December Issue

*Architecture � Design � Art � Travel � Entertaining � Beauty & Grooming � Transport � Technology � Fashion � Watches & Jewellery DECEMBER 2020 Entertaining at Home Bosco Sodi | Front x Moroso | Sarah Coleman x Fendi | Nicholas Daley | Portuguese feast | Cruise collections

EARTHLY DELIGHTS We seek the tonic of wilderness to end the year on a natural high

GREAT OUTDOORS Front hits the trail with Moroso

CELEBRATORY NOTES

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Portuguese treats, peerless timepieces and trolleys of post-dinner tipples

december 2020

dior.com – 020 7172 0172

UP TO -40°C FOR 49 DAYS When Paul-Emile Victor was researching the ice-cold arctic region in 1936, his Longines chronometers continued to work accurately – helping him to calculate the longitude when he dared to cross the Greenland ice cap. “These watches made the difference between failure and success”, Victor stated.

Paul-Emile Victor

DECEMBER A FAMILY RETREAT, ON THE EDGE OF A PINE FOREST IN OCOYOACAC, MEXICO, WAS BUILT USING LOCAL MATERIALS, INCLUDING SAND-COLOURED TABIQUE BLANCO BRICKS FROM PUEBLA, SEE PAGE 078

ARCHITECTURE

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Reform act Pearson Lloyd’s Hackney HQ Clearing house Forest dwelling is swell at this contemporary Mexican retreat Remaking history Era-crossing drama at a Victorian townhouse in west London

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Logo type Artist Sarah Coleman’s disruptive Fendi takeover for Design Miami

Natural wonder Bosco Sodi’s weathered surfaces DESIGN

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ART

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Deep dive Anthropomorphic ceramic art from Jeremy Anderson

Wilderness adventure Science and nature inform Front’s new furniture collection for Moroso ENTERTAINING

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Dark matters Celebratory dining at home, Portuguese-style

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DECEMBER FRONT OF BOOK

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Newspaper The return of the tux, contemporary cannabis retail, and an Elsa Peretti cuff The Vinson View On the trail of the lonesome diner MEDIA

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Subscribe and save Plus receive artist-designed covers WallpaperSTORE* Refined design delivered RESOURCES

COAT, £3,250, BY GUCCI. ROLL-NECK, £265, BY JOSEPH. BAG (LEFT), £1,950, BY CELINE BY HEDI SLIMANE. BAG, £2,700, BY DIOR. SHOES, £550, BY BURBERRY. SUNGLASSES, £121, BY RAY-BAN. IPHONE CASE, £185; ZIP LANYARD, £90, BOTH BY CHAOS, SEE PAGE 118

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Stockists What you want and where to get it

Trolley dash The treats are rolling in Artist’s palate Georgie Hopton & Gary Hume’s pasta Liguria FASHION

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Right notes A new show celebrates the multicultural roots of fashion designer Nicholas Daley Remaster class Classic watches updated Step change Resort wear dances to a different tune

SEATING FROM A NEW FURNITURE COLLECTION BY FRONT FOR MOROSO MIMICS ROCK FORMATIONS, SEE PAGE 054

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DRESSED IN NATURE’S HUES | CH78 |

MAMA BEAR HANS J. WEGNER | 1954

Carl Hansen & Søn is now relaunching the CH78 Lounge Chair affectionately known as the Mama Bear Chair, designed in 1954 by Hans J. Wegner.

Handcrafted by skilled artisans, its special aesthetic character comes from the way it balances soft, rounded curves with dynamic geometries and fine details, such as the signature wooden armrests and legs.

For a limited time only at a special price, the CH78 is offered in six colors in selected natural hues.

carlhansen.com

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CONTRIBUTORS ADAMA JALLOH Photographer London-based portrait and documentary photographer Jalloh’s work explores themes such as identity, race and culture and was recognised in The Photographers’ Gallery’s New Talent awards in 2019. She shot menswear designer Nicholas Daley ahead of his immersive exhibition, ‘Return to Slygo’, at Greenwich Peninsula’s Now Gallery (page 083). Opening in December, the show celebrates the diasporic inspirations behind the Jamaican-Scottish designer’s label and includes graphic vinyl art, music and film.

PEI-RU KEH Wallpaper* New York Editor

BOBBY DOHERTY Photographer

Keh met with Jeremy Anderson, co-founder of New York lighting and design studio Apparatus, to talk about his debut series of ceramic art. ‘Whether monumental or hand-sized, Jeremy’s idiosyncratic cast of ceramic characters, called “piccolos”, are meditative and tactile, just the kind of company you want to keep around,’ says Keh. See the pieces cast in a fresh light by photographers Keirnan Monaghan and Theo Vamvounakis on page 065.

Doherty photographed this month’s artists’ recipe, Georgie Hopton & Gary Hume’s pasta Liguria (page 130), his second shoot in the series, working with food stylist Michelle Gatton. ‘We work together a lot and get along very well in the world of food and friendship. These pics were fun because you’re doing something very specific, interpreting an artist’s work through food, but also trying to make a photo that feels like you,’ says Brooklyn-based Doherty.

GEORGIE HOPTON & GARY HUME Artists Partners in life for more than 20 years, artists Hopton and Hume presented joint exhibitions for the first time this spring, at London’s Lyndsey Ingram Gallery and then New York’s Armory Show. For this month’s Artist’s Palate (page 130), they selected a dish of pasta with green beans, blue potatoes and pesto, with ingredients proudly harvested from their retreat in upstate New York.

‘It’s one of those meals that could never taste as good anywhere else,’ says Hopton.

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PAT BOGUSLAWSKI Movement director

SPENCER WELLS Photographer

Former dancer Boguslawski began working as a movement director while he was modelling for Sarah Burton at Alexander McQueen and she asked him to coach the other runway models. His portfolio now spans fashion campaigns and music videos, and he brought his signature dynamism to our resort wear story (page 118), working with photographer George Harvey and Wallpaper* fashion director Jason Hughes.

‘If you have fun coming together to create, you don’t think about it as work,’ he says.

‘Documenting Bosco Sodi’s process was thrilling,’ says Wells, who shot our studio profile of the Brooklyn-based artist (page 074). ‘He really set the stage for the moment of creation: classical music blaring, daylight spilling into the dimly lit studio from the open loading bay door, his movements deliberate and powerful. Sitting down with him after he’d finished was a contrast; he was relaxed, jovial and we had a great conversation.’ Wells’ recent focus has been using short films to tell artists’ stories.

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ILLUSTRATOR: JENNY MÖRTSELL

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Bold Collection, design Elisa Giovannoni

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EDITOR’S LETTER

Back to nature

Andy Liffner Part of Front’s Nature Furniture collection for Moroso, photographed in the Roslagen archipelago.

Front’s Anna Lindgren and Sofia Lagerkvist, pictured above, explored forms and surfaces in nature, and worked with Moroso to recreate them in upholstered pieces.

See more on page 054

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featuring the works of ceramic artist Jeremy Anderson, co-founder of New York studio Apparatus. Originally inspired

by Bernd and Hilla Becher’s images of industrial architecture, the statuesque forms now come to life in an immersive, coral-filled sea cave.

For painter and sculptor Bosco Sodi, who created our limited-edition cover, embracing nature has meant exploring organic materials and processes, and discovering beauty within naturally occurring cracks and crevices. It’s been a prolific few months for Sodi, who opened three shows in quick succession (two of which we discuss in our visit to his Brooklyn studio), as well as publishing a small volume of writings on art and life, En cuarentena.

This is well worth a read as we reflect on 2020: ‘Art makes us exist more within ourselves and understand our place in the universe, and live in harmony with nature and other human beings,’ he writes.

Meanwhile, Georgie Hopton and Gary Hume share the joys of natural produce in their contribution to our artist’s recipe series: a pasta with green beans, green basil and blue potatoes, all personally grown and harvested at their farmstead in upstate New York. It’s a dish that nourishes both the palate and the soul. Enjoy the issue!

Sarah Douglas, Editor-in-Chief

Limited-edition cover

by Bosco Sodi

Sodi’s cover shows his clay sculptures at the Tadao Ando-designed main building at the Casa Wabi art centre.

Six of the horizontal pieces were on view as part of his show ‘Vers l’Espagne’ at Kasmin Gallery, New York, while the superimposed sphere is from his outdoor installation ‘Perfect Bodies’. See our interview and studio visit, page 074 Limited-edition covers are available to subscribers, see Wallpaper.com Portrait: Andy Liffner

Newsstand cover Photography:

Welcome to our December issue! Compared to previous years, we are entering the festive season on a quieter note – with extravagant parties replaced by more intimate occasions, and excess giving way to a more thoughtful appreciation of the people and things we hold dear. There are grounds for optimism and opportunities for celebrations of a different sort – and so for the final issue of the year, we present an exaltation of earthly delights, and an ode to the joys of entertaining at home.

Our newsstand cover unveils an exciting new project by Swedish design studio Front, who have worked with Italian manufacturer Moroso to create a new series titled Nature Furniture. Inspired by studies on the therapeutic effects of time spent in nature, they decided to bring fragments of the natural world into domestic settings, utilising photography, 3D scanning, and digitally printed fabrics.

Sofia Lagerkvist and Anna Lindgren from Front explain, ‘We wanted to create the feeling that someone had lifted a whole glade from a forest with a gigantic shovel and moved it to a home.’

The natural world has equally been on the minds of our Herculean US editor Michael Reynolds and photography duo Keirnan Monaghan and Theo Vamvounakis, who dreamed up underwater scenes

In collaboration with the official dealer

Newspaper* Wallpaper’s hot pick of the latest global goings-on

Model: Kristin Zakala at Premier Model Management. Casting: David Steven Wilton.

Hair: Liam Russell using Evo and Oribe. Make-up: Emma Regan using Marc Jacobs Beauty

Right, jacket, £3,090; trousers, £1,090, both by Alexander McQueen.

Shoes, £480, by Church’s.

Earrings (throughout), £170 per pair, by Alighieri.

Rings (throughout), price on request,

by Mummu Design

A classic piece comes spliced and diced, deconstructed or dripping with fringing

Tux return

PHOTOGRAPHY: JOSIE HALL FASHION: AYLIN BAYHAN

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Above, jacket, £2,250; trousers, £745, both

by Dolce & Gabbana

Below, jacket, £3,126; trousers, £885, both by Versace

Left, jacket, £2,600; skirt, £1,720, both by Prada.

Shoes, £480, by Church’s.

Socks, £19, by Falke

For stockists throughout, see page 128

e’ve always erred towards classic dress codes, but, for A/W20, our failsafe silhouettes have had an experimental uplift. The catwalks saw something of a tux redux, with brands offering new takes on the eveningwear essential. At Prada, an oversized blazer came festooned with flapper girl fringing, acting as an androgynous upgrade on Jazz Age embellishment, while at Dolce & Gabbana, a cropped tuxedo took on a softer silhouette, with a bow detail that fluidly draped across the body.

Versace spliced and diced the style, piercing cut-outs with punky metal hoops, while Alexander McQueen dabbled in deconstruction, with a tuxedo resembling a doubled-up jacket. Think of it as timeless dressing with a twist.

PHOTOGRAPHY: JOSIE HALL FASHION: AYLIN BAYHAN WRITER: LAURA HAWKINS

Newspaper

Limited-edition bone cuff in black finish over copper, £615, by Elsa Peretti, for Tiffany & Co

Many happy returns to Elsa Peretti’s bone cuff in a new finish

Back to black

Elsa Peretti’s tenure at Tiffany & Co ushered in a new era of simplicity in jewellery design. The Italian-born former model’s jewellery career began in the 1970s with sculptural pieces created for friend and fashion designer Halston. She preferred working in silver, then a metal rarely considered special enough for fine jewellery. By eschewing the ornate aesthetic that had hitherto characterised the decade, Peretti brought organic concepts to the forefront. Her translation of the natural creations that inspired her, such as beans, hearts and starfish, utilised empty space, creating clean, uncluttered outlines. As a child, her curiosity was

PHOTOGRAPHY: HARVEY WALLER WRITER: HANNAH SILVER

sparked by visits to the crypt of a 17th century Roman church and Antoni Gaudí’s Casa Mila in Barcelona, and her perennially popular bone cuff was born from these sojourns, the undulating lines of Gaudí’s work later mirrored in the cuff ’s contours. Characterised by an ergonomic sensuality, each cuff is designed specifically for either the left or the right wrist in order to better hug its curves. To mark the cuff ’s 50th anniversary, Tiffany & Co has partnered with Dover Street Market for a new limited-edition version. Crafted from copper, it features a gothic black finish, a fitting nod to its macabre roots. tiffany.com

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Newspaper

A new collection speaks volumes about the future of design

Conversation pieces Clockwise from main picture, ‘Aurora’ candleholders, from £85; ‘Play & Burn’ candleholders, from £137 for a set, all by Ludovica and Roberto Palomba; ‘Touch’ bowls, from £141, by Ilse Crawford; ‘Eclipse’ wall mirror, from £360,

by Monica Förster; ‘Stonehenge’ stool in maple, £486, by Ludovica and Roberto Palomba, all for Zanat, from WallpaperSTORE*, store.wallpaper.com

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The origins of Bosnian craft brand Zanat date back more than a century, when founder Orhan Niksic’s greatgrandfather stumbled on a primitive handcarving technique that originated near his hometown of Konjic. He established a woodcarving workshop and passed the now Unesco-protected technique down through family generations. Niksic started Zanat in 2015 with the aim of preserving this family legacy and he saw the recent pandemic as a chance to discuss themes of family and home. ‘The lockdown has been a good opportunity to stay closer to our household members, to ponder the future, the human condition and what truly matters to us,’ he says. Niksic took up discussions with some of Europe’s most celebrated designers, including Monica Förster, Ilse Crawford, Sebastian Herkner, and Ludovica and

Roberto Palomba. ‘We all agreed that the future cannot look like the past, that sustainability and ethics pertaining to how products are made, brought to market, and consumed can no longer be a matter of choice, but must be a design imperative.’ And so the Lockdown Dialogues Project was born. ‘Our aim was to create a collection of functional objects that improve the experience of staying at home and hopefully become heirloom pieces, objects made from responsibly sourced, renewable natural materials that clearly demonstrate the value of craftsmanship.’ The collection includes mirrors by Förster, stools and candleholders by the Palombas, and bowls by Crawford. Niksic hopes these objects can enrich our lives while also creating employment opportunities and preserving important artisanal skills and cultural heritage. zanat.org

PHOTOGRAPHY: ALMIN ZRNO WRITER: ROSA BERTOLI

PARROT Portable Light Battery 8 – 100 h Touch Control Smart Charge Height-Adjustable warmDIM tobiasgrau.com

Newspaper Winter warmers that soften the planetary blow

Padded values This winter, as a host of performance labels have been working hard to ensure we can stylishly endure a cold snap with a cleaner conscience, we’re investing in outerwear that lightens our footprint.

Take, for example, Herno’s latest Globe collection, which is its most sustainable yet, and features snuggly jackets made using regenerated nylon and insulation formed from recycled feathers. Fellow Italian brand Geox has also warmed to eco-friendlier fabrics. The padding of its eyecatching outerwear is created using regenerated feathers and a fibre formed from plastic waste. And Belgian label Templa has exemplary eco acumen, using PrimaLoft insulation, which incorporates biodegradable filler.

Its windproof and water-repellent styles don’t just shield the body, they’ll soften the environmental blow, too.

Clockwise from above, jacket, £540, by Herno.

Jacket, £279, by Geox.

Jacket, $2,400, by Templa

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PHOTOGRAPHY: JOSHUA BAREHAM FASHION: AYLIN BAYHAN WRITER: LAURA HAWKINS

Hand made in Italy / ceramicacielo.it

Le Acque di Cielo: —— Colour is our attitude!

Catino Ovale washbasin in Oltremare and Smeraldo finishes, Oval Box mirror in Smeraldo finish design by Andrea Parisio, Giuseppe Pezzano

Newspaper

Taking pot shop design to heady new heights

Joint enterprise Designed by StudioAC, this retail store for Canadian cannabis brand Edition X, located in Toronto’s Annex district, is functional but also tactile, conceptual and visually arresting. StudioAC directors Jennifer Kudlats and Andrew Hill describe the project as ‘retail sculpture’. They say, ‘Rather than the act of designing shelves, displays or sales desks, we wanted to produce a singular design element, a sculpture of sorts that has its own aesthetic quality and massing that simultaneously is inspired by existing conditions while also setting out to define new ones.’

The relatively narrow interior is now defined by an elongated central form that draws the eye and brings everything together. Its design consists of a table element and ceiling made from off-the-shelf, industrial fibreglass grating. The white and grey colour palette keeps everything crisp and minimalist, allowing the shapes and products to take centre stage. A front-ofhouse gallery space cleverly screens the retail area beyond, adhering to Canada’s regulations that require these stores to be discreet in their promotion of cannabis culture. archcollab.com

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A front-of-house gallery space (left) discreetly screens cannabis brand Edition X’s retail area (above), which features an elongated central table and ceiling made from industrial fibreglass grating

PHOTOGRAPHY: YOUNES BOUNHAR WRITER: ELLIE STATHAKI

What kitchen? Vipp kitchen The good news is – our pedal bin from 1939 is world-famous.

To the extent that it’s on display in design museums.

The bad news is – our kitchen is still quite unknown.

It’s not in museums. Only in showrooms.

It takes time to become a classic.

vipp.com

Column

THE VINSON VIEW Quality maniac Nick Vinson on the who, what, when, where and why

VINTAGE PIECES I AM COVETING FOR MY TOP TABLE Alberto Burri dishes, made by Ceramiche Baldelli, in Città de Castello, in 1949 Silver carafe, designed by Lella and Massimo Vignelli in 1971, and made by silversmith studio San Lorenzo ‘Narcisse’ decanter and goblets, designed

by Boris Tabacoff in 1970 for Baccarat Matteo Thun’s limited-edition ‘Hommage à Madonna’ flatware collection, produced for WMF in 1986 Cartier’s 1910 ‘Hydrangea’ table ornament with aventurine leaves in a gold and agate pot finished with rose-cut diamonds A pair of 1980s Boucheron birds, carved in rock crystal by Erwin Klein and finished in diamonds, rubies, quartz, onyx and coral Jean Puiforcat’s 1937 three-branch silver and vermeil candlesticks ‘Alba sul Mare’ dinner service by Belgian artist Jean-Michel Folon for Ginori 1735

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The show must go on

Whether it’s dinner for 100 or one, a table should look its best

When we first went into lockdown in the UK back in the spring, my diary of fancy dinners and meals out quickly evaporated, replaced by dining alone. So I started to dress up my table, even for just a cup of tea and slice of colomba at Easter. My kitchen cupboards were full of items collected over the years, many rarely used. I found that preparing the table as if it was a banquet for one made dining alone for ten weeks bearable. I appropriated many small objects not usually used on the table, such as a pair of 1980s aluminium birds by Eleni Vernadaki that I picked up in Athens last year, and I shuffled through every candleholder and every vase, since flower deliveries were my treat of the week.

In May, when I managed to relocate to Italy and was reunited with my husband Álvaro, meals were for two. At our Florence home, we have cupboards filled with crockery, flatware, stemware and decorative napkins. And talking of the latter, some years ago I got TAF in Florence to open a few closed drawers and bought up its stock of 1970s designs, including a green linen set featuring hand-appliquéd chickens (think the original Kellogg’s rooster), and also commissioned it to produce its ‘Chin Chin’ range of towel-wearing ladies clutching martini glasses for Matches Fashion. Álvaro is a seasoned vintage snuffler and, over the

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summer, came home with napkin sets by TAF, Loretta Caponi, Gucci and Roberta di Camerino, practically unused and in perfect condition, picked up at his favourite charity stores and markets. So now we can serve watermelon, mint and feta salad from a Bordallo Pinheiro watermelon tureen with watermelon pink linen napkins.

During lockdown, I also started watching documentaries on YouTube about Elsa Peretti, salivating over her 1980s tabletop objects for Tiffany & Co, such as her ‘Thumbprint’ sterling silver tureen, and her crystal salt and pepper basket with a pair of lacquered spoons. I also added to my collection of stag antler serving tools,

by G Lorenzi, from the little remaining stock that exists, as you can never have too many (well, maybe you can).

In Florence, we did get to entertain again, and we did get to eat out again.

But eating at home – whether home cooked, bought prepared from a rosticceria or deli, or from a restaurant now offering delivery – felt good. Generally, when it comes to tableware, I am keen on sets of eight or 12, but in recent months, I have found myself OK with buying for just one or two. With Thanksgiving and Christmas coming up, and lots of uncertainty about who can travel where over the holidays, a top table for one or two has never looked so good.

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02 First hand Le Corbusier’s ‘Prunier’ tableware (1961) for London restaurant Prunier is being commercially produced for the first time

by Cassina and Ginori 1735. cassina.com

03 Fifty and fabulous To celebrate 50 years of collaboration with Elsa Peretti, Tiffany & Co has reissued some of her pieces, including her ‘Padova’ cutlery and ‘Thumbprint’ bowls. tiffany.com

ILLUSTRATOR: DANAE DIAZ

L AUF EN 1 8 9 2 | SW I T Z ER L A ND

Design Mimicking the surrounding rock formations, a piece of seating from Front’s Nature Furniture series for Moroso, photographed in Sweden’s Roslagen archipelago Parum rerum faci blantio.

Hillaute quibusam aut omnimen debitatur mil magni dolorrum, nus, conserror secatem fuga. Menient as qui voluptium quodit archit eum exere henimilique sam, et lab intRo et aliquat quis essequo

FORCE OF NATURE A new furniture collection sees Front and Moroso invite the wilderness in PHOTOGRAPHY: ANDY LIFFNER WRITER: ROSA BERTOLI

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Design

Right and below, the seating’s form and upholstery recreates natural surfaces that Front’s Sofia Lagerkvist and Anna Lindgren explored, scanned and photographed, with input from scientific advisors, before working with Patrizia Moroso on production

L

iving in Sweden, Sofia Lagerkvist and Anna Lindgren, of design studio Front, have an innate connection to the wilder side of nature. ‘Nature is always around the corner wherever you are in this country,’ the designers observe. ‘We have dramatic differences between the seasons: summer is completely light and winter is dark, and that makes you conscious of how nature affects you in a very direct way.’

Nature has been a recurring theme for Front, whose pieces often feature sculptural renditions of animals, depictions of natural phenomena and organic forms. But over the past four years, the pair have gone deeper, conducting a scientific exploration of the shapes, structures and textures found in the wild. Building an international network of scientists and researchers, and taking themselves to Swedish forests to photograph and scan the environment, Lagerkvist and Lindgren gained an understanding of the architecture of the forest and its living systems, which has, in turn, informed their most ambitious project to date.

Titled Design by Nature, the project includes furniture, objects and textiles directly informed by the natural phenomena the pair researched. To bring their ideas to life, they found an ideal production partner in Patrizia Moroso, a long-time collaborator and friend. Front’s inaugural series for Moroso, developed in 2008 and titled Moment, included furniture that created optical illusions. It’s a trick they want to repeat. ‘We want to interest the viewer on many different levels, and the illusion triggers the feeling of curiosity, of trying to understand what something really is and what it is made from,’ says Lagerkvist.

With Design by Nature, they take this concept to the next level. The first pieces

form a series they call Nature Furniture, functioning like traditionally upholstered seating but looking like rock formations covered in patches of moss. The pair worked with Moroso to recreate natural surfaces on textiles using 3D scanning and photography.

Patrizia Moroso then enlisted textile experts such as Kvadrat Febrik and Limonta to develop digitally printed fabrics, as well as jacquards and gobelins that mimic the images captured by Front.

The concept was inspired by studies that demonstrate how spending time in nature has positive effects on general wellbeing, memory and creativity. ‘This idea made us wonder whether it could be possible to bring fragments of wilderness, of the natural

world, directly into domestic settings.

We wanted to create the feeling that someone had lifted a whole glade from a forest with a gigantic shovel and moved it to a home. The pieces try to recreate the feeling of sitting out in a forest on the mossy ground, on a cliff by a lake, or of sinking into a snowdrift,’ the designers say.

The second part of the collection is focused on animals’ own creations. Lagerkvist and Lindgren spent several summer months over the past four years exploring bears’ burrows, tree trunks cut by beavers, textures created by woodpeckers and insects, tunnels dug by rabbits and the nests of wasps and mole crickets. They scanned wolves’ and owls’ tracks on the snow, looked at »

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The series includes textiles developed for the project

by Kvadrat Febrik, left and below right, and this digitally woven bitmap fabric

‘Postcard-beautiful nature is not the most fascinating.

We love the cold, rainy, raw and ugly nature’

single-cell amoebas, and fossilised faeces from around 200 million years ago. The designers also looked at a forest’s timeline, observing the chronology of animals taking over its spaces after a fire.

Their images, scans and illustrations show a very raw and clinical interpretation of the forest, not an idealised version. ‘Postcardbeautiful nature is not the most fascinating.

We love the cold, rainy, raw and ugly nature,’

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they observe. The objects that they studied were then domesticated – 3D printed and reproduced in porcelain, wood and recycled glass, and rescaled to work as side tables, vases and lighting objects.

The designers’ point of view on the natural world was a definite pull for Patrizia Moroso, who became an integral part of the creative process. ‘I was familiar with this topic of nature as a creator

of shapes and structures,’ says Moroso.

‘It’s not by chance that this project is called Design by Nature. It’s not an old-style, romantic concept, it’s a new scientific and technological approach, as it reproduces the organicity of a natural object with contemporary tools. Front’s work as designers is to research and find interesting phenomena, to leave them untouched, to analyse them and to faithfully reproduce them – I think this is genius.’

The research element of the project has perhaps been the most energising. ‘It’s been inspiring to see how designers can become connectors,’ observes Lagerkvist. The pieces currently in the works, from the seating to the objects designed by animals and repurposed by Front, will be presented in an immersive installation in 2021. Lagerkvist and Lindgren suggest that a process of research and exploration will continue to inform their work. ‘We have always loved to create projects that take a strand of research that then starts to unravel and grow in unexpected ways,’ they say.

Patrizia Moroso sums up the collection as a combination of simple forms and complex textures and surfaces that together can recreate the complexity of nature in the eye of the viewer. ‘It’s an interplay between design and nature that is very important in these times,’ she says. ‘We have so much to learn from nature.’ frontdesign.se; moroso.it

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www.baxter.it

Art

Logo type Artist Sarah Coleman warps Fendi’s identity as she stages a brand takeover in Miami PHOTOGRAPHY: MOLLY MATALON WRITER: ROSA BERTOLI

When Fendi contacted Sarah Coleman asking her to create a project for Design Miami, the American artist recalls receiving a simple instruction: ‘be disruptive’.

The brief got slightly more defined as the conversation progressed, but this initial approach gave Coleman a push in an encouraging direction.

Set to be unveiled in Miami in late November at Fendi’s Design District boutique, the artist’s intervention includes a yellow optical-print façade, bespoke furniture, a special edition of the brand’s ‘Peekaboo’ bag, and a distorted monogrammed print.

At Design Miami, the Rome-based brand has traditionally presented collaborations with female designers, including Cristina Celestino, Chiara Andreatti, Sabine Marcelis, and Sarah Kueng and Lovis Caputo of Kueng Caputo. ‘Fendi has a strong womanhood heritage and ethos, so it’s always a pleasure to work with female talent,’ says Silvia Venturini Fendi, the brand’s creative director. ‘They provide the perfect complement to what we are creating with our fashion collections. I’m so proud of what we’ve achieved with these designers and artists over the years.’

Working at the cusp of art and design, Coleman repurposes monogrammed canvas (which she sources from old accessories) on chairs, lighters, coffee sleeves and, most recently and practically, hand-sanitiser bottles. She has covered light switches, a vacuum cleaner bag, household cleaning products and milk bottles, a pizza box and a barber chair in instantly recognisable fashion logos, from the likes of Louis Vuitton, Gucci and Fendi.

Coleman’s background includes working with Peter Marino on fashion boutiques worldwide, and later serving as the art director for the Mercer Hotel.

Her fascination with logos started at a very early age: ‘You can mix them with anything, you can use a logo like black, as a neutral,’ she observes.

‘We are so familiar with and desensitised to all these logos, but they’ve lasted so long and they’ve been so successful, and they’re really genius prints.’

Although she has used material from a variety of fashion brands, the Fendi Zucca print is a recurring motif in her work, and a pattern she particularly »

This page, Sarah Coleman, who has collaborated with Fendi to take over its Miami Design District store Opposite, work in progress on Coleman’s moodboard shows her distortion of Fendi’s Zucca print, with its distinctive double F motif, which she is applying not just to the store but to her take on the ‘Peekaboo’ bag

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Art ‘Since the beginning, Fendi has been committed to redefining luxury through the development of new materials and techniques. It’s important to continuously explore a new expression of Fendi conceived from our heritage. Sarah had already been repurposing our iconic prints in her work, which invited the opportunity to see how this creativity can evolve by collaborating.’

Fendi is no stranger to allowing pop culture influences into its output, and this is one of the reasons Coleman was so attracted to the house and its logo.

Not taking itself too seriously, Fendi has seen its logo appear on pasta and ice lollies; it has created a DIY needlepoint version of its signature ‘Baguette’ bag and enlisted a diverse pool of designers, artists and creators to interpret the Fendi logo and identity.

‘Design is a never-ending passion and a source of constant inspiration. It is a fascinating world, made of individuals with extraordinary personalities and personal styles that shun the conventional.

Our partnerships provide a stimulus to dare, to experiment, to free our creativity and push ourselves beyond established limits,’ says Venturini Fendi.

For Coleman, the creative exchange with Venturini Fendi was a crucial element for developing this project. ‘I feel a strong connection to her vision.

She really understands my vision as an artist, and I think that she sees something that maybe hasn’t been totally played out yet [in my work],’ Coleman explains.

‘The fact that a huge brand is empowering a young artist made me feel even more pushed, and this is something that’s so needed, something that makes me really proud of my art.’

‘Sarah’s craft of repurposing has a great subversive humour,’ says Venturini Fendi. ‘It can redefine a luxury product. Her work embodies our spirit of taking handcraft in new directions, she can reimagine the conventional into the unexpected.’

‘Fendi featuring Sarah Coleman’ will be at Fendi’s Design District store, 150 NE 40th Street, Miami, to coincide with Design Miami, which runs 27 November-6 December, sarahcoleman.co; fendi.com; miami2020.designmiami.com

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Coleman used photo-editing software to create a warped design for the store’s exterior, far left, while the distorted Zucca print, near left, will feature throughout the interior

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Render: courtesy of Fendi. Photography: Paige Rubin

admires for the spontaneity of its creation (it took Karl Lagerfeld three seconds to sketch back in the 1960s) and its longevity. ‘I think that the Zucca print is incredible. It can be used in so many different ways, it can be manipulated, it can be changed, but at its core, it’s always this really beautiful print.’

Coleman’s work is social media-friendly, so it’s no surprise that her career as an artist has developed over Instagram (after posting her first chair on the platform, she started a conversation with her followers, asking what else she could cover and building her body of work from there). Fendi’s first approach for this commission came via Instagram, too.

Social media, and related tools, have became a common thread running throughout this project.

Having free rein to work on a well-known logo was a dream come true for Coleman, whose first step included manipulating the Zucca print. ‘I thought it would be really funny to use a photo-editing app different from Photoshop, so I used Facetune. I liked the idea of using this software that’s so commonly used by people to edit their face and body,’ she says.

She experimented with different face-editing apps, resulting in a warped image of the repeated logo – a slightly 1970s-looking optical illusion – that she used across the project.

The installation in Miami will include established elements from Coleman’s body of work, as well as new pieces. Among them are an acrylic zigzag chair covered in vintage magazines printed with photos from Fendi’s archives and her warped Zucca logo print; and a vintage rattan chair that she painted yellow, with a cushion upholstered in a 1980s Fendi beach-bag canvas. She has also created a plaster rendition of the ‘Peekaboo’ bag, inspired by the Miami arts scene and her own childhood toys, as well as some mixed-media artworks, inspired by an imaginary, distant-future view of luxury objects, using layers of draped fabric, found objects and deconstructed Fendi bags.

‘I adore Sarah’s sense of artistic fun and clever irony.

We share this same humour and creativity so of course I was naturally drawn to her work,’ says Venturini Fendi.

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DEEP DIVE New York ceramic artist Jeremy Anderson explores a whole new world

Jeremy Anderson has been running New York lighting and design studio Apparatus since 2012, with his co-founder and life partner, creative director Gabriel Hendifar. He’s now made a return to working creatively in his own right too, revisiting his long-held passion for ceramics. In March, Anderson debuted his first body of ceramic work. Inspired by Bernd and Hilla Becher’s photographs of water towers and industrial structures, which Anderson thought resembled characters embedded in the landscape, he created individualised, anthropomorphic forms of his own. ‘I mainly work at the wheel, and

mostly made functional pieces,’ he recalls of earlier efforts. ‘After I made our dinnerware set, I wanted to do something more. There’s such satisfaction from how immediately you can [transform] a ball of clay. I wanted to do vessels and so I started exploring stacking and creating these shapes.’

Each of Anderson’s vessels, named ‘piccolos’ after the pet name an ex-boyfriend gave him, take on a unique character. Stouter, smaller pieces, with three legs and a wide body, are juxtaposed with taller, statuesque specimens with raised ridges or hand-painted stripes. These lines, rarely premeditated,

PHOTOGRAPHY: KIERNAN MONAGHAN & THEO VAMVOUNAKIS ART DIRECTION: MICHAEL REYNOLDS WRITER: PEI-RU KEH

Art

intuitively progress around the ceramic form, and the happenstance quality of the patterns ensures that no two pieces are truly alike.

While many of the pieces are made out of stoneware, left unglazed to allow the natural tones and texture to shine through, Anderson has also made vessels out of raw porcelain, and coated others in a brilliant 22ct gold lustre. ‘I love the idea of respecting the tradition of ceramics,’ the artist says of his sculptural objets, ‘but I still wanted there to be an element of play with it all.’ jeremy-anderson.com. See more overleaf and at Wallpaper.com

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This page, a selection of ceramic vessels from Jeremy Anderson’s debut show, ‘The Piccolo Parade’, including ‘Piccolo 39’ in porcelain, $4,200; ‘Piccolo 26’ in stoneware with cinnamon and grey stripes; and ‘Piccolo 17’ in stoneware with charcoal glaze and ivory fins, both price on request Previous page, ‘Piccolo 41’ in stoneware with 22ct gold lustre, $7,800

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Architecture

Reform act The new east London headquarters of design studio Pearson Lloyd sympathetically bridges the gap between past and present PHOTOGRAPHY: TARAN WILKHU WRITER: ELLIE STATHAKI

The new headquarters of design studio Pearson Lloyd, at Yorkton Workshops, just off Hackney Road in east London, was a collaborative venture with Cassion Castle Architects, and involved the transformation of a series of warehouse buildings of various ages and states of disrepair

A mismatch of old structures, from a Victorian workshop to a 1990s factory building, may not immediately jump out as the perfect place to set up a contemporary office. But Luke Pearson and Tom Lloyd, founders of London-based design studio Pearson Lloyd, saw the potential in just that kind of architectural jumble at a site in east London. The pair had previously been working between two locations, but had been searching for the right spot to set up a new unified base, a bespoke, generous office to house their growing numbers and varied activities, from conventional desk working to modelling and large-scale prototype making.

Once they had acquired the site, just off Hackney Road, they started examining different ways of making the most of it. ‘The first design iteration included a complete demolition of the [original] buildings and development of a three-storey new build, with increased floor areas and the potential to create a creative hub,’ recalls Pearson.

‘However, this route led to a project that was full of compromises, increased costs and a loss of the spirit of the buildings as they were.’

The solution, they concluded, was to work with what was there, and add a new chapter to the rich history of the site, which had previously housed a range of small artisans, from a hat maker to a specialist framing business. A creative design studio felt a fitting continuation of that tradition. ‘We wanted to fully engage in the environmental benefits of refurbishment,’ says Lloyd. ‘And we are honestly delighted that we made that choice.’

North London architect Cassion Castle was tasked with helping them. ‘We have worked with Cass on different projects for many years,’ says Pearson. ‘He is very happy to work collaboratively on the design and detailing of a project. And as he acts as both architect and builder, this has allowed us to make iterative creative decisions on the »

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Clockwise from left, the project’s centrepiece, an orange steel staircase, connects all floors and leads to a planted terrace; flexible gallery/event space is located on the ground floor of the Victorian part, while on the floor above are a series of meeting rooms, which feature furniture designed by Pearson Lloyd, including their ‘Peggy’ table for SCP, ‘Kin’ chairs for Allermuir and ‘Riya’ task chair for Bene

‘We approached it a bit like archaeology, trying to decide what should be kept or go’

existing building structures in a very fluid and dynamic way during the build.’

Aiming to celebrate and enhance the bones of the existing buildings, the architect and client team worked meticulously through the old structures, saving what could be saved, respectfully replacing what needed to be replaced, and tailoring old and new bits according to what need dictated. A new roof was added to the 1990s wing of the complex, for example, updating the top floor with extra height, insulation and skylights; the ‘memory’ of the old one, a line on the wall,

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was kept, acknowledging the building’s past.

‘We approached it a bit like archaeology really, trying to decide what should be kept and what could go,’ says Castle, whose portfolio includes a mix of striking one-off houses and commercial work. ‘We wanted to impose some sort of architectural clarity on the whole building, while also embracing its history and special quality.’

Everywhere, the spirit of past lives is palpable; yet this is a contemporary building, especially in its accent on sustainability, future-proofing and accessibility. ‘Nothing

is clad, nothing is rendered, we didn’t try to refinish anything. It’s like a garage space. We wanted to reduce the amount of embedded energy in the refurbishment and maintain as much of the existing fabric as possible,’ says Lloyd. The new office maximises natural light and cross-ventilation, eliminating the need for air-conditioning, as well as providing step-free access to key areas. Solar panels on the roof support energy needs. The studio is also currently developing new desking solutions to make socially-distanced working and collaborating easier and safer. The space feels very robust and more like a workshop than an office space, and the pair cite European factory campuses, Jean Prouvé and Alexander Calder as sources of inspiration.

Flexibility was key, not only because of the studio’s range of work (covering everything from graphics and product to cruise ship cabins and aircraft interiors), but also because of the challenges the ongoing pandemic brought to the mix. ‘The building needed to be flexible in its own right,’ says Pearson.

‘The whole space is now more collaborative, dynamic and open [than older offices]. Covid has also affected how we planned things.

The by-product is that we can now use the space as relatively freeform and responsive.’

The finished complex combines a street-facing Victorian part, which now houses flexible gallery/event spaces, private offices and meeting rooms, and a late-20th century section, housing a workshop and an open-plan office. The two parts are brought together by a new concrete ‘bridge’ containing the main entrance, a bike park, and the project’s gestural centrepiece, a steel staircase, painted orange, that connects all floors and leads to a planted terrace.

Pearson Lloyd also put together a furniture and interiors scheme, supporting their concept for an office that is a workshop for ideas, bridging old and new. ‘We’ve carefully selected the fabric palette, but, at the same time, we didn’t want this to be a Pearson Lloyd showroom,’ says Lloyd. ‘We hope it will be a canvas for experiments.’ pearsonlloyd.com; cassioncastle.com

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WWW.LONGHI.IT

Art

Natural wonder Artist Bosco Sodi on pre-industrial minimalism and organic perfection PHOTOGRAPHY: SPENCER WELLS WRITER: TF CHAN

This page, artist Bosco Sodi, photographed at his studio in Red Hook, Brooklyn, in September Opposite, Sodi at work on a new painting using bright orange dyes acquired in India eight years ago

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B

osco Sodi’s painting studio is set in a mid-19thcentury warehouse in Red Hook, Brooklyn, a cavernous space with austere stone walls, exposed ceiling beams and towering doors that open onto the waterfront. Despite the impressive scale of his work (the titular painting for his 2010 show ‘Pangaea’, at the Bronx Museum, measured 4m x 12m), Sodi prefers to work alone, relying on an assistant only for the most physically demanding tasks. ‘I prefer to have nobody here. Painting is a very intimate process, so I don’t like having my concentration broken,’ he says.

Sodi’s paintings are driven by materials: pigments, often in striking hues that push the limits of the human eye, personally sourced from around the world; sawdust, gathered from workshops near his studio; glue and water. Insisting that touch and feel are essential to ‘that exchange of energy between the artist and the object’, he personally mixes the ingredients in giant buckets, intuiting measurements as he works out their specific chemical properties.

Lying the canvases flat, he throws on fistfuls of paint with his bare hands, splattering layer upon layer over a four to five day period. ‘And when I see the first crack, I stop totally and let the painting go by itself,’ he explains. ‘Because if I get into the painting when it’s already becoming alive, I will alter the outcome, and it would not have that natural and organic feeling.’

Left out to dry for a few weeks, a painting develops further cracks that evoke the arid landscapes of Sodi’s native Mexico. Finally, he stands it up and sees it properly for the first time, relishing the fact that the outcome is impossible to predict: ‘That’s what makes me come to the studio every day – the excitement of not knowing what’s going to happen.’ As vivid as the works-in-progress may be, it’s the finished pieces, with their weathered surfaces, that linger longer in the viewer’s memory, able to summon the same awe and wonder as ancient fossils.

As Sodi focuses on one colour at a time, his shows of new work tend to be monochromatic. A recent show, ‘Vers l’Espagne’ at Kasmin Gallery, New York, had five entirely white works, each measuring 268cm x 353cm.

This page, from top left, unpacking a rock sculpture, made of solidified magma from the Ceboruco volcano in Mexico; and artworks in the studio including paintings on linen (left) and urushi panel (right) Above, Sodi created this issue’s limited-edition cover, showing his clay sculptures at the Tadao Ando-designed main building at the Casa Wabi art centre. Six of the horizontal pieces were on view as part of his show ‘Vers l’Espagne’ at Kasmin Gallery, New York, while the superimposed sphere is from his outdoor installation ‘Perfect Bodies’. Limited-edition covers are available to subscribers, see Wallpaper.com Opposite, a pair of white paintings for ‘Vers l’Espagne’, created as an homage to Joan Miró, with a new surface treatment achieved by marking tree branches on the canvas while the paint is fresh

They pay homage to three paintings of the same dimensions by Joan Miró, which were blank, save for a solitary trembling line – an ostensibly simple gesture that spoke volumes about minimalism and freedom.

But while Miró’s original series was a pure expression of the artist’s intention, Sodi’s tribute incorporates elements of nature: he thought of his house in upstate New York, with a small lake, frozen and blanketed with snow in winter. In the same way that Sodi used to hit the snow with tree branches to create imprints, he’s now applied a surface treatment to his white paintings: ‘I began to create paintings the way I always have. But once I was done putting the material on, and while it was still completely fresh, I marked the branches on the paintings. I wanted to give this sensation of purity, of simplicity, while keeping a resemblance to the organic.’

This deference to nature and chance is equally evident in Sodi’s sculptural works within the Kasmin show – monumental terracotta-hued blocks made from local clay at his Casa Wabi art centre in Oaxaca, Mexico. Formed by hand, dried in the sun, then fired in a traditional kiln with coconuts, wood and jacaranda seeds, their geometric forms are tempered by their cracked and scorched surfaces. Sodi calls the pieces ‘pre-industrial minimalist’: ‘American minimalism was based on perfection, here it is the contrary.’

A borough away, back in Red Hook, Sodi is currently presenting another series of clay sculptures in the most un-gallery-like of settings: a commercial outdoor parking lot. Against a backdrop of concrete and corrugated steel, he is showing large-scale spheres and cubes that were likewise created at Casa Wabi. The title, ‘Perfect Bodies’, is derived from the auto body shop that used to occupy the site, but also a clever commentary on the Japanese philosophy of wabi-sabi, which has been a driving force of Sodi’s work for many years. ‘Perfection comes from uniqueness,’ he muses. ‘It’s the unrepeatable, the traces of time, and the cracking that makes them perfect.’ ∂ ‘Perfect Bodies’ is showing until 20 December at Pioneer Works, 184-186 Conover Street, Brooklyn, New York, pioneerworks.org; kasmingallery.com; boscosodi.com

‘Perfection comes from uniqueness. It’s the unrepeatable, the traces of time, and the cracking that makes the work perfect’

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Clearing house A Mexican retreat in local brick embraces its forest setting PHOTOGRAPHY: DANE ALONSO WRITER: ANA KARINA ZATARAIN

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Architecture

About 40 minutes west of the heaving megalopolis of Mexico City, a sand-coloured brick wall curves into a dense pine forest flanked by a bustling highway. The structure, a family home designed by the Mexican practice Lanza Atelier, turns a blind wall to the endless sprawl of the city, opting instead to embrace the local landscape by domesticating a sliver of the forest.

The conceptual strength and clarity that have come to characterise the emerging studio’s work, which ranges from furniture to ephemeral pavilions and museum exhibition design, is present in the home’s layout – one gestural stroke materialises as the curved wall that envelops the otherwise orthogonal project. ‘When we first approached the site, we noticed a clearing at its centre, where a È

Located in the region of Ocoyoacac and built almost entirely with tabique blanco bricks from nearby Puebla, the family home comprises a main house (right) connected to a two-storey guest annexe (left) by a curved hallway featuring a brick lattice wall

Architecture

Left, the main living space features a curved concrete ceiling and opens up onto the central courtyard garden Below, a curving brick wall separates the living space from a skylit hallway that gives access to the ground-floor bedrooms and to a sage-green circular staircase leading to the basement

‘We try to use materials that are endemic to the region and can be assembled by locals’ dramatic, green-tinged light seeped through the trees during the day,’ recalls Isabel Abascal, who founded Lanza Atelier in Mexico City in 2015, alongside her partner and co-director, Alessandro Arienzo. This verdant glow became the design’s guiding principle. ‘From there, our premise was clear,’ says Abascal. ‘The clearing would be left largely intact, the house organised around it, and everything connected through a wall that bends around the existing vegetation.’

The clients, a family of four, sought a retreat from city life within a spacious home intimately connected to nature, and gave the studio free rein over the design.

Five bedrooms and a studio space are found in the main volume. Across from it, a guest area with a bar, a gym and two guest bedrooms connects to the house through a narrow hallway, which offers glimpses of the clearing through a brick lattice wall.

Despite the project’s resolute introversion, the surrounding forest is still an imposing presence. Windows frame abstract fragments of the landscape, while overhead openings capture portions of the towering pines, and invite in sunlight to warm up the house. ‘Understanding how the sun would travel through the house was a very basic consideration,’ says Arienzo, ‘because it’s one more element that establishes a connection to the changing landscape.’

The sense of proximity with nature that Arienzo describes is heightened by the material qualities of the home. Featuring

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a curved concrete slab roof and Encino wood floors, the structure was built entirely with tabique blanco, a light brick produced in the nearby state of Puebla. Due to their porosity, the exterior-facing bricks establish a symbiotic relationship with the natural environment, acquiring a greenish hue when rain abounds, and becoming more golden during the dry season. ‘In all of our projects, we strive to avoid spaces with marked

differences between interior and exterior,’ says Abascal. ‘And though this house appears to be quite introspective, there are also many gradations between inside and outside.’

Though undeniably contemporary in form, the project echoes both the medieval enclosed gardens of the Moors, and the 20th-century ‘emotional architecture’ of Luis Barragán and Mathias Goeritz, who sought to counteract the sterility of European modernism.

In countries such as Mexico, where vernacular architecture is still alive and well, and skilled artisans still abound, it is possible for designers to establish links between their work and the traditional techniques that have become inaccessible in other parts of the world. This opportunity is not lost on Lanza Atelier and its local contemporaries; in recent years, Mexican architecture has been lauded for embracing a local identity.

‘We try to use noble materials that are endemic to the region and can be assembled by a local workforce,’ says Arienzo, describing the process as a horizontal exchange of knowledge with artisans and construction workers. ‘Normally, a project with curves such as this one would be built with concrete,’ adds Abascal. ‘But using brick made sense for many reasons: the house’s relationship to its context, its colour, its texture. Bricks also made it a home that almost could not have been built elsewhere, because of the relationship between architects and the skilled artisanal workforce unique to Mexico.’ lanzaatelier.com

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Fashion

Right, Nicholas Daley, photographed at Now Gallery in October, as he prepares for the opening of his new immersive show ‘Return to Slygo’, which celebrates the designer’s three core values of culture, community and craftsmanship

Right notes

A new show celebrates the multicultural roots of designer Nicholas Daley

PHOTOGRAPHY: ADAMA JALLOH WRITER: LAURA HAWKINS

Whether it’s po-faced editors surveying a line of models at a runway show, or exhibition visitors peering through glass vitrines at lifeless clothing, there’s an air of detachment around how clothing is received or displayed on the catwalk or in a gallery.

Jamaican-Scottish menswear designer Nicholas Daley doesn’t subscribe to either method of presentation. His communityand-heritage-celebrating catwalk shows in London throb with the drumbeats and saxophone screeches of reggae, dub and jazz.

Musicians blow tubas and bang cowbells on the catwalk, and encourage guests to get up from their seats and dance. Daley’s immersive approach closely aligns with that of Jemima Burrill, co-curator of Greenwich

Peninsula’s Now Gallery. Launched in 2015, the gallery has presented a series of open-access fashion exhibitions, which encourage burgeoning designers – including the likes of Phoebe English, Richard Malone and Mowalola – to innovate and explore personal identity.

‘You can’t present fashion on mannequins,’ Burrill says of the multisensory inclination behind ‘Return to Slygo’, a show that celebrates the diasporic inspirations behind Daley’s label with a smorgasbord of presentational styles, from graphic vinyl art to large-scale salvaged textiles. The designer, who graduated from Central Saint Martins in 2013, launched his eponymous brand in 2015, and was a joint winner of this year’s È

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Left and left below, ‘Return to Slygo’ will feature photographs from Daley’s family album alongside ephemera and clothing from club nights. The gallery floor will be covered in bespoke woven carpets that invite visitors to sit down and take in the surroundings at their own pace Below, Daley flicks through a copy of The Black House by Colin Jones, which will be on show at the exhibition.

The book is a photographic documentary charting life at a hostel for troubled Black youth in north London in the 1970s

‘Nicholas Daley’s designs aren’t about clothes, they’re about identity’ LVMH Prize, weaves the history of Black music culture and the heritage of craft into his colourful, textural and technique-focused designs. They reference Reggae Klub, the revolutionary music night that Daley’s Scottish mother and Jamaican father founded in Dundee in the 1970s, dub pioneer Lee Scratch Perry, cosmic jazz group Sun Ra Arkestra, and the matrilineal heritage of jute weaving in Daley’s family. Dundee was seen as the epicentre of coarse textile production during the industrial revolution.

It still boasts the largest jute production in the world, outside India and Pakistan.

Now Gallery has a history of offering designers a platform for experimentation.

In 2016, Molly Goddard scaled up her mille feuille-like layered dresses, suspending 7m-long transparent gowns from the gallery’s ceiling, which guests were invited to embroider. In 2018, Charles Jeffrey worked with sculpture for the first time, constructing colourful forms from fibreglass, papier-mâché and PVC, which welcomed viewers into his hedonistic club night-inspired universe.

Daley has drawn on his collections’

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handcrafted elements, creating woven carpets, knitted by Daley’s mother Maureen and his team of knitters, to line the groundfloor space. ‘They used huge needles to create really chunky volumes,’ he says.

Due to Covid-19 restrictions, Daley hadn’t physically seen the curving glass façade of Now Gallery before his curation process began. ‘You can learn a lot from a PDF!’ he says. The gallery’s exterior will be wrapped with colourful vinyl artworks, while typographic and figurative banners will be suspended from its ceiling. These pieces were illustrated by Gaurab Thakali, who also designs Daley’s graphic, nightlife-inspired show invitations. Two exclusive films illuminate Daley’s inspirations further. Return to Slygo, directed by Akinola Davies Jr, offers cross-generational insight into the genres that inspire the designer, narrated by dub poet Roger Robinson and featuring a performance by experimental jazz trio Sons of Kemet, who also played live at Daley’s S/S20 show. The second, A Knitted History, directed

by Joseph Dunn, explores the designer’s fascination with stitching, featuring an

interview with Maureen and showcasing knitted styles from previous collections, including colourful jute bucket hats.

The films will be presented as part of the exhibition, alongside family photographs and sentimental ephemera, including the original Reggae Klub T-shirts that Daley’s parents designed in the 1970s. For an hour each evening, sound systems will also play a carnival-inspired setlist. In anticipation of continuing lockdown, the films and playlist will be available to view and listen to online.

After bands had played at Reggae Klub, they would crash for the night at Daley’s parents’ flat. With ‘Return to Slygo’, Daley hopes to foster the same intimate sense of community that brings his collaborators, manufacturers, shoppers and exhibition goers together. ‘Daley’s designs aren’t about clothes, they’re about identity,’ Burrill says.

‘He’s celebrating a musical exchange between Black artists from different generations.

We need these dialogues more than ever.’

‘Return to Slygo’ is on 2 December-24 January at Now Gallery, Peninsula Square, Greenwich Peninsula, London SE10, nowgallery.co.uk

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Architecture

Remaking history A remodelled Victorian London townhouse takes its cues from the capital’s rich architectural past PHOTOGRAPHY: EMILY MARSHALL WRITER: HARRIET THORPE

In London, Victorian houses live multiple lives. Families move in and out, architects add extensions, or in the case of this townhouse in Bayswater, developers see potential for more drastic renewal. Behind the preserved façade, the old house, a victim of too many clumsy alterations, was totally rebuilt as a modern house. The rooms to the front maintain Victorian proportions, yet step further inside and you’ll find a huge wall of glazing, a lift, and a new lowerground level. The challenge for Nick Hill and Kam Bava, the two architects called in to work on the project’s interior (the shell was created earlier by London-based studio Pitman Tozer), was to find a way of naturally bridging new and old elements.

The architects first met while working for David Chipperfield on London’s Hotel Café

From opposite, far left, the house’s new rear extension features floor-to-ceiling windows and matching London stock bricks; a small oak-panelled lounge with Bardiglio marble fireplace complements the large open-plan living room; the basement’s marble-clad bar is decked with an end-grain oak-block floor; the ground-floor kitchen’s banquette seating area, with a striped stone floor inspired by Gio Ponti and Italian cafés of the 20th century

Royal (W*177), a renovation project that brought continuity to the hotel behind three era-crossing façades in Piccadilly. Hill was an associate director, and it was Bava’s first job after university. The project team were ‘almost monastic in their dedication’, the pair recall, the experience made all the more intense by the tiny site office. They refer to Chipperfield’s ‘scenographic approach’, which seeks to settle architecture in its context, with a minimalism achieved by applying classical rules to contemporary design.

Hill and Bava were also together at Witherford Watson Mann architects, where they worked on the Courtauld Institute of Art, another warren of rooms tucked behind a historic façade, needing to be rearranged and smoothed out. They agree that their working chemistry is a mix of

shared background and personality. ‘I think with the prior experience of Hotel Café Royal and the Courtauld, in our approach to old buildings we were on the same page from the beginning – how and where to be respectful, and where not,’ says Hill.

They applied the rules they learnt working on London’s historical architecture to this essentially modern house, reimagining its history to set the ‘scenography’. After all, while it’s a residential property, at more than 6,500 sq ft, the six-level house is closer in scale to a public building.

One rule was to link the high-ceilinged, airy rooms with intermediary spaces layered with material and texture – like the Georgian architecture of William Chambers for the Courtauld, where rooms are linked by narrow panelled corridors. Another rule was to make

subtle changes in architraves and skirting heights depending on the status of the room, and to suggest the journey through architectural time from the historical front of the house to the more modern rear.

‘Having set up some of those rules, in other places it was appropriate to break them and do something slightly more joyous and free,’ says Bava. For example, a light pink dressing room leads through to a master bathroom lined with Bardiglio and Cipollino marble inspired by a Josef Hoffmann bathroom at the Stoclet Palace in Brussels.

Weaving character and history through interior architecture in a contemporary building is a rare skill. On top of this, working with their client being the developer, Chris Bodker of Bodker and Co, the architects had to design the house for an unknown È

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Clockwise from above, the main living room, with shadow gaps and bespoke oak floorboards that were finished on site to minimise joints; one of several walk-in wardrobes; an oak and Bianco Eclipse stone bar area between the dining room and kitchen; the garden annexe features soot-washed bricks and exposed ceiling beams

user – though at its price point, they did have an idea as to the type of person it may be, and that the house would probably be a second home, or a London base.

‘It shares that problem with hotels; you’re trying to create something more specific than the ubiquitous international lounge,’ says Hill. ‘You have to invent things in which to ground it. It’s riffing on the idea of a London townhouse, but also adapted to a more modern way of living.’

The lower-ground floor, for example, features an open lounge area that could be a gym, a yoga studio or even a recording studio. It was a challenge to design because of the required flexibility. Hill and Bava chose

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flamed and brushed granite skirting, bronze details and end-grain oak-block flooring to suggest a sort of luxurious durability, while a cool subterranean feel is softened by an outdoor space that brings down daylight.

While the house could suit multiple users and uses, there is plenty of intimacy and charm. At the end of the garden, Hill and Bava designed the architecture and interior of a compact annexe. It artfully combines rustic features with modern elements, such as galvanised steel window frames, and hides a secret garden of ferns and palms. While the townhouse pays homage to London’s great buildings, this little addition is a pure escape from it all. kbava.com; nickhillarchitects.com

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ZUP DESIGN - PHOTO: SIMONE CASETTA - MODEL: YOKU S/SH, DESIGN: MARCO WILLIAMS FAGIOLI

No place is warmer than @Home.

Find out more effe.it/athome

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Wallpaper* Bespoke

Fitting tribute

A new homeware collection from Berluti is a high-spirited homage to modern European design PHOTOGRAPHY: BAKER & EVANS

Already an established maker of fine leather accessories and menswear, Berluti has found added purpose under Kris Van Assche, its artistic director since 2018. Having revived 17 pieces of original Pierre Jeanneret furniture for last year’s Design Miami, upholstering them with the brand’s Venezia leather, Van Assche is now launching a Home & Office Objects collection that brings together creativity, heritage and craftsmanship.

The new offerings, featuring leading European designers from multiple decades, include Werkstätte Carl Auböck’s desk accessories, magazine rack and wastepaper basket, alongside Afra and Tobia Scarpa’s ‘Cartoccio’ bowls, originally created for Milanese silversmith San Lorenzo. The latter’s forms, evoking elegantly crumpled sheets of paper, have been given a fresh spin with the addition of Venezia leather on the outside, a fitting complement to pure silver.

Van Assche has also commissioned designer Simon Hasan to create five vases, with statuesque silhouettes achieved using a 15th century crafts technique that boils leather in a wooden mould. The collection is testament not only to the versatility and allure of Berluti’s premium leathers, but also to Van Assche’s vision for a brand that honours tradition while staying on the cutting edge.

Available from November 2020, berluti.com

Left, Berluti’s Home & Office Objects collection stretches across seven decades, from 1950-2020, and is a reimagining of some iconic designs by Werkstätte Carl Auböck and Afra and Tobia Scarpa to include the fashion brand’s Venezia calf leather, as well as a new commission of five vases by Simon Hasan

rugiano.com

PIERRE sofa Flagship Store:

Via della Moscova, 53 MILANO rugiano@rugiano.it

DECEMBER IS ALL ABOUT...

CELEBRATING IN STYLE p094 DINING IN A perfect Portuguese feast to prepare at home p106 FINDING TIME New takes on classic watches p112 ROLLING UP Tempting trolleys laden with treats p118 DANCING AWAY Resort collections have us in a spin p130 VEGGING OUT Georgie Hopton and Gary Hume’s pasta Liguria ∑

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Entertaining From left, embroidered tablecloth, £488, by Angela Wickstead, from Matches Fashion. ‘Arris’ charger plate, £109, by Wedgwood; silver chalice, £165; silver glass, £125, both by Greggio; ‘Haas’ twisted horn serving set, £225, by L’Objet, all from Harrods. Jesmonite bowl, £240, by Małgorzata Bany, from The New Craftsmen. ‘Manufacture Rock’ flat bowl, £20, by Villeroy & Boch, from Harrods. Paint in Off-Black (throughout), £48 per 2.5 litres, by Farrow & Ball For recipes, see page 103

Dark matters Portuguese delicacies for surreptitious soirĂŠes

Photography Oskar Proctor Entertaining Director Melina Keays Interiors Hannah Jordan

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Entertaining

This page, from left, wooden tray, £72, by Pascale Naessens, for Serax, from The Conran Shop. ‘Chamba’ bowl, £12, from Caravane. Jug, £235, by Paola North, from Alex Eagle.

Jesmonite trinket dish, £95,

by Małgorzata Bany, from The New Craftsmen. Flor da Beira sheep’s milk cheese, £14 for 500g, from Lisboa Delicatessen. Horn butter knife, £12, by Abbeyhorn, from Twentytwentyone. ‘Rummer’ wine glass, £19, by Corin Mellor, for David Mellor.

‘Creta’ porcelain concrete, £92 per sq m, by Domus

Opposite, from left, ‘Alpha’ chair in ebonised oak, £1,860, by Made in Ratio, from Mint. Aluminium table, €1,273, by Tine K Home.

‘SvP’ tray, €775, by Klaar Prims.

Jug, £49, by Svend Bayer, from David Mellor. ‘Niono’ bowl, €11, from Caravane.

‘Umbria’ napkin, £120, by Gayle Warwick. ‘Chamba’ bowl, £16, from Caravane.

Plate, €29, by Tine K Home.

‘Pepe Le Moko’ pepper grinder, £50, by Jasper Morrison, for Alessi. ‘Nox’ candleholders, €60 for three, from Caravane. Tapered candle, £11 for two, by Ester & Erik; tumbler, £12; ‘Stonewashed’ spoon, £11, by Knlndustrie, all from The Conran Shop For recipes, see page 103

From left, ‘Manufacture Rock’ plate, £14, by Villeroy & Boch, from Harrods.

‘Tank’ highball glass, £75,

by Tom Dixon. Glass straw, £13 for four, by Serax, from Borough Kitchen. ‘Courtly Check’ fluted dessert plate, £155, by MacKenzie-Childs, from Harrods. ‘Ombra’ shallow plate, £37, by Laboratorio Castello, from The Conran Shop. ‘Low Cup’ plate, €12, by Charles Kaisin, for Serax. Mini bread sticks, £1.50 for 200g, from Lisboa Delicatessen. ‘Cipollino’ bottle sculpture, €420, part of the Omaggio a Morandi collection, by Elisa Ossino, for Salvatori. ‘Lisbon’ rippled carafe, £16, from Borough Kitchen. ‘Chelsea’ linen in Cream, £67 per m, by Kirkby Design, for Romo.

‘Creta’ porcelain concrete, £92 per sq m, by Domus For recipes, see page 103

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Entertaining

This page, from left, ‘1017’ coffee pot, £9,500, by Henning Koppel, for Georg Jensen. ‘Mila’ bowl, €194, by Sebastian Herkner, for Pulpo.

‘Manufacture Rock’ plate, £14, by Villeroy & Boch, from Harrods. ‘Luisa’ wine glass, £115 for two, by Lee Mathews, for R+D LAB, from Matches Fashion. ‘Vinobile’ Bordeaux carafe, £149, by Villeroy & Boch, from Harrods. ‘Leaves to Tea’ cup and saucer, £20, by Kinto, from SCP. ‘Goa’ cutlery, €1,532 per set, by José Joaquim Ribeiro, for Cutipol. ‘Chelsea’ linen in Cream, £67 per m,

by Kirkby Design, for Romo

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Opposite, from left, ‘Bicos Incolor’ old fashioned glass, €27, by Vista Alegre, from Polkra. Embroidered linen placemat, price on request,

by Gayle Warwick. Stoneware bowl, €29, by Tine K Home.

‘Bicos Incolor’ pitcher, €36, by Vista Alegre, from Polkra. Brushed steel bowl, €82, by Bea Mombaers, for Serax. ‘Goa’ cutlery, €1,532 per set, by José Joaquim Ribeiro, for Cutipol. ‘Soho’ linen in Raven, £85 per m,

by Kirkby Design, for Romo For recipes, see page 103 For stockists, see page 128

Entertaining

YOU WON'T FEEL AT HOME WITH US, YOU'LL FEEL AT A FASANO.

Hotel Fasano Punta del Este SÃO PAULO . RIO DE JANEIRO . PUNTA DEL ESTE . FAZENDA BOA VISTA ANGRA DOS REIS . BELO HORIZONTE . SALVADOR . RESIDENCE NEW YORK

@fasano #fasano

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Entertaining

RECIPES Portugal on a plate

Robalo grelhado (Grilled seabass) Serves 4 4 whole seabass, scaled and cleaned 1 lemon, thinly sliced 4 sprigs fresh rosemary 2 tbs olive oil lemon wedges, to serve salt and pepper

Preheat a grill. Season the inside of each fish with salt and pepper. Place lemon slices and a rosemary sprig inside each fish. Brush the fish with olive oil on both sides, and season with more salt and pepper. Grill the seabass for about 6 minutes on each side, depending on the size of the fish.

Serve immediately with lemon wedges.

Favas de coentrada (Broad beans with coriander)

Caldo verde (Green soup)

Serves 4

6 tbs olive oil 2 onions, peeled and chopped 3 cloves garlic, peeled and chopped 1 chorizo (about 250g), sliced 6 potatoes, peeled and cut into 1cm cubes 1.5 litres chicken or vegetable stock 2 bay leaves 500g greens, such as kale or cavolo nero 2 tsp smoked paprika bread, to serve salt and pepper

4 tbs olive oil 100g coarse breadcrumbs 1 egg, hard boiled and peeled small bunch fresh coriander ½ small onion, peeled and finely chopped 2 cloves garlic, peeled and finely chopped 200g fresh or frozen broad beans juice and zest of 1 lemon 2 tsp wine vinegar salt and pepper

Heat 2 tbs of the oil in a small non-stick frying pan over a medium heat. Fry the breadcrumbs for 3-5 minutes, stirring frequently, until crisp and golden brown.

Remove to a bowl and set aside. Separate the cooked egg white from the yolk, grate them separately and set aside. Remove the coriander leaves from the stalks. Chop the stalks finely and mix them in a bowl with the chopped onion, garlic and half a teaspoon of salt and a good grinding of black pepper. Chop the coriander leaves roughly and set aside.

Cook the beans in boiling salted water for 2-3 minutes or until just tender. Drain and set aside. Peel the larger beans. Heat another 2 tbs of oil in a pan over a medium heat. Add the coriander stalk mixture and fry for 2-3 minutes until soft and golden. Add the lemon juice and zest, turn down the heat, and simmer for 2 minutes. Add the broad beans, stir well, remove from the heat and splash on the vinegar. Stir in the coriander leaves and the breadcrumbs and serve sprinkled with the grated egg.

Serves 6

Pour 4 tbs of the oil into a large heavy pot and cook the onions and garlic over a medium heat until soft and translucent but not brown.

Add the chorizo and cook for another minute or two, then add the potatoes and turn and coat them in the flavoured oil. Add the stock and bay leaves, and cook for about 15 minutes until the potatoes have softened.

Remove any large tough stalks from the greens. Stack the leaves, roll them up tightly like a cigar, and shred them quite finely. Add to the soup, and simmer for another 10 minutes or so until tender. In a small bowl, mix 2 tbs of olive oil with the smoked paprika and swirl the spicy oil into the soup.

Season to taste with salt and pepper and serve with bread.

PHOTOGRAPHY: OSKAR PROCTOR ENTERTAINING DIRECTOR: MELINA KEAYS INTERIORS: HANNAH JORDAN

Broa di milho (Corn and rye bread)

Porto tónico (White port and tonic)

Makes 2 loaves

Makes 1 drink

250g strong white bread flour 250g rye flour 2 tsp sugar 2 tsp (10g) dried active yeast 300g cornmeal 30g butter 1 tsp salt

ice cubes 1 sprig mint 50ml white Port 100ml tonic water 1 slice orange

Mix the white and rye flours well, and set aside. Pour 270ml of warm water into a bowl, sprinkle in the sugar and yeast, stir and leave for 10 minutes until the mixture has begun to foam. Stir in approximately a quarter of the flour mixture, cover with a tea towel, and leave for 45 minutes until the dough has doubled in size. Place the cornmeal into the bowl of a mixer. Add the butter and salt and pour on 200ml of boiling water. Mix with the dough attachment until you have a stiff dough. Add the risen yeast dough and the remaining flour mixture to the cornmeal dough in the bowl and knead for about 10 minutes until smooth and elastic. Turn the dough onto a floured surface and knead for a few minutes. Form into two round loaves and place on a baking tray lined with baking paper. Sprinkle the tops with bread flour, cover with a tea towel, and leave to prove for 45 minutes until doubled in size. Heat the oven to 220°C. Place a baking tin containing 200ml of water at the bottom of the oven. Place the loaves above the water and bake for 15 minutes. Reduce the heat to 200°C and bake for another 15 minutes until brown, well risen, and hollow sounding when tapped on the bottom.

Fill a tall glass with ice cubes and a sprig of mint.

Pour in the Port, then the tonic. Stir lightly.

Squeeze a little juice from the orange slice into the drink before adding the slice as a garnish.

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Entertaining

Pastéis de bacalhau (Salt cod fritters)

Pastéis de nata (Custard tarts)

Frongo piri piri (Piri piri chicken)

Makes 12

Serves 4

Makes about 18

4 egg yolks 110g white sugar 2 tbs cornflour 100ml single cream 300ml milk 1 cinnamon stick 1 long strip lemon zest, taken from an unwaxed lemon with a peeler 1 tsp vanilla extract 250g puff pastry

2 large fresh red chillies, sliced 6 cloves garlic, peeled and roughly chopped ½ unwaxed lemon, roughly chopped 2 tsp sweet smoked paprika 6 tbs olive oil 1 whole chicken lime or lemon wedges and potato crisps, to serve salt and pepper

300g dried salt cod 2 bay leaves 500-700ml milk 350g potatoes, peeled and cut into chunks 1 tbs flour, plus more for dusting 1 small onion, peeled and finely chopped 1 large egg generous handful fresh parsley leaves, chopped vegetable oil, for frying black pepper

Leave the cod to soak in cold water for 24 hours, changing the water three times. Drain and place in a pan with the bay leaves.

Cover with the milk and bring to a boil. Reduce to a simmer and poach the fish for around 5 minutes.

Remove the fish with a slotted spoon and set aside to cool. Add the potatoes to the milk, bring back to a simmer, and cook for 20 minutes or until tender.

Remove the skin and bones from the fish, then flake finely and place in a bowl.

Lift the potatoes from the milk with a slotted spoon and add to the fish. Discard the bay leaves. Mash the fish and potato with a fork.

Sprinkle on the flour, add the onion, egg, parsley and some black pepper, and mix together into a thick, coarse paste. Using two tablespoons, form into egg-shaped quenelles, place on a floured plate and chill for 30 minutes.

Fill a heavy-based saucepan one-third full of oil. Fry the fritters in batches for 3-4 minutes until crisp and golden.

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Salada de polvo (Octopus salad) Serves 4 500g cooked octopus tentacles, cut into 2cm pieces 1 large onion, peeled and chopped 1 clove garlic, finely chopped handful fresh parsley leaves, roughly chopped handful coriander leaves, roughly chopped 2 tbs olive oil ½ tbs sherry vinegar salt and pepper

Put the octopus pieces, the onion, garlic and chopped herbs into a bowl. Add the oil and vinegar and toss well together. Season to taste with salt and freshly ground black pepper, and add more oil and vinegar if required.

Bolos de arroz (Rice cakes) Makes 8 200g rice flour 60g plain wheat flour 1½ tsp baking powder ¼ tsp salt 100g butter, at room temperature 180g caster sugar 4 eggs juice and zest of 1 lemon

Grease eight cupcake tins and line the sides with 20cm x 5cm strips of baking paper.

Heat the oven to 180°C. Mix the flours, baking powder and salt and set aside. Beat the butter and sugar together until fluffy, then beat in the eggs one at a time. Stir in the lemon juice and zest, then the flour mix. Spoon the batter into the tins (about two-thirds up to the top of the paper edge) and sprinkle with more sugar. Bake for 25 minutes until well risen and golden. Cool on a wire rack.

Place the yolks, sugar, cornflour, cream and milk in a heavy-bottomed pan and whisk to combine. Add the cinnamon and lemon zest and place over a low to medium heat. Bring the mixture slowly to a boil, stirring constantly with a wooden spoon until you have a smooth thick custard.

Remove from the heat, stir in the vanilla and allow to cool, stirring occasionally. When cold, remove the cinnamon and lemon zest. Roll out the pastry to an approximate 15cm x 30cm rectangle. Roll this rectangle tightly into a cigar from the short end.

Cut the cigar into 12 pieces.

Flatten each round with the palm of your hand and then roll out thinly to a diameter of approximately 10cm. Line a 12-cup muffin tin with the rolled-out spirals. Preheat the oven to 200°C. Spoon the custard into the pastry shells and bake for 20-25 minutes until puffed and golden.

Put the chilli, garlic, lemon, 2 tsp of salt and a good grinding of black pepper into the bowl of a food processor and grind roughly together.

Add the smoked paprika and olive oil and continue to process to a smooth paste.

Spatchcock the chicken: place it, breast down, on a board, legs towards you, and remove the backbone, snipping along each side with poultry scissors. Turn the chicken over and flatten it by pressing down hard on the breastbone. Make a few diagonal slashes along each breast with a sharp knife. Rub the piri piri paste all over both sides of the chicken, and leave to marinate for at least 2 hours.

Heat the oven to 220°C. Place the chicken in a roasting tin, breast-side up, and roast for 45 minutes1 hour, basting occasionally, until cooked through and crisp. Transfer to a serving plate and leave to rest for 15 minutes. Serve with fresh lime or lemon wedges and potato crisps.

Shop now at store.wallpaper.com

‘Angui’ mirror, AYTM —— €335 ——

‘Balloon’ vase, Normann Copenhagen

‘Filigrana’ table light, Established & Sons

—— €80 ——

—— €456 ——

‘Glow’ dish, Georg Jensen —— €189 ——

‘Tearoom’ club chair, Menu —— €1,563 ——

‘Fidelio’ console table, Poltrona Frau —— €5,722 ——

Ashtray, Alessi —— €70 ——

‘Text Block Wood’, Tre Product —— €439 ——

‘Nera’ stool, Zanat —— €636 ——

‘Piani’ side table, Editions Milano —— €902 ——

‘Billie’ rug, Poltrona Frau —— €9,028 ——

This page, Classic Fusion 40 Years Anniversary Titanium with black lacquer dial, £6,900, by Hublot Opposite, Datejust 31 in Oystersteel and white gold with dark grey dial, £6,400, by Rolex

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Watches

REMASTER CLASS

Classic chronometers reinterpreted for a new time Photography Leandro Farina Watches Hannah Silver Set design Lisa Jahovic

Watches

This page, Tudor Royal in steel and yellow gold with champagne-colour, diamondset dial, ÂŁ2,920, by Tudor Opposite, [Re]master01 in stainless steel with pink gold bezel, crown and pushpieces, ÂŁ51,800, by Audemars Piguet

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Watches This page, Calatrava 5227R-001 in rose gold with ivory lacquered dial, ÂŁ29,150, by Patek Philippe Opposite, RM 17-01 Manual Winding Tourbillon in red gold with diamonds, CHF1,246,000 (â‚Ź1,161,500),

by Richard Mille For stockists, see page 128

In The Market For...

From left, ‘Diligence’ side table, £27,390, by Hermès.

Yellow Label Brut, £42, by Veuve Clicquot, from Clos19.

‘Rossana II’ box, €204, by Cristina Celestino, for Paola C. ‘Haller’ trolley, £688, by Fritz Haller, for USM. ‘100 Points’ champagne coupes, £90 each, by Lalique. ‘Manhattan’ cocktail shaker, £115; ice bucket (bottom left), £145, both by Georg Jensen. Aperol liqueur, £15, by Aperol.

‘Wingen’ ice bucket, £795; tongs, £99, both by Lalique.

‘Nachtmann Sculpture’ whisky tumbler, £30 for four, by Riedel. Balloon, £3 for ten,

by My Little Day, from Molly Meg. Confetti, £6, by Meri Meri. ‘M4R’ console trolley, £1,225, by Tecta. ‘Ouverture’ champagne glasses, £25 for two, by Riedel.

‘9602’ floor lamp, by Paavo Tynell, for Gubi, from Twentytwentyone. ‘Avenue’ doors, price on request,

by Robert AM Stern, for Lualdi. ‘Alpi Xilo 2.0’ wood veneer in Honey and Blush Cherry Stripe (throughout), price on request, by Piero Lissoni, for Alpi. Paint in Joa’s White (throughout), £47 for 2.5 litres, by Farrow & Ball.

‘Texture 2000’ carpet (throughout), €20 per sq m,

by Ege Carpets

Trolley dash Design we can roll with Photography Alessandro Sorci Interiors Maria Sobrino

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From left, ‘Grace’ trolley, €1,380, by Sebastian Herkner, for Schönbuch.

Stacking jars, from £25 each; Plant Specimen 01, £60 for three, by Slow Pharmacy, all from The Conran Shop. Shorebird, £45, by Sigurjón Pálsson, for Normann Copenhagen.

‘Omura’ bar cart, price on request, by Holly Hunt.

Vase, £144, by Armani Casa. Outdoor trolley, €2,450, by Kettal. ‘Hadron’ watering can, $210, by Light + Ladder. Brass pots, €70 and €100, both

by Monica Förster, for Skultuna. ‘Ridge’ vase,

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£75, by Studio Kaksikko, for Muuto. Garden scoop, €105 for tool set, by Sol & Luna. Ribbon wax, £7, by Monograph, for Society of Lifestyle.

‘Clement’ pot, £14; garden shears (on floor), £75, by Niwaki; ‘LS 990’ dimmer switch, £16, by Jung; ‘Flush’ plant pot, £100, all from The Conran Shop. Concrete plant pot, £29, by Marie Michielssen, for Serax, from Twentytwentyone. ‘Pippa’ peace lily, from £10, from Patch. ‘Kaze’ wallpaper (throughout), £286 per 10m roll, by Studiopepe, for Wall & Decò

In The Market For...

From left, ‘Bølling’ tray table, £509, by Hans Bølling, for Brdr Krüger. ‘Belis’ cups and saucers, €105 for six, by Sargadelos. Teapot, £1,890; bowl, £900; coffee pot, £2,115, all by Armani Casa.

Sugar tongs, £30, by Marianne Brandt and Helmut Schulze, from Alessi. ‘Caddy’ trolley, €1,095, by Gordon Guillaumier, for Roda.

‘Nachtmann Jules’ pitcher, £40, by Riedel. ‘Jancis Robinson’ glasses, £50 for two, by Richard Brendon, from The Conran Shop.

‘Deco’ tic tac toe, £675,

by L’Objet. ‘Eos’ table,

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€1,485, by Chi Wing Lo, for Giorgetti. ’Bernadotte’ milk jug, £65; spoon, £40 for four; sugar bowl, £75, all by Georg Jensen. ‘Monférico’ coffee pot, €55; ‘AB1’ plate (on floor), €16, both by Sargadelos. ‘Tumbler’ cart, €1,900, by Baxter. ‘Collar’ coffee grinder, £85, by Stelton, from The Conran Shop. ‘Bottlit’ coffee jar, £18, by Kinto, from Twentytwentyone.

‘Red Moon’ bowl, from €109, by Elisa Ossino, for Paola C. ‘Aura’ wall lights, €232 each, by Joan Gaspar, for Marset

In The Market For...

From left, ‘Bloody Mary’ trolley, £7,704, by Giuseppe Casarosa, for Ceccotti Collezioni.

Sticks and blending stump, part of Graphite Line 15 Hardness Degrees box, £214; pencil sharpener, £160; double pencil sharpener, £2.25; Supracolour pencils, part of Pablo box, £176, all by Caran d’Ache. ’Folded’ shelves, £85,

by Johan Van Hengel, for Muuto. Notebooks, from €190, by Hieronymus.

‘Barrow’ table, £1,430,

by Marcel Wanders, for Natuzzi. Paper roll, £18; acrylic paints, £9 for six; brushes, £41 for four, all by Monograph, for Society of Lifestyle.

Letterhead paper, €114 for 50 sheets, by Hieronymus.

Notebook, £24, by Femmes Régionales, for Normann Copenhagen.

‘Iris’ pen holder, £29, by Clara von Zweigbergk, for Hay, from Twentytwentyone.

‘Bond’ serving trolley with trays, €1,359, by Aust & Amelung, for Cor. ‘Léman’ pen, £265, by Caran d’Ache. ‘Currents’ paperweights, from £119, by Studio Brynjar & Veronika; ‘Stationery’ ruler, £129; pen, £59, all from Atelier Swarovski.

Brass clips, £4 for 20, by Monograph, for Society of Lifestyle.

Inks, €44 each; notebook, €62, both by Hieronymus For stockists, see page 128

Interiors assistants: Mireia Mendez, Genevieve Gibson, Melissanthe Panagiotopoulou

STEP CHANGE Resort collection capsule pieces that dance to a different tune Photography George Harvey Fashion Jason Hughes

118

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Fashion This page, coat, £2,490; tank top, £650; shirt, £950; skirt, £990, all by Burberry Opposite, coat, price on request, by Loewe. Earrings, £350, by Alexander McQueen.

Sunglasses, £121, by Ray-Ban. Beoplay E8 3rd Gen earphones, £300, by Bang & Olufsen

Fashion

This page, left, jacket, £2,070,

by Bottega Veneta. Roll-neck, £91, by Wolford. Earrings, £300, by Magda Butrym Right, jacket; skirt, both price on request, by Sacai. Roll-neck, £285, by Joseph. Shoes, £550,

by Burberry. Necklace, £65,

by Astrid & Miyu Opposite, dress, £640; leggings, £640; shoes, £610, all by Prada.

Sunglasses, £121, by Ray-Ban

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121

122

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Fashion This page, coat, £2,150; bag, £1,950; iPhone case, £175, all by Balenciaga. Shoes, £610, by Prada. Socks, £16,

by Falke. Necklace, �16,200 ($155), by Misho. Beoplay E8 3rd Gen earphones, £300, by Bang & Olufsen Opposite, swimsuit, £605; trousers, £2,175; cuffs, £1,145 each, all by Chanel.

Shoes, £610, by Prada.

Sunglasses, £121, by Ray-Ban

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Fashion

This page, left, bra, £650; knickers, £820; skirt, £1,850; bag, £2,750, all by Dior.

Shoes, £610, by Prada.

Sunglasses, £121, by Ray-Ban Right, jacket, £1,850; shirt with bow, £790; trousers, £650, all

by Celine by Hedi Slimane.

Shoes, £610, by Prada Opposite, coat, £3,500; dress, £1,030, both by Max Mara.

Cap, £225, by Prada

Fashion This page, jacket, £1,340; trousers, £455, both by Salvatore Ferragamo. Shoes, £610, by Prada. Earrings, £300,

by Magda Butrym. Necklace, �18,800 ($180), by Misho.

Sunglasses, £121, by Ray-Ban Opposite, coat, £1,070; dress, £440; leggings, £285, all

by MM6 Maison Margiela.

Bag, £1,140, by Jil Sander

by Lucie and Luke Meier.

Necklace, £620, by Alexander McQueen.

Sunglasses, as above For stockists, see page 128

Model: Awuor Dit at Milk Management Casting: Clémence Orozco Bello at Lock Studios Make-up: Nicola Brittin at Saint Luke using Burberry Beauty Movement director: Pat Boguslawski at Streeters Photography assistant: Bradley Polkinghorne Digi tech: Andreas Klassen Fashion assistants: Aylin Bayhan, Sammiey Hughes

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127

Stockists

A

Ceccotti Collezioni Tel: 44.20 8067 2123 (UK) ceccotticollezioni.com

Alessi Tel: 39.02 9475 3451 (Italy) alessi.com

Celine by Hedi Slimane Tel: 44.20 7491 8200 (UK) celine.com

Alexander McQueen Tel: 44.20 7355 0088 (UK) alexandermcqueen.com

Chanel Tel: 44.20 7493 5040 (UK) chanel.com

Alex Eagle Tel: 44.20 7589 0588 (UK) alexeagle.co.uk

Church’s Tel: 44.20 7734 2438 (UK) church-footwear.com

Alighieri Tel: 44.20 8065 0302 (UK) alighieri.co.uk

Clos 19 Tel: 44.20 7887 2755 (UK) clos19.com

Alpi Tel: 39.0546 945411 (Italy) alpi.it

Cor Tel: 49.52 42 41 02 0 (Germany) cor.de

Aperol aperol.com Armani Casa Tel: 44.20 7079 1930 (UK) armani.com Astrid & Miyu Tel: 44.20 7935 8385 (UK) astridandmiyu.com Atelier Swarovski atelierswarovski.com Audemars Piguet Tel: 44.20 7659 7300 (UK) audemarspiguet.com

B

Balenciaga Tel: 44.20 3318 6027 (UK) balenciaga.com Bang & Olufsen bang-olufsen.com Baxter Tel: 39.031 35999 (Italy) baxter.it Borough Kitchen Tel: 44.20 7043 1478 (UK) boroughkitchen.com Bottega Veneta Tel: 44.20 7629 5598 (UK) bottegaveneta.com Brdr Krüger Tel: 45.39 56 15 55 (Denmark) brdr-kruger.com Burberry Tel: 44.20 3402 1444 (UK) burberry.com

C

Caran d’Ache carandache.com Caravane Tel: 44.20 7486 5233 (UK) caravane.co.uk

F

Falke Tel: 44.800 22 033 022 (UK) falke.com Farrow & Ball Tel: 44.1202 876141 (UK) farrow-ball.com

G

Gayle Warwick Tel: 44.20 7493 5567 (UK) gaylewarwick.com Georg Jensen Tel: 44.20 7499 6541 (UK) georgjensen.com

Cutipol Tel: 351.253 470 240 (Portugal) cutipol.pt

Geox Tel: 44.20 7629 5681 (UK) geox.com

D

Giorgetti Tel: 39.0362 75275 (Italy) giorgetti.eu

David Mellor Tel: 44.1433 650220 (UK) davidmellordesign.com Dior Tel: 44.20 7355 5930 (UK) dior.com

H

Harrods Tel: 44.20 7730 1234 (UK) harrods.com

Dolce & Gabbana Tel: 44.20 7659 90 00 (UK) dolcegabbana.com

Hermès Tel: 44.20 7499 8856 (UK) hermes.com

Domus Tel: 44.20 8481 9500 (UK) domusgroup.com

Herno Tel: 44.20 3966 7998 (UK) herno.com

E

Hieronymus Tel: 41.43 344 86 63 (Switzerland) hieronymus-cp.com

Ege Carpets Tel: 44.20 7336 0992 (UK) egecarpets.com

Holly Hunt Tel: 44.20 7399 3280 (UK) hollyhunt.com Hublot Tel: 44.20 7499 5765 (UK) hublot.com

J

Jil Sander by Lucie and Luke Meier jilsander.com Joseph Tel: 44.20 7235 1991 (UK) joseph-fashion.com

K

Kettal Tel: 34.93 487 90 90 (Spain) kettal.com Klaar Prims Tel: 32.475 28 14 19 (Belgium) klaarprims.be

L

Lalique Tel: 44.20 7292 0441 (UK) lalique.com Light + Ladder lightandladder.com L’Objet Tel: 33.456 222 7894 (France) l-objet.com Loewe Tel: 44.20 7499 1284 (UK) loewe.com Lualdi Tel: 39.02 9436 3000 (Italy) lualdiporte.com

NEXT MONTH

NEXT GENERATION We present 21 for ’21, our pick of the world’s graduate and rising talent in every creative field. Plus, London’s emerging architects, Nicolas Bellavance-Lecompte curates a Canadian design showcase, SO-IL’s K11 Musea addition in Hong Kong, Akris and Imi Knoebel, Kudzanai-Violet Hwami, built-in bijoux, and more ON SALE 10 DECEMBER

M

Magda Butrym Tel: 48.22 313 2400 (Poland) magdabutrym.com Marset Tel: 34.934 602 067 (Spain) marset.com Matches Fashion Tel: 44.20 7022 0828 (UK) matchesfashion.com Max Mara Tel: 39.02 23345 341 (Italy) maxmara.com Meri Meri Tel: 44.1242 575868 (UK) merimeri.com

Mint Tel: 44.20 7225 2228 (UK) mintshop.co.uk Misho Tel: 91.7700 907 447 (India) mishodesigns.com MM6 Maison Margiela maisonmargiela.com Molly Meg Tel: 44.20 7359 5655 (UK) mollymeg.com Mummu Design mummudesign@gmail.com Muuto Tel: 45.32 96 98 99 (Denmark) muuto.com

N

Natuzzi Tel: 44.20 8401 0084 (UK) natuzzi.co.uk Normann Copenhagen Tel: 45.35 27 05 35 (Denmark) normann-copenhagen.com

P

Paola C paolac.com Patch patchplants.com Patek Philippe Tel: 44.20 7493 8866 (UK) patek.com Polkra polkra.com

Prada Tel: 44.20 7647 5000 (UK) prada.com Pulpo Tel: 49.7621 168 01 03 (Germany) pulpoproducts.com

Coat, £2,080; tights, £150, both by Saint Laurent

by Anthony Vaccarello.

Shoes, £550, by Burberry See page 118

Serax Tel: 32.3 458 05 82 (Belgium) serax.com Skultuna Tel: 46.21 783 00 (Sweden) skultuna.com Society of Lifestyle Tel: 45.95 25 27 14 (Denmark) societyoflifestyle.com Sol & Luna Tel: 34.911 452 060 (Spain) solxluna.com

T

Tecta Tel: 49.5273 37 89 0 (Germany) tecta.de Templa templaprojects.com

The Conran Shop Tel: 44.20 7723 2223 (UK) conranshop.co.uk The New Craftsmen Tel: 44.20 7148 3190 (UK) thenewcraftsmen.com Tine K Home Tel: 45.70 70 74 48 (Denmark) tinekhome.com Tom Dixon Tel: 44.330 363 0030 (UK) tomdixon.net Tudor tudorwatch.com Twentytwentyone Tel: 44.20 7288 1996 (UK) twentytwentyone.com

U

USM Tel: 44.20 7183 3470 (UK) usm.com

R

Ray-Ban ray-ban.com

Richard Mille Tel: 44.20 7123 4155 (UK) richardmille.com Riedel Tel: 43.5372 64896 0 (Austria) riedel.com

Roda Tel: 39.0332 748651 (Italy) rodaonline.com Rolex Tel: 44.20 7493 2716 (UK) rolex.com Romo Tel: 44.1623 756699 (UK) romo.com

V

S

Salvatori Tel: 39.0584 769200 (Italy) salvatori.it

Sacai Tel: 81.3 6418 5977 (Japan) sacai.jp

Sargadelos Tel: 34.982 557 841 (Spain) sargadelos.com

Saint Laurent by Anthony Vaccarello Tel: 44.20 3318 5913 (UK) ysl.com

Schönbuch Tel: 49.9761 3962 0 (Germany) schoenbuch.com

Salvatore Ferragamo Tel: 39.02 23345 701 (Italy) ferragamo.com

SCP Tel: 44.20 7739 1869 (UK) scp.co.uk

Versace Tel: 44.20 7259 5700 (UK) versace.com

W

Wall & Decò Tel: 39.0544 918 012 (Italy) wallanddeco.com Wolford Tel: 44.20 7287 8599 (UK) wolfordshop.co.uk

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Artist’s Palate

GEORGIE HOPTON & GARY HUME’S Pasta Liguria

#116

Pasta Liguria may hail from the Italian Riviera, but for Georgie Hopton and Gary Hume, the dish is deeply entwined with upstate New York, where they own a 40-acre farmstead. ‘Apart from the fact that this dish is utterly delicious and profoundly comforting, we get stupidly excited at the prospect of using our early potatoes, the ever giving beans and lots of aromatic basil from our vegetable garden,’ Hopton explains.

The result is a dreamy medley of green and blue, reminding the artists of Picasso and Matisse, and the frescoes of Pompeii. The couple recommend serving the pasta ‘in hot bowls in front of a good film, with a glass of something that shines in the light like wet grass’.

‘Gary Hume: Archipelago’ is at Sprüth Magers London until 23 December, spruethmagers.com. For Hopton and Hume’s recipe, see Wallpaper.com

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PHOTOGRAPHY: BOBBY DOHERTY FOOD AND PROP STYLING: MICHELLE GATTON WRITER: TF CHAN

BORN IN LE BRASSUS

RAISED AROUND THE WORLD

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