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

SAN FR ANCISCO

23

CONTRIBUTORS

24

VL ONLINE

26

PHOTOGRAPHER: STEPHEN KENT JOHNSON. ARTWORK BY XAVIER DANIELS FROM ALMINE RECH

EDITOR’S LETTER

30

À BIENTÔT
The spirit of timeless French style
is evident on the streets of Paris, with
the City of Light a stage for covetable
pieces epitomising je ne sais quoi

44

POINT IN TIME
Co-artistic directors Charlotte Macaux
Perelman and Alexis Fabry share their
thoughts on Hermès Maison’s latest
collection and timeless appeal

The entry of a Paris home
designed by Pierre Yovanovitch.
Turn to page 104 for the full story.

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

Astonishing orange

Astonishing orange

104

LA VIE EST BELLE
Sensuality and warmth grounded the
contemporary update of a Paris apartment
by designer Pierre Yovanovitch

118

INFINITE LIMITS
Architect Charles Zana transcends any
one style with the measured facelift of
his Saint-Germain-des-Prés apartment

BON ENFANT
Rebecca Benichou and Florence Jallet
of Batiik Studio are making well-crafted
inroads with their sleek yet vibrant
definition of space

CARTE BLANCHE
In a Parisian apartment, designer
Rodolphe Parente offers a fresh
twist on blending new and old

90

58

THE VL EDIT

OPEN EMBRACE
Family serves as the focal point in the
re-imagining of a Sydney Art Deco home
by interior architect Phoebe Nicol

A curated hit list of the latest
statement makers
18 V O G U E L I V I N G

130

JOIE DE VIVRE
Luigi Rosselli Architects and Handelsmann
+ Khaw work on a Sydney home that draws
upon statement elements and tonal poetry

148

À LA MODE
An early 20th-century Parisian
pied-à-terre is recast as a sophisticated
family escape, thanks to Banda

PHOTOGRAPHER: RODRIGO RÍZE

48

80

168

154

KITCHEN AND BATHROOM EDIT

OBJETS D’ART
Invisible Collection’s unwavering
commitment to style, design and
culture finds a new home in Paris

The latest smart buys and style
ideas for these hardworking zones

158

SUBTLE ART

173

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

Chic contemporary comfort in the hubs
of the home are key to Hecker Guthrie’s
overhaul of a heritage Melbourne dwelling

174

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

176

HIDE & SEEK
Marc Newson’s cabinet of curiosities
for Louis Vuitton recasts the
luxury maison’s signature trunk

COVER

The home office of a centuries-old
apartment on Paris’s Left Bank revitalised
by designer Pierre Yovanovitch.
Photographer: Stephen Kent Johnson
Turn to page 104 for the full story.

Covetable pieces epitomising the spirit
of timeless French style on show in Paris.

20 VOGUE LIVING

PHOTOGRAPHER: VICTORIA ZSCHOMMLER

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ASHLEE
BARRETTBOURMIER

EDITED BY VIRGINIA JEN

DAVE WHEELER

“It’s rewarding to play a small,
final part in bringing a project
to life,” says photographer Dave
Wheeler of a family home by
Phoebe Nicol (page 90). “It can be
a challenge to make sure that the
original concept is translating
well into the image, but that just
makes it all the more rewarding
when we get it right.” Of Nicol’s
skill, “her spaces are pared back
and almost minimal, yet they feel
warm, complete and inviting”.

Australian-born, London-based
fashion editor Ashlee BarrettBourmier worked on our Paris
decorative feature (page 30).
“My styling isn’t usually very
subtle so my challenge was
to create a look that wasn’t
overwhelming but that also
popped enough on the page,”
says the stylist and art director.
As for the magic of French style,
“it’s understated, elevated and
chic. My mother-in-law is
Parisian and always looks so
well put together but in such an
effortless way. I love the
jewellery brand Dévé, which is
made by French-born Estelle
Dévé. It’s so timeless but with a
modern twist. I want all her
pieces in my jewellery box.”
23 VOGUE LIVING

VICTORIA
ZSCHOMMLER
The resulting images of our
striking Paris decorative story
(page 30) may look effortless
but as photographer Victoria
Zschommler recalls, “there
were no shortage of challenges!
An example would be that some
of these pieces were made
from delicate or intricate
materials, extremely high in
value, or unbelievably heavy.
We were then moving and
shooting these all over Paris.
Joseph and I tend to throw our
all into each VL shoot we do
together, and this one was
heightened more than ever.”
A pre-shoot highlight for
Zschommler was an invitation
to designer Pierre Yovanovitch’s
showroom “to view his pieces
and creative space. His work
is top-tier and wildly inspiring
to see in real life.”

By VIRGINIA JEN
Photographed by LILLIE THOMPSON
Five years in the making, the National Gallery of Victoria’s long-awaited exhibition
Pierre Bonnard Designed by India Mahdavi has come to vivid life. The Iranian-French
architect and designer is a perfect and formidable match for 20th-century master
painter Pierre Bonnard. “It’s like an abstraction of a home,” says Mahdavi of her
scenographic vision for the exhibition. “I responded to Bonnard’s colourful world with
an even more colourful one — the whole exhibition is a conversation about colour.”

VOGUE.COM.AU/VOGUE-LIVING
Vogue Living

@vogueliving

24 VOGUE LIVING

Vogue Living

I lived in PARIS in my early 30s when I was working in fashion. It was a city that I truly felt connected to, spending
time wandering from one arrondissement to the next observing, watching and soaking in all the BEAUTY. And beauty

way. This issue is a testament to French style and that particular refined elegance is celebrated in every feature.
One luxury maison that harnesses the power of this aesthetic is HERMÈS. I was lucky enough to be a guest of Hermès
at Salone Del Mobile and had the chance to meet Hermès Maison co-artistic directors Charlotte Macaux Perelman
and Alexis Fabry to discuss TIMELESS DESIGN and their outstanding new collection that debuted in Milan.
Our style editor Joseph Gardner shot our À bientôt style feature in Paris with long-time Vogue Living creative partner
and contributor Victoria Zschommler. Together, with an intrepid team, they took to the streets at 5am to capture
STRIKING French design in what he tells me was “complete and utter madness. First shot of the morning was an
Hermès rug laying on a street with oncoming traffic, shot from an apartment window… insane.” The lengths we go
to express singular style clearly has NO LIMITS. The homes in this issue from French style heroes Charles Zana,
Rodolphe Parente and our cover star Pierre Yovanovitch are extraordinary, exemplifying the best of French design now.
But our LOCAL TALENT certainly holds its own with two sophisticated family homes by Phoebe Nicol and Luigi
Rosselli Architects with Handelsmann + Khaw. And if that wasn’t enough inspiration, don’t miss our kitchen and
bathroom special for smart style ideas for the busiest hubs of the home. There is so much deliciousness in this issue.
All that is left to do is to sit back, relax and INDULGE in all the beauty on offer.

REBECCA CAR ATTI, EDITOR-IN-CHIEF @ BECCAR ATTI
26 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 ALM; ARTWORK BY MARISA PURCELL FROM OLSEN GALLERY

was everywhere — there was a sense of style that was EFFORTLESS, timeless, opulent yet in a very refined, elegant

29 VOGUE LIVING

LA MANUFACTURE COGOLIN MIROIRS EVENTAILS RUG, POA, FROM STUDIO ALM. PHOTOGRAPHER: VICTORIA ZSCHOMMLER. STYLIST: JOSEPH GARDNER. STYLE ASSISTANT: AARON WONG

Photographed by VICTORIA ZSCHOMMLER Styled by JOSEPH GARDNER
Fashion styled by ASHLEE BARRETT-BOURMIER Produced by SANDY DAO

3 0 VOGUE LIVING

MODEL: IREEN TABOLOVA/VIVA PARIS. MAKE-UP: NOLWENN QUINTIN. HAIR: EDUARDO BRAVO. STYLING ASSISTANT: AARON WONG

THE SPIRIT OF timeless French style is evident on the streets of Paris,
with the City of Light a stage for covetable pieces epitomising je ne sais quoi

This page Pierre Yovanovitch Flare wooden floor lamp with balloon lampshade and Clifford armchair, POA, from Criteria.
Model wears light cotton striped midi dress, $3100, from Bottega Veneta, and Knot rings, $1900 each, from Tiffany & Co. Details, last pages.

This page India Mahdavi Oliver sofa, POA, from Studio Alm. Model wears Sportmax bodysuit, $1065, blazer, $2730, and pants, $1365, all from MaxMara;

Tiffany HardWear Link earrings, $10,000, from Tiffany & Co.; and asymmetric pump shoes, $1107, from A.W.A.K.E Mode.

EXCHANGE RATE CORRECT AT TIME OF PRINT SUBJECT TO CHANGE

This page Jellyfish lamps by Emmanuelle Simon, from $5210 each, and Constantin bench by Francesco Balzano, POA, from Theoreme Editions.

Model wears dress, POA, from Louis Vuitton, and Hurricane boots, $4075, from Hermès.

This page Arçon rug by Pierre Charpin, POA, from Hermès.

3 4 VOGUE LIVING

This page Samarcande chess set, POA, from Hermès. Model wears cashmere jumper with exaggerated rib, $1538, and skirt, POA, from Christopher Kane;

Clash de Cartier ring, $16,500, and Panthère de Cartier bracelet, $37,700, from Cartier.

This page India Mahdavi Cap Martin dining chairs, POA, from Studio Alm. Model wears round shoulder fitted coat,

Anatomic Sock pantaleggings, Mega ear cuff and Mega earrings, all POA, all from Balenciaga.

This page Pierre Augustin Rose Fumoir Parchment armchair, POA, from Studio Alm. Model wears Iconic Milk turtleneck

maxi poncho fluffy knit cashmere silk dress, $8560, from Chloé, and shoes, $2500, from Bottega Veneta.

This page Garcé & Dimofski Checkmate lamp by Garance Vallée, POA, from Invisible Collection.

38 VOGUE LIVING

This page Pierre Yovanovitch Mr Oops Gérard chair, POA, from Criteria.

This page Uchronia Peanut coffee table and Cookie low table, POA, from Studio Alm. Model wears sleeveless jumper with high collar, POA, from Paco Rabanne;

maxi mesh skirt with sequin detail, $2007, from A.W.A.K.E Mode; and Mega ear cuff and Mega earrings, POA, from Balenciaga.

EXCHANGE RATE CORRECT AT TIME OF PRINT SUBJECT TO CHANGE

This page Ana chair, from $12,205, and Franck Bridge chair, from $30,100, both from Charles Zana. Haos 2020.01 plaster floor lamp, POA,
from Invisible Collection. Model wears lamé rib knit twinset with bolero with integrated scarf, $1580, sleeveless jumper, $1975, metallic jacquard
plissé skirt, $7885, and Hurricane boots, $4075, all from Hermès; and Tiffany HardWear Long Link earrings, $2500, from Tiffany & Co.

This page Ligne Roset 50th anniversary Togo Fireside chair in limited-edition Pierre Frey La Toile du Peintre fabric, $5875, from Domo. Details, last pages.

42 VOGUE LIVING

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This page, clockwise from above Charlotte Macaux Perelman and Alexis

Fabry, co-artistic directors of Hermès Maison, launched the luxury
house’s latest pieces at Salone del Mobile this year. Ancelle d’Hermès
armchair. Patine d’Hermès hinged box. Casaqu’échiquier plaid.
Patine d’Hermès domed boxes. Opposite page H Casaque blanket.

“Charlotte and I have a kind of allergy, vis-à-vis to the trends,
or the fashion,” says Alexis Fabry with a laugh. Coming from
any other head of a prestige name, this would sound contrary,
even laughable. But from Fabry, curator, publisher and
co-artistic director of the Hermès Maison universe, it lands
differently. Together with architect Charlotte Macaux
Perelman, the pair work with artisans, designers and
craftspeople to create objects of unparalleled beauty and
quality for the maison. We caught up with the Paris-based
duo in Milan during Salone del Mobile to discuss their recent
home collection and the elusive notion of timeless design.

Design that TRANSCENDS
trends is a conundrum faced
by every creative. But for
Charlotte Macaux Perelman
and Alexis Fabry, co-artistic
directors of Hermès Maison,
one of the most esteemed
LUXURY houses in the world,
it has a whole new meaning,
as Rebecca Caratti discovered
in this conversation.

Vogue Living: Geometry is a huge part of this collection.
What inspired this?
Charlotte Macaux Perelman: When we first started working
for Hermès we asked Pierre-Alexis Dumas [Hermès’s artistic
director] is Hermès the Kelly bag or is it the Carré silk scarf?
He replied, “It’s both.” Alexis and I realised that furniture
[should be] more rigorous, textiles more exuberant and [there
should be] more colour and graphism. This year, I decided to
work on the architecture of empty spaces. Architecture blurs
into the background, and it is the object that fills the space. We
take all the concrete away and are left with wire rods, which
represent what is essential, like the backbone of the home.
Alexis Fabry: After many years exalting colour and chromatic
exuberance, we decided not to fall into the temptation of
[relying on] it, but instead chose an envelope or framework.
Graphism by subtraction.
VL: The equestrian motif is, of course, iconic for Hermès.
How did you explore that across homewares?
CMP: The idea of putting a horse or a saddle on a plate is not
easy. We looked for an artist who could respect the legacy but
create a contemporary look. The use of an oily felt pen with
kind of childish designs and sketches creates a freshness that
respects the past while bringing it to the world of today. This
is something we always ask ourselves: how to respect the
heritage of the past and reinterpret it in a contemporary way.
VL: Can you share with us details about some of the artisans
and techniques you worked with and have featured?
CMP: We have a lot of collaboration between our team,
designers and craftsmen, but the objects in bronze and the
lamp by Harri Koskinen would not have been possible
without this cooperation. These are simple objects, and it’s
important to see how the material is worked by Koskinen.
We searched all over Europe to find someone capable
of expressing the power of glass and the importance of fire.
AF: We looked for a specific materiality, but we didn’t want
loud virtuosity, we wanted something subtle. This is very
difficult to attain and only through close cooperation with
the artist or craftsmen can we achieve the right gesture.
CMP: It’s important to underline the attention devoted
to material, to all those things you cannot see — this high
level of craftsmanship. Why do these objects last a long time?
It is this obsessive search for ideas, details and work.
VL: Hermès has a reputation for creating forever objects.
What does timeless design mean to you?
AF: Timelessness is not something you can declare. For an
object to be timeless you need something different. All
creators aim for this objective, but very few manage to achieve
it. The only guarantee is if objects have a functional quality,
which makes them last.
CMP: Only time will tell. It’s obvious we aspire [for our
work] to be immortal. And we think of these objects as
something that can be transmitted from one generation
to the next, and we can only achieve this thanks to very
high levels of craftsmanship and quality.
hermes.com
45 VOGUE LIVING

A Stage For Life
Biscuit from our Tonal collection of premium French Oak featured in Potts Point Residence by FlaFk Studio.
Photographed by Anson Smart.

madebystorey.co

@madebystorey

By ANNEMARIE KIELY Photographed by ALICE MESGUICH

BON ENFANT Rebecca Benichou and Florence Jallet of BATIIK STUDIO
are making well-crafted inroads with their sleek yet VIBRANT interpretation
and definition of space, as seen in this pied-à-terre in PARIS.
48 VOGUE LIVING

These pages, from left in a bedroom, desk designed by Batiik Studio; Noom Gropius CS1
chair by Kateryna Sokolova; Seed bowl by Charlyn Reyes from Boon Room; Jewel table
lamp by Kalou Dubus; SkLO Wrap Pin pendant light; artwork by Manoela Medeiros.
In the living room, sofa and shelving unit designed by Batiik Studio; coffee table by
Middernacht & Alexander from Boon Room; La fenêtre artwork by Rosanna Lefeuvre from
Maestria. Rebecca Benichou (left) and Florence Jallet of Batiik Studio in the dining area.

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

he classically proportioned Haussmann apartment
propped with gilded bergères is as clichéd a capture
of French interior style as the Breton top is of
French fashion, but for Rebecca Benichou, 36, and
Florence Jallet, 29, co-principals of Paris-based
Batiik Studio, such archetypes speak volubly about their
country’s savoir faire.
Yes, French style is “sober and polished, remains elegant and
can sometimes be extravagant”, concur the buzzed-about pair
who claim back-to-back entries (2020 and 2021) in Architectural
Digest France’s definitive AD100 list of visionary design
talents. But, as they explain, savoir faire and its inference of
‘knowing what to do’ relates more to an endemic culture
of craftsmanship than any surface decorum of dress or room.
“We like sobriety, but it’s also important to work on some more
original and subtle details without falling into obvious trends.”
Between the Gallic poles of finding balance in all things
functional and bearing material witness to centuries of craft
tradition, Benichou and Jallet carved out a niche for Batiik
Studio with a narrative-led “audacity in elegance” that codes
with personal histories and the creatives they admire.
For Benichou, who grew up in seaside Nice where “the sun
shines every day” and “the food is fresh and colourful”, it’s
the formal silence of Mexican architect Luis Barragán, and the
sardonic pastel symmetry of auteur film director Wes Anderson,
“whose sets are treated like models, where every detail is
important, from architecture to clothing”.
For Jallet, who hails from the port city of Sète, “where life is
very sociable, generous, human and gentle”, it is the haunting
arch and colonnade sculptures of Catalan artist Xavier Corberó,
the ancient re-imaginings of Venetian architect Carlo Scarpa,
and the scenographer’s mindset of French designer François
Bauchet, mixed with a little extra-terrestrial life. “I draw a lot
of inspiration from science-fiction films,” she says of playing
space formally and figuratively. “I like radical works which,
in a strong gesture, evoke poetry and daydreaming.”
The designers bring different likes and learnings to their
10th arrondissement practice — Benichou studied architecture
and served in big firms before preferencing the micro scale of
interiors over macro constructions, while Jallet, who joined
Batiik Studio in 2018, segued from the study of aesthetic
history into shaping it. But their mutual love of easy living
and an elemental materiality bleached by hot sun, sources in
the Mediterranean of their respective childhood experiences.
“We like to work with wood and stone,” says Benichou in
nod to their space-exploring fantasies of coastal France;
schemes spiking with the terracotta of its tiled roofs, the azure
blue of its skies, the white-washed stones of its streets and
woods weathered by sun and corrosive salt air. Their capture of
coastal freedoms can be as literal as the lapping waves patterned
into the floor of a small cafe on Boulevard Haussmann, or as
suggestive as the rippling beach sands abstracted into a
headboard designed for one of several art-laden Ambroise
guesthouses conceived by Paris gallerist Amélie du Chalard.
But aujourd’hui (today), the duo get to honour the breezy
heart of their Mediterranean beginnings with more than a
manufactured allusion. “We are working on a hotel in Cannes,”
says Benichou with contained excitement. Affaire a suivre
(watch this space). batiik.fr

T

These pages in another view of the living area, ceramic chair by Agnès Debizet;

rug from Agnès Studio; Composition Linéaire totem by Jessica Boubetra from
Galerie Gastou; vase by Héloïse Piraud from Volume Ceramics; Allegra wall
lights from Danke Galerie; Soleil artwork by Marguerite Piard from Maestria.

Designer Furniture
Indoors & Out

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luxurious furniture from leading designer brands.

Elio Armchairs & Illum Teak
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THE VL EDIT

A curated hit list of the latest statement makers including
Pierre Augustin Rose’s contemporary classic FURNITURE PIECES
that marry craftsmanship with eye-catching, SINUOUS form.
Photographed by FR ANÇOIS HALARD

SHOT ON LOCATION AT CASTELLO MONTECALVELLO

This page POLUS016 armchairs, Palais Royal 320 sofa, Duo black oak coffee table and cabinet 160,
all POA, all from Pierre Augustin Rose, pierreaugustinrose.com; enquiries to Studio Alm, studioalm.com

58 VOGUE LIVING

Compiled by SANDY DAO
Clockwise from top left Echo 07 (2023) artwork by Hendel Futerfas, $6300, from C Gallery, cgallery.com.au Garance rugs, POA, from Nordic Knots, nordicknots.com

Dimple coffee table, $4750, from Zachary Frankel, zacharyfrankel.com Monument Series wall lights, POA, from Sarah Nedovic Gaunt, sarahnedovicgaunt.com
Untitled Moon Jar 19, 2023 moon jar, from $5255, and Stool 1 stool, from $12,018, by Jane Yang D’Haene from The Future Perfect, thefutureperfect.com
Maxim Vellum wall work light, $6500, and small companion light, $750, from Studio Tops, studiotops.com.au 1977 Curve Package 3 sofa in Leura upholstery,
$2990, and Antipodes rug in Natural, from $4984/260cm x 360cm, from King, kingliving.com.au Le Marais rug in Pastiche, $15,900/300cm x 240cm, from Tigmi,
tigmitrading.com Paul Smith Bookworm candle, $127, from Mecca, mecca.com.au Tête à Tête napkins, $99 for a set of 2, from Maison Balzac, maisonbalzac.com

6 0 VOGUE LIVING

PHOTOGRAPHER: PHOEBE POWELL (STUDIO TOPS). EXCHANGE RATE CORRECT AT TIME OF PRINT SUBJECT TO CHANGE

THE VL EDIT

A DV E R T I S I N G F E AT U R E

ENDURING
CONNECTION
Designer Rugs and Warlukurlangu Artists celebrate the work of two
influential First Nations artists with a captivating new rug collection.

Part of the enduring power of First Nations
art comes from the way the work illustrates a
deep connection with the land and the stories
that emerge from it. Designer Rugs channels
this connection in a new collaboration with
Warlukurlangu Artists, one of Central
Australia’s oldest and most successful
Aboriginal-owned art centres.
Since 1985, Warlukurlangu Artists has
provided opportunities for artists in the
remote communities of Yuendumu and
Nyirripi, north of Alice Springs. The centre’s
art gained international recognition and
a significant following for its bold use of
colour, and it remains a place where local
artists can experiment with their craft.
This collaboration celebrates the work of
two Warlukurlangu artists known for their
distinctive styles – Judy Watson Napangardi
and Mary Anne Nampijinpa. The collection
features eight designs, with each rug
depicting one of the artist’s works.
Vibrant colour schemes, intricate detail
and intelligent composition characterise
Napangardi’s work. She often employed a
‘dragged dotting’ technique, applying close
dots to make lines, forms and shapes.
The artist’s ability is evident in the works
selected for the Designer Rugs collection.
Janyinki is a representation of the region
north-west of Yuendumu, intertwined
with the ceremonial stories and traditions
of its people. Mina Mina depicts a Women’s
Dreaming site sacred to the Warlpiri people.
Majardi displays a mastery of colour, where
the subtle usage of pink, green and blue
contrasts with earthy tones to capture the
energy of ceremonial dance. And Ngalyipi
demonstrates Napangardi’s skilled
composition with strong lines and abstract
forms illustrating the movement of the
ngalyipi vine as it twists around the limbs
and trunk of the kurrkara tree.
Nampijinpa, the second Warlukurlangu
artist featured in the collaboration, achieved
widespread acclaim in a career inspired
by the ancestral stories of her father. Her
work reflects these stories, her land, and
the plants and animals that inhabit it.
Designer Rugs features four of the artist's
paintings, including Ngalyarrpa, where

earthy tones and intricate lines illustrate
the region’s sand hills. Lappi Lappi captures
the essence of natural formations in abstract
shapes. Wanirpi evokes images of the rock
holes found near Lake Hazle in Western
Australia with shades of pink and blue.
And Warnayarra, the last of Nampijinpa’s
paintings featured in the Designer Rugs
collaboration, provides an example of
the artist’s storytelling ability, with vivid
colours, intricate dots, deliberate lines

CLOCKWISE FROM
OPPOSITE PAGE
Ngalyipi by Judy
Watson Napangardi;
Wanirpi by Mary Anne
Nampijinpa; Majardi by
Judy Watson Napangardi.

A DV E R T I S I N G F E AT U R E

and mesmerising circles telling the sacred
Dreamtime story of the Rainbow Serpent.
The Warlukurlangu collection marks
Designer Rugs’ fourth collaboration with
Indigenous artists, having worked with
Minnie Pwerle in 2008, the Bidyadanga
artist group in 2017, and emerging Torres
Strait Islander artist Tamika Grant-Iramu
in 2022. Every painting in the collection
is faithfully reproduced, and the proudly
Australian company takes great care to
capture artist’s intention, and translate
the energy, emotion and subtle detail.
For more than 30 years, Designer Rugs
has partnered exclusively with Australian
designers to create exceptional pieces that
can complement a wide range of settings,
from contemporary homes to expansive
commercial spaces. These floorcoverings
feature hand-tufted 100 per cent New
Zealand wool and can be personalised by
size and shape to ensure the perfect fit.
Plus every rug sold generates royalties for
the artists and their families. This latest
collaboration is an opportunity to find a
new statement piece and acknowledge the
enduring connection between the land and
the world’s oldest continuing living culture.

THIS COLLABORATION CELEBRATES THE
WORK OF TWO WARLUKURLANGU ARTISTS
KNOWN FOR THEIR DISTINCTIVE STYLES
FROM LEFT
Janyinki by Judy
Watson Napangardi;
Warnayarra by Mary
Anne Nampijinpa.

For more about the collaboration, call 1300 802 561 or visit designerrugs.com.au

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79 VOGUE LIVING

PHOTOGRAPHER: GIULIO GHIRARDI. GOLOSA FLOOR LAMP FROM RODOLPHE PARENTE; PHOTOGRAPH BY WALTER PFEIFFER FROM GALERIE SULTANA

In this PARISIAN apartment not far from the Saint-Martin canal, designer
RODOLPHE PARENTE offers a fresh, striking twist on blending new and old.
By MARINA HEMONET Photographed by GIULIO GHIR ARDI Styled by SAR AH DE BEAUMONT

8 0 VOGUE LIVING

ithout making a clean sweep of the past, which, on the contrary,
he sought to restore and refine, interior designer Rodolphe Parente
highlighted the period details of this Haussmann apartment with subtle
additions and a little bit of modern thinking. “Here we find the whole
history of French craftsmanship, and this is what I tried to extend by
bringing in several contemporary craftsmen,” he says.
In the entrance, a delicate vertical band painted in fine gold brings
geometry to the space, while in the dining room a fresco finish by the
duo Redfield & Dattner adorns the curved wall designed to partition
the kitchen with reflections. Parente played with the classic codes of the
Parisian apartment by re-creating, in one instance, mouldings where
they once were. While preserving the historical heritage of the dwelling,
he wanted to give it a modern reading. And this philosophy is also
showcased through the mix-and-match of furniture and works of art –
Camille Vivier, Nick Devereux and Mohamed Bourouissa to name just a few.
All the spaces in the 160-square-metre home have been redistributed. The idea was to restore
all the openings to the apartment, to create double circulation between the rooms. Plays of
perspective have also been developed by treating the interior shutters of the windows in mirrorpolished stainless steel. “I like to lose the perception of things. It was important for me to have
paintings on the outside such as the living room, which turns out to be a veritable balcony
over the city,” says Parente. “I didn’t want to weigh down this room with curtains — I wanted
to feel the porous nature of the indoors and out.” In the same way, he imagined a pastel-pink
lacquered kitchen, friendly and open, with a mobile central island in stainless steel. “The
kitchen is deliberately a little floating, made of lines and volumes, very composed, decomposed.”
There is a free, daring, sometimes ironic style in this home that is reminiscent of Parente’s
Contre-Soirée exhibition — an apartment that revelled in the juxtaposition of minimalist,
industrial elements with heritage-laden art pieces — presented during this year’s Design
Parade festival in Toulon of which he was the chairman of the jury. In all the rooms, this same
search for contrasts of materials and colours is revealed, such as the main bedroom and its wide
silk headboard. “ It’s a bit Japanese, a bit 1980s, a little Ivana Trump,” Parente says. “I liked
overplaying that in this room with a purple that cuts across the floor. Each time, the colour is
architectural, it is not decorative colour. I like the idea of sequences.”
With its shiny lacquer, the dressing room is a tribute to Charlotte Perriand, while the
guest bathroom is designed like a box with its lacquered wood reminiscent of the world of
Andrée Putman. The influences here are multiple, but always discreet. Another bathroom
reveals a retro character with its curtain encircling the bathtub; at the entrance, a fanlight in
dichroic glass adds a slightly techno touch. If they are not immediately noticeable, these “ little
accidents ”, as Parente likes to call them, are discovered gradually as you stroll through:
“the idea is that you feel an intervention but that it is not forced.” rodolpheparente.com
86 VOGUE LIVING

By VIRGINIA JEN Photographed by DAVE WHEELER Styled by JOSEPH GARDNER

OPEN EMBRACE With family as the FOCAL POINT in the meticulous
re-imagining of this ART DECO home in Sydney, interior architect
Phoebe Nicol has crafted an elegant home that revels in the DETAIL.
9 0 VOGUE LIVING

nyone can extol the aesthetic elements of a home, how the immeasurable
quality of beauty can add to the pleasure of the everyday, but the instinctual
feeling of home comes down to how it offers comfort and respite in a
nurturing way. This support found beyond mere bricks and mortar was at
the forefront of interior architect Phoebe Nicol’s design mind, as she started
the careful revitalisation of this Vaucluse home. At the time, Nicol was
newly pregnant with her first child, a journey echoed by her client, Georgia
Williams, who was pregnant with her second.
“We had the same OB, our children were born a week or two apart, and
we were both hobbling around the site together,” Nicol says. “I pretty much
worked on this project up until I gave birth.” These circumstances
necessitated a hard nine-month deadline, a potentially stressful parameter
for some but in this instance actually presented a brilliant silver lining.
“The great thing about a fast turnaround is you don’t get bogged down by
a concept. Essentially, a fast game is a good game and we were able to make decisions.”
Thankfully what also aided the interior facelift was an external shell of the “good bones and
beautiful Art Deco features” variety. Homeowners Georgia and Oscar Williams, directors
and founders of eyewear brand Vehla, had the foresight to spot a striking Art Deco
specimen and call it home for their young family. The three-bed, four-bath property was
designed in 1925 by architect Bruce Dellit — best known for his winning vision for the Anzac
Memorial in Hyde Park — with an A-frame extension added in the early aughts by Allan
Dukes of Dukes Architects. Within this storied framework, Nicol was tasked with the
Williams’ brief: “minimalism and neutrality with warmth and character, and crafting a family
home that exudes light, as well as an ease of liveability with function and purpose”.
Nicol addressed this remit of warm minimalism with a quiet, calm power realised through
a rethinking of the floor plan, an exacting curation of procured pieces from France and a
thoughtful balance of eras, tones and textures. “We like to create a dialogue between objects
from different eras, so as to create a layered home,” says Nicol. “Combining an unexpected
amalgamation of styles means the design language is original yet familiar.”
The first port of call was amending the existing footprint to mark out a more livable space.
“We opened up some walls in the formal living room and the office, so when you enter the
home, you get a wide glimpse into those rooms,” says the interior architect. “They have a really
nice relationship while retaining their own intimacy.”
The kitchen was reconfigured for relaxed entertaining with one “unusual request”: no brass.
“Typically you can create a lot of warmth through brass so we had to pivot and navigate
that warmth through nickel,” says Nicol. “It can be seen in all the tapware, hardware and
lighting, which will develop a natural patina over time, giving it a distinctive classical look.”
The focus on these details — teamed with materials such as the softly veined marble and oak
cabinetry, an abundance of curves in furniture, joinery and decorative accents, as well as tactile
wall finishes, all accentuated by diffused light — gives way to an inviting ease in this gathering
space. “The colour palette we chose for the walls — there’s a beautiful, warm undertone,”
says Nicol. “This project exemplifies a beautiful pairing of warmth and cool — the balance is
there. It just sits beautifully together.”
Nicol’s insider access to coveted French pieces featured here are courtesy of The Vault Sydney
— the specialist antiques and decorative objects business she established seven years ago with
husband Jeremy Bowker — and they play an integral role in the home’s considered outcome.
“We have a strong rule, Jeremy and I: we will always buy something that we would have in our
own home,” Nicol says of the only expectation she has when the couple venture on buying trips
to Europe. “When I was over there, I was focusing on late Art Deco pieces because I had this
project in mind. They’re slightly more refined but still have that vulnerability and that beautiful
warmth and craftsmanship that you get through any vintage piece.” And while it takes a
incredible amount of effort and logistics to get pieces of such stature to our shores, even that
deadline was somehow met with this project. “The shipment arrived two weeks before the
clients moved in,” says Nicol. “I was getting those pieces straight off the container and into
their home. It takes a lot of time to acquire special pieces when they’re all by iconic designers
and just having that great mix speaks so well to the architecture. All of those pieces work to
make it feel like it’s both current and traditional — it’s all those beautiful languages combined.”
It’s this balanced conversation between object and design detail, time-worn furniture and
contemporary thinking that has cultivated a welcoming atmosphere and a tangible sense of
home. For Nicol, it’s about “curation and iterations, taking a step back and paring back the
options. There’s bleached-oak furniture and then there’s beautiful, rich walnut tones — it’s not
one note. We’ve complemented different styles and eras to give that interesting mix so you can
appreciate the juxtaposition.” That level of interest — expressed in the contrast of materials,
pieces and elements — is perhaps the most nurturing detail of all. It allows that feeling of home
phoebenicol.com
to speak not only for us, but to us.
9 6 VOGUE LIVING

10 0 VO G U E L I V I N G

Sensuality and WARMTH grounded the mindful contemporary update
of a Paris apartment by designer Pierre Yovanovitch for a young family.

By DANA THOMAS Photographed by STEPHEN KENT JOHNSON

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

This page in the entry of this Paris home, doors, ceiling and
lighting, all designed by Pierre Yovanovitch; bench by Guillaume
Bardet from Galerie Kreo; vintage Fontana Arte mirror; artwork
by Xavier Daniels from Almine Rech. Details, last pages.

These pages in the living room, custom sofa and Assymetry

armchairs from Pierre Yovanovitch Mobilier; fireplace
designed by Pierre Yovanovitch and produced by Armelle
Benoit; cocktail table by Matthias Kohn; vintage table lamp
by Élisabeth Joulia; vintage floor lamp by Paavo Tynell
(towards rear); floor lamp by Angelo Lelli for Arredoluce
(on right); rug designed by Pierre Yovanovitch and produced
by Édition 1.6.9; artwork diptych by Latifa Echakhch.

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

PHOTOGRAPHER: MATTHEW AVIGNONE (PORTRAIT)

This page in the office, custom upholstered Aubusson sofa,

Fat Pebble and Candy Pebble side tables, all from Pierre Yovanovitch
Mobilier; vintage sconces by Georges Jouve; artwork by Harold
Ancart; sculpture by artist unknown. Opposite page homeowner
and founder of Nimette Nima Krings in the living room.

ome homes are designed to first appeal to the eye. But for French tech
investor Pierre Krings and his wife, fashion entrepreneur Nima, what
mattered foremost for their centuries-old apartment on Paris’s Left Bank
was how the home feels underfoot. Upon entering the 297-square-metre,
four-bedroom apartment, redesigned by French designer Pierre Yovanovitch,
guests are instructed to remove their shoes — a practice the Kringses adopted
during their sojourns in Japan. He sold his company, PriceMinister,
to Japanese e-commerce firm Rakuten in 2010, and she is the founder
of Nimette, a private retail space distributing apparel from independent
fashion designers from Japan and other countries.
As one moves from the entry’s waxed reclaimed-oak parquet to the
cool Delphine Messmer mosaic flooring in the kitchen, the sense of touch
is not only stimulated but delighted; it’s pleasure for the sole and the soul.
“The goal was to create an environment that is sensual and warm,”
Yovanovitch explains, as he stood on the main ensuite’s heated marble floor in his stockinged
feet. “Especially warm,” barefooted Nima says.
The Kringses called Yovanovitch for the renovation because they wanted someone
who would understand how to turn the ancient apartment into a 21st-century home for a
family with young children and a taste for contemporary art while maintaining the due
reverence for the building’s august history and regal allure. Tucked inside a cobblestone
courtyard in the city’s literary Latin Quarter, the building once housed a publisher on
the ground floor, and writers lived in the building over the years. “The best known was
Théodore de Banville,” a 19th-century Symbolist poet and author, and friend of Victor
Hugo and Charles Baudelaire, Yovanovitch noted.
“This project had all the green lights,” he says. “The owners were super cool: handsome,
charming, clever, funny. The building had good vibes, good bones and a good location.
It was what you call a no-brainer.”
Though it did have “some challenges that required creative thought,” Yovanovitch said
— mainly that the apartment actually straddles two buildings, one dating from the 17th
century and the other built a bit later, which had been united in the late 18th century with a
“lovely main staircase,” he says. “We had to contend with the quirks: odd shapes for the
bedrooms, split levels, a narrow corridor with steps — a mishmash of structural elements
modified over the years, sometimes in a haphazard way.”
Yovanovitch sorted all that out by rearranging the floor plan. He turned the dining room
into the primary bedroom and made it round — curves are a theme in the design, including
arched doorways or rounded cabinet corners. He moved the kitchen, which was small,
to a much larger space in the heart of the flat, to create a convivial centre for the family,
with an inviting banquette, yummy butter-yellow 1950s-style Formica cabinetry, and shelves
holding eye-catching pottery Nima has collected from around the world. Nima’s appreciation
of fine hand-craftsmanship is rooted in her youth in Africa — she was born in Guinea and
lived in Gabon before moving to Paris at nine — and was honed during her time in Japan.
At every turn in the flat, there are artisanal touches, be it hand-painted stars on the corridor
walls or Lesage embroidery on the bedcover.
For the decor, Yovanovitch’s studio executed several site-specific pieces, such as bronze
lighting, a crescent sofa and a pear-wood dining table that extends to seat 12. He and the
Kringses then filled in the rest of the space with vintage finds like the Jouve lamps and 1920s
Armand-Albert Rateau amaranth chairs — “I love trolling flea markets, galleries and auction
houses,” Nima says — as well as commissions, such as the cane-fronted corner piece in
the dining room by the Campana Brothers of São Paulo. Yovanovitch turned to a host of
other artisans for other quirky details, like Pierre Marie, known for designing silk scarves
for Hermès, who created charming stained-glass windows for the main ensuite and one
of the children’s rooms, and Matthieu Cossé, with whom he has worked many times, including
for his own home in Provence, to execute painted glass sconces for the primary bedroom and
a fresco in the kitchen niche. “I love Matthieu’s approach,” Yovanovitch says. “He observes
nature and creates a joyful poetic world of it.”
Together, the Kringses and Yovanovitch chose the art, something he says, “I don’t always get
a chance to do, even though I love it.” Pieces they acquired include works by Miquel Barceló,
Latifa Echakhch, Johan Creten and Claire Tabouret — though not purely for decorative
purposes, Yovanovitch cautions. “Our focus was to select art for a place, art to live with,” he says.
The Kringses are thrilled with the result. “It’s like we are in a cocoon,” Nima says with
a laugh. “And our single friends want us to adopt them, so they can move in.”
pierreyovanovitch.com
As long as they leave their shoes at the door.

11 0 V O G U E L I V I N G

This page an enfilade stretches from the office

through the living room to the dining room.

This page in the kitchen, ceramic splashback produced by Armelle

Benoit; Formica cabinetry, enquiries to Laminex; floor in mosaic
tiles from Delphine Messmer. Opposite page in another view of
the office, custom Edgar desk from Pierre Yovanovitch Mobilier;
vintage chairs by Armand-Albert Rateau; fireplace designed
by Pierre Yovanovitch and produced by Armelle Benoit.

This page in a child’s bathroom, shower in ceramic tiles
from FAM. Opposite page in a child’s room, table designed

by Pierre Yovanovitch with ceramic top produced by
Armelle Benoit; shelving designed by Pierre Yovanovitch;
Giboulée pendant light from Céline Wright.

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

This page in the main bedroom, bed designed by Pierre Yovanovitch;

embroidered bed linen from Lesage; wall sconce designed by Pierre
Yovanovitch and Matthieu Cossé and produced by Glassworks,
Matteo Gonet; artworks by artist unknown. Opposite page in the
main ensuite, vanity and bathtub designed by Pierre Yovanovitch;
tiles designed by Pierre Yovanovitch and produced by Armelle
Benoit; floor in marble. Details, last pages.

By MARINA HEMONET Photographed by FR ANÇOIS HALARD

INFINITE LIMITS Architect Charles Zana transcends any one
STYLE or era with the measured facelift of his apartment in his
beloved SAINT-GERMAIN-DES-PRÉS district.
11 8 V O G U E L I V I N G

here is nothing ostentatious about Charles Zana’s work and, in fact, a certain
sense of restraint dominates. For the past 30 years, the architect has been
creating interiors in which every detail conveys elegance, fluidity and
comfort. He applies a similar attitude to his own apartment located in
the heart of Saint-Germain-des-Prés, the Paris neighbourhood that’s been
his favourite since his teen years.
Zana set his heart on this pure expression of a Louis XVI apartment:
“I love these aristocratic apartments which have a real history,” he says. “What
I also admire are the proportions of the rooms, the enfilades, the high ceilings,
the large windows, and the precision to the mouldings and the cornices. This
isn’t the bourgeois pomp of the 19th century; it was the 18th that was the great
century when it comes to laying the foundations of grand French decor.”
Sometimes, spaces that have been modified can still give the impression of
having been there forever, the operative idea being to subtly blend them into,
while showing great respect for, an existing setting. “I believe many architects like living in
spaces full of history that precedes them and goes a little beyond them,” says Zana. Here, the
preference was to opt for a monochrome look with curtains and white walls to accomplish a form
of serenity. It’s a blank page that invites dashes of colour. “I find that the very colourful Sottsass
ceramics fit quite well in this ambience,” he says of the Italian master architect’s vibrant pieces.
Growing up in a family of collectors, Zana inherited a strong penchant for vintage design
and creating bold associations. A well-rounded aesthete, he knows how to tell the story behind
objects and stage them within a space. Radical Italian design, and the maestros Ettore Sottsass,
Carlo Scarpa, Andrea Branzi, Alessandro Mendini and Carlo Mollino, occupy pride of
place in his Paris apartment; positions that are ever evolving as the architect likes to try
new combinations and push the line — without ever letting the space feel frozen. “I find it
interesting to mix objects and tell a story. I have little desire to lock myself into a style or in an
era,” he says. “I launched my career in the 1980s when the ‘total look’ dominated. Today,
though, I like to live in spaces that are a mélange of the sophisticated and the bohemian.”
To all the vintage objects, Zana adds a number of contemporary artworks, as well as several
striking pieces of furniture from his Ithaca collection, including the large Teddy bed posed
diagonally across his bedroom. Inspired by the swaddling shapes of Jean Royère’s Polar Bear
chairs, it fits in perfectly with the oak panelling that was only revealed by chance when
the walls were stripped for repainting and their hidden past emerged. It’s a past that today
blends harmoniously with the present and breathes a light, timeless atmosphere into this
zana.fr
ensemble of measured eclecticism.
12 2 V O G U E L I V I N G

This page in the landing, console table by Mathieu Matégot; Warton chair

and DM table lamp from Charles Zana; ceramics by Ettore Sottsass;
Platone chandelier by Andrea Branzi; photograph by Hiroshi Sugimoto.
Opposite page in the terrace, bench designed by CEMAD; Chandigarh chairs
by Pierre Jeanneret; coffee table by Roger Capron from Thomas Fritsch.

These pages in another view of the main bedroom,

Teddy bed from Charles Zana; velvet throw from
Rubelli; bedside table by Arne Jacobsen; Brasília
lamps by Michel Boyer; bamboo and paper floor
lamp by Andrea Branzi; untitled artwork by
David Salle from Skarstedt. Details, last pages.

hen design studio Handelsmann + Khaw was tapped to breathe new life
into a Georgian Revival house built on the brink of the Great Depression,
in a prized pocket of harbourside Sydney, the firm chose to filter the
architecture’s symmetry and Mediterranean strains through a French eye.
Which is not to suggest a fizz of Belle Époque chandeliers, qualifies
designer Gillian Khaw of the interiors commission feeding from the
office of Luigi Rosselli, the project architect first broached to finesse
the building’s faded grandeur for a family of five. “No, the Frenchness
of our scheme related to that Instagram feed of style” — one that
seeks to divine the secret of chic décontracté dress; working old, new and
nothing special into a desirable ‘don’t care’ mystique.
It’s more about subtraction than addition, continues Khaw of the
Parisian paradox of trying hard not to look ‘try hard’ – applying make-up
to polished skin to appear unmade then adding a slash of red lipstick to
ratify ‘less is more’. “It’s what you don’t see and what we don’t do that allows the building’s
inherent beauty to breathe; everyone paring back to strong bones and the beginnings of a story.”
As Rosselli later tells it, the grand interwar architecture chronicles a moment in Sydney
when aesthetic affections had begun shifting from Mother England to the Mediterranean,
and the likes of Leslie Wilkinson — then Professor of Architecture at the University of
Sydney — were championing a cut of classicism more suited to local climate. But it was not
the boil-down to white boxes as per Eileen Grey’s E-1027 house on the French Riviera,
he notes. Sydney’s top-of-the-town dwellers were too conservative for such radical
reductionism, preferring the softer Northern European option of shading architectural
severity with shutters and loggias.
“I don’t think this building is by Wilkinson,” he says of a symmetry and plan too predictable
for the quirk of the professor. “But whoever designed it, they did a good job and though we had
to maintain the original character, our addition to the south went a bit sparer in the ornament,”
which accorded with the natural evolution of the neo-Georgian genre.
Rosselli proceeded with an organic ‘rightness’ “to rebirth a great beauty — a Renaissance
we called it”, opening up the entry portico, adding on a new south wing, inserting a pool
into greener landscape, pulling weight off the facade with finer steel balconies, and whiting it
all out with soft exception to limpid blue shutters.
He defines the Frenchness of his approach as philosophical, citing Pritzker Prize-winning
French architects Anne Lacaton and Jean-Philippe Vassal, who voice the desire to “never
demolish, never remove — always add, transform and re-use”, as exemplar of his intent to
invest space with emotion, pleasure and “the spirit of the times”.
“How do you say?” Rosselli asks in search of an analogy for his salvage of the existing loggia
from “the mess of a dressing room”, rationalisation of a small kitchen and redundant servants’
clutter into a hospitality hub, and redesign of the central stair into a whorl-like spiral rising up
through a nautilus chamber: “We did the full nip and tuck.”
But not in a way that erased personality, explains Khaw. “Luigi gave us the panelling” — the
mise-en-scène plaster walls that set up the French play. “It meant we didn’t have to project
grandeur in furnishings. We could just throw in a mid-century piece, put in rush seating or
prop with something that says ‘pulled off the street’, deconstructing down to resonances like
the side-chiselled oak floorboards to make it all feel that bit dustier.”
The wind-back and “crank-down” delivers in the kitchen which, it suggests to Khaw, could
be a sun-baked bar circa 1950s hidden in the backstreets of the Côte d’Azur. One to which the
monied aristos flock for their morning pastries, evening Pastis and gossip gleaned from
the patron at the oak-faced counter, who has bagged a slew of minor masterpieces painted by
local artists in lieu of payment for their tabs.
Khaw enjoys this reading of the room, adding that no space should be so prescriptive that it
precludes the insert of a memory or a dream, many of which swirl suggestively from first entry
into a foyer where the object absence and an atmospheric abstract by Marisa Purcell echo the
beautiful emptiness of the 1920s boom. “No, we weren’t playing by the rules,” says Khaw
of shifting the entry’s calm climate to a pressure build of colour in the formal sitting room
where the blurry striations of a rug, anchored by a skewed Francesco Binfaré sofa, sharpen
into marble squares on the neighbouring loggia floor. In this glassed-in garden terrace, filled
with olive trees filtering Sydney light into Mediterranean shade, Khaw paired Sienna-red
Bonacina cane chairs with the kook of a pretzel-shaped coffee table and lumpy ceramics
suggestive of Vallauris, the Côte d’Azur town made famous by Picasso.
“Not a lot of window dressing speaks to the French irreverence of it all,” she says with
a box-ticking read through the country’s essential classicism, nakedness, nonchalance and
unwillingness to shout with loud labels. “Just a little bit of wrong worked with a worldly
handelsmannkhaw.com luigirosselli.com
decorum and voila!”

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A DV E R T I S I N G F E AT U R E

Classic rock
STYLISH AND STRONG, CARYSIL’S QUARTZ KITCHEN SINKS
BRING INNOVATION AND ELEGANCE TO THE BENCH.

The kitchen is often thought to be the heart
of the home — it’s where meals and
memories are made. But it’s also where
bold style statements can set the tone for
surrounding living spaces. The humble
kitchen sink is anything but in Carysil’s
carefully crafted quartz collection. Carysil
delivers on both form and function,
offering a refined aesthetic that’s also
incredibly durable.
Founded in India by Ashwin M. Parekh,
Carysil has a proud history of design. The
company produced its first kitchen sink in
1989, collaborating with German engineers
renowned for their technical expertise in
working with quartz.
Today, the business remains in family
hands with Parekh’s son Chirag at the helm.
Carysil is now one of the largest producers
of quartz kitchen sinks in the world.
Behind every Carysil sink is more than
30 years of continued technical excellence,
founded on cutting-edge German
engineering. Carysil selects the highest
quality raw materials, choosing to work
with quartz for its resilient nature.
Each sink is constructed of approximately
80 per cent quartz and is manufactured
using high-grade acrylic resin and nickel
moulds. This process allows for greater
precision and produces a hardened
composite material resistant to scratches,
dents, stains and cracks. Accordingly,
Carysil is proud to offer a lifetime warranty
(some conditions may apply).
The surface is engineered specifically for
high-use kitchen environments. It boasts
unique antibacterial technology, hightemperature heat resistance and is hygienic
and easy to clean.
The sinks come in a range of colours and
configurations, from single deep bowls, to
sleek double-basins, with inspired names
such as Vivaldi and New Beethoven — a
testament to their virtuoso status within
the industry.
It’s easy to understand why demand is
high across the globe. For Carysil sinks in
Australia, visit your nearest Navona stockist.

OPPOSITE PAGE Vivaldi
D200 in Deep Black.
THIS PAGE, CLOCKWISE
FROM TOP LEFT Waltz 680
in Deep Black; Retro 5050
Double Bowl Butler Sink
in Snova White; Enigma
N100N in Deep Black.

CARYSIL DELIVERS
ON BOTH FORM
AND FUNCTION,
OFFERING A REFINED
AESTHETIC THAT’S
INCREDIBLY DURABLE.

For more details, visit navona.com.au

À la mode

An early 20th-century PARISIAN pied-à-terre is recast as a
sophisticated family escape, complete with carefully curated
furnishings and finishes, a classic hallmark of a BANDA design.

By VIRGINIA JEN
Photographed by MICHAEL SINCLAIR/BANDA

14 8 V O G U E L I V I N G

Banda project comes with certain expectations:
elegant interiors realised with quality materials
and statement pieces, a palpable sense of calm that
comes with polish and a welcoming embrace of
space that immediately sets one at ease. Founder
Edo Mapelli Mozzi has established Banda as a beacon
of refined interiors across properties in the best zip codes
in London and New York. The latest address to receive the
coveted Banda treatment is an early 1900s pied-à-terre,
with a postcard-perfect view of the Champ de Mars and
Eiffel Tower, in Paris’s 7th arrondissement.
“The epitome of French style is classical and tasteful,
with an emphasis on quality and curation and this is what
makes it so timeless,” Mozzi says when asked to describe
the quintessential appeal of the Gallic aesthetic. “This
approach has synergy with Banda’s design DNA. There is
a celebration and preservation of objects of beauty, old
and new, whether it’s the incredible architecture and
cornicing, through to incorporating fine decorative pieces
of furniture and art.”
Mozzi was keen to enhance the home’s original
elements worthy of salvaging and harnessing. “We
deliberately kept it very feminine, very soft and very
neutral,” he says of the retreat for a busy couple with three
children. “The brief was that it needed to be a sanctuary,
a serene escape from the hustle and bustle of the city
and of daily life. The proportions of the rooms are so
spectacular with such a beautiful ethereal light that we
didn’t want the colours to be in competition.”
The three-bed, three-bath Parisian home leant itself to
an easy sophisticated interior scheme cast through its
highly prized existing structure. A lateral living space was
divided into a living area at one end and a dining zone
at the other, while sets of original glass doors open up to
a generous balcony to take in that impressive vista.
A neutral palette with tonal highlights comes to the fore
for tangible cohesion: “For the lovely olive-green guest
bedroom, we embraced the moodiness of the north-facing
room with a darker, enveloping tone and carried this
theme through with the headboard and footstool, rather
than trying to offer up a contrast,” Mozzi says.
Practical realms are no mere exercise in functionality
here. Streamlined storage solutions ensure effortless ebb
and flow but cleverly manifested elements take daily
routine to elevated experience. “We believe that beautiful
design and functional practicality are not mutually
exclusive,” says Mozzi. Take, for instance, the standout
Calacatta Viola marble washstand that makes the most of
the main ensuite’s smaller footprint. “The compact space
required thoughtful design as the client wanted a large
shower, plenty of storage and sculptural but effective
lighting,” he says. “The central plinth houses the marble
basin and the side plinths provide useful storage.”
While perpendicular angles and rigid forms are
de rigueur in the bathing zones, curves soften the kitchen
with the island’s curvilinear base appearing to float.
“Monolithic marble islands are always a focal point of
a kitchen, but we wanted this to be a talking point too,”
Mozzi says. “The unexpected soft curve of the base works
in tandem with the recessed curves of the fluted wood
cabinetry. It provides a pleasing juxtaposition with
the geometric lines of the Versailles parquet flooring, the
detailed wall panelling and the decorative cornicing.” This
attention to detail, contrast and interest comes together
beautifully and is made to be savoured, even suitably so for
the chic Parisian way of life.
bandaproperty.com

A

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KITCHEN AND BATHROOM EDIT
Compiled by SANDY DAO

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A DV E R T I S I N G F E AT U R E

All things considered
THE BEAUTY IS IN THE DETAILS OF THIS ARCHITECT-DESIGNED
RENOVATION OF A UNIQUE MID-CENTURY HOME.

The way the light is captured. The intimate
moments. The sense of calm. These
photographs of Skelton Studio House, shot
on film by Olivia Renouf, are as considered
as the home itself – a mid-century twobedder that has been lovingly updated by
architect Piers Kay and his wife, Alisha.
Skelton Studio House, which is tucked
away in the bayside suburb of Belmont,
Auckland, had been taken over by
developers who were part-way through
renovations when the Kays bought it in 2013
and set about undoing most of the updates
that had been made. The original eight-byeight-metre building, designed by acclaimed
New Zealand firm Group Architects in 1954
and named for its first owners, was a perfect

square, set on a diagonal to blur the
boundaries of the urban block, allow
gardens to be grown along every edge of the
home, and capture the best natural light.
“It’s very clean and simple in its form, it
has a clear sense of a grid... It was divided
into three one way and then halved down
the middle so there were six spaces. It felt
very organised and considered,” Piers says.
It hadn’t been well maintained, however,
and the exterior, in particular, had been
“butchered”, Piers says, but “you could see
the bones were really strong”.
The Kays started by reinstating the home’s
original flat roof and many windows, and
restoring much of the native timber that had
been painted over inside the home. Later, the

couple decided to renovate further to create
more space, add skylights and update the
bathroom, laundry and kitchen.
Balancing practicality and casual modern
style, the kitchen has a table rather than an
island bench – “I find that more relaxed and
informal,” Piers says – and external access
via a scullery with an open pantry. The
kitchen also features an induction cooktop
with a downdraft extraction fan that Piers
describes as “super discreet”, a hallmark
of the Fisher & Paykel appliances used
throughout the home.
“The integration is really good, it’s
very clean – the fridge is hidden, the
DishDrawers are hidden,” Piers says.
“We also have a combined washer and

MAKE ROOM
A scullery with integrated
Fisher & Paykel appliances (left)
adjoins a kitchen with a casual
dining space (below).

dryer, which is spatially efficient for us,
rather than having both in a small house.”
The service Fisher & Paykel offers was
another drawcard for Piers, who has worked
with the brand on numerous projects.
“They help us work through all the things
we’re interested in integrating and making
sure the lines are considered and the details
are right,” he says.
The end result of the restoration and
renovation of Skelton Studio House is
a combination of the original mid-century
structure and Japanese-inspired features
– such as sliding screens, plaster and rich
timbers – and a more modern pared back
style. Open spaces in a soothing neutral
palette with warm natural textures are
surrounded by gardens designed by Jared
Lockhart to have soft edges, no lawns and
lots of natives with seasonal colour.
Small with a sense of space; beige but
never boring; refined yet relaxed – Skelton
Studio House is a dichotomy-defying
reminder of what’s possible when we pay
attention to the details.

SMOOTH MOVES
Sleek Fisher & Paykel
appliances include an
induction cooktop with
integrated ventilation.

For more about the appliances, visit fisherpaykel.com

Subtle art

Chic contemporary comfort in the hubs of the home, with more than
a passing nod to VICTORIAN appeal, are key to HECKER GUTHRIE’s
considered reframing of a heritage Melbourne dwelling.

By ANNEMARIE KIELY
Photographed by SHANNON M C GR ATH

15 8 V O G U E L I V I N G

n the renovation of historic homes, relevance is often
the first casualty. It either buries under the assertive
identity of a designer, the latest trend, budget cuts or
just no bloody idea, says designer Hamish Guthrie
of the test that typically whips the past into a heritage
pastiche or wipes it out with clean-slate modernism.
“The issue of relevance pertains to more than just the
past,” Guthrie qualifies with nod to this two-level
townhouse, one of four resulting from the carve-up of a
significant ‘polychromatic’ brick mansion designed in
1864 by architect Joseph Reed and owned by the first
Lord Mayor of Melbourne, Sir Benjamin Benjamin.
“Any gestural insert should have a resonance with the
existing architecture, but it must also relate to this time
and the personalities living with it,” says Guthrie. In this
instance it’s two professionals (one a pharmacist) who
came to the designer with “just a big passion for the
building and a desire to live better within it”.
The irony of an open brief from one dispensing
prescriptions is not lost on Guthrie, who recalls the couple’s
immense trust in the design process and the firm’s decision
making. They tabled no specific likes, just daily rituals
across rooms that, by virtue of an ill-conceived 1970s
alteration — odd entry corridor culminating in the laundry
— restricted to the kitchen, lounge room and upper-level
main bedroom. “Everything else sat behind closed doors
in dead space they didn’t engage with,” he says. “It meant
pretty big shifts in the way the building was configured.”
“But how to seamlessly connect space without going
to open plan or losing grandeur?” quizzes Guthrie who
promptly answers with the dissolution of a wall between
the entry and dining room (now kitchen), the push of a
central stair to the entry’s corner edge and the cull of
a corridor to create one seemingly amorphous ground
living zone splaying off to defined areas of activity.
Doors were removed, entranceways stretched into
exaggerated arches — “celebrating Victorian volume”
— and the new opening between entry and kitchen part
screened with refined steel-framed glass expressive
of industry past and present. The cohesion came with
“a focus on formal geometries and the flow of materiality,”
says the designer of his riff on the original arched windows
in the formal living room and the run of marble in feature
fireplaces to a full surface statement in the kitchen.
“Cooking as far as this couple is concerned amounts to
little more than making coffee or toast” he adds in
explanation of appliance-concealing oak cabinetry as per
the freestanding componentry of Victorian kitchens.
The island, a monolith of marble seemingly melting
into floor and wall, reminds of a minimalist sculpture by
Dame Rachel Whiteread, and reiterates Hecker Guthrie’s
strict edit of ornament down to a restrained elegance.
Sited directly above the kitchen, the main ensuite
replicates its composite of screened transparency,
monumentality and taut geometries in a white-out of
veined marble that conjures a float in the clouds. The
room’s ethereality is anchored by a contemporary take on
the Victorian claw-foot bathtub which, positioned by
arched window, frames the outer drama of plane trees.
Upstairs is the moody, modern counterpoint to a lighter,
brighter lower level dotted with exuberant colour.
But as a compositional whole, the seamless amalgam
of past and present suggests that Guthrie has successfully
enshrined ‘relevancy’, a quality that he asserts, can only
really be judged by ongoing time and the tests of human
habitation.
heckerguthrie.com

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PHOTOGRAPHER: RODRIGO RÍZE. LAURA GONZALEZ MAWU CHAIRS IN BOUCLÉ UPHOLSTERY, MAYARO EDITIONS SATURN TABLE, ATELIER FÉVRIER NAZAR RUG 6 AND GOOSSENS BRUTALIST LANTERN,
ALL FROM INVISIBLE COLLECTION. N.O.V.A. (AFTER TORRE VASCO DA GAMA) ARTWORK BY MANUEL TAINHA/GALERIA FOCO FROM INVISIBLE COLLECTION CLUBROOM

t’s not all that surprising that lauded online marketplace Invisible Collection would
find a home in Paris. After all, it was co-founder Isabelle Dubern’s desire for her
dream Papa Bear armchair by French designer Pierre Yovanovitch that led her to
establishing the online catalogue — alongside Anna Zaoui and Lily Froehlicher — of
high-end, design-led collectable pieces. Invisible Collection is now a trusted arbiter
of good taste, having physically manifested from a digital curation of covetable objects
into real-life iterations in London and New York boutiques, and now finally in the City
of Lights. Each flagship is a refined space, more residential setting than retail outlet
in display and practice, and the Paris gallery is a standard-bearer of the highest order.
A stone’s throw away from Les Invalides, Champ de Mars and Eiffel Tower,
Invisible Collection Rive Gauche has taken over the former headquarters of custom
French craft specialist Mayaro Editions (its creations are available through Invisible
Collection). Tasked with re-imagining the three-storey, mid-19th-century-style building,
Lisbon-based design studio Garcé & Dimofski chose to accentuate the past with muted
tones — perhaps best seen with a charming painted dado wall — era-worn floorboards and
soft diffused light. All these parts combine for an elegant mise-en-scène that allows
Invisible Collection’s roster of furniture and artwork to be focal points in a setting that
recalls the best of traditional and inviting interiors.
The company’s raison d’etre has always been to celebrate the creative value, beauty and
ingenuity of artisans, whether established or emerging. When Rive Gauche opened
in April this year, an installation curated by Garcé & Dimofski titled Passages marked
the gallery space’s intentions as soon as the doors swung open. While cultural philosopher
Walter Benjamin’s essays on Paris served as part of the exhibit’s inspiration, perhaps
a more than theoretical nod to the meandering of a flâneur and the joy of discovery,
catching the light just so within the walls of the Rive Gauche treasure box are trinkets
by artful powerhouses Pierre Augustin Rose and Studioparisien, Swedish designer Louise
Liljencrantz, Paris-based architect and artist Garance Vallée and Korean-American
artist and designer Minjae Kim. Undulating curved sofas and chairs upholstered in tactile
boucle by Pierre Augustin Rose are contrasted with Kim’s hefty carved wood chairs
and Liljencrantz’s charming coffee tables.
This destination gallery is an intimate affair, open by appointment only for keen
connoisseurs of style. Rive Gauche epitomises the quietly revolutionary nature of
Invisible Collection’s offering, where creativity and culture are spotlighted through
championing the past, present and future value of design.
theinvisiblecollection.com

I

17 0 V O G U E L I V I N G

PHOTOGRAPHER: RODRIGO RÍZE

THE HOLIDAY EDIT

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17 3 V O G U E L I V I N G

Jerico Contemporary jericocontemporary.com
Jessica Boubetra jessicaboubetra.com
Kalou Dubus kaloudubus.com Kateryna Sokolova sokolova-design.com Kazuya Ishida
hkazuyaishida.com Koda kodalighting.com LNP Schade Cabinets lnpschadecabinets.
com.au La Cornue andico.com.au La Manufacture Cogolin manufacturecogolin.com
Laminex laminex.com.au Latifa Echakhch @latifa.echa Lauren Joffe @laurenjoffe Lesage
lesage-paris.com Light On Landscape lightonlandscape.com.au Lisa Allegra @_lisaallegra_
Living Edge livingedge.com.au Loom loomtowels.com Louis Vuitton au.louisvuitton.com
Lukas Cober lukascober.com Léa Zeroil leazeroil.com MCM House mcmhouse.com
Maestria maestriacollection.com Maison Matisse maison-matisse.com Manoela Medeiros
manoelamedeiros.com Manorhouse manor.com.au Marguerite Piard @margepiard
Marion Graux mariongraux.com Marion Mailaender marionmailaender.com Marisa
Purcell marisapurcell.com Matthias Kohn matthiaskohn.de Matthieu Cossé @cossematthieu
MaxMara au.maxmara.com Maxilum maxilum.fr Maximilien Pellet @maximilien.pellet
Michael Cusack michaelcusack.net.au Michael Pugh @michaelpughpotter Middernacht
& Alexander @middernacht_alexander Miele miele.com.au Mobilia mobilia.com.au
Monique Lacey moniquelacey.com Moustache moustache.fr Multiform Stone Industries
multiformstone.com.au Nick Devereux @nick.devereux Odd Matter oddmatterstudio.com
Olsen Gallery olsengallery.com Ondene ondene.com Orient House orienthouse.
com.au Otomys otomys.com Ozone ozonelight.com Paco Rabanne pacorabanne.com
Parterre parterre.com.au Paulin Paulin Paulin paulinpaulinpaulin.com Pierre Charpin
pierrecharpin.com Pierre Yovanovitch pierreyovanovitch.com Pietro Franceschini pietrofranceschini.com Praz Delavallade praz-delavallade.com Redfield & Dattner @redfield.
dattner Riloh riloh.com Rodolphe Parente rodolpheparente.com Ron Arad ronarad.co.uk
Rosanna Lefeuvre @rosannatutta
Rubelli rubelli.com
Sarah Cottier Gallery
sarahcottiergallery.com Sarah Mosca @s_mosca Sergio Rodrigues sergiorodriguesatelier.
com.br Simone & Marcel simonemarcel.com Simple Studio simplestudio.com.au
SkLO sklo.com
Skarstedt skarstedt.com
Southway Studio southwaystudio.com
Space Furniture spacefurniture.com Spence & Lyda spenceandlyda.com.au St-Louis
saint-louis.com
Struan Teague struanteague.com
Studio Alm studioalm.com
Studio Gardner @studiogardner Studio Henry Wilson studiohenrywilson.com Stylecraft
stylecraft.com.au
Sugimoto Hiroshi sugimotohiroshi.com
Sullivan+Strumpf
sullivanstrumpf.com TH Brown thbrown.com.au Teranova teranova.com.au The DEA
Store thedeastore.com The English Tapware Company englishtapware.com.au The Rug
Establishment therugest.com The Vault Sydney thevaultsydney.com Theoreme Editions
theoremeeditions.com
Thomas Fritsch thomasfritsch.fr
Thomas Mailaender
thomasmailaender.com
Tiffany & Co. tiffany.com.au
Tigmi tigmitrading.com
Tim Silver @tim_silver Timna Taylor @firetail_pottery Tornabuoni Art tornabuoniart.com
Vampt Vintage Design vamptvintagedesign.com Vaughn Designs vaughandesigns.com
Volume Ceramics volumeceramics.com Walter Pfeiffer @walterpfeiffer_official Watertiger
watertiger.com.au West End Art Space westendartspace.com.au Winning Appliances
winnings.com.au Woodcut woodcut.com.au

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

PHOTOGRAPHER: STEPHEN KENT JOHNSON

A.W.A.K.E Mode awake-mode.com
Academy Tiles academytiles.com.au
Adel
Abdessemed adelabdessemed.com Aeria Country Floors aeria.com.au Agnès Studio
agnesstudio.co
Agnès de Bizet agnesdebizet.fr
Alice Guittard aliceguittard.com
Allied Maker alliedmaker.com Almine Rech alminerech.com Alternative Brewing
alternativebrewing.com.au Amelie, Maison d’Art amelie-paris.com Anchor anchor
ceramics.com Andi-Co andico.com.au Anibou anibou.com.au Armadillo armadillo-co.com
Armelle Benoit armellebenoit.fr Arnaud Barraud @arnaudbarraud_ Arsène Welkin
arsenewelkin.com Artedomus artedomus.com Artemide artemide.com Astep astep.design
Atelier Virginie Morel atelier-virginiemorel.com Atelier Wanc @atelierwanc Balenciaga
balenciaga.com Bastille And Sons bastilleandsons.com.au Bedfolk bedfolk.com Bedouin
Societe bedouinsociete.com Bess besspaddington.com Blank Joinery blankjoinery.com.au
Bonacina bonacina1889.it Boon Room boon-room.com Bottega Veneta bottegaveneta.
com Brodware brodware.com Béton Brut betonbrut.co.uk CDK Stone cdkstone.com.au
Camille Romagnani camilleromagnani.com Camille Vivier @camille_vivier Carpenters
Workshop Gallery carpentersworkshopgallery.com Cartier cartier.com.au Casa Lopez
casalopez.com Chalk Horse chalkhorse.com.au Charles Zana zana.fr Charlyn Reyes
charlynreyes.com Chatsworth Fine Furniture chatsworthfinefurniture.com.au Chiara
Colombini chiaracolombini.com Chloé chloe.com Christofle christofle.com Christopher
Kane christopherkane.com/au Claudia Greathead claudiagreathead.com Codimat
Collection codimatcollection.com Conscious Homes conscioushomes.com Craft Victoria
craft.org.au Criteria criteriacollection.com.au Cuff Studio cuffstudio.com Cult cultdesign.
com.au Curatorial+Co. curatorialandco.com Céline Wright celinewright.com Dagmar
dagmar-london.com Danica Firulovic @danica_firulovic Daniel Domig @daniel.domig
Danke Galerie danke-galerie.com
Dedece dedece.com
Delphine Messmer
delphinemessmermosaique.com Domo domo.com.au Double V double-v-gallery.com
Édition 1.6.9 edition169.com Elias Mercantile eliasmercantile.com Élitis elitis.fr Emma
Donnersberg edonnersberg.com
Emma Lindegaard emmalindegaardstudio.com
Emmanuelle Simon emmanuellesimon.com Emmemobili emmemobili.it Enlightened
Living enlightened-living.com.au Enoak enoak.com.au FAM @fam.porto Flos flos.com
Formafantasma formafantasma.com
Fox Jensen Gallery jensengallery.com
Fred
International fredinternational.com.au Fybre Furnishings fybre.com.au Galerie Carole
Decombe galeriecaroledecombe.com Galerie Gosserez galeriegosserez.com Galerie Kreo
Galerie Sultana
galeriekreo.com
Galerie Romain Morandi romainmorandi.com
galeriesultana.com Gallery Sally Dan-Cuthbert gallerysallydancuthbert.com Gesso
House gessohouse.com.au Gil Melott Studio gilmelottstudio.com Glas Italia glasitalia.com
Glassworks Matteo Gonet matteogonet.com Great Dane greatdanefurniture.com Greg
Wood @gregwood_art Guy Yanai guy-yanai.com Harvey Norman harveynorman.com.au
Hay hayshop.com.au Hermès hermes.com Hub Furniture hubfurniture.com.au Héloïse
Piraud @heloisepiraud Idea Creations ideacreations.com.au Invisible Collection
theinvisiblecollection.com JMW Studio jeremymaxwellwintrebert.com Jarrett & Co jarrett
andco.com Jenna Kaës jennakaes.com Jennifer Balcos Gallery jenniferbalcosgallery.com

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

SEE THE LIGHT
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

Whether in the kitchen, bathroom, living
area or entry, the Decade wall light by Dunlin
offers a sophisticated ambience for your home.
The robust design comes in a variety of
finishes, including sandblasted aluminium,
polished aluminium, as well as this charming
weathered-brass piece that provides an
inviting aspect to any area. To see the full
Decade range and other refined Dunlin
designs, visit dunlin.com.au

A FINE ART When it
comes to combining form
and function, Fisher & Paykel
is unrivalled in its designs for
luxury, innovative appliances.
From cooking and cooling to
dishwashing and laundry, the
comprehensive collection of
sleek necessities are perfectly
suited to your lifestyle. Go to
fisherpaykel.com for details.
LIQUID GOLD
La Pavoni prides itself
on innovative espresso
machines crafted in
Milan beloved by coffee
connoisseurs. The Cellini
Classic features a heat
exchanger that allows
you to simultaneously
brew and steam. Visit
au.lapavoni.com for more
information on the range.

ONE OF A KIND Founded by Aurelio Zanotta in the 1950s, Zanotta
has become a force in contemporary luxury. Its impressive portfolio
of award-winning pieces by some of the best in the design industry has
a longstanding history of excellence beyond compare. From polished
designs realised through armchairs, sofas and tables to furnishings
and accessories in eye-catching outlines, Zanotta pieces are made to be
lived with and available at Cult. See the collection at cultdesign.com.au