace hotel in Jaipur, India (page 168).






A new hotel situated in the former headquarters for Paramount Picture Studios injects some local flavour into Sydney’s hospitality scene


LIQUID LUXURY It’s not just about slammers anymore. With the opening of the five-star La Casona Guest House in Mexico and Bar Patrón in Sydney, tequila has finally come of age

Social 182

A FEAST FOR THE SENSES On the eve of the 2018 Portsea Polo, Melbourne’s finest gathered for the Stella Artois Sensorium dinner at Doot Doot Doot restaurant in Victoria’s award-winning Jackalope hotel


to Vogue Living and receive a plate and bowl set from Salt&Pepper’s new AKARI collection valued at more than $50


Details for the products, people and retailers in this issue

Passions 192 10 FAVOURITE THINGS

Kate Waterhouse — style guru and racing royalty — on what brings her joy

ON THE COVER The Barcelona dining room of Spanish designer Guillermo Santomà. Photographer: Helenio Barbetta. Story, page 114. SUBSCRIBE TO VOGUE LIVING: page 164.



A vital hub for commerce since the 18th century, Jaipur has blossomed into a majestic world-class destination on the top of everybody’s travel hotlist


From unique in-house designs, to the world’s leading luxury brands, find the perfect wallpaper at Porter’s. PAINT AND SPECIALITY FINISHES | LUXURY WALLPAPER | FRENCH OAK FLOORING For your closest showroom or stockist, visit or call 1800 656 664 Featured: Cole & Son Wallpaper ‘Palm Leaves 112/2005’

play it like Hermès

ACTING EDITOR-IN-CHIEF Edwina McCann CREATIVE DIRECTOR Natasha Allen DEPUTY EDITOR Verity Magdalino ART DIRECTOR Paloma Garay STYLE EDITOR Joseph Gardner CHIEF SUB EDITOR Bonnie Vaughan SENIOR SUB EDITOR Kate Barber DIGITAL EDITOR Yeong Sassall ASSISTANT DIGITAL EDITOR Francesca Wallace EDITORIAL & STYLE COORDINATOR Anna Delprat (02) 9288 3729 EDITOR-AT-LARGE Neale Whitaker MELBOURNE EDITOR Annemarie Kiely LONDON EDITOR Fiona McCarthy CONTRIBUTING EDITORS Freya Herring, Jason Mowen, David Prior, Lee Tulloch CONTRIBUTING DESIGNER Rebecca Burrell CONTRIBUTING SUB EDITORS Darren Christison, Kasey Clark CONTRIBUTORS IMAGES Lauren Bamford, Helenio Barbetta, Mick Bruzzese, Sharyn Cairns, Felix Forest, Gentl and Hyers, Nigel Lough, Sam McAdam-Cooper, Prue Ruscoe, Stefan Simchowitz, Valentina Sommariva, Hugh Stewart, Michael Wee, Wichmann+Bendtsen WORDS Tiffany Bakker, Andrew Ferren, Lauren Powell, Becky Sunshine STYLING Helle Walsted INTERACTIVE EDITION PRODUCTION MANAGER Stuart McDowell DIGITAL ASSETS & RIGHTS MANAGER Trudy Biernat BUSINESS ANALYST Umair Khalid CLIENT SOLUTIONS DIRECTOR Ed Faith COMMERCIAL SOLUTIONS MANAGER Talia Phillips CLIENT SOLUTIONS SPECIALIST Imogen Rafferty QUEENSLAND COMMERCIAL DIRECTOR, LIFESTYLE Rose Wegner ADVERTISING CREATIVE DIRECTOR Richard McAuliffe ADVERTISING HEAD OF OPERATIONS Eva Chown ADVERTISING HEAD OF ART Caryn Isemann ADVERTISING HEAD OF CONTENT Brooke Lewis ADVERTISING SENIOR ART DIRECTORS Bev Douglas, Nicole Vonwiller ADVERTISING COPY EDITORS Rob Badman, Annette Farnsworth, Tiffany Pilcher ADVERTISING CREATIVE PRODUCERS Jenny Hayes, Sarah Mury NATIONAL PRINT SERVICES MANAGER Mark Moes PRODUCTION MANAGER Chrissy Fragkakis ADVERTISING PRODUCTION COORDINATOR Gina Jiang MARKETING DIRECTOR Diana Kay DIGITAL MARKETING MANAGER Shannon Wylie ACTING SENIOR BRAND MANAGER Kimberley Grace BRAND MANAGER Rachel Christian ACTING EVENTS MANAGER Genevieve McCaskill EVENTS MARKETING MANAGER Natalie Headland COMMERCIAL INTEGRATION MANAGER Rhonda Maunder MARKETING COORDINATOR Shelby Allen GENERAL MANAGER, RETAIL SALES & CIRCULATION Brett Willis NATIONAL CIRCULATION MANAGER Danielle Stevenson SUBSCRIPTIONS RETENTION MANAGER Crystal Ewins SUBSCRIPTIONS ACQUISITION MANAGER Grant Durie CHIEF DIGITAL OFFICER, NEWSLIFEMEDIA Nicole Sheffield PRESTIGE & LIFESTYLE DIRECTOR Nick Smith ASSOCIATE PUBLISHER — HOMES Claire Bradley DIRECTOR OF COMMUNICATIONS Sharyn Whitten HEAD OF FINANCE Caspar Deman CHIEF DIGITAL OFFICER Julian Delany VOGUE LIVING is published by NewsLifeMedia Pty Ltd, ACN 088 923 906. NewsLifeMedia Pty Ltd is a wholly owned subsidiary of News Limited (ACN 007 871 178). Copyright 2018 by NewsLifeMedia Pty Ltd. All rights reserved. ISSN 0042-8035. 2 Holt Street, Surry Hills, NSW 2010. Tel: (02) 9288 3000. Email: Website: Postal address: Vogue Living, NewsLifeMedia, Level 1, Locked Bag 5030, Alexandria, NSW 2015. Melbourne: Level 5, HWT Tower, 40 City Road, Southbank 3006. Tel: (03) 9292 1673. Fax: (03) 9292 1695. Brisbane: 41 Campbell Street, Bowen Hills, Qld 4006. Tel: (07) 3666 6910. Fax: (07) 3666 6911.

SUBSCRIPTIONS: within Australia, 1300 656 933; overseas (+61 2) 9282 8023. Website: Email: Websites:,,,,, Reply Paid 1224, Queen Victoria Building, NSW 1229 (no stamp required). Printed by PMP Limited, Paper fibre is from sustainably managed forests and controlled sources. Distributed by Gordon and Gotch Australia Pty Ltd, Tel: 1300 650 666

‘ m o r o c c a n t r e l l i s‘ f r o m r o b y n c o s g r o v e ’s s a m a r k a n d c o l l e c t i o n . h a n d k n o t t e d i n p a k i s t a n f r o m h a nd s pun v eg e ta bl e- dy ed w o o l f r o m a fg h a nis ta n. cus t o m s ize s t o o r d er.

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THE CREATIVES Guillermo Santomà NES Creative Liselotte Watkins Arent & Pyke Stefan Simchowitz Laura Jones Stephen Baker Shelley Steer Julian Meagher Petra Cortright David Flack





Guillermo Santomà NES Creative Liselotte Watkins Arent & Pyke Stefan Simchowitz Laura Jones Stephen Baker Shelley Steer Julian Meagher Petra Cortright David Flack





wish you were here!

Los angeles







Everything you need to know about Milan Design Week, from designer recaps to VL’s favourite new products.





The latest Osborne & Little wallpaper, available from Seneca, as well as decorating advice for how to successfully style with prints and patterns in the home.

Moooi co-founder and interior designer Marcel Wanders, who designed the Mondrian Doha hotel in Qatar (above), ponders the future of hotel design.

Interior designer Carlos Serra opens up his sun-soaked hideaway in Jávea, Spain, filled with objects from his travels. VOGUELIVING.COM.AU/

From decadent Parisian spas to remote spots such as NZ’s Scrubby Bay beach house (above), travel experts reveal the best boutique hotels.






Take a tour inside the 18th-century palazzo apartment of Italian architect and sculptor Vincenzo de Cotiis in the heart of Milan.


Vogue Living |

@vogueliving |

Vogue Living |

Vogue Living Magazine |







CONDÉ NAST INTERNATIONAL Chairman and Chief Executive: Jonathan Newhouse President: Wolfgang Blau Executive Vice President: James Woolhouse THE CONDÉ NAST INTERNATIONAL GROUP OF BRANDS INCLUDES: UK Vogue, House & Garden, Brides, Tatler, The World of Interiors, GQ, Vanity Fair, Condé Nast Traveller, Glamour, Condé Nast Johansens, GQ Style, Love, Wired, Condé Nast College of Fashion & Design, Ars Technica FRANCE Vogue, Vogue Hommes, AD, Glamour, Vogue Collections, GQ, AD Collector, Vanity Fair, GQ Le Manuel du Style, Glamour Style ITALY Vogue, Glamour, AD, Condé Nast Traveller, GQ, Vanity Fair, Wired, La Cucina Italiana GERMANY Vogue, GQ, AD, Glamour, GQ Style, Wired SPAIN Vogue, GQ, Vogue Novias, Vogue Niños, Condé Nast Traveler, Vogue Colecciones, Vogue Belleza, Glamour, AD, Vanity Fair JAPAN Vogue, GQ, Vogue Girl, Wired, Vogue Wedding TAIWAN Vogue, GQ, Interculture MEXICO AND LATIN AMERICA Vogue Mexico and Latin America, Glamour Mexico, AD Mexico, GQ Mexico and Latin America, Vanity Fair Mexico INDIA Vogue, GQ, Condé Nast Traveller, AD PUBLISHED UNDER JOINT VENTURE: BRAZIL Vogue, Casa Vogue, GQ, Glamour RUSSIA Vogue, GQ, AD, Glamour, GQ Style, Tatler, Glamour Style Book PUBLISHED UNDER LICENSE OR COPYRIGHT COOPERATION: AUSTRALIA Vogue, Vogue Living, GQ BULGARIA Glamour CHINA Vogue, AD, Condé Nast Traveler, GQ, GQ Style, Brides, Condé Nast Center of Fashion & Design, Vogue Me CZECH REPUBLIC AND SLOVAKIA La Cucina Italiana HUNGARY Glamour ICELAND Glamour KOREA Vogue, GQ, Allure, W MIDDLE EAST Vogue, Condé Nast Traveller, AD, Vogue Café at The Dubai Mall POLAND Glamour PORTUGAL Vogue, GQ ROMANIA Glamour RUSSIA Vogue Café Moscow, Tatler Club Moscow SOUTH AFRICA House & Garden, GQ, Glamour, House & Garden Gourmet, GQ Style, Glamour Hair THE NETHERLANDS Vogue, Glamour, Vogue The Book, Vogue Man, Vogue Living THAILAND Vogue, GQ, Vogue Lounge Bangkok TURKEY Vogue, GQ UKRAINE Vogue, Vogue Café Kiev CONDÉ NAST USA President and Chief Executive Officer: Robert A Sauerberg, Jr Artistic Director: Anna Wintour Vogue, Vanity Fair, Glamour, Brides, Self, GQ, GQ Style, The New Yorker, Condé Nast Traveler, Allure, AD, Bon Appétit, Epicurious, Wired, W, Golf Digest, Golf World, Teen Vogue, Ars Technica, The Scene, Pitchfork, Backchannel  VOGUE LIVING subscription rate for 6 issues (1 year) post-paid is $49.95 (within Australia). Copyright © 2018. Published by NewsLifeMedia. All rights reserved. Reproduction in whole or part without permission is strictly prohibited. NewsLifeMedia is a licensed user in Australia of the registered trademarks VOGUE, VOGUE LIVING and GQ and has been granted the exclusive right to use those trademarks in relation to magazines published by NewsLifeMedia by the proprietor of the trademarks. Printed in Australia by PMP Limited. Distributed by Gordon and Gotch Australia Pty Ltd, call 1300 650 666.

DOMO, the home of quality Italian made furniture from Marchetti and classic Danish rattan furniture from Sika Design.

EDITOR’S LETTER The home office of designer Guillermo Santomà.




ith our new editor Rebecca Caratti joining the team this month, this is the last of my editor’s letters for the magazine. I step into the role of editorial director of this beautiful title knowing that Rebecca will bring her formidable talents, vision and energy to steering Vogue Living forward and continuing the rich 50-year history that has made it so beloved worldwide. This month, we’re inspired by artists and artistic designers who have crafted wonderful living spaces that reflect their creativity and passions. The home of Spanish architect, artist and designer Guillermo Santomà, is beautifully described as ‘visual poetry’ (page 114). His sumptuous pink room, which adorns our cover, is the perfect balance of faded, old-world glamour meets modern, sculptural design.  Vogue Living’s style editor Joseph Gardner and creative director Natasha Allen collaborated on the still-life pictures and artworks in our Inspire section (page 35) with stunning results. We also feature local designer David Flack (page 138) and design duo Juliette Arent and Sarah-Jane Pyke (page 124), who have created homes in rural Victoria and Sydney, respectively, that are richly layered but intuitive and much-loved spaces. All are lauded by their clients for the sophisticated and sympathetic approach they brought to the work. In our expanded travel section, Concierge, we take a trip to vibrant Jaipur (page 168) and our special section on apartment living (page 93) showcases spaces in New York’s Tribeca neighbourhood and Sydney, as well as a Hugh Lane-designed Melbourne home. All these spaces are as distinctive as they are different, yet they all have one thing in common: my desire to be immediately transported into them. I hope these pages allow you to virtually do just that. Enjoy.

Arflex Strips Sofa, Hillside Storage System. Arflex is available exclusively from Poliform. ARFLEX.COM


CONT Laura Jones Sydney artist Laura Jones drew on her background as a florist when creating her artwork Space Dahlias (page 40). “My work has grown from a desire to express a love for nature — the process of painting beginning with the physical act of arranging flowers,” says Jones. “With this piece, I loved responding to a still life by transitioning the colour and form of the flowers and objects into a more abstract interpretation.” The holder of a master’s degree in art from UNSW Art & Design, Jones declares herself “inspired by Mother Nature” and is passionate in her efforts to impress a love of the environment onto her audience. Her most recent work engaged with climate change’s impact on coral and the mass coral bleaching of the Great Barrier Reef, and resulted in an exhibition titled Bleached at Sydney’s Olsen Gallery. Jones is currently putting the final touches to her first solo exhibition, at Melbourne’s Sophie Gannon Gallery starting 1 August, having worked her way through her tried-and-tested creative process of “a lot of experimentation and paint wrangling”. She is seen here with her artworks, including (on left) Cymbidium Still Life.

Meet talented Au behind interpretat photograp Vogue Livin Inspire st of Life

Shelley Steer Being part of a collaborative effort was a major attraction for Melbourne artist, illustrator and textile designer Shelley Steer, the creator of an untitled still life (page 36). “I loved the process, with each individual (creative director, stylist, photographer and artist) playing their part — not necessarily needing to communicate verbally but rather visually,” she says. “There was the ideal amount of direction, trust and freedom between each person and their craft, to culminate in a beautiful visual story.” Steer, who has also worked in London and with clients such as Anthropologie and Paris designers Petite Friture, is inspired by gardens and plants, and thrives on a defined creative process. “It involves a few phases,” she says. “The first is ‘playing’, or playing with ideas; next is ‘prep work’, or sourcing reference material. Then comes ‘sketching and painting’, which I love, as I usually work with watercolour. And the final phase is ‘digital’, as most of my work usually involves digital editing and designing.” Steer has just started another collaboration with The Plant Society, a Melbourne team of plant cultivators. “It’s a perfect match!” she says. VL


Stephen Baker “I knew this would be a great exercise — the shoot really complemented my style of painting,” says Melbourne artist Stephen Baker, who produced an untitled artwork (page 39). “I hadn’t really tackled a traditional still life, as it were. This is something new and refreshing for my work practice.” Baker was involved in the fashion industry for various brands as a graphic artist before focusing on his artwork around 12 years ago. His next exhibition is at Sydney’s Saint Cloche gallery, starting 11 September. “We have so much access now nted people through various digital ting pot of inspiration,” says Baker. ference books that are now stacked t home. It’s more about motivation ever need ideas. They’re just there.” his artwork Placement of the Moon.




EDIT Vogue Living’ autumn refresh

Melburnians rejoice. Exponent of fine S d d d l

OBSESS: It’s a quantum leap from van Gogh to the digital age, but the NGV takes on the evolution via 200 works of art and design from New York’s Museum of Modern Art, including this beauty, No 3/No 13 by Mark Rothko. MoMA at NGV, 9 June–7 October.

SWOON: Creative director Stéphane Parmentier’s handmade leather creations for Italy’s Giobagnara, such as the Bivio console (left), celebrate the joy of contrasts, pairing heritage with a sharp graphic edge.

SHINE: This limited-edition Verner Panton Chrome chair is one of two reissued designs from Vitra, released for the 50th anniversary of the revolutionary seating. Available from June.



Mid-century Brazilian design, such as this Presidencial sofa by Jorge Zalszupin (below), stars in Prada’s newest Miami concept store, which takes its cues from the city’s Latin American influences.

SCULPT: Made from 28 layers of topographically inspired Caesarstone, the steam-emitting White Attica 5143 is a conceptual take on the kitchen island. Showing at Milan Design Week in April, it forms part of the quartz company’s 2018 collaboration with New York design practice Snarkitecture. 30 VOGUELIVING.COM.AU




DELIGHT: Sibella Court’s fresh new book, Imaginarium (HarperCollins, $100), is a colour-fuelled trip into the workings of one of Australia’s leading stylists via rich imagery spanning interiors, design and inspiration from her global travels. Available 23 April.



B Lee B tial lighting ives in April, exclusively at Space Furniture. His new collection, Observatory, launches at Milan Design Week and will join works such as Mini Crescent 3-piece Chandelier, $975.


Armadillo & Co Designers Jodie Fried and Sally Pottharst are the power duo behind sustainable handmade rug collection Armadillo & Co. Jodie: I moved to LA from Australia 10 years ago. We’ve just opened our flagship store in Beverly Hills. Australians are similar to Southern Californians — their aesthetics are both dictated by climate and a relaxed lifestyle. Sally: Jodie and I design all the collections together. Based in Adelaide, I am surrounded by natural beauty and this definitely informs our work. Jodie: We match our artisans [in India] with the designs and weaves. If we’ve designed a soumak rug, we’ll seek out someone trained in that field. I have a deep love of India and its people. We’ve built up quite a close-knit community.

REFINE: Adelaide-based designer Jon Goulder has joined forces with Sydney retailer Fiona Lyda to create Innate, a collection of furniture with a distinct Australian sensibility. The debut range features such home essentials as the Lounge Chair in Night, $8500, hewn from leather, native hardwood and powdercoated aluminium. 32 VOGUELIVING.COM.AU

NVEST: i Ormandy s lat ction of paintings and sculptures includes a series of brushed bronze works exploring the visual language of vibration and rhythm. OB5 (2018), $4190.



EMBELLISH: Giardino Segreto, the new spring/ summer 2018 collection of textiles and wallpapers from Designers Guild, contrasts botanical-inspired fabrics with statement wallpapers.

da ma progetto david chipperfield mario nanni

V b o a u s t r a l i a t

w w w . V i a b i z z u n o . c o m l e v e l 3 1 3 - 1 5 l e v e y s t c h i p p e n d a l e n s w 2 0 0 + 6 1 2 9 6 9 8 7 1 7 5 e i n f o @ v b o a u s t r a l i a . c o m


a u s t r a l i a




Vogue Living invited three rising stars in the Australian art world to interpret a series of still-life photographs we created, and to allow their imaginations to soar.

Produced & styled by JOSEPH GARDNER Photographed by FELIX FOREST

Sea, Surf and Fun silk scarf, $695, from Hermès. Moser panel cut crystal vase in Alex Green, $5400, from Conley & Co. Small brass bud vase, $115, from Dinosaur Designs. Vintage Japanese ceramic vase, $290, from Planet. Bitossi Ceramiche Rocchetto vase by Ettore Sottsass, $2200, from Macleay on Manning. Diptyque large Tubéreuse candle, $359, from Mecca. Sputnik decoration, $290, from Contents International Design. Alfredo vase in green, $225, from Georg Jensen. Small copper glaze vase by Nikki Dowdell, $65, from Jam Factory. Svante water can, $195, from Great Dane. Saint Laurent Freja sandals in Canard Blue, $1435, from Parlour X. covering table: Entice velvet in Cerulean, enquiries to Warwick. on wall: Low-sheen paint in St Helena with French Wash in Bergamot, from Porter’s Paints. Details, last pages. VOGUELIVING.COM.AU 35



Untitled still life (2018) by SHELLEY STEER


Still life styled by JOSEPH GARDNER Photographed by FELIX FOREST

Earrings with circle, $375, from Marni. Aerin Valentina velvet jewellery box, $865, from Becker Minty. Bitossi Ceramiche Chalice vase by Ettore Sottsass, $2700, from Macleay on Manning. Clear quartz sphere, $445, from Becker Minty. Pannier bag, $2495, from Marni. Fferrone Tulip borosilicate glass, $160/set of 2, from Hub Furniture. Le Morandine Cilindro vase by Sonia Pedrazzini, $300, from Space Furniture. Ilse bowl, $130, from Georg Jensen. Water pitcher by Madeline McDade, $380, from Jam Factory. Bonsai glass object by Amanda Dziedzic, $245, from Modern Times. Kelly Wearstler Optic bowl, $3200, from Becker Minty. covering table: Cleo velvet in Rosewater, enquiries to Warwick. on wall: Low-sheen paint in Victoriana with French Wash in Valkyrie, from Porter’s Paints. VOGUELIVING.COM.AU 37


Still life styled by JOSEPH GARDNER Photographed by FELIX FOREST

Tie-set teapot, $1395, from Hermès. Mercer and Lewis Hermes bust, $1295, from Becker Minty. Hay tray, $77. Kelly Wearstler Optic bowl, $2200, from Becker Minty. &tradition SH2 Tricolore vase, $775, from Great Dane. Domo Homewares Black Stripes vase, $185, from Domo. Michael Anastassiades Tip of the Tongue table lamp, $1705, from Hub Furniture. Thomas Eyck water carafe by Aldo Bakker, $310, from Bradford. Medium Trunk bag, $2295, from Marni. Tri-Cut vase, $350, from Vela. covering table: James Dunlop Textiles Chateau velvet in Hot Toddy, enquiries to James Dunlop Textiles/Mokum. backdrop: James Dunlop Textiles Chateau velvet in Glacier, enquiries to James Dunlop Textiles/Mokum. 38


Untitled still life (2018) by STEPHEN BAKER VOGUELIVING.COM.AU 39

Space Dahlias (2018) by LAURA JONES 40


Still life styled by JOSEPH GARDNER Photographed by FELIX FOREST

Kelly Wearstler Pop catch all, $895, from Becker Minty. Cassina 081 Réaction Poétique tray table by Jaime Hayon, $1355, from Space Furniture. Provence bowl (as vase), from $245, from Great Dane. Maison Francis Kurkdjian Grand Soir EDP, $228 (70ml), from Mecca. &tradition True Colour vase, $325, from Great Dane. Domo Homewares Black Dots fruit stand, $210, from Domo. Republic of Fritz Hansen tray by Jaime Hayon, $322, from Cult. Fendi Duo Velvet platform sandals, $975, from Parlour X. covering table: James Dunlop Textiles Chateau velvet in Ember, enquiries to James Dunlop Textiles/Mokum. backdrop: Cleo velvet in Beetroot, enquiries to Warwick. Details, last pages.



1. Cassina Antella table by Kazuhide Takahama, from $6513; Space Furniture. 2. Specchio Tavolo table mirror, POA; Dimore Studio,

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OPPOSITE PAGE: AUSTRALIAN-MADE RICHMOND QUEEN BED FRAME IN TIMBER WITH BEDHEAD IN AUSTRALIAN LAGUNA LEATHER IN BISCOTTI, $2,999; RICHMOND 1-DRAWER BEDSIDE TABLE IN TIMBER, $629; AND RICHMOND 4-DRAWER TALLBOY IN TIMBER, $2,199. Aura Maison Queen Sheet Set* in White, $329; Aura Chambray Fringe Queen Quilt Cover in Dove, $199 (other sizes available), and Standard Pillowcases, $29.95 each; Landscape Rectangular Cushion, $45; Echo Stonewash Comforter, $309; Madras Rug, $449. On bedside table Zena Frost Ball Table Lamp, $149. On tallboy Henson Small Vase, $34.95; Foundry Verbena & Patchouli 12oz Candle, $49.95.

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Flower power


The new Gucci Garden’s De Rerum Natura room features a mix of current and vintage floral motif garments offset by Gucci Tian wallpaper, whose delicate patterns reference ancient Chinese bird and flower paintings.


hen Alessandro Michele was appointed creative director of Gucci just three years ago, his bright, bold vision — seen across clothing, accessories and the new Gucci Décor line of homeware — felt like some kind of style revolution at the 97-year-old luxury house. Gone was his predecessor Frida Giannini’s penchant for sleek ultra-glamour, replaced by Michele’s flamboyant, youthful creations. Imbued with historical references, inspiration drawn from his own collection of antique furniture and art, as well as a passion for flowers and nature, it felt instantly modern, madly feminine and relevant. As part of his aesthetic overhaul, which has seen sales soar, Michele has turned his attention to Florence, the birthplace of the house in 1921. Following a three-year renovation project, the designer has


reimagined what was formerly the Gucci Museo, which opened in 2011 to celebrate the company’s 90th anniversary, as the multifunctioning Gucci Garden. Housed in the precisely restored 14th-century Palazzo della Mercanzia in the centre of Florence on the Piazza della Signoria, just a stone’s throw from the Uffizi Gallery, Gucci Garden offers three storeys of retail space, a restaurant and two upper floors of galleries. All products on the ground floor boutique — womenswear, menswear, footwear, homeware and accessories — have been designed and produced exclusively for the store. “These are the things I really love,” Michele said at the launch in January. “It feels powerful and magical for the brand. This is my homage to Florence.” And that it is. Downstairs walls are painted unapologetic shades: primrose yellow and rich plum set against black


clockwise from right: embroidered velvet cushions from the Gucci Home Décor line. Gucci Osteria da Massimo Bottura. Limitededition handbags and readyto-wear items all bear the distinct Gucci Garden label.

carved serpent pedestal legs. Tables are dressed with crisp, white and white, hand-aged marble floor tiles and handpainted wooden linen, ideal for showcasing the new Gucci dinner service. This place floorboards. Clothes are hung or laid out in open is already a hotspot for both Gucci and Bottura fans. vintage-inspired display cabinets featuring hand-painted flower Conveniently, the chef ’s concept perfectly aligns with Michele’s motifs, while floral Gucci wallpaper adorning the walls contrasts vision. “Exactly the same way Gucci is playing with the historic with the fabric-covered screens and emerald-coloured, pavilion-like archive, it’s what I have been doing with food since forever,” Bottura dressing rooms. Vast vaulted ceilings and original stone pillars explains. “I look at the past in a critical way, recall the building’s heritage, as do the coats rather than nostalgic. I think you have to break of arms in a second room, each one representing the rules to create new traditions. So that’s the the merchants’ trades for whom this palazzo point here: I’m taking you travelling all over was originally built. the world with your mental palate.” At the far end of the ground floor space, Upstairs is the Gucci Garden Galleria, through tall glass doors, is the restaurant. two floors of archive pieces, which Michele Gucci Osteria da Massimo Bottura, conceived describes as a living, collaborative and creative by the three-Michelin-starred chef, is a bijou space. The aim is to create a dialogue between and surprisingly unpretentious place painted the past and present. In among a selection of in apple green with velvet banquette seating and compact wooden tables supported by ALESSANDRO MICHELE contemporary art pieces by Jayde Fish, Trevor Andrew (aka GucciGhost) and a  grand-scale 19th-century oil painting by Domenico Induno, critic and curator Maria Luisa Frisa has filled each of the six gallery rooms with a selection of archive pieces that offer a clear narrative. Steering clear of chronology, Frisa has themed each space — Guccification, Paraphernalia, De Rerum Natura, and so on — each referring to key elements of Gucci’s history, such as logos, flora and fauna, fur and its origins in luxury luggage. “All of these garments tell some part of the Gucci story,” says Frisa. “When I choose pieces for exhibitions, I don’t necessarily choose the most beautiful ones, but to find those pieces that have a  meaning within a story. I’m very interested in the way Alessandro thinks, so I always worked thinking about his aesthetic. And it was a truly beautiful adventure.” VL

“These are the things I really love. This is my homage to Florence”




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or anyone wondering how Versailles might look had Marie Antoinette economised and not lost her head to the guillotine, look no further than Schloss St Emmeram in the Bavarian city of Regensburg and its current matriarch, Princess Gloria von Thurn und Taxis. The ancestral palace of her late husband, Prince Johannes von Thurn und Taxis, is an architectural melting pot of Romanesque–Gothic, neo-Renaissance and Rococo architectural styles — and, with more than 500 rooms, one of the largest private residences in Europe. According to the princess, the sprawling schloss “makes Buckingham Palace look like a hut”.




‹‹ If Gloria moulded her ‘party girl’ persona to assuage her husband’s eccentricities, two aspects of the princess’s life were resoundingly her own — her newly acquired passion for contemporary art and her devotion, paradoxically, to the Catholic Church. “Even when I was going to Studio 54, I was still attending church… maybe just not the early mass,” she once said. She began collecting contemporary art after meeting Keith Haring in the early 1980s, and his work, alongside that of Andy Warhol, Jeff Koons and Julian Schnabel among others, soon enlivened the gilded boiseries of the schloss. However, no artwork outshone Gloria, nor the million-dollar 60th birthday bash she threw for her husband at St Emmeram in 1986. “Titles were a deutsche mark a dozen,” wrote Bob Colacello of a three-day affair that included a white-tie-and-tiara dinner; a pontifical mass at which the princess received communion wearing a witch’s hat; a lobster luncheon followed by a parade of 5000 Thurn und Taxis subjects dressed in full Bavarian regalia; cocktails, reportedly delayed due to the late arrival of the Khashoggis; and a boat trip on the Danube. All of which was nothing more than a prelude to the main event, an 18th-century Don Giovanni-themed costume ball at which rock stars and royalty sporting powdered wigs watched the princess, dressed as Marie Antoinette, sing ‘Happy Birthday’ à la Marlene Dietrich. Following a decade of estate mismanagement, the fairytale ended when Prince Johannes died in 1990 after undergoing two unsuccessful heart transplants, leaving the princess more than half a billion dollars in debt. Studying economics and tax law with private tutors, a new Gloria emerged as she took over the running of the behemoth estate. Companies, castles and jewellery, as well as 24 of her 27 cars, were sold — and the palace staff, which included 80 liveried footmen, was slashed. After 10 years of retreat and regrouping, Princess TNT had turned the family finances around. Arguably her greatest coup was opening Schloss St Emmeram to the public. The west wing is rented out as office space, state rooms are available for hire and the splendid palace now receives around 300,000 visitors per year. Given the opportunity, could Marie Antoinette have achieved the same results with Versailles more than 200 years earlier? If her 21st-century counterpart is the guide, anything is possible. VL 62 VOGUELIVING.COM.AU

“Even when I was going to Studio 54, I was still attending church… maybe just not the early mass” — PRINCESS GLORIA VON THURN UND TAXIS


clockwise from left: the opulent throne room of Schloss St Emmeram. With a 1737 ceiling fresco by German painter Cosmas Damian Asam, the palace’s Baroque library contains almost 120,000 books. The princess at the April in Paris Ball at New York’s Waldorf Hotel in 1987.

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se from top: designer ones sits on a vintage Ikea holstered with her Stellar Petrol. George Nelson overed in Dreamscape Pewter. Branchflower vered in Dreamscape in ire chair and cushion n Dreamscape in Copper.


Louise Jones

Botanical motifs and explosions of colour highlight this designer’s vibrant range of upholstery textiles.


n an interiors landscape still loitering over the concepts of Minimalism, it’s refreshing to see a designer intent upon richly intricate design. Melbourne designer Louise Jones has made a career of it, creating meticulous botanical motifs teeming with movement and life. “At the moment, design feels very Minimal,” she says.“I have an appreciation for Minimalism as well, but I also love a splash of pattern.” A former graphic designer, Jones began focusing on pattern full time in 2014. One of her early designs, Tropical — a medley of vines, staghorn ferns, strobilanthes and green foliage — would become her Layla: the work everybody wanted. It has been featured everywhere, from cushions to wallpaper and furniture, and printed onto glass for her 2017 collaboration with Italian lighting company Torremato and designer Francesco Favaretto. Jones and Torremato are now working

“My mum has always had a beautiful, flourishing garden of flowers,” she says. “There’s no real theme; just clusters of colourful fullness in different shapes and forms and textures. Growing up, I was surrounded by that.” Her often botanically leaning designs — from the lush foliage in Tropical to the delicate florals in her latest design, Dreamscape — seem to reinterpret that early exposure. Her life, too, has shifted towards a place that’s more magical and nature-focused than her previous dwelling in suburban Melbourne: she moved to the nearby picturesque Dandenong Ranges last year. “[My family] has always wanted to be surrounded by greenery,” says Jones. “Up here, there are a lot of ferns, mountain ash, beautiful gum trees and heaps of different flowers. Everything grows so well here and I get so inspired by it.” To fuel that inspiration, Jones explores her local neighbourhood, seeking out what’s in bloom. Taking photographs, she returns to her home studio and either depicts what she’s seen in watercolour or plays with the captured imagery on her computer to create a design. Working with a local print studio, she has her designs printed onto thick, heavy Belgian linen, and lately has taken to having the fabric upholstered onto vintage furniture, making for one-off pieces sold on her website. “I’m a chair enthusiast, so I always keep an eye out for any interesting, vintage, mid-century-style chairs,” says Jones. “I store them away for a while and think about what will look good on them.” The resultant chairs — some with rambunctious curves, others all neat, clean lines — seem to work seamlessly with the Dreamscape fabric and its Art Deco feel and pastel tones. “Pattern just makes me happy,” says Jones. “I’d like to give people an appreciation for it — and for flowers, of course.” VL Visit




ART & DESIGN profile:

Julian Meagher

Through the touch of this gifted Sydney artist, some of life’s most ordinary elements become extraordinary works of art. By FREYA HERRING Photographed by MICHAEL WEE


he notion of the everyday has occupied the minds of artists since the dawn of time — Egyptians depicting the hunt; Vermeer’s milkmaid at work; van Gogh’s bedroom. And so it goes, all the way to Marcel Duchamp’s conception of the self-conscious Readymade — ordinary objects passed off as art — in 1913. Cut to 2018, and Sydney artist Julian Meagher is painting goon bags, the foil bag inside a box of wine, out of his Marrickville studio. “I’m not afraid of elevating the absurd — I think artists have a key

role in doing that,” says Meagher. “And I love goon bags; they’re actually beautiful objects to paint. Once you start thinking about them as sculpture — their weightlessness but at the same time the heaviness to them — they are really beautiful shapes.” For him, the ordinary is anything but. “That’s the beauty of art,” he says. “Making people see the poetry of the everyday.” Meagher’s work really is poetic. Thinning out oil paint with medium, his portraits of people and objects set against clear, white nothingness appear almost luminous, with the colours glowing against the pale. “Because I paint in such a translucent style, the surface of what I paint is really important,” says the two-time Archibald Prize finalist. “And so I try to paint water and glass and skin, changing these functional objects into non-functional objects of desire.” Until 11 years ago, Meagher was a medical doctor. But he gave it all up to focus on art, which he had loved since childhood. “I’m motivated by a love of paint, not cash,” he says. He has just completed a commission to create 10 original paintings for the newly refitted resort, The Byron at Byron, each depicting a native Australian plant, from banksias and kangaroo paws, to wattle flowers and gumnuts. “I’m interested in why things become so symbolic,” says Meagher. “I lean towards symbolic objects — the goon bag, the VB can, Australian native flowers — to make us think about why we revere these objects and are at the same time repelled by them.” Although he never wants to come across as didactic, Meagher acknowledges the political implications of portraying Australiana. “I’m a privileged white Australian male artist, and I’m still trying to reconcile my place in this country,” he says. “My Aboriginal friends have taught me a lot. You don’t have to make people think about things in an aggressive way; it can be done as a starting point for dialogue. “I love very quiet paintings that aren’t loud in your house; that are quite serene. And for me that is a lovely place to get taken to when you’re standing in front of a  painting. You can feel that meditative process that the artist went through.” Despite his career in medicine, Meagher’s heart was always inside a tube of paint. “Being creative isn’t an easy, linear, straight road; it has its problems,” he says. “But if you can eke out an existence doing it, it’s magic.” VL Visit His next show looks to landscape, opening at Brisbane’s Edwina Corlette Gallery this September; Experience his work now at The Byron at Byron;

Artist Julian Meagher with his works, including two large paintings from his Inlet series created during his residency on Bithry Inlet in Mimosa Rocks National Park, NSW. Native Title Series (2017) is pictured above. 66 VOGUELIVING.COM.AU



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Scene stealers Turning the LA art scene on its ear, controversial collector Stefan Simchowitz takes time out from his ‘transparent trade’ to highlight the city’s ascendant stars. By ANNEMARIE KIELY Photographed by STEFAN SIMCHOWITZ

evelling in year-round sunlight, ubiquitous celebrity and the production means to make mythology real, the Los Angeles art scene has evolved from a mid-20th-century dust bowl into America’s new locus of contemporary excellence. New York might argue that point, but in the last 10 years, the city’s centreless sprawl and frontier freedoms have fielded a rich diversity of capital, community and creator that is pushing markets and makings beyond LA’s Downtown nucleus. Within this rapidly expanding environment, a new species of cultural entrepreneur is spawning with alarmingly adaptive speed. He’s bypassing the art establishment and brokering deals with the best young talent, controlling its currency and consumption while cornering its markets. He is typically brash, boasts an A-list Hollywood clientele, brags more publicity than Tinseltown’s constituents and can elicit bile from the best-behaved gallerists. He is Stefan Simchowitz, the South African-born, Stanfordeducated collector, curator and arts counsellor who consistently calls out the art world for being closed. For his outspoken ways, the US press has pegged him the “patron Satan of contemporary art”. But is it fair characterisation of a cultural entrepreneur who serially lets slip that the art emperor is wearing no clothes? How does he describe himself?



Speaking by phone while driving through LA, Simchowitz first addresses the notion that life should be fair. “There just is and there isn’t,” he says with a strained stoicism that likely seeded during his South African school days when, reputedly bullied, he determined to “never let people fuck with me” again. “I think labels are a point of departure and are very important to have,” he continues. “They are the first step in the journey that involves discourse and criticality. So I’m strangely quite grateful for them and people who take the time to elicit their opinion. But I don’t like to describe myself; I like to leave that to others.” Contrarily, however, Simchowitz then snapshots himself as an energetic supporter and investor in cultural production whose mission is to help artists. This ‘help’, euphemised by his detractors as a Faustian pact with the devil, often manifests as the provision of a studio, the payment of home rent and the purchase of materials in exchange for the bulk acquisition of art (at a healthy discount), for which Simchowitz then generates a market. He typically buys the “overlooked” artists’ work for less than $10,000 and either sits on it, onsells it to a high-net-worth collector base whose ownership of it instantly inflates its currency, or flips it. It’s a paradigm shift you could liken to Facebook’s impact on communication and advertising (all middle agencies removed). Simchowitz doesn’t ››



Simchowitz also champions the work of (from top) Joey Wolf and Lazaros.

“Labels are a point of departure... they are the first step in the journey that involves discourse and criticality”

‹‹ believe that the art world can be disrupted in the same sense that Facebook can own everything, but he’s having a crack. And the art establishment can’t stand it. Love him or hate him, his instincts are impeccable, both for identifying the future ‘hot property’ and for strategically fulfilling its (his) prophecy. To put it into perspective, Simchowitz bought 34 paintings by Colombian artist Oscar Murillo in the early 2000s for as low as US$1500 per canvas. In 2015, a single painting by Murillo fetched £242,500 at Christie’s in London. Theoretically, that’s a 21,500 per cent return on investment for Simchowitz. Such astuteness begs the question of the direction in which his art antennas are currently twitching. “Africa — particularly Ghana and Zimbabwe,” he says. “Not for issues of race or identity but for its energy.” Reported to be sitting on a collection of more than 1500 contemporary works that Simchowitz values at approximately US$30 million, the erstwhile dealer frames himself not as an opportunistic player but as a patron who seeks to redirect “the hurricanes of big money” that serially blow young artists to the margins. He despairs about a new collector class that is disengaged from the discourse of the contemporaneous — a group hooked on the high-velocity chase of status through “the old echoes of art greatness”. Spouting philosopher Ludwig Feuerbach’s thinking that illusion is sacred and truth is profane, Simchowitz says he is simply building new structure, cutting through “the crap” to encourage an open conversation about culture. It is a vehicle designed to crash through corporate states that harbour outrageously expensive art for a select few. “I don’t much care about the shape of that vehicle, I care 70 VOGUELIVING.COM.AU

about the engine inside,” he says. “Because the engine is what drives through time and space and the engine is what drives through culture, impervious to fashion, impervious to incorrect labels… ” Before he can finish the sentence, Simchowitz’s mobile rings, prompting the garrulous entrepreneur to park both his metaphor and his automobile. “I’ve gotta take this, will get back to you in 30.” The fast drop is fabulously LA — a land where ‘the sell’ is its own art and Simchowitz its devilish Duchamp-like shaker of the status quo. When the conversation finally resumes, Simchowitz shares his list of LA art luminaries and his thoughts on their work. Read on... ››

T h e E ra s e d H e r i t a g e & A r t w o r k C o l l e ct i o n by J a n K at h - E xc l u s i v e to C a d r y s

C L A S S I C, C O N T E M P O R A R Y & C U S TO M R U G S

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T h i s ex t ra o rd i n a r y ra n g e of re v i va l i st d e s i g n s a re h a n d k n ot te d w i t h t h e w o r l d ’s f i n e st m ate r i a l s. Lu s c i o u s p u re s i l k s a n d ro b u s t w o o l s c o m b i n e i n a s y m p h o n y o f c o l o u r s t h a t c a pt u re t h e t i m e l e s s a p p e a l of t h e s e m o d e r n c l a s s i c s. I n f u s e d w i t h i n g e n i o u s c o nte m p o ra r y s i l k a n d c o p p e r e m b e l l i s h m e nts, t h e E ra s e d h e r i t a g e c o l l e ct i o n by J a n K at h h a s b e c o m e t h e m o st c o v ete d a n d d e s i re d r u g s by l e a d i n g i nte r n at i o n a l d e s i g n e r s a n d d i s c e r n i n g c l i e nts. dr y s .com.a u


from top: Sterling Ruby, Marc Horowitz.

Petra Cortright She’s a radical breakthrough artist who’s essentially using the media of digital to make abstract paintings. I don’t think her work is so much about identity and gender, as many say it is. If there is anything about her that is feminist-agenda driven, it’s the fact that she competes head-on with the class of male artist working in the same area. She kicks the arse of every male artist in her grouping, without apology and without using the crutch of gender or identity politics. She is underestimated, and she is going to be the first female artist in the world to lead a ‘meta’ movement — like the Andy Warhol of Pop or the Donald Judd of Minimalism. She is it! Marc Horowitz Marc is Petra Cortright’s husband, and I met him through her. I wasn’t familiar with his work, but as I got to know him, I discovered this crazy world of moving through Hollywood as a comedian and performance artist — like his stint as a production assistant on a [US home furnishing giant] Crate&Barrel catalogue. He wrote his name, a dinner invitation and a contact phone number on a whiteboard [affixed to an armoire on one of the pages] and it went to print. They unwittingly sent out 12 million copies of these things. He was fired from his job, but his phone started ringing off the hook. He travelled across the country having breakfast, lunch and dinner with all these people who got his details from the catalogue. He spent 15 years doing these crazy things, and then he started working on paper and I said, “I think there is something there; I want to work with you”. Cut to three years later: he’s had shows all over the world and major collectors collect his work. I call him the Will Ferrell of the art world. He’s just launched his website; you click on a painting and call a 1-800 number to hear him talk about his work. Kour Pour Now US-based, this British-Iranian artist is dealing with the trajectory of culture, trade and commoditisation as it flows through the Eastern and Western landscape and art traditions. He is a hotchpotch of races and geographies. He asks why the postwar structure of art is so rigid and non-inclusive of the past, and he is doing it through the objects of trade for profit — the Iranian rug, the Japanese woodblock print — using extremely traditional techniques of practice in a contemporary atmosphere. He questions the efficacy, legitimacy and hierarchy of art tradition and its totality in defining what contemporary art is. I think he is a giant artist. 72 VOGUELIVING.COM.AU

Joey Wolf When I met Joey Wolf, he was sleeping in his car, sharing a studio and making these like-themed paintings — a bunch of guys drinking beer on the lawn at night, a bunch of guys going to a pool party in Palm Springs and staying at the cheapest motel, a bunch of guys peeing on the side of the road. It was a series of banal, basic images about the bland experiences of many American youth but painted with an extraordinary precision and understanding of light, shadow, reflection, orientation. He builds the surface of the painting up into a thick impasto — sometimes it protrudes an inch. The paintings are so time-consuming that for the last three years, he’s been nonstop in the studio. I try not to sell the paintings because I want to build a huge body of work so that when he exhibits, they show the full range of his scale. I think he is going to be one of the most promising painters of his generation. @joeywolf_

Sterling Ruby Sterling Ruby comes out of the structure of art school, where the godfathers were Donald Judd — Minimalism, an almost militarylike formalism — and Mike Kelley, who explores themes of conquest, dream landscapes, films and figuration. Ruby is trying to escape the shackles of confinement of Donald Judd while respecting his aesthetic laws and conditions and bridging them with the ideas of Mike Kelley. He’s trapped between these two polarities while wrestling with the history of postwar art. So his work is in conflict with formalism, rigidity and the straight line, in relationship to abstraction, the animus and the inner spiritual chaos of mankind. He is a giant artist, thematically difficult to understand, simple but complex, and he has a unified aesthetic language across a broad spectrum of output. I think he is simply the most important artist to come out of California since Ed Ruscha and John Baldessari.

Lazaros Lazaros is a young artist who practices witchcraft. He is gnostic, esoteric, mystic. He makes spells for people, and his body is covered in tattoos. I chased him because I bought this weird wood sculpture that I found in a small gallery. I went to another gallery and bought this weird glass jar filled with objects suspended in oil. I randomly happened to buy these wildly different objects by the same artist, so I investigated further. He makes these spell jars. You go to him and say, “I need more love and clarity in my life”, and he makes the sculptural object and then makes the spell, so they become magic potions. I hope they work! VL


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SWEET MYSTERIES Van Cleef & Arpels’ new jewellery collection is a whimsical display of craftsmanship and true artistry.

ome of the greatest love stories of the last century have the fine jewellery of Van Cleef & Arpels embedded in their narratives. Its new collection, Le Secret, pays homage to this romantic history, which includes tales of great sacrifice for the sake of love. King Edward VIII, who abdicated the throne in 1936 so he could marry divorcée Wallis Simpson, commissioned many pieces from the maison. He would spend hours with the designers, adding his own touches, and have the unique pieces inscribed with private messages for her. During the engagement between the Shah of Iran and Soraya Esfandiari Bakhtiari in 1950, his bride-to-be became ill with typhoid fever and the wedding had to be postponed until the following year. According to legend, each morning during her convalescence, the Shah would lay a jewel on her pillow. The iconic maison also became part of the love story between Prince Rainier III of Monaco and Grace Kelly, when


the couple selected a matching pearl set at the New York boutique a few months before their wedding in 1956. Princess Grace then became a regular client at the maison’s Monaco salon. Fittingly, Van Cleef & Arpels grew from a love story. It was founded in 1906 in Paris by a young married couple, Alfred Van Cleef, the son of a stonecutter, and Estelle Arpels, the daughter of a precious stones dealer, and the maison is still connected to this. “Our inspirations always come from our identity and heritage,” says Catherine Rénier, president of Van Cleef & Arpels Asia Pacific. “We are not a maison with a marketing strategy thinking about what is in fashion. Everything we do is always in deep respect for our past.” Its most recent collection, Le Secret, launched in late 2017, was two years in the making and combines the maison’s signature playful aesthetic with its commitment to innovative craftsmanship. There are more than 100 one-off pieces in the collection — from necklaces and rings to clips and bracelets — each with its own secret message or unexpected metamorphosis to discover. Every item features changing colours, hidden characteristics or the ability to transform from one object to another. For example, a clip — inspired by an Alexander Pushkin poem — transforms from a princess into a swan when the back of the piece is rotated, and a set of diamond and pink sapphire earrings has detachable pendants that fasten together to create a heart-shaped clip. Another piece, a diamond, sapphire and emerald ring, rises when turned to reveal a quote by Oscar Wilde written in French that translates as ‘a life without love is like a sunless garden’. “This collection has an extra step in the creations, where it’s not only what you see, but also what’s hidden within,” says Rénier. ››





above, from left: Pierre Arpels, Estelle Arpels’ nephew, who joined

the maison at the end of WWII, pictured with French actress and former Bond girl Claudine Augier. Sophia Loren wearing Van Cleef & Arpels jewellery at the 1966 Cannes Film Festival.

‹‹ “And if you own the piece, you can share it with everyone or keep it for yourself as your own secret; that’s the beauty of it.” The maison is renowned for its ingenuity and precision. In 1933, Van Cleef & Arpels invented and patented the Mystery Set technique, and this remains one of the most complex procedures in jewellery-making to this day. The method involves positioning specially cut precious stones onto gold rails to give the illusion that the gems are freestanding. According to Rénier, the Mystery Set was initially used for simpler designs. “It was very flat, maybe a little curve, but nothing too fancy,” she says. “Decades later, we now create pieces with 3D effects — it’s a technique that has really evolved.” Each individual creation in Le Secret collection took up to 10 artisans to produce — from designers and stone experts, to mock-up artists and jewellers, to stonecutters and polishers — with one particular piece taking 850 hours to complete. Rénier’s favourite piece in the collection is a parrot clip made from rubies, pink and yellow sapphires, spessartite garnets, black spinels, coral, onyx, grey mother-of-pearl and diamonds. It has a moveable wing that lifts to reveal a baby chick and, says Rénier, it embodies everything Van Cleef & Arpels stands for. “You have nature, flowers, animals and a mechanism that opens up onto a baby parrot under the wing. It is a positive vision of life and it’s very feminine and graceful. And on top of that, it has amazing work with stones and there is a Mystery Set — it’s a great symbol of who we are.” VL Visit

Each individual creation in Le Secret collection took up to 10 artisans to produce — with one taking 850 hours VAN CLEEF & ARPELS’ LE SECRET COLLECTION

clockwise from left: Victoria Regia necklace; Delphinium necklace; Demeure D’Asterion necklace; Couers Enlacés bracelet; Colombe Mystérieuse clip.


Architect: Scale Architecture

If you desire style, build it with Austral Bricks.


Ahead of the curve With an updated Sydney showroom, Fanuli welcomes a new collection from Italy’s Flexform.

Penta Glo pendant lights; Flexform Taylor cabinet; Flexform pink and two-tone vases, Clay vase by Paola Paronetto and &tradition table lamp (on cabinet); Flexform Feelgood ottoman; Fanuli Luxe rug.




clockwise: Support vessel by Aldo Bakker; Bowl No 1 by PlueerSmitt (on table). Libreria Pensile shelves by the Castiglioni brothers. Richard Munao, director of Cult (left) and Christian Elving, CEO of Karakter Copenhagen; TriAngle stool by Aldo Bakker; Side Table No 2 by PlueerSmitt; Lungangolo freestanding shelf unit by Achille Castiglioni; Brown Table by Aldo Bakker; Lari lamp by Angelo Mangiarotti; Chair 300 by Joe Colombo; Tripod lamp by Gijs Bakker. Glassware throughout by Joe Colombo. Karakter Copenhagen is available exclusively at Cult.

Karakter study Danish brand Karakter Copenhagen lands at Cult, with designs that are destined to become future classics. 86 VOGUELIVING.COM.AU

visionary long with e its own brand, Nau, the company is also introducing a truly pioneering Danish brand: Karakter Copenhagen. Individually, the pieces in the collection aren’t tied to any one style, nationality or even time. Some are current designs by international heavyweights, such as Aldo Bakker and PlueerSmitt. Others are forgotten gems from the 1960s by the Castiglioni brothers and Joe Colombo. All, however, are finished in familiar Danish materials, such as white-soaped and blacked-stained oak, which makes for an unexpected yet cohesive range. Christian Elving, Karakter Copenhagen’s CEO, is a true curator. He selects each piece by hand and before putting anything new into production, he examines it for three to six months to make sure he’s not just falling for a trend. “It’s curated completely on a personal level,” Elving says. “The idea behind Karakter was to dare where no one else will, daring to do what we liked and not looking at what could sell and at what rate.” Karakter is championing out-of-the-ordinary design, but always with that elegant Danish touch. By ANNA DELPRAT Photographed by MICK BRUZZESE

S O M E T I M E S O N LY A CAPPUCCINO WIL L DO The new Latissima One. For the love of quality cofee moments.

IN STORE Baxter Tactile armchair in Nabuck Saffron by Vincenzo de Cotiis; Summer Arms chair in Kashmir Terre; Rio Alta armchair in Nabuck Light Grey; Housse Giano sofa in Kashmir Emeraude, all by Paola Navone; Matter Made Discus pendants and Discus Vine chandelier, both by Jamie Gray.

Express from the US Rachael Fry, creative director of Melbourne’s Criteria Collection, has infused the Australian design scene with an exuberant, artisanal New York attitude. CUT TING-EDGE AMERICAN DESIGN. This is what New York creative director Rachael Fry decided Australia needed more of when she first opened the doors to Criteria Collection, her furniture and lighting showroom in the inner Melbourne suburb of Cremorne, in 2012. “It struck me that everyone was doing European pieces here, and no one was exploring any other designers,” says the retailer, who relocated to Melbourne six years ago. Today, Fry’s visionary warehouse space has become the go-to for all things unique and artisanal, with an expanding stable of brands that currently includes New York design duo Apparatus Studio; Brooklyn’s Fort Standard; and the bold, sculptural lighting of Manhattan-based Bec Brittain. “Essentially, people come here to be inspired,” says Fry, matter-of-factly. “It’s my job to entertain them and to introduce them 88 VOGUELIVING.COM.AU

to really interesting pieces.” In keeping with the gallery-like aesthetic of the store, Fry favours a curatorial approach, opting for biannual themed installations that quietly evolve every few months as she discovers new designs. She then makes her selection using a checklist founded on integrity, impressive materiality and original ideas. “Choosing a new design usually starts with the way it makes me feel,” says Fry. “The really exciting pieces make me feel a bit uneasy. They’re almost a little bit ugly or a bit strange.” This focus on the extraordinary mirrors the demands of Criteria Collection’s design-savvy clientele. It’s an approach the visionary creative director looks forward to introducing to Sydney, where she is planning to open a second store. “Australians are demanding more tactile and craft-driven pieces, perhaps with a bit of an edge,” says ›› By VERITY MAGDALINO Photographed by LAUREN BAMFORD


from top: Criteria Collection’s Rachael Fry with (clockwise from left) Baxter Casablanca sofa; Matter Made Discus pendants; Arca chandelier; Slon coffee table; Discus Vine chandelier; Apparatus Studio Lantern 2 pendant; Pietro Russo’s Piuma dining table. Faye Toogood Puffball sconces and room divider for Matter Made.

‹‹ Fry. “They don’t want their home looking like an ad. They want it injected with their personality.” Criteria Collection’s latest installation pairs the playful and progressive style of New York’s Matter Made with the quirky sensibility and high-end craft of Italian luxury furniture maker Baxter. Fry grabbed inspiration from Matter Made’s 2017 Milan collection, which mined the concept of the oversize form. “I was really excited about how the brand plays with size and form in a completely different way, such as Faye Toogood’s Puffball lighting collection, which features a room divider that’s also a light,” says Fry. “It’s a complete anomaly. I love how she’s exploring things that are a bit uncanny, or anthropomorphic.” Fry also features pieces in the installation from Italy’s Pietro Russo, Portugal’s De La Espada, Melbourne’s Fred Ganim and Denmark’s Gubi. And as for Baxter? “Baxter works in this context, as their designs are about choosing comfort over a formal aesthetic,” says Fry. “People want that oversize feel, almost like an animal, to envelop them. I think all those things are really interesting. They’re thinking about furniture in a completely different way.” VL Visit



In the LOUNGE AREA of NES Creative founders Natalie Shirinian and Elizabeth Baudouin’s Tribeca loft, the frames of Barcelona chairs by Mies van der Rohe; Michael Felix sofa; Serge Mouille chandelier; hand-painted wall by Yolande Batteau of Callidus Guild. Details, last pages.

As apartment living becomes more popular, we look to a New York loft, a Melbourne flat and a Sydney Harbour sanctuary for design inspiration.






A creative power couple trade California’s openness for a more compact life in New York, turning their Tribeca loft into a multiple-purpose living space and occasional client showcase. By Tifany Bakker Photographed by Wichmann+Bendtsen Styling by Helle Walsted



Baudouin moved from Los Angeles to New York in 2015 and knew how they wanted to merge their home life with that of their design talent management company, NES Creative. “We wanted to do something interesting in a loft space that combined the antique and vintage finds we’d picked up on our travels and also featured pieces from the client roster we represent,” says Shirinian. She founded the company, which manages top global talent in art, design and culture, in 2010. “Basically, we wanted a white box like a blank canvas space, where we could hold pop-ups and one-day exhibitions and show our clients’ works in a living environment.” When a space became available in downtown Tribeca, the couple didn’t even need to set foot inside to sign on the dotted line. “The real estate agent sent us a video and we were like, ‘Yes, this is it!’” says Baudouin. They describe the loft as a series of “multiuse vignettes”. The dining area also serves as a workspace and a place to host friends, a back lounge area works as a reading room and an open kitchen and living area is ideal for pop-ups. “That’s what you have to do in New York — it’s all about how you get the most bang for your buck,” says Baudouin. It all feels warm and welcoming, an achievement further emphasised by the


use of dark, moody colours and deep, comfortable sofas. “Creating a cave-like moment helps because you can be insular in the space,” says Shirinian. Then there are the pieces from clients, such as artist Yolande Batteau’s custom hand-painted wallcoverings and stunning, branchlike lighting made by famed New York design duo Gabriel Hendifar and Jeremy Anderson of Apparatus Studio, close pals of the couple. Elsewhere are pieces picked up on trips to favourite cities, such as Los Angeles, San Francisco and Milan. Shirinian favours a pair of 19th-century portraits of a wife and husband sourced from an antiques dealer in LA. “I bought the husband first and went back for the wife the next day because I thought he was lonely without her,” she says with a laugh. Baudouin loves the detailed Kelly Lamb table taking pride of place beneath Shirinian’s beloved portraits. “A lot of magic happens at Kelly Lamb’s table,” she says. “A bronzed eye is carved into it and I love sacred geometry. And the fact it sits beneath Natalie’s ‘Ma and Pa’ makes sense to me.” The two admit to occasionally missing the openness and scenery of California, but they embrace the creativity it takes to make an apartment personal in a city whose 8.5 million residents all but live on top of one another. “You need to love your space because the grind of the city is tough,” says Baudouin. “But what’s great about New York is that you do your best to express yourself in a really confined space — and that’s a challenge. If  you can do it, it can bring out a lot of creativity.” VL Visit

this page: in another view of the LOUNGE AREA, Michael Felix sofa; Eric Slayton Ten Degrees coee table; Restoration Hardware rug; large photograph taken by homeowner Natalie Shirinian in Milan. opposite page: Shirinian (right) and Elizabeth Baudouin.




In the LIVING AREA, The Creatures black-and-white chairs and Betwixt bench, both by Alex P White; antique bust (on bench); Crate & Barrel sofa; upholstered bench by Atelier de Troupe and Estudio Persona; Kelly Lamb table and Artemis chairs; Mondrian chandelier by Venice M; Trapeze sconce lights by Apparatus Studio; artworks from 45 Three Modern Vintage Home in Los Angeles.


this page: in the KITCHEN, Brett Design wallpaper; in the background, Serge Mouille chandelier; Mouth Piece artwork by Gloria Noto; Staircase sculpture (on bench) by Studio Oliver Gustav. opposite page: in another view of the LIVING AREA, Crate & Barrel sofa; cushions by Studio Oliver Gustav; Alchemy blackened brass table by Material Lust; travertine tables from Baudouin’s parents; Tom Dixon Form bowls (on table); Rubber credenza by Brian Thoreen; photograph (next to credenza) from De Soto Gallery.



this page: in the DINING AREA, table and end chairs from ABC Carpet & Home; Stool 001 by Vincent Pocsik; rug from One Kings Lane; White Devil print by Rick Rodney. opposite page: another view of the LIVING AREA. Details, last pages.



LO N G - D I S TA N C E CALLING Living in Los Angeles didn’t stop Melbourne-born designer Hugh Lane from conducting a full refurbish on this apartment back home. By Annemarie Kiely Photographed by Sharyn Cairns

In the entry of this Melbourne apartment designed by Hugh Lane, Kelly Wearstler footstool; Apparatus Studio Censer incense burner from Criteria Collection (on shelf); vintage Cristal Arte mirror from Orange Furniture, Los Angeles; rug designed by Hugh Lane for RC+D; painting by artist unknown. Details, last pages. VOGUELIVING.COM.AU 103


this page, from top: Designer Hugh Lane. In the DINING ROOM, bar cabinet design and fabrication by Hugh Lane; Helios table lamp by Julien Barrault; Papilio Dardanus artwork by Dario Preger; Variations on a Theme (2010) artwork by John Bartlett from Kazari + Ziguzagu. opposite page, from top: in the LIVING ROOM, Douglas sofa by Jeff Vioski; large coffee table and wall unit design and fabrication by Hugh Lane; vintage Italian armchairs from Lawson Fenning, LA; Bonacina Gala wicker chair from Dedece; Brent Bennett table lamp and Caleb Woodard stump table, both from Stahl + Band, LA; curtains in Dalton linen from Unique Fabrics; Peacock Party photograph by Jan Bickerton (on wall, left); small artworks by artists unknown. In another view of the dining room, round table, chairs and wall unit design and fabrication by Hugh Lane; Estudio Persona walnut planters from Stahl + Band, LA; Fiam Italia Hasami mirror (partially shown) from Space Furniture; No Time To Waste (2006) artwork by Cassandra Laing; The Miner’s House (1966) by Pro Hart (in wall unit).


H E N H U G H L A N E first landed in

Los Angeles in the late 1990s, he deemed it “an absolute dump”, but incongruously determined that he wanted to live there. “It was a city of gritty romance and robust optimism,” the Melbourne-born designer now recalls. “There was the wonder machine of Hollywood, all that unknown Victorian history and of course the climate — I haven’t had a cold in four years.” Self-describing as a late-bloomer with a box-ticking agenda of first buying a home in Melbourne before moving to California, Lane took a lengthy 15 years to realise the desired relocation, but when he finally did, in 2013, the young designer landed right in the LA dream. “I have just come from a Lautner house, one of his masterpieces,” he says of the storied American architect who fashioned an exuberant style of organic modernism. “I’ve been part of a three-year restoration of Silvertop. It’s what Australian designers dream of when moving to LA, but I never thought it would just happen.” And yet Lane, an alumnus of Melbourne firms Hecker Phelan & Guthrie and KPDO, had honed such holistic design skills in the service of Paul Hecker and Kerry Phelan that American practices must have perceived him the anomalous prize. “Most LA interior designers don’t do interior architecture,” he says, waxing lyrical about the excellence of Australian architecture and interiors. “Yes, I’m living the dream, but I want to be living my own dream, not someone else’s.” That longing was recently requited in this Melbourne apartment — two conjoined properties purchased off the plan by a client couple whose Toorak house the designer had refurbished six years ago. As Lane recalls it, they were downsizing from that large home into a Bates Smart-designed ‘tower of power’, in which they needed the full fit-out and furnish. ›› VOGUELIVING.COM.AU 105


‹‹ No matter that Lane now lived in LA and would have to conceptualise schemes long-distance for rooms that were yet to materialise. They had enjoyed the previous working relationship with Lane and wanted him to do it. “I didn’t see the apartment until the day before the installation,” the designer says. “I was designing blind, but with the knowledge of standards acquired while working on multi-residential projects in Australia.” Envisaging an interior that affected the air of a life fully lived, Lane removed all existing carpets and cold LED lights and contrived a retro luxury with vintage finds and fully customised furnishings — all handcrafted in LA. From the sandblasted, ebonised oak dining table, on a convexing gold base, to the mid-century crafting of the cocktail bar, Lane detailed with an “organic glamour” that instantly imparted age. On this implied vintage base of dark woods and dusty greens and gold, he layered fine art and ’50s lighting found at LA flea markets and estate sales. “I have no intellectual snobbery about where things come from,” he says, informing that the clients brought only three things from their old home. “I look only at the quality, the love that has gone into making something and the patina it has developed.” His passion for the discard of LA’s halcyon design periods has developed into California Found and Made, a unique concept that combines the efficiencies of ecommerce — 100-piece collections of hand-picked LA vintage selling online, every six months — with a one-week pop-up in Sydney or Melbourne. Watch this space! VL Visit;




The owner of this Sydney harbourside apartment was so inspired by one of London’s dreamiest restaurant spaces, she hired its creator. By Alexandra Gordon Photographed by Prue Ruscoe


AT SPRING RESTAURANT in London was the starting point for the revamp of a 1960s-era three-bedroom apartment in Sydney’s Elizabeth Bay. The Brisbane-based owner fell in love with the majestic, ethereal space Briony Fitzgerald created for her sister, the celebrated chef Skye Gyngell, and knew she wanted the designer to bring this soft sensibility to her Eastern Suburbs retreat, where her grown children could drop in for some family time whenever she and her husband are in town. “We didn’t need a big show home,” she says. “We wanted to create something that had a comfortable family vibe. I love Briony’s sense of colour. She is very influenced by looking at the water — the light, the blues and the greys — and she has a fantastic eye for textiles. INNER


Knowing that I love Spring as much as I do, she had a pretty clear idea of where my head was at.” The feeling was mutual. Here, Fitzgerald talks about how crucial the designer-client relationship is to a successful result, and the sheer magic of a slow reveal. I always say that the place you’re designing tells you what it wants. I don’t know until I go in which way it faces, what the light

is doing. It’s really about collaboration. My mother was an interior designer and she always said, “You’re only as good as your client allows you to be.” And that is so true: if people let you do your job well, you can give them something really good, but if they try to control you or you’re not suited, you can make it work but it won’t sing. It was the right fit with this client and a great space, so it was easy to make it look good. ››


‹‹ The owner loved the ethereal feeling of Spring but she wanted more earthy tones. So we dirtied it up and darkened it down. The sofas are covered in a heavy linen in a colour called Petrol but we covered the Hay About a Lounge chairs in the same dusty-pink wool that’s on the Maya sofas at the restaurant. Like Spring, there’s beautiful grass cloth wallpaper, which we featured in the main bedroom, but it’s light grey rather than pale blue. We had to custom make the sofas to suit the generous proportions. If this had been a one-bedroom apartment, you

couldn’t use the scale of furniture that we did. But because we were dealing with two apartments combined, the sofas had to be quite big — they are each three metres long and made in two pieces, because

otherwise we couldn’t fit them in the lift. We were very mindful of access: if you make that mistake once, you never make it again! The owners keep adding things. The design of the interior is not a lineal time frame from beginning to end. We did everything and then the clients said, “Now we want to do the kitchen.” They wanted to do a black kitchen and I said, “Go, that’s great!” Designer Brendan Robbins, who worked with me on the project, drew it all up. There’s a beautiful grain in all the timbers; even the black and white joinery is stained oak. If there’s one singular thing that adds to the ethereal mood of the apartment, it’s the curtains. They wrap around the whole

living space. If you took them away, it would look raw and too bright. They’re a very pale, smoky grey but because they’re facing the water, they go blue. They also change colour with the sun: they become alive in the morning because the apartment is facing due east, and in the afternoon, when the sun is setting in the west, they’re much quieter. We made the entrance really dark, so you get out of the lift and then you open the front door and walk through the hall and you go, “Wow!” It’s a slow reveal. Even if you stripped the whole thing and you walked in and the curtains were blowing, it would feel amazing. VL Visit

from top: in a view of the KITCHEN, joinery by Carve Interiors; artworks by Marisa Purcell. In the MAIN BEDROOM, custom bedhead by Atelier Upholstery covered in Designers Guild Brera Lino in Dove, enquiries to Radford; bed linen from Otilly & Lewis; Jardan Quincy bench; Gubi BL6 wall lamp from Criteria Collection; curtains in James Dunlop Textiles Kyoto fabric in Snow, enquiries to James Dunlop Textiles/Mokum; Phillip Jeffries Bermuda Hemp wallpaper in Harbor Blue, enquiries to The Textile Company; artworks by US artist Isabel Bigelow. Details, last pages.

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Architect, artist and designer Guillermo Santomà at home in Barcelona. Turn the page for the full story.


Adventures in

Wonderland The quest for individual expression has guided the life and career of architect, artist and designer Guillermo Santomà, and his theatrical three-storey home in Barcelona is a testament to his ‘visual poetry’. By Andrew Ferren Photographed by Helenio Barbetta Produced by Chiara dal Canto opposite page: in his HOME OFFICE, designer Guillermo Santomà; chair in foreground by Martino Gamper; armchair by Gaetano Pesce; First chair (in background) by Michele De Lucchi for Memphis Milano; artwork by artist unknown.


In the DINING ROOM, through original 1920s doors from the corridor, white chair designed by SantomĂ for his young son; Gaulino chair (on left of table) by Oscar Tusquets for BD Barcelona; artworks (in corridor and behind door) by artists unknown.



this page: in another view of the DINING ROOM, black-and-white lamps on both sides of table by Guillermo SantomĂ ; mural by Maria Pratts; hanging wall art by artist unknown. opposite page: a view of the KITCHEN; on the second level above, the doorway leads to the main bedroom.


this page: in the LIVING ROOM, on the left, Hill House chair by Charles Rennie Mackintosh for Cassina; original tiled floors from the 1920s; in the corridor, on the wall, silver poster of a Santomà exhibition at Copenhagen’s Etage Projects gallery. opposite page: in the BATHROOM, a view of the sink; to the right, the shower.


e may not exactly be an outright creative revolutionary, but Spanish architect, artist and designer Guillermo Santomà is a design industry outsider who prefers to run counter to accepted models and trends. In an age when the comforting caress of honed oak, soft leather and the wool upholstery of mid-century Scandinavian furniture enjoy an endless revival with myriad new iterations and interpretations, Santomà makes chairs out of cold, hard materials such as glass, metal, rock and moulded EVA foam lacquered with auto paint. His light fixtures blend variously shaped and coloured fluorescent tubes and bulbs with many other materials and have the haphazard appeal of Outsider mobiles and sculptures that light up. Whether his designs function as comfortable seating pieces or not, they maintain a striking sculptural presence that surprises and invites engagement. A phrase often ascribed to his work is ‘visual poetry’. “He is the perfect example of how it is possible to add poetry to function,” says Zeynep Rekkali from esteemed Copenhagen gallery Etage Projects, which has shown several Santomà collections in recent years. “His unique designs, when put into a ‘normal’ residential space or retail environment, immediately add an unexpected spark.

this page: Santomà, his wife, Raquel, and their son Jan. opposite page: in the WORKSHOP, on top platform, glass structures for 2016 Dries Van Noten project; glass chair and blue Under Water chair, all by Guillermo Santomà; other pieces in various stages of development.

We have produced custom chandeliers designed by him for shops and are later told that they made the whole interior.” Not surprisingly, Santomà’s professional background is as diverse as his furniture designs and materials. Having studied architecture and design, he has worked for big-name architects such as fellow Spaniard Rafael Moneo, but he also bounced around India for a while designing shops and other spaces on the fly. Inside Santomà’s Barcelona home, one can’t help but think that the latter experience influenced his embrace of saturated colour and confident and liberal use of moulded stucco to customise the decor. He discovered this 1920s townhouse back in 2014, in a middle-class neighbourhood where this seaside city meets the mountains behind it. He maintained its slightly buttoned-up Art Nouveau façade, which stands shoulder-to-shoulder with its neighbours in quiet respectability, but immediately set about redefining the interior to suit his theatrical taste and the living needs of his family — partner Raquel Quevedo, a graphic designer, and their young son, Jan. Once past the entry, visitors are seduced with an explosion of vivid colour — deep indigo and aquamarine contrast with bubblegum pink and pristine white in a dramatic if occasionally hard-to-decipher arrangement of interconnected spaces. Comprising 300 square metres spread over three levels, most of the space opens, at least partially, onto a central staircase that reads like an unexpected Art Deco element in a Piranesi print. At the same time that this composition of stairs and arches visually unifies the space, there are rooms and vistas from which one’s sense of optical and spatial logic is challenged in a way that raises questions about how to get from one room to another. “Visual sensation and optical effects are paramount in Guillermo’s interiors,” says a Spanish design editor who has published Santomà’s work. “Clearly he’s a creator very much engaged in his own vision.” This vision may be the reason why people quickly fall in love with Santomà’s spaces, which feel fresh and invigorated by a sense of youthful, bohemian energy and creativity. Wielding such artistic licence, why wouldn’t a designer suspend his bed over the living room on a metal grate that allows for peekaboo views and overheard conversations between the two spaces? In Santomà’s layering of richly saturated colours, Spanish design authority Marisa Santamaría of the Istituto Europeo di Design (European Design Institute) in Milan can see traces of Mexican architects such as Ricardo Legorreta or Luis Barragán, “but the spaces Santomá has created provide even more drama and theatrical effects”. The use of unexpected contrasts extends to the juxtaposition of traditional Catalan decorative elements such as the iconic hydraulic floor tiles arranged in elaborate geometric patterns that mimic carpets — and are fixtures of almost every bourgeois apartment in Barcelona from the 1880s to the 1960s — with less-pedigreed materials that include vast expanses of wall clad top to bottom in tiny, inexpensive pink bathroom tiles. A graffiti mural by Maria Pratts, on the pink dining room wall, is a witty counterpoint to the elegant gilding on the sea-foam-green doors that open onto the room. Zeynep Rekkali of Etage Projects says he’s always able to spot Santomà’s unorthodox touch whether looking at a chair, a floor lamp or an entire house. “It doesn’t matter if it’s a single quote or an entire book,” he states, “his message is loud and clear.” VL Visit





Over eight years, the uber-talented design team Juliette Arent and Sarah-Jane Pyke have slowly but surely brought this Victorian-era terrace house in Sydney to life. By Verity Magdalino Photographed by Felix Forest Portrait photographed by Hugh Stewart




or Juliette Arent and Sarah-Jane Pyke, principals of interior design studio Arent & Pyke, a Victorian-era terrace in Sydney’s Eastern Suburbs has formed the basis of an eight-year journey that has witnessed the birth of a richly layered, intuitive design ethos — and a wonderful friendship. When the owners — a professional couple with two young children and a love of art — bought the four-bedroom terrace in 2010, they were living around the corner in a home that had become too small for their growing family. “They looked at this house as the next phase in their lives,” says Pyke. “For them, the design is all about longevity because they want to stay in this home.” Arent and Pyke, along with their associate, Dominique Brammah, worked on various smaller projects throughout the house over the years for the homeowners before completing this — the latest and final grand sweep. “I love that they’ve committed to making it continually work for them,” says Pyke. “That’s been nice to be a part of.” Here, Pyke describes the joy of the collaborative process.



The beautiful thing about this project is that it’s evolutionary.

We started everything at a light level when the clients first moved in and their children were very small. It was more about cosmetic changes — a fresh paint scheme, furnishings for the main bedroom and front living spaces, and a minor update to the kitchen. When each of the children turned five, they got a big bed and a new bedroom scheme. The son’s room is one of my favourite

parts of the house — because it’s so minute. It was like a little puzzle to design and it had to feel special. The custom joinery on the wall has 13 colours in it and at the end of the bed we made this little step with a small reading nook that the kids love. Everything we’ve done to date has been very practical, so for this final iteration we said we’re just going to have fun and enjoy it. The freedom of this approach had a lot to do with the trust

we’d built up with the owners. There’s an ease around working together, which is how you can then start to do things that are a little more unexpected, like the de Gournay wallpaper in the kitchen. We had this bare wall in the kitchen that didn’t have a storage element, so it was an opportunity to embellish the space.

Interestingly, when you’re in the room, as much as the wallpaper is ››

this page: in another view of the KITCHEN, joinery by Adam Standfield Cabinetmaking and painted in Dulux Sou’Wester; Pietra Basaltina stone benchtop from Granite & Marble Works; Casa Handmade splashback tiles from Onsite Supply & Design; custom zinc rangehood; Fibonacci Stone Cloud Burst floor tiles from Alexandria Tiles and Flooring; Apparatus Studio Highwire Tandem ceiling light from Criteria Collection. opposite page: in the LIVING ROOM, Cassina Utrecht navy armchair from Space Furniture; Foscarini Buds 2 table lamp by Rodolfo Dordoni from Space Furniture; custom armchair upholstered in GP & J Nympheus linen in Stone/Pistachio from Elliott Clarke; Robyn Cosgrove Whichway rug (left); Three Little Birds (2011, above fireplace) artwork by Michael Muir; The House of Beautiful Lies (2016) artwork by Jason Moad.


this page: in a child’s BEDROOM, bedhead covered with 36 24 36 fabric in Orange by Kelly Wearstler for Christopher Farr and John Robshaw Primrose cushions, enquiries for both to Ascraft Textiles; The Society Inc bed linen from Ondene; Olba side table from Jardan; &tradition Flowerpot table lamp from Great Dane; joinery by Adam Standfield Cabinetmaking. opposite page, from left: in the MAIN BEDROOM, The Society Inc bed linen from Ondene; vintage bedside table from The Vault; Bestlite wall lamp by Gubi from Cult; walls painted in Dulux Hat Stand; Untitled artworks (2005), both by Yun Wei. In the ENSUITE BATHROOM, Popham Design Propeller tiles (in foreground) and white ceramic wall tiles (on shower wall), both from Onsite Supply & Design; Italian terrazzo tiles (on shower floor) from Surface Gallery; joinery by Adam Standfield Cabinetmaking; Allied Maker Glass Flush Dome 10 light; Dancing Couple artwork by Garry Shead.


‹‹ a strong feature, it doesn’t shout at you. It has this great subtlety. And because it’s handpainted paper, it’s precious. The children love it. Seeing them the day it was installed, looking at the different birds — it’s such a lovely element to have in the house. We painted the main bedroom blue in 2010 — it was our first blue bedroom. When we revisited it eight years

later, the owners said they wanted to keep it. It’s by far the biggest room in the house, so the darker colour provides some sort of scale and a sense of privacy and comfort. We’ve done quite a few darker rooms over the years but this was the first time we got to exercise our desire for strong, moody bedrooms, which have since become a thread through our subsequent work. It felt outlandish at the time and I was quite impressed with the clients for embracing it. The terrace has a lot of moody lighting. If you have a dark room, it’s not about pumping it full of light because there’s nothing you can do to change that. For us, it’s about creating mood and texture in those spaces — enriching, enlivening and embellishing with colour, texture and art. We always talk about natural light, which of course is really important, but half the time when you’re

in your home it’s the evening, so it’s all about the artificial lighting and layers of lamps — of which there are many in this home — and creating mood with light. The homeowners travel to France every year and suggested a French farmhouse feel to the kitchen. The original kitchen

was white with a pale limestone floor and we wanted it to be stronger and bolder. We were inspired by the kitchen in the Ilse Crawford-designed hotel Ett Hem in Stockholm, which is a huge favourite of ours. Ilse’s bench from the De La Espada collection was in the design from the very beginning. We then introduced some leather via the Zanotta Tonietta chairs and went for a much stronger floor — a terrazzo with a really classic black-and-white graphic — in addition to handmade Moroccan tiles and a handmade zinc rangehood, which is a nod to that French influence. The great thing about working with people over time is that they get to evolve with you. What felt daring 10 years ago doesn’t

feel daring now and you can really build on that. You both want to see something unexpected; you want to see something that brings a smile to your face. It’s a nice journey to be on with people. VL Visit



this page: in another view of the MAIN BEDROOM, Molteni&C D.154.2 armchair by Gio Ponti from Hub Furniture; The Society Inc bed linen from Ondene; curtains by Simple Studio; Banquet (2015) artwork by Diana Watson. opposite page: in another view of the LIVING ROOM, Zuster coffee table; custom sofa upholstered in de Le Cuona fabric, enquiries to Boyac; vintage vase from The Vault; Moller #80 stool from Great Dane; Lampadaire Droit floor lamp by Serge Mouille from Cult; custom European Tortoiseshell sisal rug from International Floorcoverings Australia; Bird Market, Paris ’47 (1991) and Chiesa del Carmine 1947 (reflected in mirror, from left) artworks by Frank Hodgkinson; Colonial Gold (2016) artwork by Jo Davenport (above stool); Afternoon (2004) artwork by John Olsen. Details, last pages.






Intense pigments and abstract shapes are the hallmarks of Swedish-born artist Liselotte Watkins’ style, both in her work and in her elegantly vibrant Rome apartment. By Fiona McCarthy Photographed by Helenio Barbetta


this page: artist Liselotte Watkins in the LIVING ROOM of her Rome apartment; her dog, Hundis, is beside her on a Borge Mogensen daybed with Svenskt Tenn cushions by Josef Frank; special edition of Andy Warhol’s Interview: The Crystal Ball of Pop Culture: Best of the First Decade 1969–1979, Vol 1; rug from Kasthall; artwork by Liselotte Watkins. opposite page: also in the living room, painting and ceramics by Liselotte Watkins; Omersa leather hippopotamus footstool and bulldog doorstop from Liberty London.

or Swedish-born artist and illustrator Liselotte Watkins, life imitates art and art imitates life. In the apartment she shares in Rome with her husband, fashion communications director Jonas Falk, their young children, Wim and Ava, and the family dachshund, Hundis, the mood is a mixture of streamlined elegance and playful vibrance — just like her boldly abstract, hand-painted, one-of-a-kind ceramics. For more than 20 years, Watkins’ black-and-white drawings of wide-eyed, generously lipped gamine girls, splashed here and there with colour, and more recently, her 1970s-style collages in paint or paper of abstract bodies and faces, have made her the go-to girl for brands like Prada (two of her illustrated patchwork faces were used for the house’s handbag collection last season), Diptyque and Marimekko. This same sense of Pop Art meets high style resonates through Watkins’ early 20th-century apartment, where she and her family have lived since moving to the city three years ago from Milan. They needed to do little to the space, apart from painting walls and woodwork all white and pouring new concrete floors in the bathroom and kitchen. Among Watkins’ favourite features are the amazing

“I’m very Scandinavian in the way I like functional pieces that won’t be a burden. If something breaks, it doesn’t matter.”

this page: in the HALLWAY, vintage coat rack holding a Prada X Liselotte Watkins Patchwork Face-Print bag. opposite page: in another view of the LIVING ROOM, Bruno Mathsson Eva lounge chair; vintage chest of drawers from Watkins’ grandmother; vintage light fixture; artwork by Liselotte Watkins.

Roman tiled floors which act, she says, “almost like a rug”. Here, Watkins’ vintage furniture, ceramics and art resonate with energy and colour. Many are pieces she’s collected since the early days of her career as an illustrator in New York, post-art college in Texas (where she had also spent the last year of high school on exchange). Her big break came when she was asked to design weekly beauty ads for Barneys New York in The New York Times’ Style section. Among elegant Scandi pieces, from vintage Bruno Mathsson chairs and couches by Danish designer Borge Mogensen to richly patterned cushions in Svenskt Tenn fabrics by celebrated Austrian architect Josef Frank, there are unusual finds, too, like a heavy, industrial-looking wrought iron bed found on Italian eBay for less than €100 (its headboard serendipitously marked with a big ‘J’, her husband’s first initial). “I never buy anything expensive,” she laughs. “I’m very Scandinavian in the way I like functional pieces that won’t be a burden. If something breaks, it doesn’t matter.” Classic designs with twists of colour, like a modern Flos lamp in bold red or a vintage desk with a bright-orange top always catch her eye when trawling local markets, a regular Sunday morning ritual for as long as she can remember, wherever she is in the world. She’s also drawn to organic shapes and textures “with an emphasis on wood, natural linens and wool. It harks back to my Scandinavian roots, immersed in nature”. The sociability of Roman life suits Watkins. “I like the way everything here is open; children and neighbours come and go. Nothing is a big deal.” The city also fuels her boundless creativity. “We live near the Villa Borghese, an area which is calm and quiet,” she says. “I don’t feel the craziness of life here — it’s given me the opportunity to not always being just go, go, go.” She admits she gets bored easily, though — “so I always have little projects to keep me inspired. I appreciate the headspace Rome has given me to try new things”. Even the apartment itself inspires her creative process. “Before I get going in the morning, I walk around the apartment making little still lifes. I like to look at them and move them around. It helps to trigger certain emotions.” Dotted on shelves and consoles, there are busts, masks and portraits (she bought the two hanging above her bed because they reminded her of Wim and Ava). “I’m always drawn to faces and bodies, perhaps because they are a recurring theme in my own work,” she muses. For Salone del Mobile in 2016, Watkins translated this love into a unique style of bold non-figurative patterns painted across a collection of upcycled vases, carafes and bottles, entitled the Collage Series, which debuted at JJ Martin’s LaDoubleJ store in Milan. “I kept finding old vessels in great shapes at markets but they looked so sad, I had to take them home,” she says. Working out of her apartment, Watkins handpaints each one with an array of geometric shapes in bright pops of colour, reminiscent of similar works by Picasso and Matisse. Her next project will be a limited-edition collection of handmade vases for the Tuscan-based ceramic specialist Bitossi. What Watkins strives for, whether in her life or work, is a balance of harmony and beauty that she says isn’t possible without “a little disharmony and ugliness to steer things away from being too beautiful. Pure beauty is so not interesting, in any way”. VL Visit @liselottewatkins



this page, clockwise from top left: in the KITCHEN, on a table built by the artist’s husband, Jonas Falk, Marimekko tablecloth with Watkins’ Britta Maj design (named after her Swedish grandmothers); green chair from Carl Malmsten in Stockholm; natural wood chairs from Spazio Rossana Orlandi in Milan; vintage Thonet chair (in corner). Fornasetti plate (right) among vintage plates found at flea markets. In the MAIN BEDROOM, bed found on Italian eBay; Svenkst Tenn cushions by Josef Frank; Gianfranco Ferré bed linen; painting atop radiator by Lisolette Watkins; portraits above bed from flea markets; vintage Fornasetti mirror; face mask by artist unknown. opposite page: Watkins in her STUDIO; table built by Jonas Falk; Eames EA 117 office chairs.




Designer David Flack is given free rein to renovate a home on a thoroughbred breeding property in rural Victoria, and the result is beyond the client’s wildest dreams. By Annemarie Kiely Photographed by Sharyn Cairns




hen Melbourne designer David Flack had finished “Flacking” his most recent project — the renovation of a 19th-century homestead at the heart of a northern Victorian nursery for thoroughbred horses — he received an email from the client eulogising its outcome. It was a declaration of love for a scheme first gleaned “as a big mess of materials” in Flack’s Fitzroy office. And it was a radical departure from the usual diatribes about building defects, “of which there were none”, says the designer, remonstrating against the use of “that awful word”. The praise starts with a macro-to-micro regard for the framing of the picturesque and the impact of a perfect cutlery drawer insert — a must at double the $$$ — before streaming into random thought. The colour of everything and the way it flows. Brilliant! Inspired! wrote the client, who Flack characterises as an art-savvy mother of two with a  talent for turning out future champions of the turf. All the surfaces — stone, brass, steel — are very user-friendly and forgiving… Kitchen, the mood and finishes, so special, and the bench — we live there, every meal so far… hallway now has light and life, and bedrooms — a joy to wake up in... Let’s do it all again sometime! Her intent to recommission one day is forwarded on a Flack Studio template that terminates with the apt phrase ‘Flackery will get you everywhere’. It’s a wordplay that semaphores both the studio’s game with design language (a moreish pick-and-mix of periods) and the sharp trajectory of its graphic style out to the global polarities. Flack has just signed off on a second iteration of Caravan cafe in South Korea — a Memphis-inflected love letter to 1970s Melbourne — and is “hot to trot” in wider world markets. He laughs at the horsey idiom for his unbridled enthusiasm while mapping out his colour concept for this homestead on a plan that, over the course of a century, had grown four times the size of its original footprint. “I call what I do crafting inner space, rather than designing interiors,” he says, identifying the 1880s building stock as the existing family room (kitchen inclusive) from which his scheme seeded and spread. “The client wanted big splashes of bold colour, but how do you maintain a sophistication of palette without resorting to candy pops?” Key to his contrivance of a “journey” that flowed with tonal logic and lyricism was a collection of blue-chip contemporary art that the  client had thematically curated around horses and the local region — a landscape seared by extremes of winter cold and summer sun. Its fierceness suggests figuratively in Mary Tonkin’s Kalorama painting, an immersive eight-panel work colouring the ashen-walled family zone that Flack decided to flip in plan. His upturning of this west wing’s existing order incurred the removal of a red Aga stove from a fireplace cavity, for repainting in stealth-bomber black and repositioning in a new kitchen ‘monolith’ made from flamed granite and mild steel (waxed to wear the patina of use).


this page: in the LIBRARY, customised American oak shelves in Dulux Flinder’s Green; (top shelf, from left) Life was a Riot for Joanna (2009) porcelain sculpture by Penny Byrne; gold Ettore Sottsass vintage object for Memphis Milano; (middle shelf, from left) white ceramic structure by Bruce Rowe from Hub Furniture; The Price of Eggs in China (2017) green ceramic sculpture by Joe Whybin; artworks by artists unknown. opposite page: in the KITCHEN, Neowall sofa and Starsky side table, both for Living Divani from Space Furniture; Mater High Stool by Space Copenhagen from Cult; Cloud XL 73 pendant by Apparatus Studio from Criteria Collection; Parabola Ora Rosa copper lamp by Atelier Biagetti; glassware installation (on rear pantry wall) by Nicholas Folland.

From this brooding zone, where an Apparatus Studio Cloud light imparts the atmosphere of an impending storm and new French doors frame a verandah laced in wisteria, Flack flowed the colours of Tonkin’s painting, isolating its scrubby shades for decorative artist James Quadara to affect similar boundless immersion in bush. “He picks you, not the other way around,” says Flack, crediting both Quadara and builder Gaelan Walker as a dying breed of craftsmen. “I was totally vibing off them, trusting when James would tell me that the entry needed a deeper yellow.” Referencing the Dulux Topelo Honey that transforms the foyer walls into glistening nectar, Flack controlled its seep into the formal dining room, restricting it to a ceiling plane in a putty-coloured space that is set with a ping-pong table. “It’s just a bit of fun,” he says, adding that the table comfortably seats 12. “It plays to the client’s competitive spirit and her backhand spin.” Interplaying light and depth with the same landscape intensity as Tonkin, Flack coloured the east side’s private quarters in saturated shades that sequenced from dirt brown in the north-corner sitting room to squally blue in the boys’ bedroom, gum-bark pink in the main suite and eucalypt green in its retreat. The bathrooms have been rendered with brass-edged nostalgia, not to mention house-wide fixtures and furnishings specified for a deep comfort and dry comedy. Jaws, a fibreglass effigy of a shark’s head from The Sheep Bloke gallery at Trentham in central Victoria, adds bite to a billiard room bordered with artist D’Arcy Doyle’s 1960s tributes to sporting greats. Its quirk continues in the laundry, where an Atelier Biagetti ‘No Sex’ mirror makes a joke of the property’s breeding interests. “She is awesome,” says Flack in praise of his client’s licence to let him run his own race. “She just let the reins go.” Which understates an intuition and experience that knows talent is born and bred but brilliance trains hard. Her gamble has paid off in a home that resonates with personality and firms Flack into ‘favourites’ contention. VL Visit


“How do you maintain a sophistication of palette without resorting to candy pops?�


this page: in a view of the BILLIARD ROOM from the entry foyer, vintage wicker cane chair from Smith Street Bazaar; fibreglass effigy of Jaws from The Sheep Bloke gallery; Capital pendant light (over billiard table) by Archier architects; walls painted and polish-plastered in Dulux Purebred; flat-weave sisal rug from Halcyon Lake; Herb Elliott portrait from the series Famous Australian Sporting Heroes (1967) by D’Arcy Doyle. opposite page: in the ENTRY FOYER, vintage Antella table by Kazuhide Takahama for Simon by Cassina from Castorina & Co; Cyber-Dada (2002) bronze horse sculpture by Alexandra de Lazareff; Wisteria pendant custom-made by Mance; Two Paths Into the Light (2016) artwork by David Keeling.


“I call what I do crafting inner space, rather than designing interiors”


this page: in the boys’ BEDROOM, Joe beds from MCM House; Leo bedside table from Grazia & Co; Shogun table lamp by Mario Botta for Artemide; walls painted in Dulux Purebred. opposite page, from left: in the MAIN BATHROOM, handmade tiles from Urban Edge Ceramics; granite for shelf and shower from Peraway Marble; Agape Ottocento basin from Artedomus. In the LAUNDRY/POWDER ROOM, Antique Brown granite splashback from CDK Stone; customised Andorra limestone basin from Eco Outdoor; Deja Vù printed mirror from the No Sex project (2016) by Atelier Biagetti.



this page, from top: in another view of the ENTRY FOYER, Horse (2018) sculpture by Anna-Wili HighďŹ eld; Orrefors vessels; wall painted and polish-plastered in Dulux Topelo Honey. In another view of the KITCHEN, Antique Brown granite splashback and bench from CDK Stone; Mater High Stools by Space Copenhagen from Cult; Mosquito ceramic (on rangehood) by Clairy Laurence; Perrin & Rowe tapware from The English Tapware Company; Cloud XL 73 pendant by Apparatus Studio from Criteria Collection. opposite page: in a view of the DINING ROOM through the kitchen, vintage DSC dining chairs by Giancarlo Piretti for Castelli, from Mondopiero; customised ping-pong table; Afterglow, Kalorama (2006) artwork by Mary Tonkin.



In the MAIN BEDROOM, Joe bed by MCM House; Sheridan bed linen; Leo bedside tables from Grazia & Co; 4 Bowl pendant with arch by Anna Charlesworth; The Nature of a Bar Painting (1988) by Stephen Bush; curtains in Saxon Cloth Acorn sheer linen by de Le Cuona from In Vogue Blinds; walls painted in Dulux Recycled. Details, last pages.


this page: Rick Vintage, designer and creative director of wallpaper company NLXL, at his apartment building in The Hague. opposite page: in the LIVING ROOM, original marble fireplace; Tree Trunk chair by Piet Hein Eek; antique telephone converted into an LED lamp by Dutch artist Martijn van Gasteren; Graypants Scraplights pendants; Job Alt Deutsch wallpaper by Studio Job for NLXL, from the Archives collection.




The creative director of one of the world’s most innovative wallpaper design ďŹ rms has a home in the Netherlands as inspired as his unique collections. By Bonnie Vaughan Photographed by Valentina Sommariva Produced by Alice Salerni 150



this page: in a corner of the LIVING ROOM, desk designed and made by Rick Vintage; Eames Soft Pad executive chair for Herman Miller; Billy Leliveld Skeleton lamp for Oom Jan; Labyrinth (on left wall) and Withered Flowers Colour wallpaper, both by Studio Job for NLXL, from the Archives collection. opposite page: in another view of the living room, Koen sofa and ottoman by Piet Boon; record crate (against the wall, right) custom-made by Piet Hein Eek; Job L’Afrique (on left wall) and Deutsch wallpaper, both by Studio Job for NLXL, from the Archives collection.


ick Vintage, co-founder and creative director of the Amsterdam-based wallpaper brand NLXL, is the first to tell you he’s got a lot going on inside his head. “It’s a mess!” he exclaims. “I tidy it up a lot, just like I am always tidying up my apartment. I’m allergic to stress, so that’s quite a challenge with a messy head, but my head — just like my apartment — is at a very good balance.” The apartment he’s talking about, housed in an ornate 1830 Louis XIV-style building, is located in The Hague, the vibrant medieval-era city in the Netherlands also known as the epicentre of global peace and justice. Since its launch in 2010, NLXL has gained a global reputation as the boldest in the business, deriving inspiration for its designs from raw materials, industrial spaces and surreal artworks, and forming collaborations with such Dutch design superstars as Piet Hein Eek, Studio Job and Piet Boon. And just as you’d expect, the interiors of Vintage’s 100-square-metre apartment epitomise the playful, innovative creative energy he channels into his brand. Here, he talks about his passion for his “sanctuary”, which he sometimes shares with his daughters Ella, 15, and Lux, 12. I love my apartment’s location. It is right in the centre of The

Hague, where everything is around the corner. I am a very private person — I was even a bit of a hermit when I was younger — but this place gives me the best of both worlds. When I feel the need to cocoon, I close the four-metre-high oak shutters. When I feel the need to see people, I open the window. And really, there are always people looking inside my house, so after I open the window, I find myself talking to passers-by, giving me an instant social life. Whenever I do an interior, the rooms themselves seem to tell me what to do. I remember looking at this place with a real

estate agent and I thought, “Okay, ornamented frames mean wallpaper. High ceilings mean Graypants lights installed like planets.” And everything just started from there. But let’s be honest: with a place this nice, with such a good energy, it would be quite difficult to turn it into something ugly. Since the ceilings are five metres high, I wanted to have a ‘safe’ feeling while sitting in the living room. The Koen sofa

by Piet Boon gives me this feeling. When you sit in it, you feel like you are embraced; it is just so comfortable. I changed the upholstery a year ago from brown. When the Graypants Scraplights are lit, the sofa seems to come alive. I change my interior often, but two items by Piet Hein Eek are constants. His Tree Trunk chair is the best example of how he

works: “What is the available material and what can I make of it?” In this case, it was a hundred-year-old gigantic oak, which he just sliced and turned into a chair. I love it. The crate I use for my record collection was custom-made by Piet Hein Eek for me. It’s made from wood from New York water tanks and has a brass top and finishings. The bedroom is one large room, measuring 10 by 6 metres.

I didn’t want to divide it into two separate rooms, so I decided to build a block for my bedroom, toilet and bathroom. I wanted it to feel like a hotel room. The closet behind the bed was built around [Russian artist] Ekaterina Panikanova’s artwork. We had created a collection with her and I fell so in love with her work that I bought an original. On the ceiling are the original tins we scanned for the Brooklyn Tins wallpaper collection for Merci in Paris. The other tins used for the collection are in the hallway, bathroom and toilet.  This kitchen is a story in itself. The counter started as a working counter three apartments ago. One apartment after that, I decided it was going to be the kitchen counter for my office, so I had a sink installed in it. When I sold my office, the kitchen was sold with it. Then when I came to live here, I realised my old kitchen counter

would really work well with my idea of the ‘bedroom block’. I happened to pass by my old office, which was being remodelled, and saw that the counter was put in a corner, covered in dust. The constructor told me he’d put it up for sale online for €300 [around $470]. I paid him and got my counter back. I had a second-hand Gaggenau stove and oven installed, replaced the original stainlesssteel doors with drawers covered in mirrored laminate, and voila, the cheapest but best-looking kitchen I have ever had. Originally, my idea was to change the wallpaper in the living room every three months. The third installation is the one I have

now, the Studio Job Archives wallpaper. I was really surprised that such a crazy mixture of colours could become this harmonious, so I decided to keep it a bit longer. It’s such a great contrast with the classic style of the apartment — it makes you take the whole place a bit less seriously. I have heard the term ‘eclectic’ used as a way to describe my interior, but to me, it’s just a collection of nice things that speak to me. This place gives me peace. The energy of a room is

very important to me; I get very unhappy in spaces with little or no energy. It’s not about how much the interior costs; it’s about the attention that went into it. VL Visit NLXL wallpapers are available in Australia at

this page, from top: in the KITCHEN, Two Top table by Marcel Wanders for Moooi, customised with Timber Strips wallpaper by Piet Hein Eek for NLXL (also on the walls); Crisis chairs by Piet Hein Eek. Original Baroque boiserie and stucco feature throughout the apartment building. opposite page: in another veiw of the LIVING ROOM, looking into the kitchen, Withered Flowers Black (on left wall) and Job Perished wallpaper, both by Studio Job for NLXL, from the Archives collection.


this page: in the BEDROOM, Marco Polo bed linen; artwork by Ekaterina Panikanova; original ceiling tins scanned for the Brooklyn Tins wallpaper collection by Merci for NLXL. opposite page: in a corner of the LIVING ROOM, stack of birdcages created by Rick Vintage, the base of which serves as a liquor cabinet; the stool is part of a collection for NLXL in collaboration with Piet Hein Eek; Withered Flowers Colour (on left wall) and Black wallpaper by Studio Job for NLXL, from the Archives collection.





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this page: in the Nexus-designed MAIN BEDROOM, chest of drawers refurbished by Cabinet Tech; Porcelain Mid Blue vases from Jardan; Galah (2002–2015) by photographer Narelle Autio; Laudanum & de Breeder (2015) by Irene Hanenbergh. opposite page: in the ENTRY HALL, Atollo 235 table lamp by Vico Magistretti; blown-glass Penny Pincher moneybox by Emma Young and Glass Cloud by Caslake and Pedler, both from Jam Factory; vignette of inherited artworks. Details, last pages.


n light of the statistic that 8 out of 10 businesses fail in the first 18 months, Nexus Designs is a taut little anomaly that has triumphed in the Australian interiors industry for 50 years. It has survived half a century of unparalleled change on the simple platform of listening to clients and learning from them, which is not to sideline the intuitive genius of its founder, Janne Faulkner, who died in February at 84. Faulkner was a formidable talent, without formal training, whose impeccable sensibilities were gleaned by Merchant Builders (the building company that made project housing cool) and matched to the modernist architecture of Graeme Gunn. She springboarded their regard for ‘real Australia’ into Nexus Designs in 1967, fleshing out a practice that is now prepping for its jubilee party. In this golden anniversary moment, tinged with mourning, Nexus co-director and designer Sonia Simpfendorfer commemorates Faulkner’s legacy and longevity by tabling a recent project in North Adelaide. “Not long after I a project with Janie several residential chose us,” says Sim Nexus since the Me we were doing and w That call has co Simpfendorfer’s del from you that elusiv brief, always believi a “super-typical” se


ticks the Federation façade checklist, Simpfendorfer informs that the house was the first property bought by her client Janie, who had kept it for family use until neglect necessitated a refresh and resale. “So it started out as a bathroom redesign, but during the process, she started to fall back in love with it.” Though the outcome of ownership was undecided until the project's end, the brief was always premised on the client’s persona. “She said, ‘I want a house that’s about me and if I do decide to sell, then there will be someone out there who wants to live the same way.” Her self-pleasing mandate was matched to the palette and pride of ‘Queenie’, Galah (2012), the portrait of a pert-eyed cockatoo by photographer Leila Jeffreys, whose Birdland book Simpfendorfer had gifted to her father. That creature’s grey wings determined the concrete tiles of a main bathroom that Nexus rebuilt without a bath — “replaced by the mother of all double-head showers”. The rose of its breast ordained the tinting of floorboards, the shading of linen bedsheets, the hue of Jaime Hayon’s Ro armchair, and the flashes of y art that is serially Michell. of the horizon line the colour field of a consistent Nexus impact of listening ing that her client bolthole. “It is the modern love letter o inhabit it.” VL

this page: in a corner of the LIVING ROOM, Ro chair and footstool by Jaime Hayon for Republic of Fritz Hansen from Cult; Hay DLM side table by Thomas Bentzen; Alfred sofa by Jardan; on shelves of Nexus-designed custom joinery unit, Anna vase by Daniel Emma, blown-glass pink gourd by Lewis Batchelar and ACV Studio Circle vase, all from Jam Factory; custom rug by Behruz Studio; Golden Chimp Bust Bronze (2017) by Lisa Roet; painting by Ken Done. opposite page: in another view of the MAIN BEDROOM, E15 Enoki side table by Philipp Mainzer; Tip of the Tongue table lamp by Michael Anastassiades from Hub Furniture; bed linen by Plane Tree Farm; photographs (left to right) Eclipse #3, Eclipse #4 and Eclipse #2 (2011) by Justine Varga.



this page: in the LIVING ROOM, Carrara marble mantel customised by Nexus Designs; Fowlers vase by Madeline Prowd from Jam Factory; House on the Hill (2017) by Fiona McMonagle. opposite page, from top: in the SECOND BEDROOM, Flos Tab Table lamps by Barber & Osgerby; Kartell Ghost Buster night tables by Philippe Starck with Eugeni Quitllet from Space Furniture; Vida bed linen from Seneca; curtains by The Curtain Boutique; The Drover’s Wife by Juan Davila. In the MAIN BEDROOM, custom Nexus joinery; Sounding Silence #3 (2014) by Justine Varga (above mantel); set of white sculptures by Elvis Richardson; Shelter (2006) drawing and Thicker Than Water (2007) sculpture, both by Patricia Piccinini. Details, last pages.


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Road to

Jaipur A vital hub for commerce since the 18th century, Jaipur has blossomed into a majestic world-class destination topping everybody’s travel hotlist. By David Prior Photographed by Gentl and Hyers


this page: a muted celebration of Indian style at Jaipur’s Samode Haveli hotel. opposite page: patterns at every turn in one of the many halls of the Chandra Mahal palace, a seven-storey citadel that is the dominant building of the famous City Palace.


CONCIERGE this page: another side of India at Dera Amer Elephant Camp, a 30-minute drive from Jaipur in the foothills of the Aravalli Range. opposite page: an overview of the City Palace.

here is nothing quite like the moment a peacock fans its feathers. One hundred and fifty eyes in azure, emerald and teal all rising up in colourful and dramatic demonstration. It is intended to be a display of intimidation — however, it fails miserably. Still, we are enchanted, mesmerised and willing that the moment will last. If Jaipur, the capital of India’s north-western region of Rajasthan, were an animal, it would be a peacock with its feathers on full display. Known as the Pink City for its dusty citywide hue, this home to three million people some 270km from New Delhi has historically been a draw because of its gems, craft, textiles and monuments. But in the 21st century, Jaipur seems to have taken on, and revelled in, a strutting confidence, to become a boom town increasingly on the map of style-setting travellers. With new hotels and bars shaking up the historic scene a globally renowned literary festival shopping l


“Jaipur is impossibly romantic,” says Fiona Caulfield, author of Love Jaipur, Rajasthan and an Australian who fell in love with India and this city 16 years ago. “The skyline is dotted with majestic palaces and forts, and within the pink walls of the old city are bazaars that surge with people enjoying the best shopping in India.” Founded in 1727, Jaipur was designed for commerce, and its early authorities lured the finest artisans in India (arguably the world’s best at the time) to set up shop. Many of their descendants remain and continue to practise time-honoured crafts such as stonemasonry, copper welding, textile design and ornate jewellery making. This bedrock of quality, skill and inimitable Indian style has also lured foreign and domestic designers to the city to collaborate with local artisans. It’s not too much of a stretch to declare that what Milan is to design and Paris is to couture, Jaipur is to craftsmanship. And the global desire for, and appreciation of, quality and true handiwork in the luxury fashion, interiors and jewellery industries means that more and more of us are discovering the many roads leading to it. ››

VOGUE LIVING RECOMMENDS Where to sleep, dine, shop and visit in the Pink City. STAY The Pink City has a hotel for every taste and budget, and the best selection of boutique and establishment properties of any Indian city. Hopping from one to the other is all part of the city’s fabric. 47 Jobner Bagh The whitewashed walls, subdued furnishings and minimal decor of this effortlessly chic guesthouse make it a favoured sanctuary from the chaos. It is popular among stylists, buyers and designers in Jaipur for a longer stay who are looking for a home away from home. Rajmahal Palace If movie director Wes Anderson, fashion magazine editor Diana Vreeland and the Gayatri Devi (the famously chic Maharani of Jaipur) had collaborated on a hotel, it would have turned out like this cotton-candy-hued palace-cum-playhouse in the city centre. Forty-plus bespoke wallpapers adorn every wall and plush textiles cover every furnishing. Rambagh Palace Everyone should stay here once in their life, if only for a transportive throwback to the British Raj. One of the Taj group’s flagship palace hotels, it features regal rooms, a polo bar and peacocks strutting across manicured lawns. Samode Haveli Central, buzzy and gloriously rendered, the Samode Haveli hotel is a 19th-century mansion and the epitome of casual Jaipur cool. EAT & DRINK 1135 AD This establishment is in the Amer Fort and its decor is matched only by its food. Try the Rajasthanistyle Thai platter. (+91) 98290 37170 Bar Palladio You’ve probably seen it on Instagram but nothing will quite prepare you for the romantic charm of this Rajasthani-meets-Venetianstyle mashup of a bar. Inspired by the blue-and-white wind room in


the City Palace, Italian owner Barbara Miolini and Dutch designer Marie-Anne Oudejans have created an expat haunt worthy of pilgrimage. Caffé Palladio This apricot confection of a lunch spot is the sweet little sister of the iconic Bar Palladio, with the design also done by Miolini and Oudejans. Dera Amer Elephant Camp Dinner among the pachyderms? Yes, this is one of the great Jaipur experiences. Watch as the gentle staff care for the animals then fire up the tandoor for a twilight feast in their company. EXPLORE Amer Fort Walk the ramparts and survey the Mughal Gardens in one of India’s most famous landmarks. City Palace The Rajasthan royal family are still in residence at this foreboding palace in the heart of the city. Check out their collections of exquisite costumes, textiles, art and artefacts. Jain Mandir This beautiful temple of the Jain sect south of the city is full of intricate carvings and worth a detour.

SHOP Andraab Contemporary design with traditional materials. Think stunning cashmere in today’s palette. Brigitte Singh This French expat queen of block printing bridges the East–West style gap with her range of baby clothes, napery and clothing. Ridhi Sidhi Textiles A huge selection of antique and contemporary textiles. Ask to be taken to the warehouse — its bamboozling but brilliant finds are ready to be discovered. @ridhisidhitextiles The Gem Palace Jaipur is arguably the world’s jewellery capital. Enter the flagship of this Indian brand and exit dripping in diamonds and more.

this page: with a decor lead taken from the electric blue of the City Palace’s Sukh Niwas (Hall of Rest), Bar Palladio is a Jaipur dining institution. opposite page: the Queen Elizabeth II suite at the Rajmahal Palace. 172 VOGUELIVING.COM.AU


ESSENTIAL JAIPUR EXPERIENCES Travel author Fiona Caulfield shares her favourites. New York-based Australian Indophile Fiona Caulfield is known for her Love Travel guides, including Love Jaipur, Rajasthan. She is feted for her design and shopping advice, as well as her knowledge of only-in-India happenings. With her keen eye and delightfully bohemian aesthetic, she has created manuals that help navigate the chaos and unearth gems throughout the country. Here, she offers a selection of her top Jaipur experiences.

“Morning visits to the Wholesale Flower Market, driving through the empty city to reach a fragrant square lined with sacks overflowing with roses and marigolds. The Saturday Hatwara flea market, and searching for old treasures among farm tools, pots and pans, and piles of sneakers. Chai at Sahu, a fourth-generation chai wallah [maker and seller of tea], where masala chai simmers slowly on a roadside coal stove. The Painting & Photography Gallery at the City Palace Museum is a  beautifully curated collection. Afternoon tea on the lawns of Rambagh Palace hotel, with only peacocks interrupting the view to Moti Doongri fort. A vintage jeep ride through the Jhalana Reserve Forest looking for leopards.” VL







Celluloid hero A new hotel situated in the former HQ for Paramount Pictures Studios injects some local flavour into Sydney’s hospitality scene. By Freya Herring Photographed by Sharyn Cairns

this page: the living area of the Mack Daddy suite, one of four styles of accommodation at Sydney’s Paramount House Hotel, features a Jardan sofa and custom brass cabinetry. opposite page: copper chevron screening dominates the façade.



here the fuck am I?’” exclaims Mark Dundon, recalling the time he woke up in a hotel room somewhere in America’s Midwest. “I looked around the room and there were no hints.” It’s one of the experiences that drove Dundon, the owner of Paramount Coffee Project, to develop Sydney’s new Paramount House Hotel. “It was about this place having a personality and an interaction with its urban environment.” Located in Surry Hills, within the former Paramount Pictures Studios building, the hotel is co-founded by Reuben Hills cafe’s Russell Beard and property investor Ping Jin Ng, and it couldn’t have more of a sense of place. “The hotel needed to add to the life of Paramount House and to life on the street,” says architect Jeremy McLeod, the director of Breathe Architecture, who managed the project. Within one building is sumptuous basement venue the Golden Age Cinema and Bar; the famed Paramount Coffee Project cafe (occupied by a farmers’ market every Saturday); Ester restaurant spin-off, Poly; and a world-class boutique hotel.

“When you wake up here, you couldn’t be anywhere else in the world” — RUSSELL BEARD, CO-OWNER “It’s not traditional,” says Beard. Adds Dundon: “It’s a considered approach to the neighbourhood with a really local focus. Whether it’s furniture or the snack bar, it ties you back into Sydney.” He’s talking about what might well be the world’s best minibar — charcuterie made by Sydney’s feted LP’s Quality Meats alongside locally brewed beers by Yulli’s Brews. You enter through the cafe and immediately connect to local life. At the back of the space is a reception, although you’d be forgiven for thinking it was a bar. Set out in poured concrete, in-built taps accommodate sour beer, kombucha or natural wine, depending on the day. Swished up in a flash, you are taken through a small door into the next building and the hotel proper, Paramount Studios’ former film storage warehouse. Throughout the hotel, past and present are expertly brought together. “The conceptual approach was about marrying the artefact and the ornament,” says Jeremy McLeod. “It was about expressing everything that was old — and true and honest and raw — about the existing warehouse.” Each of the rooms nods to the building’s history. “Columns appear in different locations within the suites, while building details and artefacts found on the site have been celebrated,” says  McLeod. “Some express the patina of brickwork and the historic brick parapet or reveal remnants of stairwells that once existed.” All of the 29 rooms have been fitted with lush Jardan furniture and vintage pieces; soft, dusky-toned Cultiver linen on the beds; brass detailing; and nooks in which to read or work. The flooring is reclaimed timber, dressed with floor coverings from Loom Rugs. Breathe Architecture also built an extra layer onto the top of the building — a striking, perforated copper crown that screens the rooms from the outside while affording them shaded balcony spaces to connect them to it. Many of the rooms — there are four different styles of accommodation — are split over two levels, with pared-back roof areas for sleeping and Japanese-style timber baths made by hand in Coffs Harbour. “Four years ago, it was very difficult to suggest somewhere to stay in Sydney — the hotel landscape in Australia was dominated by chains,” explains Dundon. However, now three Sydneyphiles have reimagined a place that reflects their own tastes. “Ultimately, you can only build a hotel for yourself,” says Beard. “When you wake up here, you really couldn’t be anywhere else in the world.” VL Paramount House Hotel, 80 Commonwealth Street, Surry Hills; (02) 9211 1222;

this page: The living area of a Loft room, with a tapestry artwork from China Heights gallery. opposite page, clockwise from top left: Paramount House Hotel’s reception. The Sunny rooms come with a daybed and play up the character of the heritage-listed building. A Mack Daddy bathroom, with timber bath. Aēsop products and Worktones robes feature in the bathrooms.




Liquid luxury

It’s not just about slammers anymore. With the opening of the five-star La Casona Guest House in Mexico and Bar Patrón in Sydney, tequila has finally come of age. By NICK SMITH Photographed by VINCENT LONG


here’s an old saying that goes, ‘Love is like tequila shots, it’s not the quantity but strength matters.’ That’s a nice metaphor for a time gone by. Perhaps in this age, love requires more complexity, more subtlety, character and moods. Tequila has evolved into a more sophisticated tipple, too — it’s no longer the knockout, bar-slamming, lick-sip-sucking shot we ordered when we turned legal drinking age. It has become a more refined choice of flavours, notes and intensity. Patrón is the most notable tequila brand to realise the potential of a more premium tequila, and it is attracting love in the hands of the most considered cocktail drinkers around the world, men and women alike. At its headquarters, Patrón Hacienda, which sits just outside the town of Atotonilco el Alto in the central western Mexican state of Jalisco, you can be immersed in the makings of this liquid luxury. Surrounded by fields of blue agave, the root ingredient of tequila, Patrón Hacienda presents with a 16th-century Spanish-style mansion that houses the brand’s headquarters and its sole distillery. Hundreds of locals are employed, and they, the agave farmers and field workers, are Patrón’s defining ingredient. Semi-trailers full of piñas, the heart of the agave plant, are delivered, while buses of workers come and go to drive the manual process of one of the world’s biggest luxury spirit brands. The sense of community is instantly apparent. As the workers leave, they flash the spotlights of  their smartphones through the bus window. Clearly, the joy of Patrón gets into your veins one way or another. Master distiller Francisco Alcaraz has built a distillery that adheres to a small-batch philosophy while achieving mass production. The piñas are hand-chopped and packed

into steam ovens to be boiled for days, then are transferred to a stone pit and macerated by a large volcanic rock called a tahona to excrete the agave juice. The pulp and juice go into large vats with water and yeast to start the fermentation process, then it’s to Alcaraz’s specially designed distillery pots to produce the tequila. Patrón has now added a five-star venue called La Casona Guest House. While not open to the general public like the hacienda itself, it’s pure luxury via Mexican heritage, with 25 dazzling rooms to host trade and bartenders from around the world. The guests can appreciate Patrón’s tequila variants and further their art in tequila mixology — then, as with most luxury brand immersions, take their newfound knowlege and love of it back to their own corner of the Earth and put it to good use. To show how much Patrón resonates in Australia, chief marketing officer Lee Applbaum visited last month to open Bar Patrón, part of Neil Perry’s Rockpool group, in Sydney. Yes, it is getting into our veins, too. “Australians have a positive, glasshalf-full psyche,” says Applbaum. “In Mexico, we talk of this energy of spirit. It’s tequila, it’s Mexico, it’s warm, it’s inviting and it’s positive. It’s just like yours.” VL Bar Patrón by Rockpool, 2 Phillip Street, Circular Quay; (02) 9259 5624; barpatron.;




A feast for the senses

Pre-dinner drinks inside Jackalope hotel.



On the eve of the 2018 Portsea Polo, Melbourne’s finest gathered for the Stella Artois Sensorium dinner at Doot Doot Doot restaurant, inside the award-winning Jackalope hotel on Victoria’s Mornington Peninsula.

Nina Fuga, illustrator.


Stella Artois Sensorium dinner Doot Doot Doot executive chef Guy Stanaway crafted a ‘joie de bier’ tasting menu exclusively for the Stella Artois Sensorium dinner at Jackalope hotel. The menu was inspired by the array of flavours in the Belgian beer, with such dishes as hop-smoked heirloom beetroot with ricotta and burnt-butter carrot mousse, and pork belly braised in Stella Artois paired with peaches (above) harvested from the hotel garden. Dinner guests included Australian actress and model Abbey Lee Kershaw, fashion designer Lindy Klim and model Ksenija Lukich. VL

Edwina McCann, acting editorin-chief, Vogue Living.

Lindy Klim, fashion designer.

Brian Phan, brand director, Carlton & United Breweries, with Jess Phan. Abbey Lee Kershaw, actress. VOGUELIVING.COM.AU 183


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POSTSCRIPT From the living room to the kitchen, dress your home in supreme style with these must-haves.

AERATRON Influenced by nature and physics, Aeratron is putting an exciting spin on ceiling fans. The new AE series features 3D aerofoil ABS blades, self-balancing systems and super-efficient DC motors, resulting in whisper-quiet models that use 75 per cent less energy than traditional fans. See the full range at

CAESARSTONE Subtle and sophisticated, Cloudburst Concrete’s cloud-like patina gives a truly unique look. Its matte surface works alongside light and dark timbers, stainless steel and concrete finishes, meaning it will fit with your design aesthetic whether you’re renovating an industrial loft or furnishing in Scandi style. Visit

ROYAL OAK FLOORS Your loor is your daily stage, so tread the boards in style with beautiful and durable timber. Royal Oak is a market leader in engineered wooden flooring and is renowned for premium quality. Pictured is the stunning new Chevron Panels selection, composed of a white-smoked European oak timber-top layer bonded to an engineered base. Check out

SUNBRELLA Founded with the belief that fabrics should be both functional and beautiful, Sunbrella textiles are engineered for robust performance and created with close attention to design detail. Featuring globally inspired designs, colours and textures, Sunbrella’s fabrics are soft to the touch, fade-proof and super-easy to care for. Visit

MUUMUU Designed by Englishman Joseph Fenby in the 1870s, the lightweight Tripolina chair was prized during desert campaigns for its ease of use. This iteration, embellished to maximise comfort and longevity, has teak frames with handmade covers in canvas and leather, and is ideal for your beach campaigns. Learn more at

ANGELUCCI 20TH CENTURY Inspired by the timeless beauty of mid-20th-century lounges conceptualised by the great American furniture designers, Angelucci’s Hollywood sofa would fit right in on the set of a Hitchcock classic. Custom made to order with choice of length and fabrics, this piece can take a starring role in any home. Go to



FANULI Designed by Italian architect Antonio Citterio, the Adda sofa offers a contemporary, timeless and warm aesthetic. Generously padded goose-down cushions are supported by a slender metal base, creating an intimate cocoon effect, and creases stitched into the cushions emphasise the natural folds made by sitting. The only problem? It adds up to a sofa so comfortable you’ll never want to get off it. Go to

At once chic, voluptuous, intense and sot, Sì eau de parfum lingers on the skin and enchants the senses. The fragrance combines three notes — blackcurrant nectar, modern chypre and blond wood musk with touches of freesia and May rose scent. This new perfume has been created for the modern woman who’s strong yet feminine, sophisticated yet charismatic. She embodies the very essence of chic Italian elegance and style. Does she sound like you? Then visit

LG The LG Signature range is LG Electronics’ first ultra-premium brand. The line-up includes a 4K HDR-enabled OLED TV, a twin-wash washing machine, a ‘Door-in-Door’ refrigerator and a hybrid air purifier. The best of LG technology and design, LG Signature is a collection that boasts subtle elegance and topnotch performance. Drop by

CULT Established in 1997, Cult scours the globe to bring the finest designer furniture to the Australian marketplace. Among the international brands they showcase is Karakter Copenhagen, whose products, shown above, include tables and stools from Dutch designer Aldo Bakker and the distinctive Sferico glassware and Domo table lamp from late Italian visionary Joe Colombo. Learn more at

ILVE The 200 Series Double Oven from Ilve pays homage to kitchen trends from the ’80s and ’90s, with a separate grill beneath the main unit. It also has a pyrolytic oven, which heats to more than 450°C and turns oven grime to ash you can wipe up in seconds. With a sleek stainless-steel finish, it’s the ideal combination of style and convenience. Visit

MILANO The Glam sofa is defined by contemporary design and original combinations. An adaptable seating system, mobile backrests and accessories in wood and metal can be configured countless ways to suit every space and lifestyle. Refined details and finishing exude timeless elegance in this sophisticated sofa. Check out





favourite things


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1. DERBY DAY It’s the first day of the Melbo and there’s so much excitement and buzz aro an amazing job with the Design Pavilion, and of black-and-white is very elegant, so it’s just a g eat day out. 2. DALE FRANK I’ve always been attracted to Australian artists. I love Dale Frank’s use of colour: the bright hues and the composition add a lot of drama within a room. 3. FEI JAI restaurant in Potts Point. My husband [Luke Ricketson] and I go there on a weekend and do a yum cha; it’s a restaurant that we continue to go back to. 4. WHITE PHALAENOPSIS ORCHIDS are always planted around my house, as well as fiddle leaf figs. 5. HERMÈS VASE BLEUS D’AILLEURS I love the graphic pattern on it. I live near the beach in Balmoral, so there are a lot of blues through my home. 6. MY GRANDMOTHER’S BROOCH This was passed down to my mother and then me. It’s something I will treasure forever. 7. SOUTHERN HIGHLANDS My family has a property there. We spend a lot of holiday occasions there as well as weekends. It’s got so much to offer — especially having two young children who love being part of nature and getting outdoors. 8. JO MALONE ENGLISH PEAR & FREESIA COLOGNE It’s a light, bright daytime scent, and it feels like a summery day, so it always puts me in a good mood when I wear it. 9. NERIDA WINTER is an amazing milliner. I’ve known her for many, many years. Every season, she creates something different — she always thinks outside the box. 10. TAORMINA, ITALY It’s my favourite place in the world. I’ve been going there on family holidays every year since I was a little girl. It also holds a special place in my heart because it’s where my husband and I got married. VL Visit


Kate Waterhouse — style guru and racing royalty — on what brings her joy.

Vogue living australia may june 2018  
Vogue living australia may june 2018