NOVEMBER

ABOVE, TAKE A TOUR OF TV PRODUCER AND WRITER RYAN MURPHY’S

HALSTON-INSPIRED HOLLYWOOD OFFICES, SEE PAGE 132

ART BEAUTY

064 Frieze frame 108 Eye candy

We look back on 20 years of the Hermès Beauty’s latest collection
pioneering contemporary art fair

078 Monster high

148 La vie en rouge
Paint the town red in Chanel
A new show offers a unique insight
into the world of Takashi Murakami
FASHION
ARCHITECTURE
063 Love match
092 Edge of heaven
Gilbert & George create the latest
iteration of Dior’s Lady Art project
A spectacular cantilevered concrete
house on the shores of West Vancouver
070 Pièce de résistance
096 Mass appeal
The V&A’s latest show honours the
illustrious career of an iconic couturier
A Mexican home’s labyrinthine quality
offers a sense of gradual discovery
154 Private view
103 Great walls
See art and be seen
A sculptural retreat in rural Belgium

∑ 023
 NOVEMBER
YANGYING WEARS JACKET,
£3,890; ROLL-NECK, £690;
TROUSERS, £995, ALL BY
AKRIS. SHOES, £750, BY
JIMMY CHOO. BAG, £2,995,
BY FERRAGAMO. RINGS,
£3,920 EACH, BY REPOSSI

LARS WEARS TRENCHCOAT,

£1,190; TOP (UNDERNEATH);
£195; JEANS, £455,
ALL BY ISABEL MARANT.
JUMPER, £495, BY
BEGG & CO. GLASSES,
£300, BY BOTTEGA VENETA

GEM WEARS COAT, £2,100,

BY TORY BURCH. BAG,
£2,295, BY FERRAGAMO.
SUNGLASSES, £450, BY
GUCCI. EARRING,
£3,020, BY REPOSSI,
SEE PAGE 154

FRONT OF BOOK JEWELLERY

043 Newspaper 106 The odd couple

From furry footwear and Fendi’s Two jewellery houses take a new
baguette-inspired bag to a sweet-and- turn for a more contemporary look
sour aperitif and a restorative Mexican
retreat, this month’s hot trends MEDIA

INTERIORS 126 Subscribe and save

What you want and where to find it
116 Breathing space
We design our dream public spaces 170 WallpaperSTORE*
Our curated marketplace
132 Inner space
Take a tour of Hollywood producer RESOURCES
Ryan Murphy’s futuristic offices
169 Stockists
What you want and where to get it

026 ∑
 Wallpaper.com
@wallpapermag

EDITORIAL

Editor-in-Chief
Sarah Douglas

Head of Content
William Alderwick

Fashion Director Executive Editor Art Director US Director

Jason Hughes Bridget Downing Dominic Murray-Bell Michael Reynolds

Architecture Editor Design & Italy Editor Head of Interiors Fashion Features Editor Beauty & Grooming Editor
Ellie Stathaki Rosa Bertoli Olly Mason Jack Moss Mary Cleary

Transport & Technology Editor Watches & Jewellery Editor Entertaining Director Photography Editor
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Designer Producer Production Editor Sub Editor

Alice Whittick Tracy Gilbert Anne Soward Léa Teuscher

Contributing Editors

Tilly Macalister-Smith, Marco Sammicheli, Nick Vinson, Lauren Ho, Dal Chodha, Amah-Rose Abrams, Nick Compton,
Deyan Sudjic, Ekow Eshun, Emma O’Kelly, Laura May Todd, Hugo Macdonald, Bodil Blain, Suzanne Trocmé

US Editor Pei-Ru Keh • Milan Editor Maria Cristina Didero • Paris Editor Amy Serafin • Japan Editor Jens H Jensen • China Editor Yoko Choy
Singapore Editor Daven Wu • Australia Editor Elias Redstone • Latin America Editor Pablo León de la Barra • Buenos Aires Editor Mariana Rapoport

PUBLISHING & MARKETING

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 CONTRIBUTORS
TAKASHI MURAKAMI
Artist
Murakami is best known for coining the
concept Superflat, which connects
traditional Japanese art with the flatness of
anime and manga. In his major new
exhibition at the Asian Art Museum in San
Francisco, which we survey here (page 078)
and on our limited-edition cover, he reveals
new layers to his practice and unexpected
fields of interest. ‘The discovery of new
values in the brain is crucial for art. Visual
shocks alone would be short-lived,’ he says.

FRIDA-MY DHAM SRIFUENGFUNG

Photographer Photographer
Stockholm-based fashion photographer A Thai photographer who originally studied
and director Frida-My is passionate about architecture at Central Saint Martins,
film: she sometimes shoots moving image Srifuengfung perfectly framed this month’s
with her 16mm Bolex and writes short films main fashion story (page 154). ‘The night
in her spare time. For our beauty story before the shoot, I actually sketched out
(page 148), she shot 11 looks in eight different where the models were going to be in the
lightings, without ever using a camera stand. frame, as we had about nine models and
‘We did a lot of close-ups, which means 14 pages to think about,’ he says. ‘Then
you add extension tubes to get really close. I completely ditched my sketchbook on the
I handheld a medium format camera with a day. Yet after hand-printing the photos, the
lens almost 20cm long; it was a record for me.’ compositions are almost an exact match!’

JEREMIAH BRENT
Interior designer
‘I love the challenge of designing a space for
others to create in,’ says Brent, who helped
shape the Hollywood offices of TV writer
and producer Ryan Murphy (page 132).
‘We walked into a blank canvas – the
design needed to inspire yet leave room for
ingenuity.’ Indeed, seductive, sensual, spare
– there is nothing superfluous about Brent’s
interiors, yet he manages to craft a warmth
and familiarity that feels entirely natural.
His first book will be published next spring.

RYAN MURPHY EVA VERMANDEL

TV writer and producer Photographer
Murphy is nothing if not generous. For more than 25 years, Vermandel has
When he accepted his 2023 Golden Globe, captured key artistic figures in her singularly
he dedicated his speech to a raft of actors intimate style. This month, she shot our
he admires rather than to his own work. Frieze story (page 064). ‘I Iove the challenge
He has also just announced a $500,000 of finding beautiful light in the unlikeliest
fund to support his striking Hollywood of settings,’ she says. ‘When I spotted the
colleagues. Meanwhile, his talent for corner where I photographed [director]
storytelling extends to a passion for design Eva Langret, I got giddy with excitement:
and architecture, which he views as the it created the perfect daylight studio. This,
supporting act to our daily lives. His in combination with Eva’s natural beauty,
Hollywood offices (page 132) borrow a little made the shoot akin to eating at a Michelin-
of the theatrics from his screen successes. star restaurant: sheer pleasure in every bite.’

034 ∑ WRITERS: LÉA TEUSCHER, PEI-RU KEH

 EDITOR’S LETTER

Fields of vision
Welcome to our November Art issue! Headlining are two cultural superstars – Takashi
Murakami with a potent mix of pandemic-inspired creatures, eye-popping flowers, NFTs,
avatars and 17th-century Japanese motifs for his latest show at the Asian Art Museum
in San Francisco, and Ryan Murphy, the prolific film and TV producer, who takes us on a
tour of his offices, which were inspired by the glamour and hedonism of American fashion
designer Halston, as brought to life in the Netflix mini-series Halston, which Murphy
executive produced.
Newsstand cover
Then on to more fantasy interiors with our vision of shared public spaces – including Limited-edition cover
a dream canteen, an outdoor escape and the hotshot’s hideaway. We take a peek at three by Takashi Murakami
Photography:
Stephen Kent Johnson sculptural houses that highlight the tactile qualities of concrete. Located in Mexico, See page 078

Art direction: Canada and Belgium, they treat architecture as a volumetric exercise, sometimes appearing
Michael Reynolds monolithic, while others take more elaborate, articulated forms.
We take a tour of the We celebrate 20 years of the Frieze Art Fair with an exclusive interview with Eva
futuristic, forward-looking Langret, director of Frieze London, and create our very own private view with an art-
Hollywood offices of
prolific TV producer
inspired fashion shoot at the David Zwirner Gallery, London, set against a backdrop
and writer Ryan Murphy, of works by Brazilian artist Odoteres Ricardo de Ozias. Art’s most provocative duo Gilbert
see page 132 & George present their vibrant vision of the ‘Lady Dior’ bag, while Dutch designer Sabine
Top, artist Takashi Marcelis shows us her take on the iconic (and ironic) 1960s lava lamp.
Murakami in front of
his epic, 25m-long new
Finally, we visit the blockbuster Chanel exhibition at London’s V&A, which explores
work, Judgement Day, the six-decade-long career of the legendary French couturier. We were granted privileged
Sign up to our daily
see page 078 access to the collection, and hand-picked six exquisite evening gowns from the 1930s,
Wallpaper* newsletter
which we photographed as fashion as art, and which perfectly capture the timeless
Limited-edition covers are
elegance of Chanel. I hope you enjoy the issue! available to subscribers,
Sarah Douglas, Editor-in-Chief see Wallpaper.com/sub23

040 ∑
Wallpaper’s hot pick of the latest global goings-on

Fendi uses its loaf for an In 1997, Silvia Venturini Fendi bags, grasped under the arm or slung
irreverent twist on the bag introduced the Fendi ‘Baguette’ bag, across the back as a case for an umbrella,
named for the way it nestles under the it epitomised the irreverent approach
arm, as one might carry the French loaf Venturini Fendi brings to her menswear
Bread winner after a trip to the boulangerie. As part collections. This season, she conjured
of her A/W23 menswear collection for up an after-dark mood, the collection’s
the Italian house, this year Venturini languid silhouettes and swathes of
Fendi playfully revisited the bag’s shimmering embellishment recalling
inspirations, with models carrying rollers discos and Studio 54, with the
a gleefully surreal baguette, rendered in bread-shaped accessory providing an
luxurious shearling. Poking from tote unexpected but satiating juxtaposition.

Shopper bag, £1,520;

shearling baguette
pouches, £890 each;
leather baguette
bag, £2,850, all by
Fendi, fendi.com

PHOTOGRAPHY: SOPHIE GLADSTONE FASHION: JASON HUGHES WRITER: JACK MOSS ∑ 043
 Newspaper

Left, pomello and

elderflower apéritif,
£33 for 70cl, by
Pomello, pomello.
world. ‘Drinking Set
No.257 Commodore’
glass, €83, by
Oswald Haerdtl,
for J & L Lobmeyr,
lobmeyr.at

Photography: Neil Godwin at Future Studios for Wallpaper*

Shake it up in style with a One of our current favourite tipples sweet pink-tinged apéritif tempered
sweet-and-sour apéritif to indulge in is the newly launched by an acid freshness and a bitter floral
apéritif Pomello. Conceived by Malin flavour. Serve it over ice with sparkling
Spano, a Swedish-born luxury hospitality wine, a dash of soda or tonic and a wedge
Pink rocker consultant who divides her time of grapefruit. Or follow our lead and
between London and California, the shake it up with some gomme syrup,
drink marries the pomelo (a sweeter, fresh lime juice, egg white and bitters
mellower relative of the grapefruit, to create a Pomello sour, which we’ve
widely grown in California), and strained into an elegantly stemmed
elderflower, a popular ingredient in ‘Commodore’ glass designed by Viennese
cordials in Sweden. The result is a architect Oswald Haerdtl in 1954.

044 ∑ ENTERTAINING: MELINA KEAYS INTERIORS: OLLY MASON

 Newspaper

The Boca de Agua hotel

in Quintana Roo overlooks
the crystal clear, light blue
waters of Lake Bacalar

A Mexican hotel’s organic antidote Close to the crystal clear, light blue which is defined by an Escobedo staple,
to the stresses of modern life waters of Lake Bacalar, the Boca de latticework, a feature that allows for
Agua hotel, in Mexico’s easternmost natural ventilation and shade, while
state of Quintana Roo, is a low-density wrapping the spaces in an artisanal
Natural medicine hospitality destination that aims to make feel. It also anchors the project to its
a positive impact on its environment as site through the use of timber and local,
well as its guests’ mental health. time-honed construction techniques,
‘From my early twenties, I started despite its modern forms.
suffering from crippling anxiety,’ says The campus that forms the hotel
Boca de Agua’s founder Rodrigo Juarez. comprises 22 treehouse-like structures,
‘The only time I was able to get out of two restaurants (one with stargazing
this frustrating loop was when I spent platform), a lagoon deck, a pétanque
extended periods of time in nature. court, and a spa surrounded by four
So I began a journey to try to develop mature chaká trees (in Mayan culture,
a project at the intersection of natural they are considered sacred). It is a place
conservation and mental health – and that feels modern as much as it does of
thus Boca de Agua was born.’ its place. Juarez adds: ‘The best
Another part of the hotel’s mission description I’ve read so far is: Boca de
is to ensure staffing and programming Agua seems to be the result of traditional
engages local small businesses and Japanese architecture, Mexican
professionals from underrepresented modernism and local craftsmanship
groups. This goal extends to the design, having a baby in the Caribbean jungle.’
by Mexican architect Frida Escobedo. bocadeagua.com, fridaescobedo.com

046 ∑ WRITER: ELLIE STATHAKI

 Newspaper

Right, shoes, £690,

by Burberry
‘Epoca Silky’
carpet in Sand,
price on request,
by Ege Carpets

The pampering pleasures of It is said that when Object, a fur-covered

furry footwear are palpable teacup, saucer and spoon by Swiss
surrealist artist Meret Oppenheim,
Soft touch was displayed at New York’s Museum
of Modern Art in 1936, such were the
visceral reactions that one woman
dropped to the floor and fainted. This
season’s faux fur- or shearling-covered
footwear might not have prompted such
reactions when they appeared on the
catwalks earlier this year, but in their
underlying strangeness and seductive

PHOTOGRAPHY: SOPHIE GLADSTONE FASHION: JASON HUGHES WRITER: JACK MOSS ∑ 049
 Newspaper

Clockwise from
top left, shoes,
price on request,
by Sportmax. Shoes,
€850, by Givenchy.
Shoes, £725, by Gucci.
Shoes, price on
request, by MSGM
‘Epoca Silky’
carpet in Grey
Rust, Dark Grey,
Grey and Caramel,
price on request,
by Ege Carpets
For stockists,
see page 169

subversiveness, they nonetheless recall Massimo Giorgetti of MSGM showed

the surrealist spirit of Oppenheim’s soft toy-like furry heels within an
work. There are the sprouting soles of illusory collection that he called ‘an
Gucci’s elegant horse-bit pumps – which infinite journey, a dream within a dream’
give the effect of permanently walking – set against a vast white space in
on a soft-pile rug – or Daniel Lee’s Milan for impact – while elegant heeled
shaggy shearling mules, part of his debut pumps from Sportmax and Givenchy
collection for British house Burberry, respectively come with a smooth
where he once again showed his prowess exterior, the latter recalling the
when it comes to crafting unexpectedly softness of velvet. Each is a pleasure
covetable accessories. Elsewhere, to sink your feet into.

050 ∑ PHOTOGRAPHY: SOPHIE GLADSTONE FASHION: JASON HUGHES WRITER: JACK MOSS
 Newspaper

Sabine Marcelis unveils her

version of an alien light form

Mellow yellow
When she was growing up, Dutch
designer Sabine Marcelis always
wanted a lava lamp. ‘I was fascinated by
its magical dance,’ she says. ‘I couldn’t
understand how it worked, what was
inside; it looked like an alien creature.’
So when she was invited by the lamp’s
manufacturer Mathmos to interpret the
iconic design on the occasion of its 60th
anniversary, she didn’t hesitate. Despite
being simple in its formula (a food-grade
glass bottle is filled with wax and water
in contrasting colours), the lamp’s
mechanics have always been surrounded
by a mysterious aura. ‘I wanted to
enhance the idea of mystery by etching
the bottle so the lava liquid becomes
veiled behind a haze,’ says Marcelis. Her
version of the lamp looks all-white when
turned off (achieving the alien look
that Marcelis so admired), but a vibrant
yellow hue appears once lit up.
Photography: Neil Godwin at Future Studios for Wallpaper*

Lava lamp, £130, by Sabine

Marcelis, for Mathmos,
available in a limited-edition,
numbered run of 600,
available exclusively from
mathmos.com

WRITER: ROSA BERTOLI ∑ 053

 Newspaper

A US architecture firm cultivates ‘Art fosters conversation and connection Above, Modified Social Bench #48
that is vital in creating engaging and is a site-specific installation,
creative connections for employees by Danish artist Jeppe Hein,
productive office environments,’ says
on the front lawn of a new
Art works Debra Lehman Smith, a founding
partner at Lehman Smith McLeish
HQ for a leading aerospace
and defence company
(LSM), a Washington DC-based practice
known for coherently blending art
and architecture in its projects. One
of its latest is the new HQ for a leading
aerospace and defence company in the
Washington DC metropolitan area.
Covering some 22 acres, the campus is
reached via a scenic drive, arriving at
Modified Social Bench #48, a site-specific
installation piece by Jeppe Hein, on the
front lawn. More artworks by Alicja
Photography: courtesy of Mark Alan Andre

Kwade, Tacita Dean and Sarah Morris

greet visitors inside. Lehman Smith
believes that art should always be an
integral part of a design solution. ‘Our
process approaches design with art
in mind. In working with passionate
clients, art consultants and artists,
we are able to shape unique spaces for
our clients by placing exceptional
works of art in dialogue with excellent
architecture,’ she says. lsm.com

054 ∑ WRITER: ELLIE STATHAKI

 Newspaper

A new book charts Giorgio Armani’s Giorgio Armani has long cultivated says Armani. ‘And I like geometry:
flair for floral composition a passion for flowers. A new volume, both in the cuts of the leaves and in
bearing the same name, Armani Fiori, the vases, which always have regular
Lines of beauty as his brand’s floral boutiques (which
made their debut in Milan in 2000,
shapes such as cubes and spheres, with
asymmetries that make everything so
with later outposts opening in Dubai, elegant, vibrant and pure.’ The book
Kuwait City and Hong Kong), charts the takes viewers on a chromatic voyage
history of his floral tastes through 200 through vivid greens, bright reds and
photographs of minimalist yet ebullient elegant whites with a touch of gold, and
compositions, often presented in the photographs are accompanied by
connection to his fashion and design a series of essays by Harriet Quick,
pieces to showcase the impact flowers Dan Rubinstein and Renato Bruni, as
have had on his work. ‘I love sharp lines,’ well as Armani himself. armani.com

Photography: Neil Godwin at Future Studios for Wallpaper*

All proceeds from the

royalties of Armani Fiori
($120, published by Rizzoli,
rizzoliusa.com) will be
donated by Giorgio Armani
to the Forestami urban
forestation project

056 ∑ WRITER: ROSA BERTOLI

 Newspaper

A watch brand gets a net result on a The Great Pacific Garbage Patch, avoiding the need for glue or additives,
sustainably-minded collaboration located between Hawaii and California, and ensuring each watch is unique. The
is the world’s largest accumulation of initiative is the latest in Oris’ Change
ocean plastic, and almost half of it is for the Better campaign, which aims to
Dial tone made up of ghost nets (lost or discarded bring greater sustainability to the watch
fishing nets). German social enterprise industry (last year, it partnered with
Bracenet, which reuses the nets to create Swiss brand Cervo Volante to create chic
colourful bracelets, recently partnered sustainably-sourced deer leather straps).
with Swiss watch brand Oris in a rethink ‘When Oris approached us, we saw an
of their function. The Oris X Bracenet, opportunity to do something more,’ says
a new edition of the brand’s Aquis Date Bracenet co-founder Benjamin Wenke.
diver’s model, features a hypnotising dial ‘When we cut the nets, there are always
made from white, blue and green ghost offcuts. We thought, what if we turned
net offcuts. These are first warmed so some of these into watch dials? This
they melt together and, once cooled, the would basically mean that the nets used
material is cut to size and sanded down, for the dials have been upcycled twice.’
Photography: Neil Godwin at Future Studios for Wallpaper*

Right, Oris x Bracenet

watch, £2,000, by
Bracenet, for Oris, oris.ch

WRITER: HANNAH SILVER ∑ 059

 Newspaper

A London café pavilion makes an Placed at the heart of the newly venue, French culinary offerings are
reimagined former Old War Office in served in a light-filled environment
illuminating courtyard centrepiece
London’s prestigious Whitehall, a surrounded by a family of curvaceous
flowing pavilion has become the perfect columns. ‘The concept was to imagine
Shining example courtyard centrepiece. The home of being inside a Georgia O’Keeffe painting,
Parisian eatery Café Lapérouse’s London with softly-ribbed white columns
outpost, its light-touch, high-impact developing into petals that radiate to
structure is the work of locally-based form the entire ceiling, providing a
architecture studio DaeWha Kang beautiful setting for the Café Lapérouse
Design. The low and airy pavilion faces interior, designed by Cordelia de
the tall, formal façades of The OWO Castellane, complemented by delicate
Residences by Raffles on one side, and landscaping that provides a backdrop
Raffles London at The OWO on the for al fresco dining,’ says Kang. The
other. Its biophilic, rippling forms and pavilion was manufactured by Dutch
polished mirror-effect roof reflect the firm Octatube, and created with the
surrounding historic architecture, which help of engineers Arup in London. Its
Image: DaeWha Kang Design

was originally designed by William afterlife was carefully considered, too.

Young in the early 20th century, while The prefabricated main body was
adding playfulness and dynamism to the conceived to be easily disassembled
composition. Practice founder DaeWha for maintenance and replacement. ‘It
Above, the biophilic, rippling Kang crafted the structure’s intriguing could even be relocated in full in the
forms and mirror-effect roof of shape out of stainless steel roof panels future if needed,’ says Kang.
Café Laperouse in Whitehall and bespoke glass, while inside the raffles.com, daewha.com

060 ∑ WRITER: ELLIE STATHAKI

 Fashion

LOVE MATCH
Dior bags a red-hot collaboration with Gilbert & George
Photography: Neil Godwin at Future Studios for Wallpaper*

Now in its eighth edition, the Dior Lady Art project invites Above, limited-edition bags, signatures. The launch of the handbag – which will also
international artists to put their unique stamp on what is price on request, part of see editions by Mircea Cantor, Ha-Chong Hyun, Jeffrey
the Dior Lady Art project, by Gibson, Mariko Mori and Mickalene Thomas, among others
perhaps the fashion house’s most recognisable handbag, the
Gilbert & George, for Dior
‘Lady Dior’. This latest iteration comes courtesy of British – coincides in part with the opening of the Gilbert & George
art’s foremost provocateurs, Gilbert & George, who chose to Centre earlier this year. Located on Heneage Street, just
adorn one side of the bag’s printed and embossed calfskin off London’s Brick Lane and a stone’s throw from the artists’
exterior with their likenesses, criss-crossed and staring home and studio, the space, designed by SIRS Architects,
contemptuously outwards at the wearer. On the other side, was built to preserve and showcase the duo’s works. ∂
‘Love always and all ways’ is printed alongside the artists’ dior.com, gilbertandgeorgecentre.org

FASHION: JASON HUGHES WRITER: JACK MOSS ∑ 063

 The contemporary art fair celebrates
20 years of putting art lovers in the picture
PORTRAIT: EVA VERMANDEL WRITER: AMAH-ROSE ABRAMS

When Frieze magazine held its first art fair back in to Frieze before trying them elsewhere. Whether
2003, it solidified what had been happening on it’s a colossal sale price, or the meticulous recreation
London’s contemporary art scene for the last decade. of an iconic artist’s studio, the fair has been grabbing
The city was buzzing, attracting people from around column inches for two decades.
the world, but until Frieze, there had been no single In 2003, reading about the first edition in her
location to bring them all together. parents’ garden in France, Langret remembers wanting
After the arrival of the YBAs in the late 1980s, to attend. Having spent time as an Erasmus student
galleries like White Cube, Sadie Coles HQ and in London, she had already tapped into the city’s
Victoria Miro were on the ascendency, but a central creative buzz. Two years later, she would be there.
meeting point was needed that could match the verve ‘The first Frieze I went to was in 2005. That’s the
of what was happening in the galleries. ‘Right from first year I came to London, and I remember that it
the outset, it was about blurring boundaries and was my boss from Brixton gallery 198 Contemporary
thinking about Frieze as not just a trade fair,’ says Art & Learning who kindly paid for my ticket. I got
Frieze London’s director Eva Langret. ‘It’s also a dressed up to the nines and was completely
commissioning outfit with the artists’ projects, it’s an overwhelmed by the sheer quantity of everything that
educational platform with the talks programme, and there was to see and how global it was already.’
it’s a meeting place for the wider arts community.’ Like so many people who now work in the industry,
Since its inception, the fair has been innovating she saw something that she wanted to, and could,
the experience through citywide collaborations and participate in. The fair’s founders, Amanda Sharp and
free public initiatives like Frieze Sculpture. And Matthew Slotover, had filled a much-needed gap that
20 years down the line, galleries still bring new ideas pushed the art market forward. Frieze brought »

064 ∑
 Art

Frieze London’s director

Eva Langret photographed
at Frieze HQ in Temple,
London, in September
 Art
Photography: Linda Nylind, Dominick Tyler, Mark Blower, courtesy Frieze

creativity and commerce closer together, blurring Above, clockwise from top left, London since the opening of Tate Modern three years
Untitled (slope), by Paola Pivi,
the lines between art and its buyers. This later evolved at Frieze Art Fair 2003; Lisson
earlier,’ says Jacques. ‘There was a buzz that reminded
into also offering live music and talks, as well as Gallery’s booth at Frieze Art Fair me of the energy of the YBA years and the opening of
events that spilled out into other parts of the city. 2007, including work by Rodney ‘Sensation’ at the Royal Academy in 1997. Everyone in
Graham and Julian Opie; Les
‘I think that’s what put Frieze on that trajectory Bikes de Bois Rond, by Gavin
the international art world came into town for the
and set us apart,’ says Langret. ‘It was the vision of Turk, at Frieze Art Fair 2010; week. The biggest names in the collecting world and
Matthew and Amanda, and it’s one that we’re all still 10 Inflammatory Essays, by major museum curators flew in to look and buy. It was
Jenny Holzer, at Frieze Art Fair
carrying through 20 years later, in what is now a wildly 2017; Play Sculpture, by Isamu
an exciting time for galleries, and it changed the local
different artistic landscape with so many art fairs.’ Noguchi, represented by White market in London, cultivating many new collectors.’
Frieze fair veteran Alison Jacques is opening a new Cube, at Frieze Sculpture 2021; In 2021, Frieze added a permanent exhibition space
Pages of Light, by Yoko Ono,
6,000 sq ft space on Cork Street to accompany the at Frieze Art Fair 2008 to its portfolio, opening up No. 9 Cork Street. The
gallery’s existing Fitzrovia gallery this autumn, gallery, headed up by Selvi May Akyildiz, will this year
launching it during Frieze week. ‘In 2003, Frieze felt host shows by Australia’s Sullivan & Strumpf, New
like one of the most exciting things to happen to York’s Charles Moffett, and LA’s Night Gallery. ‘In »

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 Art

‘Right from the outset, it was about blurring boundaries

and thinking about Frieze as not just a trade fair’

addition to our exhibition programme, this summer, Above, artist Anthea Hamilton’s taking the fair out of the tent and into the year-round
No. 9 organised the first Cork Street Carnival, a pumpkin sculptures on display fabric of the city. Acquisition initiatives with Tate
at the Frieze Art Fair 2022 at
celebration of Afro-Cuban music with dance the Thomas Dane Gallery and Camden Art Centre have long been a great help
workshops and street food vendors,’ said Akyildiz. booth, which won the Main to both institutions when acquiring work at the fair.
Stand Prize for that year
‘I can’t wait for everyone to visit these incredible shows And now, in a new venture, Artist-to-Artist the fair has
and help us celebrate 20 years of Frieze London.’ invited a group of leading artists, including Olafur
The UK capital provided the blueprint, but more Eliasson, Tracey Emin and Wolfgang Tillmans, to
incarnations soon followed: Frieze Masters, which nominate an artist for solo exhibition at Frieze London,
Photography: Linda Nylind, courtesy Frieze

shows work made before the year 2000, and Frieze tapping into the creative community and pushing for
New York both launched in 2012, while Frieze hit Langret’s passion, a more diverse art landscape.
LA in 2019 and Seoul in 2022. When looking to expand, ‘I think to continue to be supportive of the wider
the Frieze team looks for a certain ecosystem. Says ecosystem is something that’s quite unique to us, and
Langret, ‘We choose the cities we work with because we’re in the privileged position to be able to share the
they have a thriving artistic community, as well as energy and success of the fair,’ says Langret. And as
their own restaurant and fashion scenes. Then the the city changes, so does Frieze. Although it can
mission is to work out how the fair can sort of be always be found in its regular October spot, much like
a pinnacle moment in the city’s cultural calendar?’ London, it has never stopped evolving to survive. ∂
Frieze has also taken its financial successes and Frieze London and Frieze Masters are on show from 11-15
stepped in to help cultural institutions in the UK, October in Regent’s Park, London NW1, frieze.com

068 ∑
 Fashion

PIÈCE DE RÉSISTANCE
The V&A’s blockbuster new Chanel exhibition takes a deep dive
into the six-decade-long career of the French couturier
PHOTOGRAPHY: OSKAR PROCTOR FASHION DIRECTOR: JASON HUGHES WRITER: JACK MOSS

‘It was important to go back to the garments,’ says biggest stars. And though ‘Fashion Manifesto’ uses
V&A fashion curator Oriole Cullen about the museum’s these moments as backdrops, the focus remains largely
latest blockbuster fashion exhibition, ‘Gabrielle on her design sensibility, which set a template for the
Chanel. Fashion Manifesto’. ‘Coco Chanel’s personal modern woman’s wardrobe. ‘She defined her approach
life is something that people are very drawn to and to fashion quite early on,’ says Cullen. ‘It’s about chic,
interested in. But less is said about the clothes.’ simple clothing, looking at movement and the body.
It is not difficult to see the appeal of Chanel’s These elements she creates – the jersey, the little
colourful life story. There was her poor upbringing in black dress, the suit – these are the things she comes
a French nunnery, a youth spent as a shop girl and back to time and again and refines them.’
café singer, and the opening of her first millinery shop The Storey Studio-designed exhibition is divided
on Paris’ Rue Cambon in 1910. Or her dalliances with into ten parts and begins with a 1916 marinière blouse,
high society, fated romances, summers on the French one of the French couturier’s oldest surviving pieces.
Riviera with Pablo Picasso and Jean Cocteau, and Crafted from fine-gauge silk jersey and tied loosely
journeys to golden age Hollywood to costume its around the waist, it is decidedly modern – it would »

070 ∑
This picture and opposite, silk velvet, lace, taffeta and tulle dress, A/W 1937, by Chanel
 Above, silk chiffon and pongee silk dress with sequins and Lunéville embroidery, 1930-31, by Chanel

072 ∑
 Fashion

Above, organdy dress, 1932, by Chanel

 Fashion

Above, silk tulle, satin crêpe, chiffon and lace dress, S/S 1930, by Chanel

∑ 075
 Fashion

Above, silk chiffon dress, S/S 1930, by Chanel

not take a stretch to imagine one of the current The exhibition spans Chanel’s six-decade-long career
exhibition’s attendees wandering past in it. Also on in fashion, from 1910 to her final S/S 1971 collection
show are early iterations of her signature garments (Chanel would die in 1971 in her apartment in the Ritz
and a staggering display of two-piece suits encased in Hotel Paris). Cullen finds her later work particularly
double-height glass boxes, as well as a recreation of fascinating, transgressive in its use of colour and
the faceted mirrored staircases at her Rue Cambon gleaming contemporary fabrics like lamé. ‘Some of
apartment, where she would stage client presentations. the colours and textiles she was using were incredible,’
Particularly striking are her diaphanous evening says Cullen. ‘We wanted to bring that vibrancy,
gowns (some pictured here, photographed within the because she was experimenting all the time.’
V&A archive by Oskar Proctor). ‘They’re very drapey,’ What Cullen hopes people take away from the show
says Cullen. ‘They aren’t worn over lots of petticoats so is the idea of Chanel as a ‘fashion maverick’ and early
they move beautifully.’ A Parisian glamour is suggested brand-builder. ‘When she started, couturiers weren’t
in glimmering surface decoration from sequins and really received in polite society; you might have known
paillettes on otherwise minimal gowns. ‘Her garments their names, but not what they looked like. But Chanel
are very minimal and clean, but to use something like changed that. She was happy to be front and centre.’ ∂
all-over sequins is amazingly effective. It’s not ‘Gabrielle Chanel: Fashion Manifesto’ is on show until
superfluous decoration, it’s just the body of the dress.’ 25 February at the V&A, London SW7, vam.ac.uk

076 ∑
Art

Takashi Murakami’s latest show

is a potent mix of pandemic-
inspired creatures, eye-popping
flowers, NFTs, avatars and
17th-century Japanese motifs
WRITER: PEI-RU KEH
Credits
 Takashi Murakami, with 108
Temptations Murakami.Flowers
2003, at the opening of his
exhibition ‘Takashi Murakami:
Unfamiliar People – Swelling of
Monsterized Human Ego’ at
San Francisco’s Asian Art Museum

Photography: Eric Martinez,

courtesy Asian Art Museum

∑ 079
 Art

or the better part of the last presentation offers a unique view of where
three decades, Takashi Murakami has one of the world’s most prolific artists is
dominated popular culture with his bounty currently in both his life and career.
of recognisable symbols. From his now- ‘This exhibition came to be by invitation
ubiquitous Flowers to his equally endearing of [the museum’s senior curator of Japanese
Mr DOB alter-ego, Murakami’s brightly art] Laura Allen, and in terms of the content,
coloured universe has expanded the reaches I have been running my own ideas on the
of art well beyond the canvas. Through his rails she has laid out,’ shares Murakami.
influence, Vans slip-on sneakers, Perrier ‘Her theme has been to push my interests
bottles and T-shirts for Uniqlo, as well as of the moment to the forefront.’
music videos for Billie Eilish, cushions for Rather than retread familiar ground with
the Museum of Modern Art and collectible Murakami’s smiling and playful characters,
timepieces (both IRL and NFT) for Hublot, Allen chose to focus the show on Murakami’s
have all become veritable platforms for art. use of monsters as a lens of examining human
And while he has made his work available behaviour against the complex juncture
to as many people as possible, Murakami of where we are today: a chaotic present
still continues to retain his standing at and a virtually limitless digital future.
the pinnacle of the art world. ‘The show focuses on works from the past
If it is possible to surpass this peak, decade,’ Allen says. ‘In recent years, Murakami’s
Murakami is about to do it with ‘Takashi work has been evolving at a rapid pace. He
Murakami: Unfamiliar People – Swelling of has changed his subject matter in reaction to
Monsterized Human Ego’, a major exhibition large external events, such as the 2011 Tōhoku
that’s currently on view at the Asian Art quake, the pandemic, changes in the digital Clockwise from above, Murakami’s limited-
Museum in San Francisco until February 12 world, and internal events, like the isolation edition cover, featuring the 2023 work
next year. Showcasing more than 75 works, and alienation of the pandemic years.’ Murakami.Flower #5573 Super Mad Bomb
Game; Qinghua Grass Carp, Chinese Perch,
including more than a dozen that have By honing his use of monsters, which and Lotus Flowers (2019-2023); Murakami’s
never been seen before, the monumental has percolated as a theme in the artist’s assistants at work in the artist’s studio

080 ∑
 oeuvre over many years, the show facilitates
a probing of Murakami’s darker side, which
feels especially poignant against the range
of intensities facing the world today.
Discussions for the exhibition first began
in 2018. While things ended up being derailed
and delayed due to the global pandemic, what
has ultimately emerged is an exciting new
body of work that will surprise even the
Kaikai Kiki Co Ltd. All rights reserved. Photography: Chiaki Kasahara
Artworks: courtesy of the artist and Perrotin. © Takashi Murakami/

most fervent of Murakami fans.

‘Because the exhibition was interrupted
by the pandemic, a great deal of time passed
between the conception of the exhibition and
its completion. Laura repeatedly expressed
that she wanted to see my latest works,’
Murakami says. ‘Before the pandemic, we had
selected the most recent works at that time.
Then, after the pandemic began, I produced
the Unfamiliar People series, which expresses
the horror of the moment when humans turn
into monsters, and new NFT-related works
in rapid succession, so eventually, almost the
entire show came to consist of the latest
works. This is how Unfamiliar People became
the main visual of this exhibition.’
In Unfamiliar People, Murakami depicts
misshapen, sci-fi-style characters that nod »
 Art

to the world of aliens disguised as people in The exhibition’s other namesake (the Above, Unfamiliar People
Artworks: courtesy of artist and Perrotin. © Takashi Murakami/Kaikai Kiki Co Ltd. All rights reserved

John Carpenter’s 1988 film They Live, that Swelling of Monsterized Human Ego) is (2020-2022)

revealed different and unexpected traits once equally timely and a jab at society’s increasing Below, Murakami.Flower
#4895 NY (2023)
their surface layers were peeled back. submersion in the digital realm and its
‘When I contemplated what the audience obsession with social media – areas that
might expect and would like to see, based on Murakami, himself a prolific poster,
this ‘Monsterized’ theme, one thing I thought continues to grapple with.
of was monsters that are not in human form,’ ‘One of the recent themes for me in
he says. ‘After the pandemic started, some creating new artwork has been the formation
people who used to live normal lives started to of new types of ego and the loss of substance
loudly voice strong opinions, or turned out in communication caused by social media,’
to be vaccine conspiracy theorists, or started Murakami explains. ‘In [Darren Aronofsky’s
attacking others out of an astonishingly 2022 film] The Whale, the ways in which the
intense sense of fear. Some who seemed to be main character and his daughter communicate
absolutely kind had abruptly changed, and through social media and Zoom seemed to
I felt that it was impossible to understand illustrate the drastically different ways the
human beings just by looking at the surface.’ generation that has had social networking
Allen observes: ‘Somehow, the pandemic since birth and my 61-year-old self
unleashed a kind of creative rebirth for communicate. I can’t completely comprehend
Takashi. Suddenly, around the fall of 2020, how best to interact with and through social
new types of monsters were springing to media, and am at times confused. In other
life – and we were able to capture this words, I have a hard time understanding the
moment in the pandemic portraits featured distance of new relationships mediated by
in this show, such as Unfamiliar People, and social media and it troubles me.’
in the works related to the moment when, Ironically, by contemplating the effects
as he said ‘his brain turned on’ to the of rampant digital use in our daily lives,
potential of virtual and digital art.’ Murakami began pursuing a new visual arc »

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 Art

– the incorporation of ukiyo-e motifs, a Above, Oval Buddha Silver ‘Laura and I had started to discuss the
classical genre of Japanese art spanning (2008), produced in an keyword ‘monsterized’ for the show a few
edition of ten, combines
the 17th to 19th centuries, into his work. symbols from Japanese months before the opening, and I was
Translated as ‘pictures of the floating world’, Buddhism, manga, anime exploring how to create a work that aligned
and Western pop culture
this style of painting is not only well-known with the keyword. Then, one day in early
due to its depictions of Japanese wealth, July, on the way back from my daughter’s
power and prosperity, it was also something ballet recital, the idea came to me and
Murakami has consciously avoided – that I made this work,’ says Murakami.
is, until now. Taking the shape of an epic, ‘For a long time, I was very reluctant to
25m-long new work, Judgement Day showcases use ukiyo-e motifs for my paintings. The
an unravelling composition of classical reason was that I used to think it wouldn’t be
figures, monsters and beings in various such a good idea for me, as a Japanese, to use
states of being ‘monsterized’, which poetically ‘Fujiyama Geisha’ to make my debut overseas
dovetails with his signature Superflat and gain recognition for it,’ he elaborates.
style that draws from post-Second World ‘However, I have now been working in Europe
War anime and manga aesthetics. and the United States for about 30 years, »

084 ∑
 Art

and I felt that it would actually be strange

for me not to make any mention of ukiyo-e,
which is the most well-known art form
from Japan among people overseas.’
He continues, ‘I thought it might be good
to explore and create [different] kinds of
Japanese monsters in the context of ukiyo-e,
which is very familiar for someone like
myself, born and raised in Japan, as well as
to the general audience, visually speaking.
And so with this piece, I referenced it for
the first time. I placed Taira no Kiyomori
hi-no-yamai no zu [also known as ‘The fever
of Taira no Kiyomori’], a work by Tsukioka
Yoshitoshi, an artist of the Meiji period
(1868-1912), at the centre of my painting,
and surrounded it with motifs from famous
ukiyo-e paintings by Tōshūsai Sharaku,
including the large heads. I tried to
express the ‘monsterized’ state of human
beings in the painting.’
With solid colour fields created using
his trademark squeegee work technique,
which he says ‘express[es] a rougher and
more dynamic use of colour’, Judgement Day
feels akin to another momentous work that
Murakami created after the Great East
Japan earthquake of 2011, The 500 Hundred
Arhats, which measures a whopping 100m in
length. Allen anticipates Judgement Day to
be equally seminal. Completed in just under
three months, it is a deep testament to
Murakami’s artistic process and promises
to be a late-career masterpiece.
‘Takashi is a force of nature, and so
I’ve been swept into the whirlwind of his
practice. Getting a behind-the-scenes view
of his creative process, studio mechanics
and techniques has been a privilege that
we’ve tried to share in various parts of
the exhibition,’ she says. ‘The scale of the
paintings, the density of their imagery,
the diversity of styles and techniques.
These are all works that really need to
be experienced in person.’
Murakami’s ruminations about Japanese
art’s traditional past are also articulated
‘Murakami is a force of nature. His evolution through a series of works made in response to
is not a straight line but recursive, circling ancient and traditional ceramics, of which
he is a fervent collector and connoisseur.
back to older interests, and sampling and Again, he has translated recognisable ceramic
motifs, such as Qinghua carp, perch and lotus
remixing again and again, as is his style’ flowers, into painted form, while preserving »
 Incorporating traditional
Japanese ukiyo-e motifs,
the epic, 25m-long new
Photography: Chiaki Kasahara

work, Judgement Day

(2023), showcases
classical figures and
monsters in various states
of being ‘monsterized’,
which poetically dovetails
with Murakami’s signature
Superflat style that
draws from post-Second
World War anime and
manga aesthetics

∑ 087
 Art

the classical palette of painted blue and white Above, A Young Auctioneer purchasing and observing ceramics. Along
(2022). The sign ‘Kaikai
porcelain. While seemingly unlikely, and Kiki’ refers to both the
the way, I truly fell in love with ceramics from
certainly unexpected, Murakami’s connection art collective founded by the bottom of my heart, having developed its
to ceramics is deep-rooted and yet another Murakami in 2001, and two vocabulary and sense of history for myself.
of the artist’s characters.
throwback to an earlier stage in his career. They take their names
I am not sure if what I understand now is the
He reveals, ‘When I made my debut at from the terms used same as what Mr Aoi was trying to tell me,
the age of 29, Mr Akira Aoi, a collector who in the late 16th century to but I think I now understand the eroticism
describe the work of the
had works by Willem de Kooning and painter Eitoku Kanô as of ceramics in my own way.’
Picasso, took me to the Museum of Oriental ‘strange yet mesmerising’ ‘Murakami’s evolution is not a straight
Ceramics, Osaka. At that time, he explained line but recursive, circling back to older
to me about the eroticism of ceramics, which interests, and sampling and remixing again
I didn’t understand at all and took home and again, as is his style,’ Allen concludes.
with me as homework to think about. Mr Aoi ‘He always has his eye on ‘the changing flow
has since passed away, more than ten years of desires’ in the world, and he’s constantly
ago, and I had wanted to and tried to looking for new ways to express the bizarre or
somehow reach his state of mind before that, brutal [because] those desires affect who we »

∑ 089
 Art

Clone X x Takashi
Murakami Unique Logo
Pink Version (this picture)
and Clone X x Takashi
Murakami #3 Devil Ko²
(below). Clone X is a
collaboration between
design studio RTFKT and
Murakami. Together they
created a line of NFT
Clones, each one referred
to as a Clone X. Within
weeks of launching,
multiple Clones sold
for more than $1m
worth of Ethereum

are and how we experience the world.

Doing all that, with a sense of humour, is a
powerful way to make art that is accessible
to a larger and younger audience.’
With the show rounded out by painted
works recording Murakami’s creation of
NFTs and Murakami-themed avatars
for the Clone X NFT collection, ‘Unfamiliar
People – Swelling of Monsterized Human
Ego’ is a comprehensive snapshot of
Murakami’s standing as one of the world’s
most acclaimed contemporary artists.
When asked if he took any risks with
this exhibition, Murakami replies, ‘I didn’t
take any risks. Because art is not about taking
risks. However, I think the biggest risk was
that I made the people at the Asian Art
Museum in San Francisco worry for a long
time that I may not be able to produce the
works in time for the exhibition. I think
the risk has been hedged now that we have
managed to present Judgement Day.’
‘I believe that art and philosophy are
things with tremendous power,’ he asserts.
‘When you come into contact with them,
your brain shifts at once from your ordinary
life to the unrealistic world of imagination,
and at the moment of that shift, your sense
of values change beyond the reality that is
born out of your new life.’ ∂
‘Takashi Murakami: Unfamiliar People – Swelling
of Monsterized Human Ego’ is on view at the Asian
Art Museum in San Francisco until February 12,
asianart.org, @takashipom

090 ∑
 Architecture

EDGE OF
SCULPTURAL HOUSES: CANADA

HEAVEN
A cantilevered concrete house on the shores of
West Vancouver offers a series of threshold moments
PHOTOGRAPHY: HUFTON + CROW WRITER: ELLEN HIMELFARB

Liminal House comes by its name honestly. into the final product – not unlike the
Cascading over the sea wall between the city Dungeness crabs that creep along the beach.
and the harbour, between dense metropolis ‘It’s the shell and the belly,’ says McLeod.
and wilderness, land and sand, it occupies a ‘The tough shell conceals a soft liner.’
spectacular threshold, and not just physically. McLeod and Bovell have built a successful
The couple who live here were at a juncture practice in the ‘extravagant natural world’
in their working and family lives when they of British Columbia, in Canada’s far-west.
hired architects Lisa Bovell and Matt McLeod Kicking off the Liminal build four years ago
of Vancouver practice McLeod Bovell. ‘Their as a team of eight, they are now 16. Yet few
lives are like waves on the ebb – they are of their projects are as evocative of their
retreating professionally and personally ‘moment’ as this house, both immersed in
at a moment when their children are turning the earth and suspended above it. To achieve
into teens,’ says Bovell. ‘This house is a the 8m cantilever for the upper floor, workers
threshold moment for them as well.’ As a dug into the soaring cliff face, planting
result, every element of their collaboration 5m concrete fin walls joined by an immense
responds to that in-between state. concrete beam. Even within its narrow,
To understand the pivoted arrangement urban-sized plot, this upper storey offers long,
of concrete volumes, and their relationship oblique infinity views through the landscape,
to the contrasting oak interior, it helps to while providing a protective shell for the
understand the untamed landscape of West main-floor terrace. ‘The house never blocks
Vancouver, where violent waves drag 10m the experience from front to back or up and
logs onto the shore and a black bear might down,’ says McLeod. ‘There’s always a flow.’
wander into your garden. ‘That shoreline Yet the structure doesn’t surrender
changes on a daily basis,’ says Bovell. ‘To some completely to the ocean panorama, nor the
degree, we’re simulating that motion within stretch of skyline in the distance, nor the
the house. It becomes a moment at the mountains and glaciers beyond that. ‘The
Credits

shoreline between the water and land.’ The view is really magnificent and it’s important
environment, she says, has a way of seeping to the house,’ says McLeod. ‘But other »

092 ∑ CREDITS
Liminal House, on a
narrow, urban-sized plot
in West Vancouver,
features an upper storey
consisting of an immense
concrete beam between
two concrete fin walls
 Architecture
This picture and below,
endless vantage points
offer spectacular views
across the Burrard Inlet
and beyond, while soft
landscaping takes the
edge off the concrete and
black-coated aluminium

experiences have to happen, too.’ Between light can make its way down,’ says McLeod.
the dramatic switchbacks, the multi-storey ‘There’s a great experience at subterranean
light wells and the sculptural steel-framed level, even so far away from the source of
oak stairwell, the home constantly calls light.’ It’s not for nothing. Hosting a sauna,
attention to itself. It is wonderfully meta. wet bar and ‘showroom’ for the owners’
Soft landscaping offers more distraction. collection of rare sports cars, the lowest
It crops up wherever the building makes level gets plenty of traffic, yet shafts of light
contact with solid ground, to take the edge dance around the oak millwork and the
off the board-formed concrete and black- sintered stone flooring.
coated aluminium. A barge and crane were For all the brawn and hefty angularity
enlisted to furnish the 200 sq m roof garden of its exterior form, Liminal House is
with tall pines and native grasses. The main amazingly animated. Glimpses of the terrace,
bedroom and ensuite have the best vantage swimming pool and harbour ricochet around
point from which to take it all in, with full- the living spaces, creating their own sense
height glass panels that slide all the way. of motion. ‘In that endless refraction of light
Downstairs, the main floor is a funhouse and sight, you’re always seeing two or three
of views and reflections, from the entrance at things at once,’ says McLeod. ‘It’s a slight
street level to the southern façade with its disorientation. Your eye is constantly moving
folding banks of glass, suddenly hovering over back and forth and trying to focus.’
land that has dropped away. Between them To be clear: this extra-sensory experience
are two landscaped courtyards shrouded in is a good thing. McLeod clarifies. ‘Where
glass, turning the core into, says McLeod, there’s a bit of disorientation, a doubt about
‘a bit of a jellyfish – you see the guts’. Those where you are, those are rich experiences,’ he
courtyards are instrumental for drawing says. ‘The brain is always trying to normalise
light into the depths of the interior. something, to make sense of it. To us, that’s
‘After years of working with these the death of something interesting.’ ∂
courtyards, we’ve found a good deal of mcleodbovell.com

094 ∑
 SCULPTURAL HOUSES: MEXICO

An intriguing new build by Lucio Muniain channels

the best of 20th-century Mexican architecture
PHOTOGRAPHY: EDMUND SUMNER WRITER: ANA KARINA ZATARAIN

096 ∑
Architecture
Located in San Luis Potosí,
in central Mexico, Casa HMZ
was designed by Lucio
Muniain with a labyrinthine
quality to foster a sense
of gradual discovery
 Architecture
This picture, the outdoor
lounge features a series
of concrete beams that
create an intricate, ever-
changing play of shadows
Below, stark geometries
inspired by the work of
architect Luis Barragán

O
ne house stands out amid the labyrinthine quality of this home’s interiors.
tranquil streets and manicured ‘We didn’t want to reveal it all at once.’
lawns of a neighbourhood in San Muniain sought to further offset the
Luis Potosí, central Mexico. Carved into the home’s generous scale through the intimacy
unadorned façade of the concrete monolith of penumbra. He employed a restrained
is a hefty wooden door, leading to a cosy material palette of dark tzalam wood for the
home that belies the severity of its exterior. fixtures and floors, as well as black steel for
It was a straightforward commission: a the window frames and the library’s sleek
house for a family of six, with four bedrooms, spiral staircase. The interiors feature the same
and areas for indoor and outdoor leisure. For béton brut as the façades. ‘There’s something
Mexico City-based architect Lucio Muniain, about exposed concrete that I find enchanting,’
however, the most important gestures in any says Muniain. ‘In this case, the house is
space he designs are ‘those that the client flooded by sunlight, but the dark grey hue of
wouldn’t normally think to ask for’. the concrete softens it and creates a warmth
Muniain, whose body of work appears that should be inherent in any home.’
at first glance to reject nostalgia and hyper- The ubiquitous material has a distinctive
local aesthetics, cites as inspiration the late ruggedness resulting from the construction
Mexican architect Luis Barragán. Perhaps process – the contractors hired by the client
best known for stark geometries painted in had no previous experience working with
bright hues of pink and yellow, Barragán’s concrete. ‘To me, it was all the better,’ says
true mastery of space lies in something more Muniain, who describes himself as an avid
ineffable. In his buildings, dimly lit hallways believer in the beauty of imperfections.
and vestibules subtly unfold into striking On the upper level, sunlight pierces in from
patios and exuberant gardens. ‘That sense of various calculated openings, highlighting
gradual discovery is what imbues his projects minor blemishes on the walls that lend them
with a sort of magic,’ says Muniain, offering an artisanal finish. ‘You can see where there
it as the reasoning behind the pleasantly once was plywood,’ Muniain says of the »

∑ 099
 Architecture
Left, the library features
exposed concrete, dark
tzalam wood fixtures
and black steel window
frames and railings

patterns left by the formwork, ‘and how kitchen leads to a dining and living room, he says. ‘Ever since then, I have always found
it all came together, in whatever way the where large windows frame verdant views. myself trying to blur the boundary between
builders were able to get the job done.’ The local climate, however, allows for most art and the functionality that architecture
This evidence of human presence is entertaining to take place on the contiguous demands.’ This is apparent when the family
echoed by the social nature of the home’s back terrace, where a series of concrete beams sits together beneath the perpetual motion
ground level. While the master bedroom is form two perpendicular sets of pergolas. of sunlight that filters through the pergolas.
tucked into a private niche – ‘so the clients Speaking of this – the home’s defining Above, an abstract picture of rhythm
can forgo stairs once they reach retirement feature – Muniain cites another of Mexico’s and geometries; below, people gathered in a
age’ – the rest of the floor is made up of airy, great architects of the 20th century, Ricardo moment of communion, enjoying each
interconnected spaces, for the family and Legorreta. ‘I remember reading his essay other’s company in their own home. ∂
their guests to come together. An ample Architecture as Sculpture when I was at school,’ lmetal.com.mx

100 ∑
 Architecture

Located in rural Flanders, the

Pringiers family’s new house
is bordered by a tall concrete
wall that shields the living
room’s large glass openings
and hides a lush garden
designed by Erik Dhont

SCULPTURAL HOUSES: BELGIUM

Great walls
Belgian architect Glenn Sestig’s latest project is a rural retreat and
private gallery featuring an award-winning concrete construction
The Pringiers family seems to have an affinity for One thing that three of these have in common is their
minimalist concrete. The Belgian clan of entrepreneurs elegant contemporary minimalism. Another element
and art collectors is spread across several countries in they share is their architect, Belgian Glenn Sestig,
two continents (Europe and Asia), with the parents, who, hailing from the same part of the country as the
industrialist Pierre Pringiers and artist Saskia Pintelon, Pringiers family, has known them for years.
based in Sri Lanka since 1981. Pintelon’s studio is The latest addition to this body of work is a private
famously located within a specially commissioned studio next to a home that the family already owned in
Tadao Ando-designed house, nestled on a cliff edge in the Belgian countryside. It is set in the Flanders region,
the southern part of the country. Between them, the halfway between Ghent and the seaside resort of
couple and their three grown children – two sons, Ostend, a fairly flat land offering long, peaceful views of
Jacob and Koenraad, and one daughter, Isolde – own green nature. The existing building, originally built in
a collection of design-led homes across the world, by the 1940s, seems inconspicuous, blending in effortlessly
architects such as Tadao Ando and Shigeru Ban. with the gentle Belgian countryside and its typical »

WRITER: ELLIE STATHAKI ∑ 103

 Architecture

rural dwellings. When the opportunity presented itself like we’ve seen from Juliaan Lampens, Léon Stynen Above, the living room and
for the family to acquire the plot next door, along and Ivan Van Mossevelde,’ says Sestig. ‘The challenge gallery, with artworks by
Saskia Pintelon and ‘A City’s
with its derelict farmhouse, they jumped at the chance, here was that I wanted everything in concrete, inside, Long Table’ by Belgian
enlisting Sestig to craft a new building that would outside, and even the roof.’ The result appears simple designers Brut Collective
be adjacent, although not entirely connected to their – gracefully still, monolithic and sculptural. However,
home. ‘Isolde, who is based in Brussels, oversaw the it is a much more sophisticated construction than
project and often visited the construction site,’ Sestig it may first appear. In a single, architectural sleight of
recalls. ‘They needed a large base to stay in when they hand, Sestig managed to both follow Belgian rules in
all returned to Belgium for holidays and gatherings. terms of the permitted thickness of concrete walls, and
The entire family loves concrete and architecture, to ensure climate control inside. To do so, he crafted
and they wanted a place to use both as a home and two separate layers of concrete, with a gap between
for their mother to display her art in.’ them for insulation. Both were poured in situ (apart
The result is a volume that draws on the lines of from the pitched roof side, which was prefabricated on
its historic neighbour, but comes with a flat rooftop the ground and lifted up in place) and the final build
Photography: Jean-Pierre Gabriel

and orthogonal lines ‘to create more space inside’. won an award for its mastery of concrete construction.
The double-height, top-lit living space acts as a Outside, a garden by landscape architect Erik Dhont
domestic gallery, filled with Pintelon’s canvases. is bordered by a tall concrete wall. ‘It is connected to
An automated hatch in the floor with a pulley above nature, but it is also a sophisticated exhibition space,
allows the safe transportation of artwork up and where Saskia can hang her art,’ Sestig says. ‘She might
down from the storage space below, which acts even work there, as she often reworks paintings as they
as an archive for Pintelon’s pieces. sit displayed on the wall. I like to imagine her there,
All surfaces are made in tactile, textured concrete. paintbrush in hand, inspired.’ ∂
‘[It] brings us back to some great Belgian architecture, glennsestigarchitects.com

104 ∑
High Jewellery

THE ODD
COUPLE
Two jewellery houses, Chanel and Pomellato, take a new turn, toying
with symmetry to create organically opulent pieces
PHOTOGRAPHY: PHILIPPE LACOMBE WRITER: CARAGH MCKAY

In a bid to spotlight the rare gemstones that give have been a straight, criss-cross graphic, its reflection
high jewellery pieces their star appeal, the designer’s of the natural yarn adds a mischievous tension.
job can become something of an architectural pursuit. Meanwhile, Vincenzo Castaldo, creative director
Whether a ring, bracelet or necklace, the intricate of Milanese brand Pomellato, took a suitably pop art
gold frameworks in which the weighty stones are set approach to the house’s heritage codes with the ‘Dama’
must be designed on varying levels to accommodate bracelets, a standout design from its ‘Ode to Milan’
their volume, which gives this specialist field of collection. The swirls of gold replicate the sensual
jewellery design the baroque character that sets it round-flat form of Pomellato’s classic gourmette
far apart from everyday fine gold and silver pieces. link, created in the late 1960s by the brand’s founder
This year, however, two jewellery houses played Pino Rabolini, a goldsmith inspired by the casual,
with symmetry and white space to achieve a less ready-to-wear pop art sensibility of Pierre Cardin.
voluminous, more contemporary look. Patrice As Castaldo points out, ‘Asymmetry and irregular
Leguéreau, director of Chanel’s Fine Jewellery Creation shapes have always been part of Pomellato’s language.
Studio, took inspiration from heritage fabric for the And, because the ‘Dama’ bracelets are magnified
brand’s latest collection, Tweed de Chanel. ‘We wanted versions of our gourmette link, they’re crafted in a
the jewellery to feel as if you are being draped with a non-symmetrical pattern that allows for a natural
piece of cloth, so the craftspeople in our workshops fit on both the right and left wrist. The strength and
were tasked with reproducing its flexibility and fluidity sensuality of the ‘Dama’ design – the volume, the
using metal and precious stones. You can’t imagine the perfection of the shiny surface and the opulence of
ingenuity they deployed to achieve that.’ the gold – are, in a way, a celebration of our roots.’
The ‘Tweed Lion’ suite has a distinctly modernist The bracelets also recall the post-modern
feel – the modular brooch can also be worn on a chain, sensibilities of Italian architect Paolo Portoghesi.
while the earrings are asymmetrical. The right earring Sumptuous and linear at the same time, the swirls
is a smaller, airier, less jewelled version of the brooch. of diamonds add a touch of the baroque, after all.
And while the long, dangling left earring could easily chanel.com, pomellato.com
‘Tweed Lion’ earrings;
brooch, both price
on request, by Chanel,
chanel.com. ‘Dama’
bracelets, price on
request, by Pomellato,
pomellato.com
Bodysuit, £239, by
Wolford, wolford.com

Creative direction:
Caragh McKay
Fashion director:
Jason Hughes
Model: Antavenus Mille
at Sport-Models
Grooming: Cicci Svahn
at Calliste Agency
Photography assistant:
Quentin Ducros

∑ 107
 EYE CANDY
The latest collection from Hermès Beauty is a visual feast
PHOTOGRAPHY: IVONA CHRZASTEK STYLING: LUCY BLOFELD WRITER: MARY CLEARY

108 ∑
 Beauty
Eyeshadow palettes
in Ombres Fauves
(this page, above) and
Ombres Végétales (below),
£90 each, and mascara
(opposite), £56, all part of
the Le Regard collection,
by Hermès Beauty
 Beauty

G
regoris Pyrpylis fell in love with layering, which is a much easier approach.
make-up the way most of us did – At times, you can have a very vibrant, very
young and getting ready for a party. bold expression, if you feel like it. But then,
For him, that specific moment came in 2004 at the same time, if you want something
when, on a lark, he asked a friend if he could more natural, more organic and quiet, you
try applying her make-up. Even though the can add a medium shade as a base, or take
results were, in his words, ‘a bit mixed up,’ he a bit of a darker colour into the roots of
has since found his footing, relocating to the lashes.’ The eyeshadows can be applied
Paris from his native Greece to become Tom with a finger or one of the collection’s four
Pecheux’s assistant, before being named the brushes, made in lacquered wood.
Hermès Beauty’s creative director in 2022. The collection also includes a series of
A year on and Pyrpylis is about to launch mascaras, in six shades, including emerald
Hermès Beauty’s latest collection, Le Regard. green, bright violet, deep blue and burgundy.
It is the fifth chapter in the brand’s beauty Hermès is known for executing even the most
line, which began with Rouge Hermès minute details with unrelenting precision,
lipsticks in 2020 and gradually expanded to and that extends to its beauty line. Every
include nail polishes, foundations and millimetre of the product is considered, as
highlighters, blushes and, now, eye products. evidenced by the fact that even the base
In their black, white and gold packaging of the mascara applicator is designed to form
designed (like the rest of the Hermès Beauty a small H-shape. But this isn’t just a self-
range) by Pierre Hardy, the new products indulgent fancy. The best design marries
look more like objets d’art, with the most Above, Gregoris Pyrpylis, creative aesthetics with functionality, and that little
director of Hermès Beauty
eye-catching being the eyeshadow palettes. ‘H’ shape allows the applicator to uniformly
Portrait: Thomas Chéné
Their luminous colours range from a more hold just the right amount of product, so that
Top, eyeliner brush, £63; eyebrow brush,
traditional Hermès offering (an elegant £63; blending brush, £72; shader
every swipe goes on smooth and evenly.
caramel brown, a smoky black, a plum) to brush, £72, all part of the Le Regard For Pyrpylis, these whimsical yet practical
a few surprises (an electric blue, a flamingo collection, by Hermès Beauty details are essential to the ethos of Hermès
pink, a punchy sea-foam green). Beauty. ‘I don’t want to impose a certain look
For Pyrpylis, this mixture of the standard on someone,’ he says. ‘I want them to amuse
and the unconventional was imperative themselves and have a nice moment. Make-
to creating a product that appealed to the up shouldn’t feel like an obligation.’ ∂
Hermès customer. ‘We like to start by hermes.com

110 ∑
Wallpaper* Bespoke

PERFECT NOTES
Dom Pérignon launches its Rosé Vintage 2009, the harmonious
result of some fruitful endeavours by the French champagne
house and its cellar master Vincent Chaperon
 Dom Pérignon’s Rosé
Vintage 2009 displays all
the aromatic nuances
of the pinot noir grape,
with hints of raspberry,
strawberry, cherry and fig,
exacerbated by the
delicate, mineral elegance
and light notes of the
chardonnay grape

∑
 Wallpaper* Bespoke

Dom Pérignon’s chef de

cave Vincent Chaperon
(pictured opposite, left,
tasting grapes, alongside
a grape picker, right) draws
inspiration from the French
maison’s heritage and
history, but also sets out
to reinvent the way new
vintages are created
 The product of a harsh winter, intense August weeks. The vines ripened in complete serenity, with
sunshine and 12 years in the cellar, Dom Pérignon the September harvest taking place under idyllic
Rosé embodies a dedication to creation and the conditions. The 2009 grapes proved to be superlative,
radical exploration of new possibilities. showing exceptional health, maturity and richness,
When Vincent Chaperon was inducted as chef underlined by an aromatic expression.
de cave (cellar master) at Dom Pérignon, he was offered To Chaperon’s delight, some 13 years later, the
some learned advice: ‘Push the limits of creation. assemblage of Dom Pérignon Rosé Vintage 2009 would
Question everything. Embrace risk and the element represent this accomplishment. ‘The rosé expresses a
of surprise. Experiment freely. Prepare for a job that timeless desire to explore the edge, harnessing the raw
Photography: Hugh Mapelli, Alexandre Guirkinger at Rose Paris

will be as much a matter of art as of technique.’ power of the pinot noir grape in a radiant assemblage,’
This job was to form an intimate relationship he says. ‘Tempered by a slow, masterful transformation
with Dom Pérignon’s wines and vineyards, creating during nearly 12 years in the cellar, it’s a vibrant
assemblages that honour the quality of the grape incarnation of both light and darkness.’
and the harmony of the wine. He set out to draw The Rosé Vintage 2009 unlocks all the aromatic
inspiration from the maison’s heritage and history nuances of the pinot noir grape – strawberry, cherry,
but to also reinvent with new vintages. The weather, raspberry and fig – heightened by the delicate, mineral
Chaperon knew, would also play a big part. elegance and pristine notes of the chardonnay. There
In 2009, almost a decade before he took up his new are fleeting aromas of rose, orange and saffron, sombre
position, a winter of intermittent snowfall and low touches of blackcurrant, and sweet notes of liquorice
temperatures gave way to a warm but rainy spring. and gingerbread. Full-bodied and enveloping, round
The weather did not encourage flowering and there and creamy, sweet and voluptuous, the fruit dominates.
was a threat of mildew. However, despite some Its freshness, redolent of savouring a newly picked
worrying stormy periods in July, the summer season berry, reveals an intense palate, deliberate yet light,
was dominated by sunshine that intensified in August, powerful yet contained, perfectly embodying the fruit
remaining hot, dry and sunny for five consecutive of that memorable 2009 harvest. domperignon.com

∑
Space
THE LOUNGE-ABLE LOBBY
From left, ‘Pilotis’ console, £17,120,
by Rodolfo Dordoni, for Minotti.
‘Isle’ lighting system, price on
request, by Zoë Mowat, for
Lambert & Fils. Beolab 8 speaker,
£5,398, by Bang & Olufsen.
‘Doblecara 4’ rug, €3,150, by Ronan
Bouroullec, for Nanimarquina.
‘Le Mura’ sofa system (upholstered
in ‘Ombra’ fabric by Rubelli in a
colour palette by Formafantasma),
price on request, by Mario Bellini,
for Tacchini. ‘Ridge’ aluminum
house numbers, from $30 each,
by Hsiaolin Chi, for Naknak.
‘Borderland’ coffee table, price
on request, by Singchan Design.
‘Kami’ stool, €290, by
Mario Ferrarini, for Lapalma

BREATHING SPACE
We workshop our inner deal-breakers to create the public spaces of our dreams
ARTWORK: JULIA IPPOLITO INTERIORS: OLLY MASON
∑ 117
 Space
THE BIG IDEAS SPACE
From left, ‘Totem’ speaker,
£16,500, by Mario Bellini, for
Brionvega. ‘Sun’ pendant,
€779, by Timon and Melchior
Grau, for Grau. ‘Pira G2’
shelving system, price on
request, by Anna von Schewen
and Björn Dahlström (based
on an original design by Olle
Pira), for String Furniture.
‘Spiral’ sculpture, €1,049;
‘Flight’ sculpture, €749,
both by Norm Architects,
handcrafted by Pedro Eira
and Emanuel Matos; ‘Void’
sculptures, €199 each, by
Gabriel Tan, handcrafted by
Carlos Barbosa, all for Origin
Made. ‘Edaha’ chairs, price
on request, by GamFratesi,
for Koyori. ‘Androgyne’
tables, from €3,445, by
Danielle Siggerud, for Audo
Copenhagen. ‘Veil’ table lamp,
price on request, by BIG, for
Artemide. ‘Jiro’ swivel chairs,
£830 each, by John Tree,
for Resident. ‘Offset’ tables,
price on request, by Francesco
Meda and David Lopez
Quincoces, for MDF Italia.
‘Dot’ pendants, from £1,821, by
Foster + Partners, for Lumina

118 ∑
THE DREAM CANTEEN
From left, ‘Nana’ pouf, price on
request, by Hanne Willmann, for
Freifrau. ‘Dyad’ low tables, price on
request, by Florence Louisy, for Æquō.
‘PK1’ chairs in paper cord, price on
request, by Poul Kjærholm, for Carl
Hansen & Søn. ‘Cabin’ square table,
£7,315, by Vipp. ‘The Spanish Chair’,
from €4,499, by Børge Mogensen,
for Fredericia. ‘Lámina 165’ pendants,
price on request, by Antoni Arola, for
Santa & Cole. ‘Coliseu’ pedestals, from
€245 each, by Gabriel Tan, handcrafted
by Pedro Eira and Emanuel Matos,
for Origin Made. ‘+Segmento’ kitchen,
price on request, by Poggenpohl. ‘Crue’
touchless faucet with Kohler Konnect,
$847, by Kohler. ‘Torre’ glassware,
from £34, by Ichendorf Milano
Space

∑ 121
Space
THE OUTDOOR ESCAPE
From left, ‘Dyad’ low tables, price on
request, by Florence Louisy, for Æquō.
‘The Spanish Chair’, from €4,499,
by Børge Mogensen, for Fredericia.
‘Lissoni Outdoor’ stools, £880 each,
by Piero Lissoni, for Knoll. ‘Baia’ sofa
and coffee table, price on request by
Christophe Pillet, for Ethimo. ‘Rivulet’
chairs, from €1,220 each, by Junpei
and Iori Tamaki, for Living Divani.
‘Il Colonnato’ table, from €11,547,
by Mario Bellini, for Kettal
∑ 123
Space
THE HOTSHOT’S
HIDEAWAY
This page, from left, ‘USM
Haller’ sideboard (far left);
glass shelving (far right),
both price on request, by
Paul Schaerer and Fritz Haller,
for USM. ‘Balloon’ table lamp,
$1,540, by Jamie Wolfond,
for Matter Made. ‘Catilina’
chairs, price on request, by
Luigi Caccia Dominioni, for
Azucena. ‘Corporate’ table,
€16,450, by Markus Miessen,
for New Tendency. ‘Spire’
lamp, €1,500, by Fractall.
iPad Pro, from £899;
Apple Pencil, £139, both
by Apple. ‘ACX’ chair, £703,
by Antonio Citterio, for
Vitra. ‘Daphine Cilindro’
table lamp, £290, by
Tommaso Cimini, for Lumina
Opposite, from left, ‘S 661
SPV’ chair, price on request,
by Günter Eberle, for Thonet.
‘Heb’ table, price on request,
by Francesco Rota, for
Desalto. Notebooks, from
CHF68 (€71), by Hieronymus.
Meisterstück fountain pen,
from £570, by Montblanc.
‘Africa’ table lamp, £297, by
Francisco Gomez Paz, for
Vibia. MacBook Pro with
M2 Pro/M2 Max chip, from
£2,149, by Apple. ‘Beoplay
H95’ headphones in chestnut,
£879, by Bang & Olufsen
For stockists, see page 169

∑ 125
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CREDITS
 Design

Working wonders
Our pick of the best new public space furniture

‘CUBICLE’ SEATING
by Form Us With Love, for +Halle
When Danish brand +Halle tasked a group
of designers with investigating new ways for
furniture to help induce productivity, its
aim was to create pieces that would foster a
sense of concentration and creativity while
still allowing workers to remain connected
to their environment. Mission accomplished
for Stockholm studio Form Us With Love,
whose ‘Cubicle’ seating takes inspiration from
Gunnar Asplund’s fixed wooden benches,
built in 1935 for the architect’s Woodland
Chapel in Stockholm. The bent plywood
design challenges people’s perception of
concentration and the space that surrounds
them; a familiar frame where you can be
alone with your thoughts, yet still right there
in the open-plan workspace. plushalle.com
‘BAY’ SYSTEM ‘BOA’ CONFERENCE TABLES
by Foster + Partners, for Poltrona Frau by Stefan Diez, for Hay
This flexible seating system was designed Incorporating an innovative folding
to suit any waiting space, from airports element inspired by Japanese bamboo crafts,
to museums. Easily reconfigurable thanks to this series of lightweight tables can be
its fully demountable components, it conveniently flat-packed and easily assembled
comprises two main ranges, ‘Bay Gate’ and on site, with minimal tools and effort.
‘Bay Lounge’, both based on a system of twin Following up from the more experimental
central beams that create a simple support for 2017 ‘Soba’ bench and trestle, industrial
one or two rows of seats. While ‘Bay Gate’ designer Stefan Diez has created a sustainable
provides high-density, hard-wearing seating and sleek table supported by an extra-large
for busy areas such as boarding gates, ‘Bay tubular frame in Hydro Circal, a low-carbon
Lounge’ offers a range of curved seats for aluminium made in Denmark from at least
quieter areas where people might need to 75 per cent recycled post-consumer waste
linger for longer. A space between the beams produced by Norwegian hydropower.
conceals cabling and leaves room for future Available in a range of sizes and colours, the
technologies, while power sockets, induction powder-coated frame can be outfitted with
charging for phones, screens and lighting power and cable accessories, while the
fixtures can all be integrated in a plug-and- tabletop can be customised in materials such
play manner. poltronafrau.com as crystal, laminate or wood. hay.dk

WRITER: LÉA TEUSCHER ∑ 127

 Design

‘SEMITON’ SIDEBOARDS
by García Cumini, for Arper
Designed by Udine-based studio García
Cumini, the ‘Semiton’ sideboards are finished
on all sides to ensure they look good from
any angle, whether installed against a wall as
a focal point, or placed in the centre of a
room to zone up a specific area. We’re partial
to their wide, sculptural base in dark
aluminium and cantilevered storage boxes
in a selection of bright colours, which will
add a sense of movement and fun to any
office space. ‘We love to organise our most
cherished things, as well as the objects that
accompany us in daily life,’ say the designers,
Vicente García Jiménez and Cinzia Cumini.
‘With ‘Semiton’, we redesign and redefine
spaces in a way that is free, spontaneous and
open to a new functionality.’ The design
comes with three different types of shelving
and storage modules, along with a broad
range of finishes, which provide almost
infinite configurations. The collection also
comprises a matching coffee table available
in two different lengths. arper.com
‘BLACK FLAG’ LIGHTING
by Konstantin Grcic, for Flos
The latest collaboration between Konstantin
Grcic and Italian lighting company Flos is
this statement piece named after a pioneering
Californian hardcore punk band. Like
many of the German designer’s creations,
it stands out thanks to its graphic, angular
silhouette, composed of one vertical and
three horizontal metal bars. When folded
up against the wall, the extendable lamp
perfectly embodies its name, and looks just
like a long black flag against the white wall.
Although it is designed to take up minimum
space when closed, its three elements, held
together by beautifully engineered joints,
ensure maximum illumination when open.
The elements extend into a long, sculptural
arm that illuminate up to 3,5m around its
frame. For those with a less anarchic
disposition, a ‘White Flag’ version might
be available soon. flos.com
‘TORTELLO’ ARMCHAIR
by Barber Osgerby, for B&B Italia
Generous, soft and cosy, Barber Osgerby’s
‘Tortello’ armchair looks good enough to eat
– fittingly, since it is named after the tasty
folded morcels from Lombardy. ‘It wasn’t
until it became full scale that it looked more
and more like pasta,’ says Jay Osgerby of
the design, which is also available as a sofa.
Its filling is full of surprise: the trapezoidal
base is moulded from recycled polyethylene
and topped with a foam element. The entire
Photography: Salva Lopez

object is clad in a soft fabric with a striking

line of ‘pinched’ stitching. Sustainability
is at the heart of the collection, from the
minimal use of polyurethane to its
construction techniques, which allow for the
assembly of the structural elements without
the use of glue or adhesive. bebitalia.com

128 ∑
 NOVEMBER IS ALL ABOUT...
BRIGHT SPARKS

p132
WRITING PADS
Ryan Murphy’s Hollywood HQ

p148
PAINTING THE TOWN RED
Glam it up in Chanel make-up looks

p154
PLAYING TO THE GALLERY
A curated view of the winter collections

p170
THE RETURN OF WALLPAPERSTORE*
Shop online from our selection

∑ 131
 Tucked away on a Hollywood street lined with historic old movie stages, the
prolific film and TV producer Ryan Murphy has quietly created a home for his
extensive offices. An intentional canvas of calming neutrals that promote clarity
and let creativity bubble to the fore, the interiors – for which Murphy enlisted
the help of designer Jeremiah Brent to realise his vision – also took inspiration
from the futuristic film set of the Netflix mini-series, Halston, on which
Murphy acted as executive producer. He takes us on a tour inside…
Photography STEPHEN K ENT JOHNSON
Art direction MICH A EL R EY NOLDS
Writer RYA N MUR PH Y

132 ∑
 In Residence

In the reception area is a

custom ceiling lamp by
Atelier 001 and an ‘Aida’ table
lamp by Angelo Mangiarotti
In Residence

eremiah Brent was always the coolest in space. I wanted everything white and light, everywhere covering video monitors.
dad at nursery drop-off. I have a vision almost like being in a spaceship, with a Some people might say that was weird, but
of him, picking up his daughter Poppy while downstairs area reserved for editors, a huge I looked at it all as a challenge.’
my son Ford looked on balefully. So well conference room for writers, and a café. Almost everything in the office was
dressed, so collected, almost always in white After gutting the space, the first thing bespoke, right down to the individual vintage
or beige or black in fantastic drapey fabrics. Brent did was to create movement, passages subway titles that took three months to
He was ‘quiet luxury’ incarnated before that to other environments, all done with a goal of find and polish. My favourite area is the
term became a pop culture phrase. grounding and calming down the previously conference room, which sports a handmade
It was this quality that made me instantly chaotic space. One of the best things that he poured concrete table that seats more than
think of hiring him when it came to doing did was to create perforated arcs, shutters and 15 people. There is no colour in this room,
a new office compound for me and my walls, inspired by the work of the renowned no distraction from creativity.
50-strong employees. Previously, I had done Hungarian-French designer Mathieu Jeremiah’s favourite room is my office,
my office on the Fox Studio lot in a sort of Matégot. ‘If we had a wall that seemed like a with its lacquered dropped ceiling, fireplace
Californian earthy aesthetic – all tobacco blockage, we perforated it,’ says Brent wryly. and Jean Prouvé-inspired windows. ‘What
silk rugs, industrial tables and odd art One other important ‘rule’ of the project I loved about this office is how it set up areas
mixed with vintage Nakashima lamps and was an exactingly curated group of colours of freedom,’ says Brent. ‘There were areas you
artefacts. But this time around, I wanted and materials. Suede, marble and plaster could be on your own, creating, and there
something new and modern. were used throughout; if it could be plastered, were areas where you could participate.’
When I first showed Jeremiah around the it was. Bright primary colours were banished Two years after we first toured the space
warren of weird little rooms crammed with in place of hues that could lower your together – and a construction period that
Silicon Valley twentysomethings eating pad blood pressure: whites, creams and greys. lasted all through the Covid pandemic –
Thai, I think he was shocked. (‘I was a little And if it couldn’t be one of those colours, Brent delivered just what I wanted. ‘Creating
freaked out,’ says Brent. ‘It was such a big job, we used a metal in that shade. Chrome, a space for so many people to create in was
and a great but crazy concept.’) I told him for example. Lots of chrome. humbling,’ says Brent. ‘It was one of the
I wanted two things, for it to be quiet, but ‘The end result was very much influenced hardest jobs that I ever had, but ultimately,
to hum. I also gave him a clear directive to by design of the 1930s and also the 1970s,’ one of the most rewarding.’
work towards – the mood was to be Halston says Brent. ‘Curved walls, cashmere drapery ryanmurphyproductions.com, jeremiahbrent.com
This page, in the private office
is a custom chrome desk, a
custom chair by L’Artigiano
Studio and a pair of vintage
‘Tulip’ chairs by Pierre Paulin
Opposite, the writers’ lounge
features a sculptural head of
actor Paul Robeson by an
anonymous artist, curtains
custom made by Classic
Design LA using a wool blend
fabric by Pierre Frey, a ‘Polar
Bear’ sofa by Jean Royère, a
custom rug by Marc Phillips
and a ‘Void No. 2’ low table
by Simone Fanciullacci for
Studiotwentyseven

∑ 135
136 ∑
 In Residence

In the café is a ‘Marseille’ sofa

by ModShop, a ‘DVN’ coffee
table by Pelle, and ‘Tonneau’
chairs by Pierre Guariche
In Residence
 This page and opposite,
Andy Warhol’s Puma
Invader, from Jeremiah
Brent’s personal collection,
and a custom ceiling lamp
by Atelier 001, hang in
reception, alongside a
custom Karl Wittmann
leather sofa from Morentz

∑ 139
 The private office, with
custom door by Pinky’s
Iron Doors, features a ‘Polar
Bear’ sofa by Jean Royère,
custom chairs by L’Artigiano
Studio, and a custom rug
by Stark Carpet

140
154 ∑
In Residence
This page, ‘235’ wall lamps
by Cini Boeri for Arteluce
in the main corridor
Opposite, the private office
features ‘Polar Bear’ lounge
chairs by Jean Royère,
a ‘Coupé’ wall lamp by
Joe Colombo and a table
by Voukenas Petrides
from The Gilded Owl
In Residence

∑ 143
144
154 ∑
 In Residence
The conference room features
a custom poured concrete
table, ‘Portofino’ chairs by
Dragonette Private Label, and
a Murano glass lamp by
Vistosi from Blackman Cruz
 In Residence
This page, a concrete ball
from Design Mix Gallery
in the main corridor
Opposite, the bathroom
features a custom mirror,
Carrara marble counter
and faucets from Kohler’s
Purist collection

∑ 147
 Paint the town red and turn heads in Chanel Beauty make-up
Photography FR IDA-M Y Make-up M A RCO A NTONIO

148 ∑
 Beauty

This page, Les Beiges

foundation in BR172, £47;
Poudre Universelle Libre
powder in 152, £46;
Hydra Beauty lotion, £46;
Baume Essentiel glow
stick in Transparent, £36;
Inimitable mascara in
Noir Black, £34; 31 Le
Rouge lipstick in Rouge
2.55, £140; Rouge Coco
lip gloss in Caramel, £31
Opposite, Les Beiges
foundation in BD11, £47;
Poudre Universelle Libre
powder in 10, £46; Hydra
Beauty lotion, £46; Baume
Essentiel glow stick in
Transparent, £36; Stylo
Yeux Waterproof eyeliner
in Espresso, £26;
Inimitable mascara in
Noir Black, £34; 31 Le
Rouge lipstick in Rouge
Imaginaire, £140
Beauty

This page, Les Beiges

foundation in BR172, £47;
Poudre Universelle Libre
powder in 152, £46;
Ombre Première Libre
eyeshadow in Bois
d’Amarante, £34; Baume
Essentiel glow stick in
Transparent, £36;
Inimitable mascara in
Noir Black, £34; 31 Le
Rouge lipstick in Rouge
Coromandel, £140
Opposite, Les Beiges
foundation in BD11, £47;
Poudre Universelle Libre
powder in 10, £46;
Ombre Première Libre
eyeshadow in Acacia, £34;
Baume Essentiel glow
stick in Transparent, £36;
Noir Allure mascara in
Rouge Grenat, £38;
31 Le Rouge lipstick in
Rouge Privé, £140
∑ 151
 This page, Les Beiges
foundation in BD11, £47;
Poudre Universelle Libre
powder in 10, £46; Les
Beiges bronzing cream
in Soleil Tan Bronze, £37;
Ombre Première Libre
eyeshadow in Mûrier Noir,
£34; Inimitable mascara
in Noir Black, 34;
31 Le Rouge lipstick in
Rouge Flou, £140
Opposite, Les Beiges
foundation in BR172, £47;
Poudre Universelle Libre
powder in 152, £46; Hydra
Beauty lotion, £46;
Baume Essentiel glow
stick in Transparent, £36;
31 Le Rouge lipstick in
Rouge Coromandel and
Rouge Beige, £140 each
All make-up and jewellery
by Chanel, chanel.com

152 ∑
 Beauty

Beauty & grooming Hair: Maarit Niemela

editor: Mary Cleary at Frank Agency using
Charlotte Mensah
Fashion director:
Jason Hughes Photography
assistants: Federico
Models: Ajok Deng at
Gioco, Emre Cakir
Tess Management,
Cosima von Moreau at Hair assistant:
The Milk Collective Gordon Chappels
Casting: Ikki Casting Retouching: MGS Post
at The Art Board
 Fashion
Chieloka wears top, £800;
trousers, £1,400, both by
Rabanne. Earrings, £235, by
Completedworks. Sunglasses,
£235, by Gucci. Sneakers,
£95, by New Balance
Thijs wears top, £1,190;
jeans, £590, both by Maison
Margiela. Boots, price
on request, by No.21
Sona wears bra, £950; skirt,
£690; underwear, £490;
bag, £1,680, by Maison
Margiela. Shoes, £625,
by Dolce & Gabbana.
Necklace, price on request,
by Sophie Bille Brahe
Gem wears coat, £4,365; top,
£395; shorts, £555; boots, £1,095,
all by Lemaire. Earrings, £440,
by Celine by Hedi Slimane.
Sunglasses, £470,
by Bottega Veneta. Bag,
£2,295, by Ferragamo
Kiran wears coat; shirt;
trousers, all price on request,
by Lanvin. Boots, £950,
by Jimmy Choo

Curated ensembles for cultural

influencers and artistic types
Photography DHAM SRIFUENGFUNG
Fashion JASON HUGHES

154 ∑
 Above, Chieloka wears jacket, Yangying wears top, £1,720; skirt,
£5,300; jacket (underneath), £1,620, both by Fendi. Hat,
£6,400; cardigan, £1,260; top, price on request, by MSGM.
£1,120; underwear, £660; tights, Bag, £4,340, by Hermès
£535, all by Miu Miu Opposite, Jordan wears coat,
Thijs wears coat, €3,590; £4,170; top, £440; trousers,
gilet, €1,190; top, €390; £1,415, all by Saint Laurent
roll-neck, price on request; by Anthony Vaccarello
shorts, €1,090; trousers
(underneath), €2,190; sunglasses,
€450, all by Givenchy

156 ∑
Fashion
Fashion
Opposite, Kiran wears Yangying wears jacket, £3,890; Sunglasses, £450, by Gucci.
cardigan, £2,130, by Prada roll-neck, £690; trousers, Earring (left), £2,390; earring
Above, Jordan wears jacket, £995, all by Akris. Shoes, £750, (right), £3,020, both by Repossi
£1,895; trousers, £600, by Jimmy Choo. Bag, £2,995, Lars wears trenchcoat, £1,190;
both by Paul Smith. by Ferragamo. Rings, top (underneath), £195; jeans,
Shoes, £1,635, by John Lobb. £3,920 each, by Repossi £455, all by Isabel Marant.
Ring, £250, by Chloé. Gem wears coat, £2,100; Jumper, £495, by Begg & Co.
Socks, £18, by Pantherella top, £825; skirt, £380, all Glasses, £300, by Bottega
by Tory Burch. Boots, £1,145, Veneta. Slippers, £485, by
by Manolo Blahnik. Manolo Blahnik
Bag, £2,295, by Ferragamo.

∑ 159
 Jordan wears coat, £6,740;
roll-neck, £720; trousers,
£1,505, all by Ferragamo.
Boots, £1,830, by John Lobb
Lars wears coat, £3,858; top,
£988; trousers, £1,022, all by
Zegna. Glasses, £300, by
Bottega Veneta. Slippers,
£495, by Manolo Blahnik
Chieloka wears coat, £2,270;
top, £1,180; trousers, £1,090;
shoes, £865; bag, price
on request, all by Gucci.
Earrings, price on request,
by Sophie Bille Brahe
Yangying wears coat, price on
request, by Jil Sander by Lucie
and Luke Meier. Shoes, £750,
by Jimmy Choo. Sunglasses,
£565, by Gucci. Necklace,
$747, by Sapir Bachar
Sona wears dress, price on
request, by Aspesi. Boots,
£1,090, by Isabel Marant.
Sunglasses, £330, by Gucci
Gem wears coat, £8,050;
blouse and skirt two-piece,
£1,400, both by Hermès.
Boots, £1,095, by Lemaire.
Earrings, $265, by Sapir Bachar
Aramish wears coat; jacket
(underneath); top; trousers,
all price on request, by
Bottega Veneta. Boots,
£830, by Celine
Kiran wears jacket, £5,000;
roll-neck, £900; trousers,
£1,550, all by Hermès.
Shoes, £520, by Santoni
Thijs wears coat; boots, both
price on request, by No.21.
Jeans, £520, by Jacob Cohën.
Top, £45, by Calvin Klein

160 ∑
Fashion
Fashion

Above, Yangying wears coat; Thijs wears gilet, £3,700;

bag, both price on request, trousers, £1,100; shoes, £702,
by Bottega Veneta. Boots, all by Dolce & Gabbana
£1,325, by Jimmy Choo Opposite, Gem wears jacket,
Jordan wears suit, £1,800 by £2,100; top, £990; trousers,
Emporio Armani. Boots, £1,830, £740; earrings, £560, all by
by John Lobb. Sunglasses, Celine by Hedi Slimane
£330, by Bottega Veneta
∑ 163
164 ∑
 Fashion

Opposite, Aramish wears coat, Kiran wears jacket, £840; Above, Yangying wears coat, Kiran wears coat; shirt;
£1,040; jumper, £795; trousers, top, £395, both by Ami. £970; jumper, £490, both by trousers, all price on request,
£395, all by Herno Jeans, £520, by Jacob Cohën. Toteme. Skirt, £520, by Tod’s. by Gabriela Hearst. Boots,
Chieloka wears coat, £5,940; Boots, £950, by Jimmy Choo Shoes, £750, by Jimmy Choo. £950, by Jimmy Choo
trousers, £2,366; bag, £1,820, Yangying wears dress, Bag, $4,600, by Dior Gem wears coat, €1,135; skirt,
all by Chloé. Shoes, price on £1,600, by Tod’s Thijs wears top, £1,000; wings, €645, both by Dries Van Noten.
request, by Sportmax. Gem wears jacket, £1,490, by price on request, both by Loewe Boots, £1,145, by Manolo Blahnik.
Earrings, $398, by Sapir Bachar JW Anderson. Boots, £1,095, Chieloka wears jacket, £960; Glasses, £500, by Lindberg.
Sona wears jacket, price on by Lemaire. Glasses, £500, by trousers, £565; shoes, price Earrings, $345, by Sapir Bachar.
request, by Conner Ives. Boots, Lindberg. Earrings, price on on request, all by Sportmax. Bag, £2,295, by Ferragamo
£990, by Isabel Marant. request, by Sophie Bille Brahe Earrings, £440, by Celine
Sunglasses, £335, by Balenciaga
Fashion

Above, Chieloka wears jacket, Opposite, Yangying wears coat, Models: Chieloka at Xdirectn, Make-up: Sunao Takahashi at
£4,400; jumper, £1,220; skirt, £4,500; top, £2,000; choker, Thijs Leushuis at Chapter Mgmt, Saint Luke using Dior Forever
Sona at Majin Scouting, Foundation and Capture
£4,350, all by Prada. Shoes, £1,330; bag, £4,600, all by Dior. Gem Refoufi at Present Model Totale Le Sérum
£920, by Miu Miu Boots, £750, by Toteme Management, Kiran Farebrother
Photography assistants:
Thijs wears coat; boots, both Jordan wears jacket, £6,740; at Premier Model Management,
Jed Barnes, Coco Bagley
Yangying Long at The Hive
price on request, by No.21. roll-neck, £720; trousers, Management, Jordan Djadi Fashion assistants: Kris Bergfeldt,
Jeans, £520, by Jacob Cohën. £1,505, all by Ferragamo. at Storm Management, Sabrina Leina, Ady Huq
Top, £45, by Calvin Klein Boots, £1,830, by John Lobb Lars Baena Boer, and Aramish
Mangi at Viva London Hair assistant: Aimeric Aimot
Lars wears coat, £3,858; top, For stockists, see page 169
Casting: Hien Le at Diller Global Make-up assistant: Ruby Yu
£988; trousers, £1,022, all by
Zegna. Slippers, £495, by Hair: Maarit Niemela at Production assistant:
Minna Vauhkonen
Manolo Blahnik. Glasses, Frank Agency using Amika
£300, by Bottega Veneta Photographed on location
at the David Zwirner gallery,
London W1, see page 168
∑ 167
 Fashion

© Danielian Galeria, courtesy Danielian Galeria and David Zwirner

CARNIVAL OF RICHES
The colourful compositions of Brazilian artist Odoteres Ricardo de Ozias
set the scene for the season’s wishlist wardrobe

Making a bold backdrop to our main fashion story, the Candomblé faith (the African diasporic religion Above, Sem titulo (untitled),
work of the late Brazilian artist Odoteres Ricardo de originating in Brazil, developed by enslaved Africans 2001, oil on hardwood board,
Ozias was on show at David Zwirner’s London outpost and their descendants) resonated with him as a Black by Odoteres Ricardo de Ozias
last month, in one of his first solo exhibitions outside of Brazilian, and his paintings are littered with depictions
Brazil. Rich textures and bold colours unite in his of the religion’s spirits, orixás. Their representations,
pieces, which vividly capture the many facets of the signifying hardship, are rife with spiritual symbols.
Brazilian experience, Ozias’ distinctive flat perspective Ozias explored these themes in a mish-mash of non-
subtly distorting traditional codes. traditional forms, often choosing to paint on Eucatex
Born in 1940 into poverty in Eugenópolis, in the (wood-fibre panels) or Formica. As well as using a
Minas Gerais countryside, Ozias was brought up among brush, which he created by chewing the end of a
the Afro-Brazilian population. The coffee and sugar wooden stick, Ozias used his fingers, toothpicks and
plantations of his childhood later became recurring toothbrushes to create layered compositions rich in
features in his work, alongside depictions of the defined forms, bold colours and patterns.
atrocities committed as part of Brazil’s colonisation. Group scenes also fascinated Ozias, who translated
After Ozias’ family moved to Rio de Janeiro, the the collective energy of the crowd into a vast single
self-taught artist, then in his 40s, began to explore his body that was often indistinguishable from the city
love for painting. His religious paintings were at the landscape. In his work illustrating Brazil’s Carnival
intersection of both his work and beliefs, nodding to parades, dancers and spectators are clearly divided in
his later role as an evangelical minister and uniting a an atmospheric juxtaposition of freedom and formality.
Brazilian colonial history with biblical narratives. The davidzwirner.com

168 ∑ WRITER: HANNAH SILVER

 Stockists
Aequo Fredericia Silk tulle dress with
sequins, A/W 1930,
aequo.in fredericia.com
by Chanel, currently
Akris Freifrau on show at the
V&A, see page 070
akris.com freifrau.com
Ami Gabriela Hearst
amiparis.com gabrielahearst.com
Apple Givenchy
apple.com givenchy.com
Artemide Grau
artemide.com grau.art
Aspesi Gucci
aspesi.com gucci.com
Audo Copenhagen Hermès
audocph.com hermes.com
Azucena Herno
azucena.it herno.com
Balenciaga Hieronymus
balenciaga.com hieronymus-cp.com
Bang & Olufsen Ichendorf Milano
bang-olufsen.com ichendorfmilano.com
Begg & Co Isabel Marant
beggxco.com isabelmarant.com
Bottega Veneta Jacob Cohën
bottegaveneta.com jacobcohen.com
Brionvega Jil Sander
brionvega.com jilsander.com MDF Italia Saint Laurent by
Burberry Jimmy Choo mdfitalia.com Anthony Vaccarello
burberry.com jimmychoo.com ysl.com
Minotti
Caran d’Ache John Lobb minotti.com Santa & Cole
carandache.com johnlobb.com santacole.com
Miu Miu
Carl Hansen & Søn JW Anderson miumiu.com Santoni
carlhansen.com jwanderson.com santonishoes.com
Montblanc
Celine Kettal montblanc.com Sapir Bachar
celine.com kettal.com sapirbachar.com
MSGM
Chloé Knoll shop-msgm.com Singchan Design
chloe.com knolleurope.com singchandesign.com
Nanimarquina
Completedworks Kohler nanimarquina.com Sophie Bille Brahe
completedworks.com kohler.com sophiebillebrahe.com
New Balance
Conner Ives Koyori newbalance.co.uk Sportmax
connerives.com koyori-jp.com sportmax.com
New Tendency
Desalto Lambert & Fils newtendency.com String Furniture
desalto.it lambertetfils.com stringfurniture.com
No.21
Dior Lanvin numeroventuno.com Tacchini
dior.com lanvin.com tacchini.it
Origin Made
Dolce & Gabbana Lapalma origin-made.com Thonet
dolcegabbana.com lapalma.it thonet.com
Pantherella
Dries Van Noten Lemaire pantherella.com Tod’s
driesvannoten.com lemaire.fr tods.com
Paul Smith
Ege Carpets Lindberg paulsmith.com Tory Burch
egecarpets.com lindberg.com toryburch.com
Poggenpohl
Emporio Armani Living Divani poggenpohl.com Toteme
armani.com livingdivani.it toteme-studio.com
Prada
Ethimo Loewe prada.com USM
ethimo.com loewe.com usm.com
Rabanne
Ewe Studio Lumina pacorabanne.com Vibia
ewe-studio.com lumina.it vibia.com
Repossi
Fendi Maison Margiela repossi.com Vipp
fendi.com maisonmargiela.com vipp.com
Resident
Ferragamo Manolo Blahnik resident.co.nz Vitra
ferragamo.com manoloblahnik.com vitra.com
Fractall Matter Made Zegna
fractall.be mattermade.us zegna.com

∑ 169
 WallpaperSTORE*

WallpaperSTORE* is back. Our curatorial eye brings you the best design, lifestyle products
and tech, all chosen by the Wallpaper* team of editors and tastemakers from the most exciting
creatives and brands. Visit Wallpaper.com to access the best objects that money can buy

‘Compound’ vessel
by Completedworks and
Photography: Neil Godwin at Future Studios for Wallpaper*

Ekaterina Bazhenova-Yamasaki
Although London-based brand Completedworks
is better known for its statement jewellery
collections, it is increasingly getting noticed for
its unusual take on homeware, which ranges
from pared-back vases with soft, almost draped
forms to fun ‘Bumpity Bump Bump’ mugs
adorned with what look like thumbprint indents.
Among our favourites is this ceramic vessel, part
of a series of textured designs with expressive
silhouettes produced in collaboration with
interdisciplinary artist Ekaterina Bazhenova-
Yamasaki. The vessel’s flowing shape is meant
to convey movement, referring both to the art
of choreography and the idea of serendipity.
‘Compound’ vessel, £345, by Completedworks
and Ekaterina Bazhenova-Yamasaki, from
Mytheresa, mytheresa.com

170 ∑ WRITER: LÉA TEUSCHER

9000 9001