D E S I G N’S

BOLD

NEW

MODE

A celebration of the past,
reimagined for today

1977 SOFA

#SomethingWorthKeeping

kingliving.com

SY D N E Y

MELBOURNE

Our rugs lie lightly on this earth.

A R M A D I L LO - C O . C O M

BRISBANE

N E W YO R K

LO S A N G E L E S

SAN FR ANCISCO

24

CONTRIBUTORS

26

VL ONLINE

28

EDITOR’S LETTER

32

FIRST CLASS
The distinguished codes of Giorgio
Armani and his Armani/Casa designs

38

COMMUNITY SPIRIT

PHOTOGRAPHER: ANSON SMART

The rise of Flack Studio over recent years
has seen the practice now have a highly
expressive space worthy of such ambition

46

MATTER OF FACT
Piero Lissoni reflects on almost four
decades in the world of design
15 V O G U E L I V I N G

100

SPACE CRAFT
Olivier Garcé and Clio Dimofski link
timeless skill with the present
in their elegant Lisbon home

116

PLAYING GROUND
Interior architecture and design firm
Hauvette & Madani creates a vibrant
Haussmannian-style Parisian apartment

130

A NEW LEAF

60

THE VL EDIT
A curated hit list of the latest statement
makers including Cc-tapis’s
collaboration with Yabu Pushelberg

142

ON THE RADAR

ROMAN HEART

Three Australian creative talents
adding their unique voices and distinctive
output to the design community

Colour comes to the fore in an Italian
apartment by designer Cristina Celestino

70

86

CATCH THE LIGHT
The daring hedonism of the ’80s was the
style touchstone for designer Gillian Khaw’s
Sydney harbourside family apartment

SHIFTING SHADES

152

DISTINCTIVE TASTE
Thomas Geerlings of Framework Studio
leans into the bowerbird nature of treasures
in his Amsterdam canal house

Designer Bethan Laura Wood talks about
her career-defining piece for NGV Triennial
18 V O G U E L I V I N G

PHOTOGRAPHER: JOE BRENNAN

72

For Hugh-Jones Mackintosh and AN+A,
inspiration is within heritage parameters
in the resurrection of a 1930s Sydney home

168

SOUL REVIVAL
Hotel Corazón offers a chance to showcase
creative pursuits and Mallorca’s gifts

174

176

BRAVE NEW WORLD
Armadillo unveils a sleek and sensual
new flagship in sunny California

THE HOLIDAY EDIT
Our pick of refined accessories
to travel in style from top to toe

180

SOURCES
Contact details for the products, people
and retailers featured in this issue

184

TOKEN OF LUCK
Lily of the valley is the inspiration behind
the latest Dior Maison collection

COVER

The living room of a Paris apartment
designed by Hauvette & Madani.
Photographer: François Coquerel
Turn to page 116 for the full story.

PHOTOGRAPHER: MARINA DENISOVA

Be part of the conversation:
#VogueLiving #loveVL

20 VOGUE LIVING

499 Crown Street
Surry Hills NSW 2010
+61 (0)2 9699 1206
THEGREENROOM.COM.AU

SONIC SPRUCE by Ken Fulk

REBECCA CARATTI
EDITORINCHIEF
ART DIRECTOR Sandy Dao
DEPUTY EDITOR Virginia Jen
STYLE EDITOR Joseph Gardner
MELBOURNE EDITOR & FEATURES WRITER Annemarie Kiely
DIGITAL
DIRECTOR OF DIGITAL STRATEGY AND ECOMMERCE Francesca Wallace
HEAD OF DIGITAL CONTENT AND GROWTH Mahalia Chang HEAD OF BRAND Yeong Sassall
AUDIENCE GROWTH MANAGER EDITORIAL Nikki Chowdhury EMERGING PLATFORMS PRODUCER Aleese Gabir
DIGITAL CONTENT EDITOR Gladys Lai DIGITAL CONTENT PRODUCERS Noni Grace Reginato, Will Lennox
CONTRIBUTORS
CONTRIBUTING EDITORS Fiona McCarthy London), Freya Herring, Jason Mowen
WORDS Hannah Martin, Nicolas Milon, Michelle Oalin, Rachael Wallace
IMAGES Joe Brennan, Sharyn Cairns, François Coquerel, Marina Denisova, DePasquale+Maffini, Kasia Gatkowska, Prue Ruscoe, Anson Smart
EDITORIAL ADMINISTRATION AND RIGHTS, LICENSING MANAGER Trudy Biernat
BUSINESS PROJECTS MANAGER Aisling Clarke
SENIOR COMMERCIAL FINANCE MANAGER Zoe Sredovic SENIOR COMMERCIAL FINANCE ANALYST Michelle Brammer
PRODUCT AND PARTNERSHIPS
GENERAL MANAGER PRODUCT AND PARTNERSHIPS Zac Skulander
HEAD OF PRODUCT AND PARTNERSHIPS Elise De Santo
COMMERCIAL DIRECTOR CONDÉ NAST TITLES Nadine Denison
VICE PRESIDENT GLOBAL STRATEGY Amanda Spackman
ADVERTISING  SALES
GROUP SALES DIRECTOR, PRESTIGE Hannah David-Wright
PRESTIGE SALES MANAGERS Cheyne Hall, Kate Corbett, Jennifer Chan
CLIENT SALES EXECUTIVES Brigette Roberts, Lilly Whittaker
GROUP SALES DIRECTOR BUSINESS DEVELOPMENT Rach Howard
ADVERTISING  CREATIVE
HEAD OF CREATIVE Richard McAuliffe HEAD OF OPERATIONS Eva Chown
SENIOR CREATIVE PRODUCER Louise Davids CREATIVE DIRECTORS Rosie Double, Brooke Lewis
LEAD ART DIRECTOR Karen Ng SENIOR ART DIRECTORS Amanda Anderson, Nina Dorn, Paloma Drehs, Nicole Vonwiller
COMMERCIAL CREATIVE DIRECTOR Adelina Cessario LEAD COMMERICAL CONTENT EDITOR Melanie Collins
SENIOR CONTENT WRITERS Julian Hartley, Tiffany Pilcher, Benjamin Squires
LEAD PRODUCERS Monica Dombrovskis, Kristie Walden
PRODUCTION MANAGER Michelle O'Brien
IMAGING AND RETOUCHING SERVICES, PRESTIGE Michael Sykes
INTERACTIVE EDITION PRODUCTION MANAGER Stuart McDowell
GENERAL MANAGER, B2B REVENUE Benjamin Keating
HEAD OF RETAIL MARKETING, RETAIL SALES & MARKETING Rohan Smith
SUBSCRIPTIONS RETENTION MANAGER Crystal Ewins
COMMERCIAL FINANCE MANAGER CIRCULATION, COMMERCIAL FINANCE Stella Halim
GENERAL MANAGER, PRODUCT Maggie Burke HEAD OF PRODUCT DESIGN Alex Fawdray PRODUCT MANAGER Lauren Bruce
EVENTS & EXPERIENCES
GENERAL MANAGER, EVENTS & EXPERIENCES Diana Kay
EVENT MARKETING MANAGER Kate Dwyer
EVENT MARKETING MANAGER Rachel Christian
SENIOR EVENTS MANAGER Dorothy Reynolds
EVENT COMMUNICATIONS AND PARTNERSHIPS MANAGER Sophie Mac Smith
EVENT EXECUTIVE Linh Tran
PRESTIGE MARKETING
DIRECTOR, CONSUMER MARKETING Bettina Brown
HEAD OF MARKETING Gina McGrath
SENIOR MARKETING MANAGER Claire Patmore
MARKETING MANAGER Loren Nikiforides
MARKETING COORDINATOR Anthea Demetriou
EDITORIAL DIRECTOR & PUBLISHER, CONDÉ NAST TITLES AUSTRALIA, NEWS PRESTIGE Edwina McCann
MANAGING EDITOR Louise Bryant
DIRECTOR OF COMMUNICATIONS Sharyn Whitten
HEAD OF FINANCE Michelle Groves
CHIEF TECHNOLOGY OFFICER, DATA AND DIGITAL Julian Delany
MANAGING DIRECTOR, THE AUSTRALIAN, NSW, ACT & PRESTIGE TITLES John Lehmann
VOGUE LIVING is published by NewsLifeMedia Pty Ltd, ACN 088 923 906.
NewsLifeMedia Pty Ltd is a wholly owned subsidiary of News Limited (ACN 007 871 178).
Copyright 2023 by NewsLifeMedia Pty Ltd. All rights reserved. ISSN 0042-8035.
2 Holt Street, Surry Hills, NSW 2010. Tel: (02) 9288 3000. Email: mail@vogueliving.com.au. Website: vogue.com.au/vogue-living.
Postal address: VOGUE LIVING, NewsLifeMedia, Level 1, Locked Bag 5030, Alexandria, NSW 2015.
Melbourne: Level 9, 40 City Road Southbank. Tel (03) 9292 3208.
Brisbane: 41 Campbell Street, Bowen Hills, Qld 4006. Tel: (07) 3666 6910. Fax: (07) 3666 6911.
We acknowledge the Traditional Owners of the land in all states and territories on which we work and report. We pay our respects to
Aboriginal and Torres Strait Islander Elders past, present and emerging, and honour their history, cultures, and traditions of storytelling.

SUBSCRIPTIONS within Australia, 1300 656 933; overseas (+61 2) 9282 8023.
Website: magsonline.com.au. Email: subs@magsonline.com.au.

This magazine is made using paper from the Programme for the Endorsement of Forest Certification (PEFC): at the PEFC, we care for forests globally and locally. We work to protect our forests
by promoting sustainable forest management through certification. This means we can all benefit from the many products that forests provide now, while ensuring these forests will be around for
generations to come. We believe that only together can we protect our forests, which is why we form partnerships with a wide range of stakeholders around the world, enabling us to amplify our
collective impact. When you see the PEFC label on a product, it means it comes from a PEFC-certified forest, one managed in line with the strictest environmental, social and economic requirements.
Through PEFC certification, we can track the material from these forests down the supply chain to the final product you buy. The mechanism to track the material is called ‘chain of custody
certification’. Beyond ensuring that the material comes from a certified forest, it also protects the rights of workers along the production process.

PUBLISHED BY CONDÉ NAST
CHIEF EXECUTIVE OFFICER Roger Lynch
CHAIRMAN OF THE BOARD
Jonathan Newhouse
GLOBAL CHIEF REVENUE OFFICER &
PRESIDENT, U.S. REVENUE & APAC
Pamela Drucker Mann
CHIEF CONTENT OFFICER Anna Wintour
PRESIDENT, CONDÉ NAST
ENTERTAINMENT Agnes Chu
CHIEF FINANCIAL OFFICER Nick Hotchkin
CHIEF PEOPLE OFFICER Stan Duncan
CHIEF COMMUNICATIONS OFFICER
Danielle Carrig
CHIEF OF STAFF Samantha Morgan
CHIEF PRODUCT & TECHNOLOGY
OFFICER Sanjay Bhakta
CHIEF CONTENT OPERATIONS
OFFICER Christiane Mack
WORLDWIDE EDITIONS
FRANCE AD, GQ, Vanity Fair, Vogue
GERMANY AD, Glamour, GQ, Vogue
INDIA AD, Condé Nast Traveller, GQ, Vogue
ITALY AD, Condé Nast Traveller, GQ,
La Cucina Italiana, Vanity Fair, Vogue, Wired
JAPAN GQ, Vogue, Wired
MEXICO AND LATIN AMERICA
AD, Glamour, Vogue, Wired
MIDDLE EAST AD, Condé Nast Traveller
SPAIN AD,
Condé Nast Traveler, Glamour, GQ, Vanity Fair, Vogue
TAIWAN GQ, Vogue
UNITED KINGDOM Condé Nast Johansens, Condé
Nast Traveller, Glamour, GQ, House & Garden, Tatler,
The World of Interiors, Vanity Fair, Vogue, Vogue
Business, Wired
UNITED STATES
AD, Allure, Ars Technica, Bon Appétit,
Condé Nast Traveler, epicurious, Glamour, GQ, LOVE,
Pitchfork, Self, Teen Vogue, them., The New Yorker,
Vanity Fair, Vogue, Wired
PUBLISHED UNDER JOINT VENTURE
BRAZIL Glamour, GQ, Vogue
PUBLISHED UNDER LICENSE
OR COPYRIGHT COOPERATION
AUSTRALIA GQ, Vogue
BULGARIA Glamour
CHINA AD, Condé Nast Traveler, GQ, Vogue
CZECH REPUBLIC AND SLOVAKIA Vogue
GREECE Vogue
HONG KONG Vogue, Vogue Man
HUNGARY Glamour
KOREA Allure, GQ, Vogue, Wired
MIDDLE EAST GQ, Vogue, Wired
PHILIPPINES Vogue
POLAND Glamour, Vogue
PORTUGAL GQ, Vogue
ROMANIA Glamour
SCANDINAVIA Vogue
SINGAPORE Vogue
SOUTH AFRICA Glamour, GQ, House & Garden
THAILAND GQ, Vogue
THE NETHERLANDS Vogue
TURKEY GQ, Vogue
UKRAINE Vogue

VOGUE LIVING subscription rate for
6 issues (1 year) post-paid is $65 (within
Australia). Copyright © 2023. Published
by NewsLifeMedia. All rights reserved.
Reproduction in whole or part without
permission is strictly prohibited. NewsLifeMedia
is a licensed user in Australia of the registered
trademarks. VOGUE LIVING, VOGUE and
GQ have been granted the exclusive right to
use those trademarks in relation to magazines
published by NewsLifeMedia by the proprietor
of the trademarks. Printed by IVE Group.

JOE BRENNAN

“A feeling of distraction, of being
lost in thought,” is how Joe
Brennan describes what he
lensed in our style feature
(page 32). “I really try to think
of everything as portraiture,
whether the subject is human or
animal or object. It helps to have
some kind of emotional entry
point, regardless of what I’m
shooting. Working with Joseph
and Kaila was a total treat, and
the team was a real breeze.”

Vogue Australia’s senior fashion
and market director Kaila
Matthews was tasked with the
fashion narrative of our First
Class feature (page 32). “Armani
is such a storied house known
for expert tailoring,” she says of
her sartorial choices for this
story. “There was a thread of
simplistic lines that leant itself
to a ’90s masculinity, which
I mixed with a little bit of subtle
sensuality that comes through
in the hosiery and bodysuits.” As
for who is on her radar, a couple
of exciting Australian talents
have caught her eye. “Emily
Watson and Alix Higgins are
two emerging designers who
have a unique perspective and
I am excited to see how they keep
evolving their brands,” she says.
24 VOGUE LIVING

KASIA
GATKOWSKA
The home of Framework Studio
founder Thomas Geerlings and
wife Danielle Eras (page 152) was
captured by Amsterdam-based
photographer Kasia Gatkowska.
“It feels like a great house to live
in, filled with contemporary art
and design perfectly integrated
into all spaces,” she says. “I tried
to capture the differences
but also the coherence of
the spaces.” This family home
is also indicative of the studio’s
considered work. “It always
surprises me how they manage
to transform a given space into
something fresh, contemporary
and elegant, upgrading it subtly,
never repeating themselves or
applying the obvious solutions,”
says Gatkowska.
EDITED BY VIRGINIA JEN. PHOTOGRAPHER: MICHÈLE MARGOT (KASIA GATKOWSKA)

KAILA
MATTHEWS

usm.com

Play around with colours, shapes and dimensions
and design your own furniture with our online configurator
Australia: Anibou – anibou.com.au

New Zealand: ECC – ecc.co.nz

Sydney 726 Bourke St. Redfern NSW 2016, 02 9319 0655
Melbourne 3 Newton Street, Cremorne VIC 3121, 03 9416 3671
info@anibou.com.au

Auckland 39 Nugent St.Grafton 1023, 09 379 9680
Christchurch 145 Victoria Street, Christchurch Central 8013, 03 353 0586
Wellington 61 Thorndon Quay, Pipitea 6021, 04 473 3456
info@ecc.co.nz

By YEONG SASSALL
Photographed by VINCENT LEROUX
Styled by AFTER BACH
Located in Paris’s historic Place Dauphine, this pied-à-terre proved the perfect blank
slate for After Bach designers Jessica Barouch and Francesco Balzano to demonstrate
their sculptural and minimal approach. “The idea was to give [the apartment] a timeless
signature,” explain Barouch and Balzano, who launched their studio in December
2020. The duo layered contemporary design pieces and a sage-green and eggshell
colour palette over the 17th century architecture to create a cohesive dialogue.

VOGUE.COM.AU/VOGUE-LIVING
Vogue Living

@vogueliving

26 VOGUE LIVING

Vogue Living

Progress you can feel

Horizons aren’t boundaries
The all-electric Audi Q8 e-tron
Equipped with fast charging and impressive performance,
the Audi Q8 e-tron is an artful combination of sophistication and
electric drive — allowing you to confidently conquer the road ahead.

Overseas model with optional equipment shown.

It’s hard to believe this is the FINAL ISSUE of 2023, so I wanted to end the year with a bang by celebrating the

project offers fresh takes on interior design, where classic style meets DISTINCTIVE QUIRK in the best possible way.
To kick off this fresh perspective, we take you inside VL50 designer David Flack’s new Melbourne studio space
and introduce you to three creative ventures that have been on our radar at Vogue Living. From gallerist DISRUPTOR
Oigåll Projects and dynamic studios Golden and Pattern, each of these creative practices thrives on INSTINCT and
demonstrates the out-of-the-box thinking and innate vision that have come to define Australia’s design community.
We also teamed up with ARMANI/CASA and Giorgio Armani to showcase their latest pieces in a collaborative shoot
with style editor Joseph Gardner and Vogue Australia’s senior fashion and market editor Kaila Matthews, photographed
by Joe Brennan. This story conveys the timeless modernity of the house of Armani through a playful, conceptual lens.
But the HOMES are where the real fun begins. From the 1980s-leaning Sydney family apartment of Gillian Khaw,
one half of VL50 studio Handelsmann + Khaw — where her inspirations include Richard Meier, Andrée Putman
and the film American Psycho — to the perfectly “pretty” Rome abode of event planner to the stars Diana Sorensen
of Sugokuii Events designed by Cristina Celestino, each home in this issue feels EDGY, vibrant and unique.
“I JUST DO ME” is how David Flack describes his design philosophy and I think that resonates in every creative
we have featured here. It’s something I am constantly reminding my own children — stay in your own lane,
have faith and BELIEF in your own voice and vision because that’s where the magic happens. Enjoy the issue.

REBECCA CAR ATTI, EDITOR-IN-CHIEF @ BECCAR ATTI
28 VOGUE LIVING

PHOTOGRAPHER: MICHAEL NAUMOFF. HAIR & MAKE-UP: KRISTYAN LOW. UP SERIES 2000 UP5_6 STRIPED ARMCHAIR BY GAETANO PESCE FOR
B&B ITALIA FROM SPACE FURNITURE; FLORIS WUBBEN SIDE TABLE FROM STUDIO ALM; ARTWORK BY MARISA PURCELL FROM OLSEN GALLERY

innovative design talent in Australia as well as showcasing homes that reflect that SENSIBILITY AND TONE. Each

Discover the
beauty of steam
Indulge your creativity with Miele Combi steam ovens, featuring
a convenient self-cleaning function that helps bring out your best
cooking with effortless ease.
Miele. Immer Besser.

31 V O G U E L I V I N G

IN COLLABORATION WITH ARMANI/CASA
REMY SIDE TABLE, FROM $3890, FROM LUXMAISON. MODEL WEARS WAISTCOAT, $1550, BODYSUIT, $1100, GLOVES, $1250, AND EARRINGS, $630, ALL FROM GIORGIO ARMANI. PHOTOGRAPHER: JOE BRENNAN. STYLIST: JOSEPH GARDNER.
FASHION STYLIST: KAILA MATTHEWS. PRODUCER: SANDY DAO. STYLE ASSISTANT: AARON WONG. FASHION ASSISTANT: ISABELLA MAMAS. HAIR & MAKE-UP: GILLIAN CAMPBELL. TALENT: LIV PARSONS FROM PRISCILLAS MODELS

IN COLLABORATION WITH ARMANI/CASA. STYLE ASSISTANT: AARON WONG. FASHION ASSISTANT: ISABELLA MAMAS. HAIR & MAKE-UP: GILLIAN CAMPBELL. TALENT: LIV PARSONS FROM PRISCILLAS MODELS

3 4 VOGUE LIVING

37 VOGUE LIVING

By ANNEMARIE KIELY Photographed by ANSON SMART

38 VOGUE LIVING

COMMUNITY SPIRIT The rise of FLACK STUDIO over recent years has seen
the practice, led by David Flack, expand to encompass all facets of design. And
now, the team has a highly expressive, ARTFUL space worthy of such ambition.

This page designer David Flack in the front room of his
Melbourne studio; table designed by Flack Studio; Cantilever
chair by Mart Stam for Fasem from Castorina; sculpture
by Ramesh Mario Nithiyendran from Sullivan+Strumpf;
artwork by Kaylene Whiskey from Roslyn Oxley9 Gallery.
Opposite page in Flack and architect Richard Blight’s office, vintage
onyx table from Nicholas & Alistair; Africa chairs by Afra and
Tobia Scarpa for Maxalto from Castorina. Details, last pages.

This page in the kitchen, ClassiCon Diana B side table from Anibou; vintage bar stools from Smith Street Bazaar. Opposite page in a breakout area,

table and black upholstered stools designed by Flack Studio for Ace Hotel Sydney; vintage kilim rug from Halcyon Lake; artwork by Sydney Ball
from Sullivan+Strumpf; artwork (in the powder room beyond) by Darren Sylvester from Neon Parc.

4 0 VOGUE LIVING

I

n an omnichannel world, where design seeks to differentiate with the ‘experiential’
but rarely delivers on the concert of essential parts, one Melbourne firm has nailed it
without giving a ‘Flack’ for latest findings on consumer wants and ways.
“I just do me,” says designer David Flack in full disclosure of being “a bogan from
the country who never fitted in” and had to find his way through narrow culture by
crafting such kitsch arcadia as The Gumnut Plaza — a shopping-mall tribute to May
Gibbs’ characters drawn by his nine-year-old self. It was the first manifestation of a
material world made naively escapist by one who would later garner back-to-back
inclusions in both the VL50 and US Architectural Digest’s annual AD100 list.
Flack avows that he’s never wavered from that nine-year-old’s naive escapism but can
now play with bigger budgets on a bigger scale and bring his fever dreams to fruition
under the one newly extended roof, where disciplines are in constant dialogue.
No siloing of graphics, interiors, architecture or management, he says with
introduction to architect Richard Blight, whose CV states the long-term stint in
a big-city firm and solo practice as Blight, Blight & Blight. The pair also have a working
synergy that flushed out mutual likes “and past employment at Maccas”, plus a desire
to work together in the same space.
“Being in this office always felt so much more generative than working in isolation
in sole practice,” Blight says with nod to the office engine room where the eight or so
designers hum to a Hall & Oates soundtrack, making coffee in a kitchen galley-turnedgallery where Flack has curated a lip-smacking display of ceramic cakes by Sydney artist
Mechelle Bounpraseuth.
“This office is an up-front commitment to everything; it just doesn’t hold back,” declares
Blight in grouse of the prototypical architect’s office where big art hangs behind the
receptionist’s desk and workers hide in warehouses bereft of aestheticism. “This is like
one big 3D business card you can inhabit, the whole shebang on show, an immersive
space where any rationalisation of the work is superfluous, and the experience does the
sell.” Art is an everywhere exposure to Flack’s personal resonances, love of the piss-take
and eye for the technically brilliant torchbearer who takes a different path.
As for the boardroom, a typology of space that can induce stress with its long-table air
of accountability, Flack chilled its tension with a video installation by Singaporean artist
Dawn Ng, showing the real-time melt of a pigmented ice block. It alludes to the fleeting
nature of time and the quick dissolution of object beauty into nothingness. Not that
Flack needs reminding of temporality after suffering the loss of his former partner and
co-principal Mark Robinson in late 2022. Like all things in Flackland, the way through
darkness is to light up tomorrow with a technicolour brilliance.
It blinds from studio start, where a painting by First Nations artist Kaylene Whiskey
filters Dolly Parton through desert eyes and a large ceramic figure by Sri Lankan-born
Sydney artist Ramesh Mario Nithiyendran expresses with equal idolatry on a wave-edged
platform of Palladino stone called ‘the revolving plinth’. It is the site of rotational
display for what is currently capturing Flack’s imagination and instigating wider debate
among fellow designers and “local aesthetes” who can avail of the open library days
to “just rock in and read” one of the 1000-plus design books.
“It’s about creating community,” says Flack of extending spirit and space and
creating a legacy. “Yeah, we do interesting work, but not forgetting how I felt as a kid
and how Mark bounced between shelters and never knew the security of a real home,
we had to share the privilege of this place and maybe put someone else on the path of
utopian possibility.”
flackstudio.com.au

Opposite page in another view of the front room, Arrow pendant light from Apparatus, enquiries to Criteria; Fantasma

floor lamp by Tobia Scarpa for Flos from Castorina; table lamp by Jonah Takagi from Criteria; custom kilim rug from
Halcyon Lake; artwork (on top left shelf) by Dane Lovett and artwork (on right wall) by Jahnne Pasco-White from
Station Gallery; sculpture by Ramesh Mario Nithiyendran, sculpture (on bottom right shelf) by Lynda Draper and
video installation by Yang Yongliang, all from Sullivan+Strumpf; sculptures by Jordan Marani from Daine Singer.

42 VOGUE LIVING

This page in a meeting area, Cassina Capitol Complex table by Pierre Jeanneret and Cab chairs by Mario Bellini from Mobilia; vintage kilim rug
from Halcyon Lake; artwork by Sydney Ball from Sullivan+Strumpf; Bright Things floor lamp by Jordan Fleming. Opposite page in another view

of the kitchen, ceramic vessel by Lynda Draper and sculpture by Tim Silver from Sullivan+Strumpf. Details, last pages.

4 4 VOGUE LIVING

Piero Lissoni has just visited Australia to mark SPACE Furniture’s
three decades in business and in this discussion charters his own DESIGN
pursuits since he started his eponymous studio at the age of 30.

PHOTOGRAPHER: TOMMASO SARTORI

By VIRGINIA JEN

This page, from left Formiche coffee tables, Mjna chair, Eda-Mame sofa, all by Piero Lissoni for B&B Italia.

48 VOGUE LIVING

PHOTOGRAPHER: TOMMASO SARTORI

A

fter close to 40 years in design, Piero Lissoni remains passionate, alert and vigilant
of the virtues of a creative life. Over the course of our conversation, the architect,
art director and designer reflects on the leaps and bounds design has taken since he
established his studio in 1986. “I feel it was a prehistoric time with the dinosaurs — it
was another world. I remember my first computer I bought in 1989, it was
a Macintosh computer, and for me, it was like a science fiction machine,” he says. “Thirty
five years ago, I couldn’t have imagined we’d live inside in a virtual reality, inside
cellphones, inside Teams meetings and ChatGPT.” Despite these innovations, and the
coinciding ethical issues that have become prevalent, Lissoni also tells me that design and
creativity are still grounded by a “simple secret” — several, in fact — but more on this later.
Lissoni was recently in Sydney and Melbourne for a series of talks, dinners and events
to help celebrate design specialist Space Furniture’s 30th anniversary. A few parallels can
be drawn between the leading retailer and the creative — on first glance, multiple locations,
for instance, with Space’s striking showrooms in Australia, Singapore and Malaysia;
Lissoni has offices in both Milan and New York City — but perhaps most in sync is the
dedication to quality across different design scopes, whether it’s architectural, product or
graphic. And for Lissoni, it’s everything from brainstorming headquarters for Glas Italia
and Living Divani, the Eda-Mame sofa or Spool side table for B&B Italia, down to
a throw cushion for Kartell.
“I like to talk about attitude with something like artistic direction. You need to follow
this special passion and you are inside a special team,” he says of his art director duties,
as well as working with such storied companies and clients. “You work with the factories
and all together we do something in a good way. It’s a simple secret. In the end it’s pure
teamwork.” He derides the view that architects, designers and art directors may “look like
rock’n’roll stars but it is not true. The team is, for me, absolutely crucial and important.”
Talking to one of the industry’s most prolific minds is bound to take on a philosophical
note. “I like the humanistic approach,” says Lissoni. “You need to be at the same time
a technician, a poet, an engineer, a painter, many different figures. Being a designer,
architect or graphic designer is not a superficial approach. You need to study, work, make
a lot of mistakes and sometimes, you transform your mistakes into something good.”
“Sometimes the mistakes, they are a disaster,” he continues. “When you learn the route
of your mistake, in the end, it’s a great teaching. The mistakes are not negative, they are
a good opportunity; otherwise, if you are negative, everything becomes a disaster.”
It’s at this point, Lissoni reveals the simplest secret of all. “Listen, I’m unbelievably good
in that I’m one of the best creative people in the world to do mistakes and disasters.
Every day, I try to adjust and every day, I am so creative and I find a new one or way
[to make mistakes]. Otherwise, you jump inside some spatial cocooning zone and it
becomes a mortal approach, because if you don’t move, you stay fixed on a point, and what
will it mean? You don’t take any risk.” And as the adage goes, with great risk comes
great reward.
lissoniandpartners.com spacefurniture.com

   

Australian
OUTLOOK
Whether you have a home among the gum trees, a city pad or
a house by the sea, curate spaces that complement our unique landscapes
and lifestyles with Australian made furniture from DOMAYNE.

 
  !
" # $% &'() * +,%-./ 01,. ,#%
2& #"3/4 '(%0$' 1%  5&

     

  

   

        







 Make your dining table the place for loved ones

to gather with a locally made statement piece in solid Australian chestnut timber
paired with invitingly comfortable chairs upholstered in luxe Warwick fabric.

VISIT DOMAYNE.COM.AU TO BROWSE OUR FULL RANGE OF FURNITURE, BEDDING AND HOMEWARES

DINING
  



  

Choose your table

 6  7 8   6 9
Tailor the Orana to fit your space, and get the perfect
finish with a Natural, Smoke, Wheat or French Grey stain.

Choose your chair

    6

8   6 9

Stain Luca chairs to match your Orana table
and upholster in your choice of fabrics.

   !  !"# !$ %&' ()***+ ,"  #- ,.#& -/!!0  1"2 "- ! - %"  ' % %&' (3** !"#+ -& #!! #/! ,/-
4567896"' (3* !"#+  !! #/! 7/!0 ! ,/ &0 !/ 8)6:)56"' (3*+  #! ; ' 
/ (4<*+ &#!' /, ;!0/ ()8*+ 7/! ! ; /!
(=)*+ "& &$  --" ,' !  --!- !/ &% = ()*+ >, , /.! &1  (5*+ &!/ &0&  & /,0! &1  (46*+ &!/ &0& .!"2 !  ! &% ; !/$ &,0
; //! (=*+  / ? ;!..!  ,/ #'.!  ,/!- !/ &% 3 (9*+  &/#! /!'- -/$ -/@- &1

BEDROOM
  



  

Choose your

 7 : ; 7  :  6 :  ;
End your bedhead at the bed frame for a neat look
(above) or go for drama with the winged option (right).

Choose your

    6

 8     6 9

Pick from eight stains for the frame and finish the
bedhead in a complementar y War wick fabric.

A,!!- !0 A,!! 1/#  B! $7 /'! -/ 0 ,.#& -/!$  1"2 "- ' %"  C& ()3**+ A,!!- 8:1! !0-0!  !- /00 (4)9* !"#+
&0 36"' &,0 //&' (9**+ -& #!! #/! ,/ 4567896"' (3*+ & // #/! ;!0/ ! ()=*+ &0!"2 ,.! , ! 86678*6"' (46**+ //&
 ! '.- (83* !"#+ - !! &// ! (<3+ ' &,"# !"! #/! #!!/ !/ A,!! 1/# 96"'   (=)*+ "& &$ !' /&! A, / &B!  (88*+ /!/-&
,-/ #&1 (88*+ 7%&0 !"&// ,-#& (3*+ 0 !$ !"&// ,-#& (3*+ $  !B!- !  ,! ,-#& (9*+  &/#! /!'- -/$ -/@- &1

  

   

Drift off in a bedroom
designed just for you, with elegant timber pieces complemented by soft
furnishings featuring fabrics in your favourite colours and patterns.

VISIT DOMAYNE.COM.AU TO BROWSE OUR FULL RANGE OF FURNITURE, BEDDING AND HOMEWARES

VISIT DOMAYNE.COM.AU TO BROWSE OUR FULL RANGE OF FURNITURE, BEDDING AND HOMEWARES

D   

 Curate the perfect casual

yet stylish contemporary dining space with a mix of pieces in natural
textures that work well together without being a matching set.

   

DINING
  



  

Choose your

 ;  < 7
Make the most of the space you have with a Saxon dining
table in your pick of a round or rectangular shape.

Choose your

  6 9
Complement the Saxon’s elegant silhouette with
a modern stain in Ash, Mimosa, Natural or Smoke.

7& &,0 436"'   !  /,  (==**+ "  # E  /,  (8**+  $  # E   ,/ 1/# !! ,.#& -/!$ (9**+ !  # - E
  ,/ 1/# #/! ; ,.#& -/!$ (9** !"#+ './&-  B! 0&&F ,/0&& , 866"' (4)**+ &!/ &0&  ; /%&' (<=+  / ? ;!..! G! &1
-! (5*+ &!/ &0&  /!  ! &% ; !/$ B ; //! (9*+ "& &$ --" ,' !  --!- !/ &% = ()*+ 0! !  !/&. ", ./,! (44*+ B! &1 #2
-! (<*+  &1 !--!  ()*+  &! 0 -! (3=+ !-/& ,-/0 -! (<*+ 0!-& !"&// -! ()9+  &/#! /!'- -/$ -/@- &1
E 

 



  

Start with a lounge in a classic silhouette and play with the
colours and finishes to create the ultimate centrepiece.

  

 6   6 9   <  7   =

LOUNGE

Choose your

 6  7 8 7  
Alter the Fitz leg style to suit your taste and choose
from a great range of sizes to fit your space.

Choose your

    6

 8     6 9

Match your pick of three timber stains for the
legs with luxe War wick Fabrics upholster y.

/G )9:!/! &,! ,.#& -/!!0  1"2 "- ,1&&0 %"  &!$ '0! /& &0! %&' (84**+ --! ""!/ # ,.#& -/!!0  1"2 "- ,1&&0 %"
 &!$ 0 1"2 "-  %&0 %"  !'& '0! /& &0! %&' (49**+ 7& '.  ! (44**+ B!.&/ &-& !  ! E  (45**+ -& #!!  ! ,/  #/!
4567896"' (3*+ , &-- 0&&F,/0&& , 866"' (59*+ ,/! -/"/ 
/ ()3*+ 0$ /.!  B! ! -! (46*+ &#  && '. (9)*+ B&! , ! -!
! (44*+ 0! %!-/$ ! &"2.&& ,-#& #/!F/,  (**+ 0! %!-/$ ! ,-! #/! ,-#& (48*+  B&$ ! B!/ ,-#& (=*+  &/#! /!'- -/$ -/@- &1
E 

 

VISIT DOMAYNE.COM.AU TO BROWSE OUR FULL RANGE OF FURNITURE, BEDDING AND HOMEWARES

   

   

Create a cool, calm, coastal-inspired space to relax in, with natural
timber textures, rounded edges and soft furnishings in earthy shades.

VISIT DOMAYNE.COM.AU TO BROWSE OUR FULL RANGE OF FURNITURE, BEDDING AND HOMEWARES
Each Domayne® store is operated by an independent franchisee. Advertised prices valid at New South Wales stores only. Prices may vary between states due to additional freight costs. Mattresses, bed linen
and accessories shown are not included. All decorator homewares and bed linen featured not made in Australia. Promotion valid until 27/12/2023, or while stocks last. Prices may vary due to customisation.

BEDROOM
  



  

Choose your

 7 :  6 : 7   >    7
Store all your essentials with the one-drawer (above left)
or one-drawer, one-door bedside table (above right).

Choose your

 6   7    6 9
Bring out the best in this bed’s Victorian ash
hardwood with your choice of eight stains.

 ! !"# !0 A,!! (=)**+  ! !"# 4:1! 4:&& !0-0!  ! (49**+  ! !"# 4:1! !0-0!  ! (4)9*+ &0!"2 !! , ! 86678*6"'
(46**+ &/,2  ! '. (4<*+  / ? ;!..! ' !$ ,' ! !/ &% = (3*+ , -& /! A,!!F! !#2 &B! !/ ()=*+ &'$! ,7,!- 4666
#/! #!!/ !/ A,!! (4=*+ "& &$ !' #/! /00 ; &1"-!- !/ &% 8 (3=+ "& &$ !' #/! ,&.! ; &1"-!- (=* !"#+ $  !"&// ,-#&
(3* !"#+  &/#! /!'- -/$ -/@- &1

The variety and scope of t
to make leaps and bounds
adding their unique voices
By ANNEMARIE KIELY

THE DISRUPTOR

OIGÅLL PROJECTS

PHOTOGRAPHER: ANNIKA KAFCALOUDIS. STYLIST: JOSEPH GARDNER

W

hat’s an Oigåll — a forest dwelling mole native to
Finland? “That’s funny,” says Andy Kelly, artistic
director of the project space flashing said name across
a window on Melbourne’s city-edge Gertrude Street.
“It’s the nickname of Mitchell’s maternal grandmother
— Oigåll, that’s Oiiiiigall.”
He works the word into an emphatic pout and lets his partner
Mitchell Zurek run with the story of Gertrude Spilsbury who
hated her name, changed it to Irene and endured her husband’s
debasement of its lyricism to Oigåll.
“She was always creatively tinkering in the garden, urging
me to ‘give it a go’,” says Zurek of living with her for four years
while studying landscape architecture at RMIT University.
“When we got this space in Gertrude Street, it just made sense
that we named it in her honour.”
“And then I made up this story that it was a Swedish word
meaning something you see, like a sausage dog, that makes
you feel inherently positive,” continues the former visual
merchandiser Kelly with side note that they added a small ring
over the ‘a’ to confer a Scandinavian mystique. “I was so devout
in this lie that everybody started to believe it and I had to fess up
that I’d invented it. But no-one believed me.”
He cackles at the fancy “faux” of it all, cranking back to the
Covid beginnings of Oigåll Projects, a street-level gallery below
a ‘design home’ in the holistic service of creative conceptualism.
“We were trapped in our little warehouse conversion in
Collingwood, bored out of our brains and decided to start
making furniture out of aluminium because, why not?”
“But we didn’t have a workshop or tools, so had to figure out
a way to make it without fixings,” explains Zurek with eyerolling regard for the absurdity of making outdoor furniture
when the world was locked inside. “I did the drawings on the
computer, flicked them to the laser-cutter and four days later,
there’s a knock on the door with some guy delivering the stuff.”
“But where do we show it?” quizzes Kelly of the rapid birth of
the luxuriously brutalist Brud Studia furniture across their living
area floor. “I know! Let’s buy a commercial building on Gertrude
Street… one ready to fall down and kill someone.” And they did,
renovating its rooms, “set-dressing” with the art of friends for
a celebratory end-of-works dinner, then deciding they must be
gallerists after passers-by kept popping in to buy the props.
It sounds like a remake of How to Succeed in Business Without
Really Trying. But since that implausible beginning, Kelly
and Zurek have staged more than 45 installations, stunned with
their stable’s offerings at both Sydney and Melbourne Design
Weeks, and caused Insta-meltdowns with exhibit grabs of
some 180 exhibited artists including such Oigåll regulars as
DenHolm, Ella Saddington of Cordon Salon, Anna Varendorff
of ACV Studio and Michael Gittings.
They may have wagged the tail first, but this little sausage
dog is a goer. oigallprojects.com

This page, from top Andy Kelly and Mitchell Zurek with Bruce the Italian greyhound,

custom pendant light by Brahman Perera; chair by Michael Gittings. In the living
area, coffee table by Brud Studio; pillar lamp by Studio Henry Wilson; custom latex
sofa by Michael Gittings; floor lamp by Brud Studia. Opposite page in the another
view of the living area, chair by ACV Studio; stone totem by DenHolm.

THE POLISHED EYE

GOLDEN

PHOTOGRAPHER: SEAN FENNESSY. STYLIST: JOSEPH GARDNER

T

ime in design should measure in dog years, such are the
pressures on creative production that practice longevity
typically limits, but after one decade of putting out their
shingle, Kylie Buhagiar and Alicia McKimm say they’re
still feeling Golden.
It colours the name on the door of their new Melbourne
studio, the elms in neighbouring Fawkner Park, the ‘divine’
ratio regulating their sculpting of space and the feelings they
hope to elicit in their interior schemes. Though “certain”
piss-taking friends like to label them ‘The Golden Girls’, after
the US sitcom in which mature-aged single women house-share
in Miami and drive the plot forward with their hilarious
antagonisms and differences.
Buhagiar and McKimm don’t mind the allusion as they
bring similarly opposing strengths and laughs to the table,
using the push-pull tension in their critical talk to craft a singular
style they describe as ‘reductive’.
“Which is not to call what we do minimalist,” qualifies
McKimm of the 1980s cut of design that disappeared into
whiteness. “We pay a lot of attention to the tactile and don’t
mind expressing in the detail if it has a reason to be there. Every
element must function beautifully and say something about the
owner’s ethos. It must be intelligent.”
Her point is made palpable in the studio’s fit-out of the Viktoria
& Woods flagship at Chadstone Shopping Centre, where the
label’s ‘Made in Australia’ low-key luxury translates into an
interior architecture that is equal parts fresh, fun, functional,
real, and unequivocally Aussie.
“It’s why future clients often venture in from the high
street,” says Buhagiar of Golden’s brand-nuanced massing of
materials in boutiques that conspire to fit both body and mind.
“We always talk about an honesty of substance — textured
limestone floor meeting oxidised bronze in immaculate junctions
that don’t draw attention.”
Their sensorially rich humility is a contradiction that dissolves
into the comfortable refinement of this Edwardian home
which, altered and extended for a couple with adult children,
deferred all show to an outer century-old elm tree.
Buhagiar and McKimm leveraged the untouched grandeur
of its aged nature in the specification of raw stones, timbers
and metals seemingly mined straight from the field; their
organic order regulated by taut formal geometries teetering on
classicism. Such controlled antagonisms are what generate
the frisson that feeds into an atmosphere that ultimately
excites a Golden sentiment.
“They [the owners] are energised by the fact that people come
over and comment on how beautiful it feels and threads together,”
says McKimm. “That is the essence of what we try to do, make
the house manifestly them and facilitate their contentment and
joy,” which might sound trite if happiness weren’t such an elusive
and complex beast to harness in housing. But Golden avow that
the answer lies in the “bleeding obvious, but often neglected ask”
of their clients: “What makes you tick?” designbygolden.com.au

This page in the living area of Pattern Studio’s Daddy Cool project with a view of the courtyard
beyond, Hem Puffy lounge chair and ottoman from District; vintage 1970s Mazzega floor lamp;
custom outdoor furniture from Natural Brick. Opposite page, from top Lily Goodwin and Josh
Cain of Pattern Studio. In the kitchen, custom Verde Guatemala marble island and stained timber
handles designed by Pattern Studio; vintage French brass stool; vintage glass plate; Faye Toogood
Dough centrepiece from District; Objects of Virtue vessel from Bess; artwork by Galina Munroe.

THE FRESH TWIST

PATTERN STUDIO

PHOTOGRAPHER: TOM ROSS. STYLIST: FELICITY HWEE-YEE NG

T

he name Pattern Studio suggests an interest in the
surface repeat of shapes, but for practice founders
Lily Goodwin and Josh Cain, who met in a big design
firm and fled its hierarchy to do their own thing, the
epithet is easy entrée into the deep thinking that delivers
their ‘sumptuous minimalism’.
“One free of superfluous detail but overlaid with
unexpected elements,” explains Cain of the dichotomous rich
elementalism that recently informed their flagship design for
luxury-loungewear label Deiji Studios and the relaxed
formality of Rosa restaurant on Sydney’s Northern Beaches.
“It’s like an epic sensorial shower that washes away distractions
and leads to a rich awakening,” qualifies Goodwin.
Yes, Pattern Studio addresses the aesthete, she says of the
atelier’s ambiguous marque, but it also winks to those
familiar with Pattern Language (1977), the bestselling book by
Harvard academics detailing 253 patterns defined as repeat
problems in the built environment.
“Such seminal texts serve as a filter for our own thinking,”
says Cain of the essential studio reading ranging from
Le Corbusier’s Vers une Architecture (1927) to Juhani Pallasmaa’s
The Eyes of the Skin: Architecture and the Senses (1996). “They
help in some ways to make the very subjective wants of design
a little bit more objective.”
He euphemises himself as “the pragmatic bricklayer” to
“Lily’s conceptual poet” — a yin-yang force fashioning the
light-filled clarity of Daddy Cool, a residential project so-called
after the single-father client who wanted his tiny terrace to uplift
with the language of contemporary culture and a hotel-style
convenience for two “adored” adult children.
“We don’t want any residence to feel poured over and curated,”
says Goodwin of grounding the house as they might a hospitality
venue — “making room for resident personalities” by not
building in storage but elevating such prized possessions as a
turntable to object status.
She bounces Pattern Studio’s newest and cutest creation
baby Mati, while speaking to the bigger issues of balancing
the endless polarities of now — timelessness and temporality,
local context and global content, privacy and connectivity
— and the base instincts of human nature: “Why do people
gravitate to certain spaces?”
Cain ventures an answer based on their time with a fast-paced
European production company, designing quick turnaround
installations for the luxury likes of Chloé, Paul Smith and
Hermès. “We got pretty good at drilling down to core values in
concepts,” he says of using a ‘branding’ brain to mine for
meanings that connect with the consumer’s head and heart.
“And now their health,” adds Goodwin of a Melbourne ‘wellness’
project that is currently briefing conceptually for the benefits
of psilocybin. “I think we’ll kneel down at the ultimate altar of
design – nature,” she says of the trademark stitch of honesty,
humility and higher-thinking that earned Pattern Studio the
joint-winner title of Emerging Interior Design Practice title at
the 2022 Australian Interior Design Awards. “To do otherwise
would be arrogant.”
patternstudio.net

SYDNEY
02 9906 3686

BRISBANE
07 3252 8488

sales@cotswoldfurniture.com.au - www.cotswoldfurniture.com.au

MITTAGONG
02 4872 2585

Cementing her status as a master of TACTILE flourishes
and VIBRANT colour use, designer Bethan Laura Wood is
set to unveil a major career milestone at NGV Triennial.
By YEONG SASSALL

B

ethan Laura Wood is nervous. “I’m like a bad backseat driver right now,
kind of on tenterhooks hoping to see everything finished,” she says.
I’m speaking to the designer in London via Zoom, as she awaits the latest
photos from Italian veneer specialists Alpi, who are assembling the
intensely hued wood pieces that feature in her latest installation. After
making several trips to Italy to check them and tweak the design, Wood is waiting
to hear if all the pieces fit. Considering she has been crafting this defining work
for close to a year, it’s understandable that the British creative is anxious about
seeing her vision coming together.
As the second recipient of the Mecca x NGV’s Women in Design
Commission, Wood’s work will be unveiled at NGV Triennial this December.
It will also form a permanent part of the National Gallery of Victoria’s collection
of contemporary design and architecture, and is a positive step towards achieving
greater gender parity within the cultural institution’s repertoire of pieces. “I like
that the NGV and Mecca are unashamed about the fact there’s still a complete
imbalance between male and female representation in museums,” says Wood.
Despite the accolade, Wood is by no means a novice to grand-scale projects.
Her multidisciplinary approach has seen collaborations with Cc-tapis, Design
Miami, Moroso, Hermès and Dior. But the recognition of a significant gallery
holds a different weight. “As with any profession, it’s really important to have these
steps of acknowledgement from big institutions or commissioners — it’s like a
sticker of approval on you as a designer,” she says.
Wood’s process for the installation began in late 2022, and her concept evolved
after a deep dive into the British Regency period. “There’s a lot of stuff going on
— the Industrial Revolution, Mary Wollstonecraft writing one of the first feminist
texts, the beginnings of the Victorian era and this world of science,” she says. Wood
was also highly influenced by the Bluestocking literary society of 18th-century
England and the way it gave women access to information.
Funnelling all these references into one piece, Wood designed a rotating
bookshelf complete with books made from Alpi veneer. In a stroke of synergy,
the machinery for making wood veneer was patented during the same period
she had researched. Another element of Wood’s commission includes textiles,
courtesy of long-time collaborator and rug company Cc-tapis. “I wanted there to be
a textile piece, because there’s a long narrative of women and textiles — that being
one of the few materials [women] were allowed access to,” notes Wood.
With the creative set to make her first visit to Australia in December, the trip
is a nice bookend to a year that’s seen not just this exciting commission but
expansion to a new studio. “I’m really looking forward to looking around the
NGV,” she says. “And I’m excited to meet people and makers connected to
Australia, and see if anything comes to fruition.” And in a statement befitting
her reputation as a connoisseur of colour, she’s also “really interested in experiencing
the light, colour, and tones in Australia”.
Bethan Laura’s Wood’s 2023 Mecca x NGV Women in Design Commission will be
on display in the NGV Triennial 2023 from 3 December 2023 — 7 April 2024 at
NGV International; ngv.vic.gov.au
71 V O G U E L I V I N G

72 VOGUE LIVING

5310 Brillianza™
Caesarstone Mineral™ Surfaces

Inspired by
Nature’s Energy

2023 New Designs
Brillianza™ features a lustrous, crystalline
appearance in frosty whites and cool greys that
brings energy and brightness to your home.

Discover now

Compiled by SANDY DAO
Clockwise from top left Dior Maison X Pierre Yovanovitch oak candlesticks, from $750 each, from Dior, dior.com Babylone silver-plated centrepiece, from $2987,

from Christofle, christofle.com/eu_en Gubi 1972 pendant light by Paavo Tynell, $1295, from Cult, cultdesign.com.au Bath towel in Tamarillo, $110, from Købn,
kobn.com.au Studio HAOS sofa, $26,800; oak armchair, $5500; and Japanese wall light, from $6600; all from Tigmi, tigmitrading.com Grand Soleil platters, $189
each, from Maison Balzac, maisonbalzac.com Ceramics, POA, from Bottega Veneta, bottegaveneta.com Fritz Hansen Skagerak Georg bench, $1910, from Cult,
cultdesign.com.au Ionic coffee table by Minjae Kim, POA, from Garcé & Dimofski, garce-dimofski.com Candle basket, $1530, from Loewe, perfumesloewe.com

74 VO G U E L I V I N G

PHOTOGRAPHER AND STYLIST (KØBN): SARAH JESSICA MARIE BURNS/@MAROCCANCOLOURS. LOCATION (KØBN): MAISON BRUMMELL MAJORELLE.
EXCHANGE RATE CORRECT AT TIME OF PRINT SUBJECT TO CHANGE

THE VL EDIT

®

On the surface

Think big
Get creative with a full-surface cooktop that gives
you all the space and control you need for dishes like
chef Jo Barrett’s Asian-inspired breakfast pancakes.

H   
 


   

 
 I  J

    

  
 K
?) )
 

   





) @6  
@)A  )
 A6 ) ;    6  
  ;
)  6  
     !  "#  $
% &  !"# %$!& # '&$ & % #
# %& $  #%"& ( && "& "$$
"#  &) % '!&* & " %$$)+ # ' #
%  %!$$,- !    &  )
) &!$ %&  # $ # "## &.!&  &)
% $  # )  + / 0!  #' % %&
-  $$ '& # !&% % # !  #*
$$  '$* 1 && *+ / 2 & $+1
& # & '

;

  @B6 

 

 

The Miele cooktop


    U  

   

   

#F  ##"    
 & #  #  ##
    & & .    # "
 #G  # )  #  # 
#G## &#F# 
G  &     G #
 & & ) H # # "#"G
  #  5 

6$ 
CDE$$6@')6
' )
L
MNOMPQ R
SN TOO

 3        4 3  +  4 + 35





In the zone
Go with the flow using a multi-zone cooktop that
offers intuitive features to make it easier than ever to
master dishes like chef Ben Pollard’s seafood pasta.

H      
       
    
    

    
 K
 
30@ I'@)64'-)00@ 0 )@0) $/@0

    
   
         
      
V   
)# #&
 &"G
F  ).# G#
/  &   
 H # #"    "
 J & #" 
 K   
# J6#   
#& 6 . #  K
-# G  

  F   

   



The Smeg cooktop
  U  

  

# # #" . #" H
  # # 6 5 "#"  & 
$ !#   &#" H# 
 H#  #
#     G# 
)N&G G  GHG
/#  # #H& ##"
O,,2& G & 

CLL$$M!6@')6
' )6/'
L  QMOWT R SQ WOX 
@640 306-06@')6
3 '0$6'/  
L 
R SYWX

 3        4 3  +   4 + 35

Dual fuel
Get the best of both worlds with a hybrid gas and
induction cooktop – perfect for whipping up this
next-level steak dish from chef Alex Prichard.

H  
     
     

        
     K
 

6 ;



 6   78 806 0

) ;  
@ ) ) 
  6 ) ; ;

6 ; 6 ) )  
  
   @ 
8 ! *!&  ) "# # # %&  &)
#% $9 &#&+ / $' # $9* % %$'!& %&
"#   '&* #& $ % )& 1 # * )
# !)  !  /:!   
$1  &&+  &$* & #') &$
#  &) #2 )  "# ! 
;<;; &#& *  % # ) % % #
#$)*  # /# $% %    !#
$)&+  2 $ $&  & %& # '& 1+
& # & '

;



@B  6 

   

  Z

The Electrolux cooktop
 

 F     U

 

 U   

  

) #" # PG# &  
G #   # H  & $
G&  # -& #G"
 #Q   G#" 
 # & #&# &#" H
# #  # #& #
# . #* #+&
#" Q& 

CLL$$@)6$)) )CLL 
R!/066@')6
26)3 /@00' )
L
OWMR
S[ QOO

 3        4 3  +   4 + 35

Extraction action
Make smooth moves in the kitchen with an induction
cooktop featuring integrated extraction, and this
French-inspired dessert from chef Jason Staudt.

H       

       
   
 
        K
 

 

   ! 

 
  

    
  
 

%' $ %B&,/! /#/ /&2!#&,-! !7!",/B! "#!% \-&
/,0/ &% /! '2!- %& #- -& /#- !"#:-.!0
0!--!/ - .!%!"/ %& '2 /#! '&-/ &% -,''! %,/-
#! .!"-& &%  0,"/& "&&2/&. '2!- / !-!
/& !/ /#! /!'.!/,! C,-/ #/ %& "!.!- 1# !  -&
C,  /#! &/#! ! !'!/- &% /#! 0-# ,-/ /$  2!$ %&",- / /&2!#&,-! ] /#! !! , 0 &,"
!10!0 /#! B!,!  %B!:-/ !! / ] !-
? - , / @ / ] 0 $ !' - "&&2/&.! ! .#-!0 &,/  %B&, &% 0,"/& 1#"#
/,0/  -& !"&''!0- %& #&'! ,-!  #- - -,"#
 !/ 00/& %& $&! 1/ /&  /#! %&&0
/& /#! !7 / !B!  /,0/ -$-  #! "&/&  -//
%!!0"2 0 ^,"2 .&1! #! .- -B! /'! ] 1# !  -&
B "&%0!"! &% "&&2   " ! !B&'!/
& /#! !".! B-/

  F   

   

The Miele extraction cooktop
  

 Z     U 

   

/!' ! $&, 2/"#! 0!- 0 $&, "&&2 .&"!-- 1/# /#- "&&2/&. -'/ - / - - !!2 /#! /!/!0 B.&, !7 /"/& #-  ,/&'/!0 %,"/&
/#/ 0C,-/- /#! % .&1! ""&0 /& #&1 /#! "&&2/&. - ! ,-!0 !-,
!% %!"/B! !'&B &% "&&2 &0&,- 0 -/!' ',- $ %,-- #! 566''
"&&2/&. %!/,!- %&, .&1!%, 0 .!"-! 0,"/& G&!- %& %-/ 0 !% %"!/
"&&2 "&B!!/ /&,"# "&/& - 1/#  " ! 0-. $ %& !-$ ,-! 0  "# 0
-%!/$ &"2 0 !-0, #!/ 0"/&- %& 00/& .!"! &% '0 '2 / 
0! &./& %& ,-$ %' !- 2!! !/!/!- 0 $&! ! -! 1#& 1/- . !/$
&% -."! 0 %,"/& /$ 1/#&,/ "&'.&'- & -/$ !

       
      
 _TXX [Y[ QMN
& %0 &,/ 1#/@- #..! / $&, &" B!$ &' ®  "&/"/ $&, -/&! 0!"/ $
"# B!$ &' ® -/&! - &.!/!0 $  0!.!0!/ %"#-!! &/ B  ! /  -/&!- 0- 8<F48F8)

 
 > 
! ;   
 ;   
L M[MY R
SM WOO
  ; 
L R
SWMQ







@

Escape with

Print + digital access for just $65*
Bring the world of Vogue Living to
you with every issue delivered free.
Your subscription includes:
· Australia’s leading interior lifestyle magazine
· Access to the digital edition**
· Hassle-free Auto-Renewal

SUBSCRIBE NOW
magsonline.com.au/VLsubs
*For subscriptions via Auto-Renewal, $65 will be charged to your credit card for the first 12 months (6 issues) then $65 automatic credit card payments every 12 months (6 issues) thereafter. Automatic
payments will continue for your subscription unless your subscription is cancelled in accordance with our full terms and conditions. **Minimum operating system requirements apply for digital edition
access. ^^Offer ends December 31, 2023 and valid for Australian delivery only, while stocks last, for new subscriptions only. Visit magsonline.com.au/VLsubs for full terms and conditions.

85 VOGUE LIVING

PHOTOGRAPHER: ANSON SMART. STYLIST: JOSEPH GARDNER

s The New York Times columnist Frank Bruni put it: “Decades are like people.
Some take up more oxygen than others.” Which makes the 1980s positively
vampiric, suggests Sydney designer Gillian Khaw of the gaudy spectacle
of politics and cultural peacocking that defined her childhood and made
her swear off bad denim and big hair forever.
But don’t we all revile and later return with begrudging affection to our
first beginnings, the question asked of the Handelsmann + Khaw co-founder
who makes the ‘mea culpa’ confession of recently buying back into the era
and embracing the big dream energy sparked by its deregulation of banks.
“So, we purchased a puppy during Covid — as everyone did,” she regales
with the tale of adding a fur baby to her family — “two children, 11 and 13,
and a husband” — in a dog-averse apartment building that forced the search
for grounded suburban property. “But so many unsuccessful bids and
a battered spirit later,” Khaw remembers dragging her feet to the Elizabeth
Bay waterfront, where one “very fugly” frozen-in-time 1980s apartment had opened for
weekend inspection without any of the usual agent fanfare.
“We saw the apartment on a Saturday, were completely bewitched by the outlook, and
bought it on the Monday,” she says of impulsively inking the contract on a mausoleum of
granite with a gobsmacking view. “It reminded me of the opening scene in David Williamson’s
1980s play Emerald City: ‘What other city in the world could offer a view like this?’”
She refers to the satirical comedy that cast Sydney’s shallow hedonism against Melbourne’s
self-important intellectualism and euphemised the harbour city as the Wizard of Oz — one
man’s voice booming behind a blinding spectacle. The apartment had no garden, but Khaw claims
the pullback to its plush-pile world, post “wine and Whitlam”, was more than she could resist.
“It was a time of crazy optimism and creativity in Australia,” she says, recalling Bottom
of the Harbour schemes, 10BA tax breaks birthing a new wave of cinema, Ken Done capturing
“that view” in crayon brights, a chaos of corporate takeovers, and the country choosing Bob
Hawke as its prime minister. “I decided to lean into the ’80s, the graphic black and white,
the masculinity. I rewatched the movie American Psycho for inspiration.”
Citing the cinematic version of the Brett Easton Ellis opus about the sociopathic investment
banker Patrick Bateman who inhabits a Bauhaus-strict New York apartment propped with
the artefact of ’80s aspiration, Khaw further added to her “fluency in ’80s-ness to the point
of watching a YouTube of Ivana Trump promoting the ‘newly’ built Trump Tower!”
She also pored over the schemes of such era-defining stars as Richard Meier, Andreé Putman,
Angelo Donghia and their ‘influencer’ precedents Jean-Michel Frank and Frances Elkins —
precursors of a minimalist theatricality — closely studying the layout of Rosario Candela’s
New York apartment “to distil what made a great apartment a home”.
Khaw’s quest to make “the weird ugly box” work required that ceilings and doors be raised,
the square entry vestibule softened to round, the dog-legging hallways rationalised into
a central spine, mean architraves removed, and view-dissecting windows replaced with the
full-bleed glass of Vitrocsa’s frameless system.
But lifting vestibule height exposed the upper level’s sanitary pipes, groans Khaw,
who looked to Frank’s 1930s fit-out of Nelson Rockefeller’s Fifth Avenue triplex and designed
a plaster platform in the shape of a cloud to cover its ‘shitty’ sin. The problem-solving gesture
added poetic whimsy and gave warrant to further tilt towards the art of Alberto Giacometti
(a frequent Frank collaborator) in the lighting of Anna Charlesworth.
Khaw also doffed her conceptual cap to American designer Ward Bennett, whose 1970s
modernist swagger made wicker chic in the Rome apartment of Gianni and Marella Agnelli
and shaped the vein-cut travertine architrave framing Khaw’s north-side hallway. Riffing on
his refined theatre, the designer tightly managed the trek down its chevron-parquet tunnel into
the release of a startling stage set — Sydney Harbour seemingly painted on as a backdrop.
To the left of this open-plan stage, dining and kitchen liberally quote from Donghia’s
’80s renovation of Ralph Lauren’s New York apartment — a stadium-shaped island and
structural column wrapping in stainless steel. To the right, two distinct seating areas footnote
the furnishings in killer Patrick Bateman’s chillingly pristine apartment. The Alanda coffee
table by Paolo Piva, the Hill House chair by Charles Rennie Mackintosh and a telescope site
specifically for the amusement of Khaw, who laughingly responds to the question of sociopathic
leanings with the retort: “Show me a designer who doesn’t have them.”
Such self-pleasing subversions continue in the south-wing master suite, featuring artist
Bill Henson’s twilight seediness in photographic print and furnishing with a pair of bedside
tables formerly belonging to former PM Hawke. “They were bought at auction as a gift for
my husband,” says Khaw of not playing to design tropes but rather a time when things
happened without the limitations of public liability or the censure of social media. She wistfully
looks out to a harbour described by the late Clive James as “crushed diamond water under a sky
the texture of powdered sapphires”, and declares her DeLorean ride Back to the Future
handelsmannkhaw.com
successfully done.
92 VOGUE LIVING

Olivier Garcé and Clio Dimofski are known for their CONSIDERED furniture and
interior design work that effortlessly links TIMELESS SKILL with the present
moment so it’s no wonder their elegant Lisbon home embodies this philosophy.
By HANNAH MARTIN Photographed by MARINA DENISOVA
10 0 VO G U E L I V I N G

10 4 VO G U E L I V I N G

hen Olivier Garcé and Clio Dimofski first saw their Lisbon
apartment, it was the architecture that sold them. Rendered in elaborate
Pombaline style, the original 19th-century details (ceiling ornaments,
picture-frame mouldings) remained untouched, if perhaps a tad
forlorn. “It needed a lot of work,” recalls Dimofski, explaining that
fixer-uppers are common in the old but newly buzzy neighbourhood
of Anjos. “We wanted to keep and restore as much as we could,” adds
Garcé. “It’s part of our philosophy.”
Attracted by Portugal’s famous work-life balance and artisanal
heritage, the French couple moved to the country in 2021 with their
daughter, Zoë, and dog, Lewitt (as in Sol). They had recently
discovered a new professional calling in New York, when they used
their one-bedroom apartment to host an impromptu weeklong
exhibition while working for design maestro Pierre Yovanovitch. (Garcé
had previously cut his teeth at the French architecture studio Hamonic + Masson & Associés;
Dimofski, at Shigeru Ban’s office in Paris.) “It was just something we enjoyed,” says Dimofski
of the pandemic side project, which showcased work from then-emerging voices like
Ian Felton, Green River Project and Minjae Kim during a time when many gallery
programs were on hold. “We didn’t expect it would be so well received,” says Garcé. The project
opened their minds to what they might do next.
Now in Lisbon and working fully for themselves, the couple use their new home as
a laboratory for their bespoke furniture and interior design work — both of which, Dimofski
explains, revolve around an ethos of site specificity. “We want to work with local craftspeople
and local materials as much as possible, but make it look contemporary,” she explains. Current
projects include a restaurant in Lisbon and residences in both the United States and Portugal.
At home, contemporary art and stunning vintage works, many of them Axel Einar Hjorth
originals, mingle with the couple’s own sculptural furniture designs, among which ceramics
form a through line. The cairn-like bathroom sink, the legs of a bed frame, the chunky
integrated table of the Helios sofa — all offer unexpected studies in clay. So, too, does the
painterly tile that clads the kitchen and bath and that reappears as marble baseboards in
the corridor. “I think the challenge with ceramic is to explore the boundaries, to not just
do the usual thing,” says Garcé of these pieces, made in collaboration with Portuguese potter
Lígia Guedes. They bring a similarly idiosyncratic approach to woodwork, using regional
species to create playfully off-kilter seating and wall panels.
Key to Garcé and Dimofski’s practice is inviting international talents to work with
Portuguese makers and materials on special editions, all for sale. The couple’s dining chairs,
for example, were created by the New York–based Korean artist Minjae Kim out of local pine
— the same timber used by British designer Charlotte Taylor to realise their daybed. Visiting
Parisian Garance Vallée, meanwhile, worked with Guedes to make their bedside lamp.
“We are here to start a conversation,” Garcé says. “And maybe even to push what someone is
garce-dimofski.com
doing in a new direction.”

Opposite page in the dining room, Lacquered II chairs and fibreglass pendant light by
Minjae Kim from Garcé & Dimofski; Lison shelf and Moon wall sconce from the Invisible Collection;
vintage Lovö table by Axel Einar Hjorth; Untitled (2022) artwork by Pedro Batista.

10 6 VO G U E L I V I N G

10 8 VO G U E L I V I N G

112 V O G U E L I V I N G

By NICOLAS MILON Photographed by FR ANÇOIS COQUEREL

PLAYING GROUND On the edge of the PARISIAN golden triangle, Hauvette &
Madani creates a vibrant Haussmannian-style apartment, casting a confident
blend of CONTEMPORARY works with unconventional furniture pieces.
11 6 V O G U E L I V I N G

This page in the kitchen, table by Hervé Van der Straeten; chairs by Richard Peduzzi; sofa by Vladimir Kagan; oven and rangehood from La Cornue,
enquiries to Andi-Co Australia; rug from The Rug Company, enquiries to The Green Room; pendant light by Paavo Tynell; tiles from Fornace Brioni.
Opposite page in another view of the living area, coffee table and vintage armchair from Chahan Minassian; vase from The Conran Shop.

11 8 V O G U E L I V I N G

These pages in another view of the living room, artwork
(on wall, left) by Josh Smith; yellow sculpture by Thomas
Schütte; blue ceiling artwork by Richard Peduzzi.

t is not the usual case to completely restore a newly renovated apartment. But
this is what architects Samantha Hauvette and Lucas Madani saw themselves
proposing with a space housed in a beautiful Haussmannian building in Paris’s
Avenue Montaigne district. The dwelling had lost all its original mouldings and
cornices, replaced by marble and gilded stucco, when the new owner, a collector,
purchased it. “She told us: “You take everything away and start again, it’s a
shame, but that’s what it is!” Hauvette says with a smile. Tasked with restoring
the home’s lost charm but starting from a blank page, the pair dedicated
themselves to meticulous research to find the motifs and decorations that match
the eccentric personality of their client, but also allowed many bare walls to
host contemporary works — in short, an unusual Haussmannian white cube.
A clean slate allowed the design duo the freedom to rethink the layout,
furnishings and decoration. “So, in the dining room, from the beginning
we thought about creating a fireplace with a geometric pattern in blue ceramic
by artist Sarah Crowner,” says Madani. Between the living room and the kitchen, a large
double sliding door in worked straw inlays is treated as a work of art in its own right.
An opening arises from a narrow passage between two flues, which the architects would have
liked to redesign like the other Haussmannian doors in the hall, but which an architectural
constraint transforms into a theatrical opening instead, a stylistic gesture that gives a unique
aura to the room. The inlaid straw is also found in the entry, in the small round vestibule and
in many pieces of furniture: two sofas, a coffee table, a dining table, a headboard — all custom
designed by Richard Peduzzi. “In this project we were not the composers but rather the
conductors,” says Madani. “All the works had to have a strong identity, in line with the taste of
each creative person. It was therefore necessary to find a material to connect them. The role
of the common thread that we usually entrust to wood is covered here by the inlay work of straw.”
If this door is spectacular, it also serves to announce a cooking zone that defies expectation.
A fairytale kitchen in bubblegum pink was imposed by the owner, who had a very precise idea
of the way she wanted to experience the space, but also by technical constraints linked, this
time, to an enormous duct in the middle of the room. Hauvette and Madani make the obligatory
choice of a floral Doric column, which the furniture is placed around, and circulation occurs
naturally. An extravagant element is a fun and lively pastel treasure chest where the duo
indulges in colour as the walls are less suitable for hanging art. Large paintings are instead
hung on the bar and treated alternatively to differentiate it from the kitchen. “The apartment
was not made to accommodate specific works. The owner has an important collection that she
displays in rotation. The selection of hanging paintings is made and undone,” says Hauvette.
“The kitchen is intended as a living space, but it is limited, and then there is a bar area where,
today, there is a sofa by Kagan, a table by Van der Straeten, and tomorrow something else…”
Designer Hervé Van der Straeten is also the creator of the extraordinary bar. He designs here
as he has elsewhere in the apartment: without a desire to mix everything up. An artistic
punctuation designed by this friend of the owner-collector, who loves more than anything else
to bring together designers and artists, which shines through in the furniture. In addition to
the pieces designed by Richard Peduzzi, the choice is eclectic and impulsive, without worrying
about assembling what goes together because this is not the point. “The only question is whether
she likes it, because it is her taste that constitutes the link between two rooms,” says Madani.
“This eclecticism works because it is guided by this eye; between pieces you love at first sight
and artists you like, everything finds its place. The whole is entirely in balance.”
In fact, between mouldings, half-Haussmannian half-Art Nouveau cornices and herringbone
parquet with played-up dimensions, we are not in pastiche but in a Haussmannian style that
Hauvette and Madani have carefully cultivated. They have taken up the codes of the classic
to better free themselves from them, mix eras and styles to create a harmonious apartment,
hauvette-madani.com
a place of life and expression.

Opposite page in the dining room, fireplace by Sarah Crowner from Simon Lee Gallery; daybed by Jean Prouvé; table
and chairs by Richard Peduzzi; Garden Egg armchair by Peter Ghyczy; artwork (on left wall) by Dadamaino; sculpture
(on plinth) by Franz West; Framis rug by Mary Katrantzou for The Rug Company, enquiries to The Green Room.

12 2 V O G U E L I V I N G

This page in the bar, counter by Hervé Van der Straeten; tray and ashtray from Hauvette & Madani; glasses and shakers from
Saint-Louis; pendant lights by Jeremy Maxwell Wintrebert. Opposite page in a bedroom, headboard and curtains in fabric from Loro Piana
Interiors; sheets from Haomy; artwork (above bed) by Lifang; artwork (on shelf) by Miriam Cahn and sculpture by Saelia Aparicio.

12 6 V O G U E L I V I N G

This page in the sauna, daybed from Hauvette & Madani; triptych artworks by Francisco Tropa. Opposite page in the bathroom,

bath and surrounds in Tropical Verde marble; artwork by Kerstin Brätsch. Details, last pages.

12 9 V O G U E L I V I N G

Salvaging the PAST was an exacting labour of love for Hugh-Jones
Mackintosh and AN+A, where inspiration has flourished within
heritage parameters in the resurrection of a 1930s SYDNEY home.
By FREYA HERRING Photographed by PRUE RUSCOE Styled by OLGA LEWIS

13 3 V O G U E L I V I N G

here are heritage houses, and there are listed heritage houses. Rosetta in
Sydney epitomises the latter, so converting its 1930s state into a five-bed,
five-bath home befitting a modern family was never going to be easy — surely
the red tape enveloping it would prove suffocatingly constrictive? But that’s not
the way architects Patrick Nicholas and Vanessa Edema from AN+A
(Architects Nicholas + Associates) saw it. “It’s one of those cases where you
really need to see the heritage of the building as its greatest asset, not as
a limiting factor,” says Nicholas.
Set back from the road and giving major south-of-France vibes, the garden,
lush with olive and citrus trees, was also protected. “The actual proportion of
the garden compared to the house is quite expansive,” says principal and
interior designer Katrina Mackintosh of Hugh-Jones Mackintosh. “It feels like
you’re walking onto an estate, with grounds surrounding the whole house.”
The property was built in 1925 and altered in 1932 in the interwar
Mediterranean style with Georgian influences and, with only two previous owners, it had
barely been touched by the time the new owners purchased it. With its blush-pink hue, “the
house has always been one of my absolute favourite homes from the exterior,” says principal and
interior designer Justine Hugh-Jones. When she heard the client might buy it, she told them,
“Oh, you have to buy that one! I don’t even need to step inside; that house is one in a million.”
The lower-ground level wasn’t full height, so the two-year build included what Nicholas
terms a “heart in our mouths” excavation. “We had to lift the whole building up on stilts,”
he says. “As much as it was a graceful and delicate heritage operation, there was also pretty
serious construction typology and methodology.” Opening onto a 50-year-old swimming pool
that screams ’70s Hollywood hedonism with its sinuous kidney-shaped form, the now
full-height floor sports a fifth bedroom, as well as a bathroom, gym, rumpus and that ultimate
of everyday aspirations: a spacious laundry.
It was on this floor that Nicholas sought to re-create one of the building’s most extraordinary
features: its arched windows. He had them crafted in steel, a move that sensitively acknowledges
their new fabrication against the original wooden ones, painted white, on the upper floors. “All
the sitting and living areas have sets of arched doorways that open out into that incredible
garden,” notes Hugh-Jones. Creating vitrines of the garden to be enjoyed from within, the
windows are an elegant and refreshing alternative away from cold expanses of soulless glass.
On the ground level, there are two living rooms, two dining rooms and a verdant olive-toned
kitchen that reflect the bucolic oasis outside. The natural theme extends to the cosy,
grassy-toned sunroom, where the combination of beeswax-finished terracotta floors with 1950s
wicker armchairs and a 1970s deep-green lacquer coffee table sourced from Los Angeles
further evokes the Old Hollywood mood. One imagines Katharine Hepburn swinging open
the door and sipping her morning coffee on the banquette, feet up on the table after a dip in the
pool. “You feel like you’re in a black-and-white movie come to life in colour,” says Nicholas.
Just off the kitchen in the casual dining area, a sculptural dining table from Ke-zu feels
equally spotlight-worthy with its mustard-toned legs like giant upturned cones. Just behind on
the back staircase is one of Rosetta’s most romantic features: ornate Josef Frank floral wallpaper.
“That wallpaper was always in the house,” says Hugh-Jones, who sourced a fresh batch from the
manufacturer in Sweden to accurately replace what had been on this very wall for a century
— another subtle but meaningful nod to Rosetta’s history.
Terrazzo found onsite inspired numerous features, such as Paola Navone’s Matera dining
table that stretches almost three metres in the formal dining room. Lighting the table, and
everywhere else, proved challenging; the house’s protected status meant downlights, other than
in the bathrooms, were a no-go. “We had to rely purely on our decorative lights to cast enough
light,” says Mackintosh. Doing so, however, allowed moments of illuminative delight — the
Giopato & Coombes Gem chandelier in the lounge, for instance, which on first glance presents
like a globular ceiling fan before a double take reveals its true function. Or the conspicuous
copper Artichoke light by Poul Henningsen sandwiched between the bedrooms on the
first-floor landing, which overlooks a baby-pink rug with a tiger printed on it. “We like to
create that whimsy and unexpected feeling in our homes,” says Mackintosh.
“It’s not too serious,” continues Hugh-Jones, and perhaps that’s what makes this home work.
Renovating a listed dwelling demands a sober outlook — standards must be upheld, history
and heritage protected — but that doesn’t mean it has to be joyless. Bringing Rosetta into the
21st century has brought new life to its folds — that means children running the halls, pools
hughjonesmackintosh.com anplusa.com
being splashed into, and even tigers on the landing.
Opposite page in the family room, Camaleonda sofa by Mario Bellini for B&B Italia from Space Furniture;
Pietro Russo Design SAT coffee table from Criteria; Pietro Franceschini Un Beso En El Mar Paonazzo marble
side table from Origine; custom Tubby console from Fform; white stoneware jug, and blue stoneware vessel by
Bettina Willner from Saint Cloche; Cassina Ficupala table lamp, enquiries to Mobilia; Apparatus Trapeze 4 ceiling
light from Criteria; vintage Tuareg rug from Kulchi; artwork by Jonny Niesche from Sarah Cottier Gallery.

13 6 V O G U E L I V I N G

14 1 V O G U E L I V I N G

Colour, MATERIALITY and spatial awareness come to the fore in
an Italian apartment recast by designer CRISTINA CELESTINO.
By VIRGINIA JEN Photographed by D E PASQUALE+MAFFINI

14 7 V O G U E L I V I N G

rchitettura razionalista — Rationalist architecture — took hold of Italy,
particularly Rome, most prominently during the 1920s through to the 1940s.
Its reasoning was derived following the Baroque era of over-the-top
illusionary decoration, instead speaking to the science of space. With the
patronage of Mussolini’s Fascist regime, a group of fresh-faced architects
known as the Gruppo 7 developed its manifesto for what building design
ought to be. The seven declared “the new architecture, the true architecture,
should be the result of a close association between logic and rationality.”
It is against this heritage backdrop that architect and designer Cristina
Celestino’s latest residential exploration is expressed. The project is an
apartment within a building dating back to the 1930s and “regarded as
a cornerstone of the Rationalist movement in Rome,” she says. Located in
the Parioli neighbourhood of the Eternal City, the coveted two-bed,
five-bath apartment is home to founder and creative director of high-profile
event planning company Sugokuii Events, Diana Sorensen, and her partner. Celestino’s
distillation of this rationalist thinking on top of the existing envelope is a thoroughly modern
one. While the apartment has to serve its primary purpose as a welcoming home, it also has
to seamlessly shift into a professional zone with a showroom on the lower level, separate to
domestic quarters. “As designers, we are aware that there is a very thin line between private and
work life for creative people — and this is the case here, too,” says the design multi-hyphenate.
“They were looking for a certain functionality of the space, on top of the aesthetics.”
Perhaps the best example of this multilayered relationship is the atrium-like living area
entry, recalling in part another Roman design trope, the domus layout with its internal
courtyard. While this very space isn’t open to the elements, nature is welcomed in with dramatic
greenery lining a picture window that captures an idyllic slice of tree-top landscape. This
perspective is projected into the all-embracing living area that links to the dining zone and
kitchen on one end, the studio and terrace on the other. “The intention was to design a space
that could feel fluid and carefully planned, capable of becoming the centre stage of everyday life
in all its faceted aspects,” says Celestino. Leading off an entrance with a satin brass baseboard
and feature ceilings that thread through, the living area’s tonal palette is marked by fresh hits
of lemon yellow, seafoam green, caramel brown and hammered copper, with each shift in
colour denoting a different zone and change in atmosphere.
“The resulting space is fluid, while maintaining a certain neatness, keeping together different
moments and functions of daily life,” says Celestino. “I love that this was achieved without
recurring to any partition, only through subtle colour palette, materials, through the act of
framing specific moments and punctual intervention relying on custom pieces of furniture.”
This material interplay of hue takes to the floor as well with quintessentially Roman travertine
intermingling with light oak wood flooring inlays and rugs where “tone-on-tone presence
emphasises the most symbolic presences in the space, such as the Camaleonda sofa and the
custom dining table,” says Celestino. The format of the travertine is the kind of attention
to crafted detail the designer is particularly passionate about but with her own instinctual
twist. “We worked on a squared module, to recall the rigorous geometry of the Rationalist
architectural background,” she says, “but we introduced a 40mm x 40mm module, made up of
20mm x 40mm rectangles, which creates a sort of woven pattern.”
Ribboned quartzite stone is featured in fairy-floss pink, espresso brown and spearmint
shades in the his-and-hers ensuites and the kitchen and guest bathroom respectively in another
visual nod to demarcating different areas and atmospheres without losing style cohesion. Each
of these spaces is impeccably laid out, with Celestino’s eye for bespoke style realised in
stringently designed dressers, storage units and vanities in streamlined curves or perpendicular
forms complete with leather upholstered or natural oak drawer fronts.
Against this layered foundation is a curated selection of furniture. The modularity of
Mario Bellini’s ubiquitous Camaleonda sofa for B&B Italia takes up an invitingly tailored snug
pocket in the living zone. And one of Celestino’s most loved elements is the simple arch of
a floor lamp. “A favourite piece is the Astep Model 2129, designed by Gino Sarfatti, an Italian
master of lighting design,” she says. “This exquisite creation gracefully occupies a cosy alcove
near the entrance hall, serving as a dedicated corner for relaxation amidst the lush greenery,
finding its very reason in the nature of the space.”
Establishing a purpose is the principle behind Celestino’s exploration between logic
and rationality in this home. It’s an approach she has taken to all facets of her work. “Everything
I design comes from the same research rooted into my inner passions: architecture, history
of design, nature as a catalogue of colours and texture, jewellery as function with a high
level of aesthetic value, and fashion with research in colours and attitude,” she says. “The
emerging result always comes from a dialogue between my intuitions and the needs of
a client or a brand, which gives birth to a specific story to tell.” Trusting that intuition and
having that vision from the very start to express a specific tale are indeed the classic hallmarks
cristinacelestino.com
of design rationality.
14 8 V O G U E L I V I N G

151 V O G U E L I V I N G

By FREYA HERRING Photographed by K ASIA GATKOWSK A

DISTINCTIVE TASTE For his own family space, an idiosyncratic canal home
in Amsterdam, Thomas Geerlings of Dutch design studio FRAMEWORK leans
into the bowerbird nature of treasures and MEMORIES collected on travels.
15 2 V O G U E L I V I N G

15 4 V O G U E L I V I N G

any designers use logic, order or, dare we say it, a formula, to create a
space. But for some, it’s a matter of intuition — quicker, perhaps, but
also a process far more complex and impossible to teach. Founder of
Dutch interior architecture and design firm Framework Studio, Thomas
Geerlings, slots into the latter camp. Over six floors, the 17th-century
canal house he has transformed into a four-bed, four-bath home for
his family is testament to his instinct for idiosyncratic balance
— a masterpiece of visual thrills, storied objects and reincarnated
histories poured into space.
“With the majority of projects I do for myself, I’m not starting with
a design brief,” he says. “I’m ripping everything out and seeing where we
go, and along the way it moves in a certain direction.” Framework is
renowned for its unique approach to each project — no two are the same;
there is no formula. What Geerlings believes in is reflecting a sense of
place, something all too often missing in what he describes as today’s social media-driven
“globalisation of taste”, where interior design from across the world — including in Amsterdam
— is, he says, tending towards homogenisation. “At Framework we try to be original;
we try not to copy. And if I see something in the studio that looks familiar I say, ‘Kill it.’ I want
to add instead of combine.”
Canal House II, as it is known, is situated near Amsterdam’s Utrechtsestraat on the
Prinsengracht Canal, an area once known for opium and prostitution, but over the past
40 years has metamorphosed into a hub for families. For their new home, Geerlings’ wife,
Danielle Eras of fashion agency New Market, made a request reflective of the
neighbourhood’s renaissance. “Our previous house was quite monochrome,” says Geerlings.
“So for this house she said, ‘Maybe let’s do more of a happy house.’”
Joy and vivacity pervade the spaces: sculptures look like toys, furnishings look like sculptures
— see emerging designer Joris Poggioli’s hemispherical resin chairs in the garden room — and
art feels generously abundant rather than scarce and exclusive. A jade-green fireplace
constructed from tiles by another up-and-comer, local designer Eva Crebolder, honours the
period that predates the area’s gentrification. “Together with the 1970s Brazilian doors that
are also in this room [originally from the Brasilia home of artist Athos Bulcão], the tiles bring
a sketchy, rough ’70s timeline, when Amsterdam was super hippy,” says Geerlings. Contrasting
against the ancient wooden beams and floors, as well as contemporary elements like Framework’s
bespoke bookshelves, “it gives you multiple timelines in the same room, which makes it far
more interesting to me than a fake 18th century or completely contemporary room.”
Some spaces evoke calm through holistic tonality, like the pale-blue living room and
cream-hued primary bedroom replete with translucent bathtub. Elsewhere, oak cabinetry in
the kitchen and wall paint laced with silver sand offer patina while maintaining a calm baseline
of neutral tones, so nothing reaches the point of overwhelming. Terracotta tile floors on the
basement level serve the same purpose while also recalling the house’s former life. “Terracotta
is a material that has been used in Amsterdam basements since the 18th century because they
were probably underwater a few times a year,” he says. “It is a period-correct material, and gives
the spaces more of a warehouse vibe — this was a wine cellar for more than a century.”
To populate such rich interior texture, Geerlings attends art fairs. “When we travel with
the children, I always pick up stuff,” he says. “It makes memories in the house more alive
than pictures do, and then when I see certain objects, I think about the places we’ve been
or stuff we’ve encountered in life, good or bad. It brings back memories, and for me that’s the
most important thing in the house.” Recollections of cycling around Arles in France are
brought back via a hand-painted room divider by JI Dahai for Maison L’Étoile. And a vivid
ceramic yellow table — like something from a cartoon — reminds Geerlings of the bond
he’s forged with its designer Floris Wubben, who made the table for a collaboration with
lauded American gallery The Future Perfect.
The objects are precious — but this is also very much a family home, with the couple’s
daughters Doetse, 12, and Bonnie, 8, clattering around the rooms, as children tend to do.
“People say, ‘You can just buy the nice couch when they’re 18,’” he says. “No! I’m not going to
spend 18 years sitting on a shitty couch just because I have children.” In fact, Geerlings
intertwines their lives with art and design — it’s their home too. “If your children grow up
without boundaries or art around them, then they will have problems understanding that later
in life, so from the beginning we have always had art and vulnerable objects in the house.”
He postures that the reason these distinctive objects work together is because they are a
collection from a shared life. “It’s because everything is a bit of me or my wife — it follows
a natural flow and that’s our taste,” says Geerlings. “It’s all an evolution and a result of what we
like. They are from different eras and really different styles, but in the end it’s all in the same
framework.eu
family of taste — maybe that’s their defining factor.”
15 8 V O G U E L I V I N G

16 2 V O G U E L I V I N G

16 7 V O G U E L I V I N G

PHOTOGRAPHER: ANNA MALMBERG

P

erhaps it’s the suffused, rose-tinted light that instantly sets you at ease, or the
sunshine hitting just so upon curved pigmented tadelakt lime plaster walls, tactile
honeycomb-tiled floors and shag-pile rugs. Maybe it’s the open invitation of
the linen canopy draped above the tranquil bed, perfect for all-day lounging if
wandering through the meandering garden or cacti conservatory isn’t calling you.
At Hotel Corazón, all of these elements ebb and flow together feeling like a friend’s
cherished weekender, if that weekender happens to be a finca’s lovingly revived centuriesold dwelling in Mallorca. And it just so happens to be nestled in an idyllic spot between
Deià and Sóller among the dramatic Serra de Tramuntana and the Mediterranean Sea.
For artists and first-time hoteliers Kate Bellm and Edgar Lopez — who met in Mexico
at a hotel where Bellm was a guest and Lopez the artist in residence (perhaps Hotel
Corazón was fated) and are now based in Mallorca with their son Sage — this site simply
called to them. “We fell in love with this neighbouring property to our home and decided
to dive straight into this project without much thought on the business side of things,” says
Bellm. “We loved the mature trees, the landscape and the feeling of the house within
the mountain. We wanted to create something that hasn’t been seen typically in the
Mediterranean — we took elements of Edgar’s Mexican roots and my love of colour and
created the look of Hotel Corazón.”
This sense of creativity, cordiality and kinship at the stay is also a sign of Bellm and
Lopez collaborating with “their neighbours and friends”, Oro del Negro and Manuel
Villanueva of design firm Moredesign. For del Negro, the 15-room Hotel Corazón with
a farm, restaurant, art and retail spaces offered the chance to craft “a creative space to
17 0 V O G U E L I V I N G

PHOTOGRAPHERS: ALEX FRANCO (PORTRAIT), KATE BELLM (EXTERIOR AND TABLE)

connect people from all walks of life, and the valuing of connecting hearts and
experiences above all”. And the process of working with friends proved incredibly
satisfying; a highlight for del Negro was a sense of “the instantaneous; ‘from drawing to
built’ experience was phenomenal! The ink didn’t have time to dry before the lime had set.”
Hotel Corazón is “a venue that becomes a portal to the more intimate natural spaces
that surround it,” continues del Negro. “Perhaps the hotel itself becomes a space to
daydream and take part in events that one usually wouldn’t at home.” The experience is one
grounded and governed by relaxation, freedom and an escapist choose-your-own-adventure
vibe — guided hikes, yoga, sound healing, reiki and massage sessions as well as art
exhibitions are all offered to partake in or enjoy. Or you can simply mellow out in the
pool overlooking an expanse of endless ocean. Bellm wants guests “to feel wild and free,
eat fruit straight off the trees, reconnect to nature and themselves by being surrounded
by art but also the beauty of nature”.
Blurring inside with out establishes a feeling of a home away from home with
awe-inspiring mountain, garden and courtyard views seen from two large suites, named
El Corazón and Tramuntana Haze, along with 13 superior and double rooms. “We wanted
a super-soft shaggy ’70s interior with lots of pink, burned orange and tan tones,” says
Bellm of the inviting interiors. Communal gathering zones such as the internal courtyard,
fireplace room, swimming pool and gallery space all attest to Hotel Corazón’s mission in
prioritising wellbeing of mind, body and spirit. “It’s a place that feels like home, with
healthy food grown in the garden where you can feel creative and be inspired,” says Bellm.
At Hotel Corazón, that sunshine finds a way in and lights up your soul. hotelcorazon.com

Compiled by SANDY DAO
Clockwise from top left Ombres d’Hermès lash and eyebrow brush, $150, and Ombres d’Hermès eyeshadow palette, $175, from Hermès, hermes.com
Tiffany HardWear Double Long Link earrings, $5450, from Tiffany & Co., tiffany.com.au Loewe Loop sunglasses, $508, from Net-a-Porter, net-a-porter.com
Tank Louis de Cartier watch in Yellow Gold, $21,200, from Cartier, cartier.com.au Kelly Danse Anate bag in Swift calfskin, $20,435, from Hermès, hermes.com
Gucci Concentré De Beauté liquid concealer in 21 Neutral, $76, from Sephora, sephora.com.au Lesse Refining cleanser, $95, from Blær, blaerstore.com Shampoo,
$68, from Rein, reinmade.com Lucy Folk x Perdrisât Coeur De Bois perfume, $400, from Lucy Folk, lucyfolk.com Personal Aluminium cross-body bag in Silver,
$2350, from Rimowa, rimowa.com Bose QuietComfort Ultra earbuds in White, $445, from Harvey Norman, harveynorman.com.au The Weekend tote bag in Black,
from $615, from The Curated, shopthecurated.net Duo Lumière illuminating face powder, $100, from Chanel, chanel.com/au Ceremonia Perfume de la Tierra
fragrance, $104, from Mecca, mecca.com Adonis mini shirt dress, $750, from Lucy Folk, lucyfolk.com Shoes, POA, from Bottega Veneta, bottegaveneta.com
Tom Ford Café Rose eau de parfum, $358 for 100ml, from Myer, myer.com.au Serum No. 21, $131, from Sodashi, sodashi.com.au Officine Universelle Buly
Eau Triple Cresson Persil perfume, $274, from Mecca, mecca.com Cabat bag, $12,600, from Bottega Veneta, bottegaveneta.com

17 4 V O G U E L I V I N G

PHOTOGRAPHER: ANNA MALMBEG (HOTEL CORAZÓN). EXCHANGE RATE CORRECT AT TIME OF PRINT SUBJECT TO CHANGE

THE HOLIDAY EDIT

L

os Angeles is a city of contradictions. Swaying palm trees and year-round sunshine hide
the burning ambition and relentless drive of its residents, many who are there to ‘make it’. It is,
as they say, a place where dreams are made. And thus, it’s proven to be a fitting location
for Australian-born rug studio Armadillo’s foray into the US, where they’ve held a flagship
on Wilshire Boulevard since 2018. Serving as the brand’s stateside head office and showroom,
the Beverly Hills address was “a fantastic stepping stone” into LA, says Armadillo’s Sally Pottharst.
Alongside co-founder Jodie Fried, the pair have successfully channelled their passion for sustainability,
social change and craftsmanship into a brand that’s undeniably thriving. But after six years in 90210,
the visionary duo felt it was time to change tack.
Landing on an incredible, unique space in La Cienega — the city’s design quarter — Pottharst and
Fried have opened their “LA showroom 2.0”. And they couldn’t be prouder. “It’s a much better location
for the brand,” says Pottharst. “It’s taking us to the next level of the design scene in LA,” adds Fried
excitedly. Despite a deceptively subdued, low-profile exterior, the storefront opens to a giant warehousestyle space upon entering, complete with lofty ceilings and an almost rounded roof with exposed rafters.
Together with Australian architect David Goss, the mastermind behind all Armadillo’s showrooms,
Pottharst and Fried worked to evolve the interior in a slightly new direction, while staying true to
the studio’s signature refined and purist aesthetic. “Up until now most of our showrooms have been
quite geometric and square,” says Fried. “But Sally and I sat down and thought, ‘We want this to be
a bit softer, a little more feminine — how do we do that?’” The answer, coincidentally, came
from a traditionally female space: the luxury boutique. “We wanted a really delicate, intimate, kind of
high-end fashion atelier experience,” adds Fried.
Fried and Pottharst were also keen to stand apart from the other male-dominated rug stores in LA.
“Sally and I are proud to pioneer an experience that feels more pleasurable, more joyful, and kind of sexy,”
says Fried. “You come in, sit and relax. It feels really special, unique and curated.” Indeed, there is nothing
crowded or noisy about the space, and curved partitions have been used to delineate areas meant for
socialising, interacting with the floorcoverings in natural light and being able to touch and feel them.
With America in the spotlight, and plans for global expansion on the horizon, Fried and Pottharst
remain firmly in control and aware of their customer — “We don’t need a lot of people, we just need the
right people,” says Fried. But when pushed to reveal their fantasy flagship locations, it’s clear that LA has
rubbed off on them. “Paris, Stockholm, Copenhagen, Tokyo. I mean, this is pie-in-the-sky stuff,” says
Fried laughing, before admitting, “but we need to dream.”
armadillo-co.com
17 8 V O G U E L I V I N G

This page, from top in the Armadillo LA showroom. In another view of the open showroom designed by architect David Goss.
Opposite page the facade of Armadillo’s “LA showroom 2.0” in the design quarter of La Cienega.

korbanflaubert.com.au Kulchi kulchi.com La Cornue lacornue.com Lifang lifang.ch
Living Edge livingedge.com.au Livio Tobler @livioluccatobler Long Contracting
longcontracting.com.au Loro Piana Interiors uk.loropiana.com/en/interiors Luxmaison
luxmaison.com Lynda Draper lyndadraper.com .M Contemporary mcontemp.com MCM
House mcmhouse.com Maison L’Étoile maisonletoile.com Maison Matisse maisonmatisse.com Maison Vervloet vervloet.com Marisa Purcell marisapurcell.com Michael
Gittings michaelgittingsstudio.com Milgate milgate.com.au Mobilia mobilia.com.au
Morentz morentz.com Natural Brick @naturalbrick_ Neon Parc neonparc.com.au
Nicholas & Alistair nicholasandalistair.com
Nobilis nobilis.fr
Noémie Goudal
noemiegoudal.com Olivia Bossy oliviabossy.com Olsen Gallery olsengallery.com Ondene
ondene.com Onsite Supply and Design onsitesd.com.au Orient House orienthouse.com.au
Origine origine.com.au Otomys otomys.com PSLab pslab.lighting Pan After panafter.
com.au Pianca pianca.com Pierre Chapo chapo-creation.com Pulpo pulpoproducts.com
Ramesh Mario Nithiyendran ramesh-nithiyendran.com
Roslyn Oxley9 Gallery
roslynoxley9.com.au Saelia Aparicio @saelia_aparicio Saint Cloche saintcloche.com
Saint-Louis saint-louis.com Samantha Everton samanthaeverton.com Sarah Cottier
Gallery sarahcottiergallery.com Secondi secondi.com.au Shapiro Auctioneers shapiro.
com.au Silhouette Kitchens silhouettekitchens.com.au Simon Johnson simonjohnson.com
Simon Lee Gallery simonleegallery.com Simonsen and Czechura sc-copenhagen.com
Simple Studio simplestudio.com.au
Smith Street Bazaar smithstreetbazaar.com
South Pacific Fabrics southpacificfabrics.com
Space Furniture spacefurniture.com
Station Gallery stationgallery.com Studio Alm studioalm.com Studio Henry Wilson
studiohenrywilson.com Studio Julien Manaira julienmanaira.com Stylecraft stylecraft.
com.au
Sullivan+Strumpf sullivanstrumpf.com
Sydney Ball sydneyballart.com
The Conran Shop conranshop.co.uk The DEA Store thedeastore.com The Future Perfect
thefutureperfect.com The Green Room thegreenroom.com.au The Rug Company
therugcompany.com The Vault Sydney thevaultsydney.com The Window thewindowla.com
Tigmi tigmitrading.com Tim Roodenrys timroodenrys.com Tim Silver @tim_silver
Todd McMillan @todd_d_mcmilan Vampt Vintage Design vamptvintagedesign.com
Venini venini.com Verdecon verdecon.com.au Vitrosca vitrocsa.com.au Volker Haug
volkerhaug.com Winning Appliances winnings.com.au Yang Yongliang yangyongliang.com

18 0 V O G U E L I V I N G

PHOTOGRAPHER: MARINA DENISOVA

1stDibs 1stdibs.com 506070 506070.com.au ACV Studio acvstudio.com Ado Chale
adochale.com Allied Maker alliedmaker.com Almond & Co almondandcompanysf.com
Ambience Upholstery @ambienceupholstery
Andi-Co Australia andico.com.au
Anibou anibou.com.au Anna Charlesworth annacharlesworth.com.au Annie Paxton
anniepaxton.com
Antonio Lupi antoniolupi.it
Apparatus apparatusstudio.com
Armadillo armadillo-co.com
Arthouse Gallery arthousegallery.com.au
Bess
besspaddington.com
Bomma bomma.cz
Brahman Perera brahmanperera.com.au
Brud Studia @brud.studia
CCSS ccss.shop
Candana candana.com.au
Castorina castorina.com.au Ceccotti Collezioni ceccotticollezioni.it Craft craft.org.au
Criteria criteriacollection.com.au Cult cultdesign.com.au Cultiver cultiver.com.au Daine
Singer dainesinger.com Dane Lovett danelovett.com Darren Sylvester darrensylvester.art
DenHolm den-holm.com
Design Stuff designstuff.com.au
Dirk van der Kooij
dirkvanderkooij.com District district.com.au Drew Cole Architects @drewcolearchitects
East Wing Studio eastwingstudio.com Eduardo Santos eduardosantosartist.com Élitis
elitis.fr Ella Bendrups ellabendrups.com eModerno emoderno.com Esperia esperialuci.com
Euroluce euroluce.com.au Eva Crebolder crebolder.com FUM Australia @fum_australia
Fform fform.life
Florence Bamberger florence-bamberger.com
Floris Wubben
floriswubben.com Fornace Brioni fornacebrioni.it Francis Gallery francisgallery.co Fred
International fredinternational.com.au Fundamente fundamente.nl Fyber fyber.com.au
G-LUX glux.com.au Galeria Foco galeriafoco.com Galerie Chantala chantala.com/en
Galina Munroe @galinamunroe Gallotti&Radice gallottiradice.it Garcé & Dimofski
garce-dimofski.com Giorgio Armani armani.com Grazia&Co graziaandco.com.au Gubi
gubi.com Halcyon Lake halcyonlake.com Handelsmann + Khaw handelsmannkhaw.com
Haomy harmony-textile.com Hauvette & Madani hauvette-madani.com Hub Furniture
hubfurniture.com.au In Good Company ingoodcompany.com.au In The Sac inthesac.
com.au Ingo Maurer ingo-maurer.com International Floorcoverings interfloors.com.au
Invisible Collection theinvisiblecollection.com Jahnne Pasco-White jahnnepascowhite.
com
James Richardson Furniture jrf.com.au
Jardan jardan.com.au
Jeremy
Maxwell Wintrebert jeremymaxwellwintrebert.com Ji Dahai jidahai.fr Jonny Niesche
jonnyniesche.com Jordan Fleming jordanfleming.com.au Jordan Marani jordanmarani.com
Joris Poggioli jorispoggioli.com Klaus Carson Studio klauscarson.com Korban/Flaubert

,1752'8&,1* 7+(721,& <285
8/7,0$7(%($&+)5217(6&$3(
(VFDSHWRWKHVWXQQLQJ&HQWUDO&RDVWRI16:DQG
LQGXOJHLQOX[XU\OLYLQJDWLWVILQHVW1HVWOHGRQWKH
JROGHQVKRUHVRI:DPEHUDO%HDFK 7KH7RQLF LVD
EUHDWKWDNLQJO\EHDXWLIXOEHGURRPKRXVHWKDW

',6&2817
$:$,76<28

RIIHUVXQLQWHUUXSWHGYLHZVRIWKHRFHDQ
$W 7KH7RQLF ZHXQGHUVWDQGWKHLPSRUWDQFHRI
FUHDWLQJDPHPRUDEOHH[SHULHQFHIRURXUJXHVWV
7KDWLVZK\ZHKDYHWKRXJKWIXOO\GHVLJQHGHYHU\
DVSHFWRIRXUSURSHUW\IURPWKHHOHJDQW
VRSKLVWLFDWLRQRIWKHGHFRUWRWKHUHILQHGVLPSOLFLW\
RIRXUDPHQLWLHVZKLFKLQFOXGHDKHDWHGVSDDQG
RXWGRRUILUHSLW(DFKURRPRIIHUVDXQLTXH
DWPRVSKHUHSHUIHFWIRUXQZLQGLQJDQGUHMXYHQDWLQJ
GXULQJ\RXUEHDFKVLGHUHWUHDW
$VDYRJXHH[FOXVLYHUHDGHUDGLVFRXQWDZDLWV
\RX0HQWLRQWKLVDGWRHQMR\WKLVOLPLWHGRIIHU
7HUPVDQG&RQGLWLRQVDSSO\

_%RRNHQTXLUH#QLFKHKROLGD\UHQWDOVFRPDX_
_)ROORZXVRQWKHWRQLFBZDPEHUDOEHDFK_

VL PROMOTION

POSTSCRIPT
From inside to out, update your home in covetable style with these designer must-haves.
PURE COMFORT
Italian and Australian
furniture specialist Fanuli
is renowned for crafted sofas
that reflect a chic yet laid-back
lifestyle. The Chloe modular
sofa features gentle curves and
an exceptionally comfortable
profile made to be experienced
and enjoyed. The thoughtfully
designed piece, which
combines refinement and
luxury, is available in a range
of fabrics and configurations
to perfectly adapt to your
space. For more details and
to discover more of Fanuli’s
elegant furniture pieces,
visit fanuli.com.au

ONE OF A KIND
IN LIVING COLOUR Inspired by modernist design,
The Rug Company’s Future Forms collection epitomises
spirited elegance. The Gem rug, available exclusively from
The Green Room, illustrates this playful style in a motif
featuring shapes and colours that mirror flower petals.
Crafted in hand-knotted wool and silk, it’s a fitting lift
to any space. To find out more about this piece and other
expertly crafted rugs, visit thegreenroom.com.au

The Kia EV9 is an all-electric
vehicle that redefines a SUV.
Luxuriously proportioned,
the SUV is powerfully
intelligent, equipped with
pioneering technology,
a flat-floor design for more
room, and a contemporary
minimalistic interior. For
details, visit kia.com/au

SLEEPING BEAUTY
Enjoy a good night’s rest in the
luxury of a Grand Vue bed,
exclusively from Domayne.
The Victorian ash and veneer
timber frame is adorned with
a sumptuous upholstered
headboard of your choice
and a foot end to make this
a bedroom centrepiece. For
details, visit domayne.com.au

CLEAN TECH
Discover the ultimate
in washing with the LG
WashTower 12kg/9kg
all-in-One stacked washer
dryer from Harvey
Norman. In a chic Forest
Green/Beige combination,
the WashTower offers
innovative convenience.
To learn more, visit
harveynorman.com.au

FUN IN THE SUN The warmer months have well and truly arrived
and we’re all looking to spend quality time outdoors, and the latest in
outdoor furniture, lighting and accessories have arrived at Cult. Pair
the curved lines and padded comfort of Gubi’s Pacha lounge chairs by
Pierre Paulin with a minimalist appeal of the TS outdoor coffee table.
Or with entertaining in full swing, put on a show and seat your guests
around the modular Hay Palissade park bench. For more stylish
solutions to suit your outdoor space, visit cultdesign.com.au

®

Learn more
ELCompanies.com/BreastCancerCampaign
@esteelaudercompanies_anz

The Estée Lauder Companies

TOKEN OF LUCK

CHRISTIAN DIOR would often wear a sprig of lily of the valley in his
buttonhole for GOOD FORTUNE and it is this delicate bloom that has
inspired the latest DIOR MAISON collection by Cordelia de Castellane.
This page Lily of the Valley presentation plate, engraved white wine glass

and olive wood table knives and forks, all POA, all from Dior, dior.com

18 4 V O G U E L I V I N G