The World of Interiors June 2022

c o n t e n t sJUNE 2022 15 49 EDITOR IN CHIEF’S LETTER BAYEUX WATCH 20 Is June the crewel-lest month? The apotheosis of the craft skill CONTRIBUTORS is this celebrated 11th-century tapestry,as Kassia St Clair reports Meet some of the writers and photographers in this issue C OV E R 28 51 Sofa so good – a striped Neoclassical canapé graces the main salon in STITCH PICKINGS SWATCH: CREWELWORK Alexia Leuschen’s Manhattan home, a Stanford White-designed man- sion on Fifth Avenue that the interior designer rescued from being gutted. How did Parisian embroiderer The embroidered fabrics that So if you’re sitting pretty, turn to page 154. Photograph: Ngoc Minh Ngo and paper shaper Lucie Touré pique David Lipton’s interest become a darling of fashion? Lily Le Brun needles her for answers 55 BOOKS Reading on art and architecture, design and decoration 30 63 ROLL MODELS AESTHETE’S LIBRARY Repeat after me: the finest Mario Praz’s wide-ranging An wallpapers are worthy of a IllustratedHistoryof Furnishing (1964) gallery wall. Gianluca Longo is ultimately a journey into the has certainly got the hang of it psyche,discovers Mitchell Owens COLUMN 3: PASCAL CHEVALLIER SUBSCRIPTIONS AND BACK 44 66 ISSU E S Receive 12 issues deliv­ ered direct to your home address. BATTERY CUISINE BEACONS OF HOPE Call 01858 438815 or fax 01858 461739. Alternatively, you can visit Fritter away some of the summer From sleek brass swing-arms to us at www.worldofinteriors.com by deep-frying flowers. Thus, totemic carved columns, these delicate and crisp, petals are in lamps light the way to brighter Periodicals postage paid at Rahway, NJ. Post­ fine fettle, says Daisy Garnett times, says Benjamin Kempton master: Send address corrections to ‘The World of Interiors’ c/o Mercury Airfreight International Ltd Inc, 2323 Randolph Avenue, Avenel NJ 07001, ‘The World of Interiors’ (ISSN 0264­ 083X) is published monthly. Vol 42 no 6, total 477

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content s JUNE 2022 75 220 186 SERIOUS PURSUITS EXHIBITION DIARY A MUSE MYSELF Auctions, antique fairs and African astronauts, hidden In Anh Duong’s New York flat, diverting activities Brazil, diversifying Documenta, Czech furniture and Julian play’s the thing, plus Schnabel works point to past Jennifer Higgie’s listings relationships.But the former model has long beaten her own art path,learns Hamish Bowles 77 244 166 NETWORK OBJECT LESSON VEIN GLORIOUS Merchandise and events from Maria Prymachenko’s sick cow Aided by travertine and marble, around the world is a symbol of Ukrainian Henry Timi has designed a slab resistance,says Yevheniia Moliar of Milan monumentality for gallerista Nicolò Cardi and his 81 interiors Arte Povera works.It’s the perfect pied-à-pierre, says Lee Marshall ART & ANTIQUES SPECIAL 153 194 COLUMN 2: SIMON UPTON. COLUMN 3, FROM TOP: GIULIO GHIRARDI; SIMON WATSON. COLUMN 4, FROM TOP: FRANCOIS HALARD; IVAN TERESTCHENKO SU PPL E M E N T Lots to admire, VISITORS’ BOOK so let’s bang the gavel to see if AN ANGEL AT MY TABLE you’re biddable.We present The main stories in this issue Dame Magdalene Odundo’s At the Casa Ortega in Mexico burnished pots and portrait City, designed in the 1950s by painter Glyn Philpot’s coming Luis Barragán, votive symbols out in 1930s Paris. Meanwhile, sit against swooping volumes Louis Bofferding, a dealer of and hot hues. It’s pretty in pink, brown furniture in New York, saysAlejandro Hernández Gálvez will appeal to old-school (and old-tools) cabinet restorer Tim Smith in Ludlow.And after listing the best of the antique and art fairs, we’re going, going, gone 14 9 154 174 206 ADDRESS BOOK FIFTH AMENDMENT THE STUFF OF LEGEND NOBLE SA LVAGE Suppliers in this issue Interior designerAlexia Leuschen Polly Devlin has parlayed a The De Ricous run a renowned acquired a dusty robber baron’s lifetime of collecting things, atelier devoted to surface décor 218 Louis XVI-style palace on New from needlework to glassware, – and the damaged 18th-century York’s Fifth Avenue,turning it into a fund of anecdotes. In her pleasure palace they own in Paris I NSPI R AT ION into a magnet for any modern London home, the Irish writer is the ideal lab to develop these magnate. Text: Mitchell Owens regales us with some stall tales skills, finds Marie-France Boyer How to recreate some of the design effects in this issue, by 184 Gareth Wyn Davies MRS TEPENDRIS AT LARGE A brush with WoI’s revered roving editor and Givenchy’s collection: Hamish Bowles introduces both

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EDITOR’ LETTER JUNE 2022 In this issue we consider the wonders and possibilities of living the work 1939; Harold Stevenson brilliantly used the swirls in with art and antiques. Frankly, I can’t imagine living without some lilac marbled paper to describe my cheekbones. Not either and applaud how tastemakers such as decorator Alexia everyone has been so flattering. Leuschen (living in Gilded Age glamour on Fifth Avenue; page 154) and dealer/collector Louis Bofferding (with no less style I had a visceral confrontation with contemporary art in a modest flat nearby; page 130), Polly Devlin (a hoarder/col- when I went to visit Michael Landy’s 2001 Break Down instal- lector after my own heart; page 174), and indeed Luis Barragán lation in the old C&A store on Oxford Street – during which (whose ravishing Casa Ortega I am so proud to showcase in he systematically destroyed the 7,227 objects in his posses- this issue; page 194) orchestrated their findings with such élan. sion at the time, works by his friends Chris Ofili, Damien Hirst and Tracey Emin, his diplomas and love letters among And I live in awe of artists. them. I stood in the middle of the room and experienced Anh Duong (page 186) spun into my life on a pair of Sidonie a breakdown of my own, bursting into tears, so attached am Larizzi bobbin heels and a pouffe dress in the mid-1980s. She I to my own belongings. When I sat for Landy a few years was a conduit for Christian Lacroix’s Callas-meets-Arlesienne fantasies later, it was a form of meditation as and posed for long hours for pains- he swayed like a snake charmer for takingly fastidious photographers, hours and days at a time, document- channelling their own visions in a ing every follicle and pimple. The way that would hold her in good unvarnished result gave me pause stead for a future life as an actress. but I know I am going to appreciate Anh and I became fast friends it in years to come. and I thought her eyrie in the foot- hills of Montmartre the most rom- The philistinism continues, alas. antic of settings for her enigmatic When our style director, Gianluca beauty. One fine day, however, I went Longo, brought in Giulio Ghirardi’s to call and saw to my horror that a striking images of art dealer Nicolò mid-19th-century oil portrait of a Cardi’s astounding travertine-and- Madame Bovary-style figure, gifted stone bunker in the heart of Milan to Anh by her sister, had had two vio- (page 166) I wondered aloud whether let streaks painted clean across it. I the shadowy figure in the drawing thought it an act of vandalism. Anh room was the client or his architect, assured me that it was Art. As I would the unflinching Modernist Henry soon discover, the anonymous work Timi, never having met either. ‘That’s of a 19th-century hack portraitist had become a Julian Schnabel a Pistoletto,’ said Gianluca with a (then the wunderkind of the downtown Manhattan art scene), world-weary eye roll. I do try. I was and it now hangs as an eye-catcher at the end of an enfilade of very moved by A Matter of Life and Death (WoI last month), rooms that has an artistic provenance of its own (page 190). an exhibition of works in clay at Thomas Dane’s Naples Soon after the Schnabel branding episode, Anh took up a gallery, deftly curated by Jenni Lomax, and thrilled to be paintbrush herself to powerful effect. seated next to Dame Magdalene Odundo (page 124) for a Anh’s portrait of me (inset), painted soon after, remains a festive opening dinner. Odundo’s exquisite vessels had been treasured memory of a balmy Manhattan afternoon. Curi- placed in stirring dialogue with a Lucio Fontana work. Dame osity – married, it must be admitted, to shameless vanity – has Magdalene told me that a WoI profile in June 1984 had been resulted in my sitting for a number of artists through the a seminal moment in her career, and so, as she prepared years, and countless photographers. McDermott & McGough to install works for the Venice Biennale, we revisited her set my silhouette against some Cecil Beaton roses and dated studio where clay becomes gleaming glory, and marvelled anew at the alchemy of art $ HAMISH BOWLES, EDITOR IN CHIEF



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contributors SIMON UPTON POLLY DEVLIN FRANCOIS HALARD Irresistibly drawn to the‘outward-goingness’ of photography and its Some people discover their François’s self-proclaimed nature of discovery, Simon rarely finds himself ‘standing in front of raison d’être along the way, greatest achievement is an ability a blank canvas with painter’s block’. His work has been gracing the but Polly was‘born a writer’, to‘photograph what inspires pages of The World of Interiors since 1998, almost a quarter of a century. something she has proved time me with sheer freshness and For this issue, the long-time contributor shot the homes of Tim Smith and time again throughout a gluttony’. His appetite for image- (page 93), Louis Bofferding (page 130) and Anh Duong (page 186). long and successful career whose making is so voracious that he impact has been marked by an believes he‘would not have OBE for services to literature. survived without my camera or Most at home in her wonderfully the love of photography’.For this eclectic parlour,Polly offers the issue,François shot a house in reader rare insights into her Mexico City designed by architect London home (page 174). Luis Barragán (page 194). MITCHELL OWENS NGOC MINH NGO MRS TEPENDRIS MITCHELL OWENS PHOTOGRAPH: GABRIELLE A. LANGDON (@THEGABGRAM) Finding himself lacking sporting Ngoc’s passion for photography ‘I’m every woman,’ sang Whitney Houston, a phrase that aptly prowess or a knack for numbers, began while working on a feature describes the couture-loving, liberty-chasing, perfectly coiffed Mrs Mitchell‘found great happiness film where she had the chance Tependris.Although she is inspired by all women, Mrs T is very much in books’.Having been an avid to study many black-and-white sui generis. For this issue, with the help of artist Konstantin Kakanias, reader of WoI since its first issue, photography books. This gave she reflects on the home of her great friends Hubert de Givenchy and Mitchell now joins the team as her a‘deep appreciation of the PhilippeVenet as Hubert’s celebrated collection goes on sale (page 184). American editor and custodian of art’.With a solo exhibition at the theAesthete’s Library.He reflects Musée Yves Saint Laurent in onAlexia Leuschen’s Stanford Marrakesh behind her, for this White-designed house (page issue Ngoc photographed the 154) and her determination not ‘architectural gem’that is Alexia to ‘misguidedly “improve” it’. Leuschen’s home (page 154).

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Vogue House Hanover Square London W1S 1JU Tel 020 7499 9080 EDITOR IN CHIEF Hamish Bowles STYLE DIRECTOR DEPUTY EDITOR MANAGING EDITOR Gianluca Longo Emily Tobin Tom Reynolds FEATURES EDITOR AMERICAN EDITOR ACTING VISUALS EDITOR ASSOCIATE EDITOR, PARIS CHIEF SUB-EDITOR Amy Sherlock Mitchell Owens Ivan Shaw Marie-France Boyer Damian Thompson DECORATION EDITOR ART EDITORS EDITORIAL ASSOCIATE SUB-EDITOR Benjamin Kempton Simon Witham Ariadne Fletcher Gareth Wyn Davies Liam Stevens FOUNDING EDITOR Min Hogg CONTRIBUTING CONTRIBUTING EDITOR, CONTRIBUTING EDITOR, CONTRIBUTING EDITOR, EDITOR AT LARGE GARDENS ARCHITECTURE I TA LY Tania Compton Jane Withers Patrick Kinmonth Marella Caracciolo C O N T R I B U T I N G E D I T O R S Cosmo Brockway, Miranda Brooks, Laura Burlington, Florian Daguet-Bresson, Amy Fine Collins (New York), Ruth Guilding, Allegra Hicks, Carolina Irving, Priyanka Khanna, Augusta Pownall, Rodman Primack (Latin America), Tree Sherriff, Plum Sykes PUBLISHING DIRECTOR / CHIEF BUSINESS OFFICER HOME Emma Redmayne PA TO PUBLISHING DIRECTOR Sophia Warner Tel: 020 7152 3117 LEAD COMMERCIAL ACTING LEAD COMMERCIAL COMMERCIAL DIRECTOR COMMERCIAL DIRECTOR DIRECTOR (DECORATION) COMMERCIAL DIRECTOR DIRECTOR (TRADE AND (HOME AND PARTNERSHIPS) (HOME AND RETA IL) Sayna Blackshaw Sophie Catto (DECOR ATION) DE SIGN)/A S SOC I AT E Melinda Chandler Marina Connolly PUBLISHER, EUROPE Christopher Daunt SENIOR ACCOUNT SENIOR ACCOUNT DIRECTOR ACCOUNT DIRECTORS ACCOUNT MANAGER DIGITAL COMMERCIAL DI R EC TOR/A S SOC I AT E Georgina Hutton Nichole Mika Olivia Barnes DIRECTOR Olivia McHugh PUBLISHER, EUROPE Olivia Capaldi Malcolm Attwells Alexandra Bernard Tel: +33 680 87 36 83 ITALIAN OFFICE US ADVERTISING CLASSIFIED RESEARCH AND INSIGHTS Christopher Daunt – interiors Nichole Mika Shelagh Crofts (Director) Lauren Hays-Wheeler (Insights Manager) Lucy Hrynkiewicz-Sudnik Tel: +44 7595 567573 Tel: 011 4420 7152 3838 (Senior Advertisement Manager) Holly Harland (Research Executive) Email: [email protected] Email: [email protected] Isabel Stuart (Senior Sales Executive) Valentina Donini – fashion Tel: +39 028 051422 Email: [email protected] THE INTERIORS INDEX/ THE INTERIORS INDEX/ EDITORIAL SYNDICATION EXECUTIVE EDITOR ACCOUNT EXECUTIVE BUSINESS MANAGER ENQUIRIES Sophia Toce Isabella Fish David Foster [email protected] PA R T N E R S H I P S Rebecca Gordon-Watkins (Art Editor), Freya Hill (Designer), Arta Ghanbari (Special Projects Editor), Sophia Warner (Project Co-ordinator/Event Co-ordinator) MANAGING DIRECTOR, DEPUTY MANAGING CHIEF OPERATING OFFICER HEAD OF FINANCE PEOPLE DIRECTOR, LONDON EUROPE DIRECTOR, EUROPE Sabine Vandenbroucke Daisy Tam Rosamund Bradley Natalia Gamero Albert Read PRODUCTION DIRECTOR Sarah Jenson COMMERCIAL SENIOR PRODUCTION SENIOR PRODUCTION COMMERCIAL, PAPER AND PRODUCTION MANAGER CONTROLLER CO-ORDINATOR/DIGITAL DISPLAY PRODUCTION Helen Crouch PRODUCTION CONTROLLER CONTROLLER Xenia Dilnot Martin MacMillan Lucy Zini CIRCULATION DIRECTOR NEWSTR A DE Richard Kingerlee MARKETING MANAGER S U B S C R I P T ION Patrick Foilleret (Subscriptions Director), Olivia Streatfield Anthea Denning (Creative Design Manager), Lucy Rogers-Coltman, U S S U B S C R I P T I O N S A L E S The World of Interiors, Emma Murphy (Subscriptions Marketing Managers), Freepost PO Box 37861, Boone, Iowa 50037-2861. 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STITCH PICKINGS Having won a prestigious ‘emerging talent’ prize in Paris and attracted commissions from the likes of Cartier and Guerlain, textile designer and embroiderer Lucie Touré seems to have it all sewn up. Visiting the atelier she established in 2018, Lily le Brun unpicks her pointedly successful career to date. Photography: Pascal Chevallier

antennae PAPER AND TEXTILE designerLucieTouré Nationale Supérieure des Arts Décoratifs. There, Lucie began to appreciate how widely textiles are used, from car seats to cou- is casting her mind back to 2018, the year she set up her own atel- ture. It’s an awareness that today informs her desire to expand ier. After six years working for prestigious Parisian workshops, into areas beyond fashion. designing, researching and creating exquisite embroidery for prêt-à-porter and haute-couture houses such as Christian Dior, In her studio, Lucie has been busy creating what she describes Louis Vuitton and Chanel, she wanted to explore new possibili- as her ‘own world’, adding ‘preciousness’ to quotidian materials ties for her skills. Sitting in her ordered, airy studio in Paris’s 13th such as paper. We go over to a clothes rail in the corner, from arrondissement, she recalls what motivated her to go it alone. ‘I which dangle many different illustrations of what she means by wanted to continue to work with the handcraft techniques I had this. One sample she shows me combines a complex lattice of honed working in fashion, and not only expand into new areas, beadwork with smatterings of minute flowers made from layers like interior design, window displays and luxury packaging, but of pastel-coloured card. In another, pages from a Japanese car- combine them with new materials too, such as paper.’ toon have been pleated into squares the size of postage stamps and sewn together in a loose, open-weave design. In some pieces, Over the past four years, this is exactly what she has done – tiny brass rings, the kind used for jewellery, link paper elements and with success, not only winning commissions from historic and beads, while in others she has simply used card and copper- brands such as the perfumer Guerlain, but also accolades for her leaf, bringing it all to life with intricate origami folds. delicate inventions along the way. In 2018, she was awarded a coveted two-year residency at the Ateliers de Paris, which nur- The consistency and cleanness feels highly contemporary. tures budding creative businesses. And last year she won an Indeed, she designs all her work on computer and uses a ma- award for emerging talent in the Grand Prix de la Création de la chine to cut out individual shapes, which she then brings togeth- Ville de Paris. The chair of the judges, interior architect Laura er by hand. This is one of the advantages of working with paper: Gonzalez, commissioned her to create a piece for a Cartier store it affords her a precision that would not be as achievable with in Chengdu, China, which would embellish a majestic, ceiling- other materials. It also allows her to be freer with colour; many height paravent with a ‘rain of ginkgo leaves’. of the elements have been hand-painted to achieve specific hues. As Lucie describes the newly completed work, which will be Her sugar-sweet palette, interest in origami and recurring flo- in place for the next two years, she shows me a few individual ral motifs prompt me to ask if Lucie has ever been to Japan. ‘Four golden leaves. They’re a little larger than the real thing, with doz- times. It’s a really inspiring culture for me.’ Her diploma project ens of dense lines of metallic gold stitching mimicking the veins. was based on traditional Japanese embroidery techniques. The folding screen has eight panels, each bearing between 80 and 120 leaves. Working with five assistants, the embroiderer reck- Recently, she has been contacted by people who want stand- ons the project took 700 hours in total. When I turn one over, it’s alone pieces for their walls. In June 2021, she exhibited a few of easy to see why – a neat network of hundreds of rhythmic stitches. those at Paris’s Galerie Mayaro. This spring, she will be part of the international exhibition Homo Faber Event, which is staged Lucie has invested a great deal of time bestowing lustre and in Venice. While making work for and of itself has been enjoy- richness to cloth with needle and thread, but paper has also able, it’s not something she had anticipated. Is this what she sees played a major part in her creative life, even more so than em- as her future, rather than working with clients? ‘I hope it will be broidery. As a child, she says she spent ‘a lot of time in my room, a balance,’ she replies. ‘And I hope to be able to have people trying to create things with paper’. At school – where she took a work with me on a full-time basis, to create a place with good baccalaureate specialising in applied arts – it was a ‘material that energy, where everyone is happy’ $ appeared a lot in my research and experimentation’. Lucie Touré, 20 Primo Levi St, Workshop 3.2, 75013 Paris (00 33 6 72 08 86 65; instagram.com/lucie.toure). Homo Faber Event takes place It was only during her time at the Ecole Supérieure des Arts on the Venetian island of San Giorgio Maggiore, 10 April-1 May. For Appliqués Duperré that she became interested in embroidery, more information, ring 00 39 041 271 0211, or visit cini.it going on to a master’s in textiles and material design at Ecole Opposite: Lucie spent six years supplying Paris’s top fashion houses. This page, top left: chrysanthemums made from paper and sequins underline the Japanese influence. Top right: computer-aided design fuses with specialised handcraft techniques. Sittings editor: Marie-France Boyer

1 2 3 4 THIS PAGE: 1 ‘Dahlia HQN2121081’, by Harlequin, £79, Sanderson Design Group; swept-gesso frame, £100, Pure & Applied. 2 ‘Fullerton W7454-02’, £246, Osborne & Little; tramp-art frame, £880, Lacy Gallery. 3 Corail ‘Les Delphiniums’, £243, Pierre Frey; pine, gesso and watergilt frame, c1820, £500, Farang Wren. 4 ‘Archives II 7171’, £540, Zuber; gilt oval frame, £225, Lacy Gallery. OPPOSITE: 1 Capri ‘Michel’, by Raoul Textiles, £179.40 per m, Turnell & Gigon; reproduction frame, £700, Rollo Whately. 2 Original ‘Dahlias’, £1,560, Flora Soames; bird’s-eye maple frame, £130, Pure & Applied. 3 ‘Sanguine HQN2112839’, by Harlequin, £79, Sanderson Design Group; Japanese corner frame, £155 per m, Pure & Applied. 4 Fuchsia ‘Peonies’, by Michael Szell, £115 per m, Christopher Farr Cloth; 1980s frame, £225, Lacy Gallery. Background: Turchese ‘Amoir Libre’, £242 per m, Dedar. Wall- paper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book r

swatch ROLL MODELS Just as any discriminating person will think long and hard about the hang of their pic- tures, the same applies to wallpaper – only more so, given how wide a canvas it’ll cover. First things first – find some paragons of pattern in our vogue’s gallery. Whether his- torical or horticultural, animal or abstract, curator Gianluca Longo offers fine frames of reference. Photography: Anders Gramer 1 3 2 4

1 4 3 2 5 1 Arizona ‘Hex Paper’, by Kelly Wearstler, £850 per two 5yd rolls, GP&J Baker; archive frame, not for sale, A. Prin. 2 Red ‘Stamps’, by John Derian, $450 per two 5yd rolls, Studio Printworks; faux-tortoiseshell frame, £580, Lacy Gallery. 3 Peridot ‘Queen Cobra’, £245 per m, Arte; Hogarth frame, £175, Pure & Applied. 4 ‘Impact ZPLW312980’, by Zoffany, £125, Sanderson Design Group; archive frame, not for sale, A. Prin. 5 Fuhgedabouddit ‘Warhol Brooklyn Bridge’, $440 per 2.5yd roll, Flavor Paper; Italianate reproduction frame, £1,450, Lacy Gallery. Background: Parme ‘Amoir Libre’, £242 per m, Dedar. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book

1 swatch 2 3 4 1 ‘Montacute ZPLW312967’, by Zoffany, £156, Sanderson Design Group; gesso frame, £120, Pure & Applied. 2 Charcoal ‘Wings’, by Peter Valcarcel, $450 per two 5yd rolls, Studio Printworks; Degas frame, 19th-century, £1,400, Rollo Whately. 3 Mole ‘Amore’, by Raoul Textiles, £128.80 per m, Turnell & Gigon; French frame, 19th-century, £1,250, Rollo Whately. 4 Liquorice ‘Malva’, £48, Scion; reproduction Italian 16th-century frame, £2,600, Rollo Whately. Background: Gold ‘Amoir Libre’, £242 per m, Dedar. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book r

swatch 1 2 3 1 ‘Royal Exchange ZPLW312971’, by Zoffany, £156, Sanderson Design Group; Venetian gadrooned frame, 17th-century, £2,000, Rollo Whately. 2 ‘Verdure Tapestry 118-17038’, £500 per 14m roll, Cole & Son; Dutch tortoiseshell frame, 18th-century, £2,400, Rollo Whately. 3 ‘Kalinda 03107-02’, by Manuel Canovas, £158, Colefax & Fowler; reverse Dutch ripple frame, £680, Lacy Gallery. Background: Orient ‘Amoir Libre’, £242 per m, Dedar. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book r



swatch 1 2 4 3 1 Navy ‘Tibet’, by Clarence House, £333 per 4.5m roll, Turnell & Gigon; Italian walnut frame, 19th-century, £3,000, Rollo Whately. 2 ‘Afrika Kingdom 119-5025’, £250, Cole & Son; Epoque Restauration frame, c1820, £850, Farang Wren. 3 Parma-grey ‘Zebras’, $350 per 5yd roll, Voutsa; silver-leaf frame, £295, Pure & Applied. 4 Citron ‘Wanderlust Tea Story’, by Clarke & Clarke, £59, Sanderson Design Group; 1970s frame, £480, Lacy Gallery. Background: Papavero ‘Amoir Libre ’, £242 per m, Dedar. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book $

Pluma Fabrics & Wallcoverings

Art of the Weave IT’S TIME TO HANG TUFTS, AS WOI PRESENTS SIX BRANDS FORGING NEW AESTHETIC DIRECTIONS IN LUXURY RUG DESIGN AND MANUFACTURE SERGE LESAGE Under the keen eye of artistic director and designer Frédérique Lepers, Serge Lesage’s rugs marry con- temporary designs with traditional hand-knotting techniques to create bespoke pieces, including the plush-wool ‘Behind, Or d’Ambre’. A plume of molten gold rises from velvet-dark smoke for an atmospheric, abstract piece that would be at home in any space. Visit sergelesage.com

THE WORLD OF INTERIORS  PARTNERSHIP TAI PING The elegantly retro ‘Overview’ collection puts a slick new spin on the 1970s California-style revival. Influenced by French/American architect and decorator Elliott Barnes’s childhood memories of Los Angeles, the six rugs map the city from above – ‘WeHo’ is an aerial view over erstwhile design hot spot West Hollywood. In hand-tufted silks and wool, it’s a prime example of the masterful craftsmanship Tai Ping has perfected over 60 years. Visit taipingcarpets.com

THE WORLD OF INTERIORS  PARTNERSHIP TANIA JOHNSON To mark the ten-year anniversary of Tania Johnson’s ‘Water’ collection, new colours and designs (such as the striking ‘Rainstorm’) have been added to a fully bespoke selection of timeless rugs. Created using natural materials and hand-knotted by master weavers in Kathmandu, each is inspired by her photographs of light and shadow in moving water – a fleeting moment captured and transformed into a transcendent piece of art. Find out more at [email protected]

THE WORLD OF INTERIORS  PARTNERSHIP GALERIE CHEVALIER Made of local wool hand-knotted in Iran, Parsua by Galerie Chevalier rugs are tomorrow’s antiques. The brand celebrates its 20th anniversary with a collection that includes ‘Tapis- cine’, a Pop-art-style piece drawing clear inspiration from Hockney and designed by French artist Arthur Hoffner. With gently undulating lines mimicking the interplay of light and reflection on a pool surface, ‘Tapis- cine’ looks tempting enough to dive into. Visit galerie-chevalier.com

TOULEMONDE BOCHART For more than 30 years, Tou- lemonde Bochart has harnessed the creativity of France’s most ac- claimed designers to produce its artistic floor pieces. The ‘Sonia’ rug, designed by Florence Bourel, is a contemporary composition in warm hand-tufted wool. Bold graphic shapes and intersecting lines are elegantly interpreted in soft fawns, teals and jades to create a piece with real depth. For more information, visit toulemondebochart.fr

THE WORLD OF INTERIORS  PARTNERSHIP THE WORLD OF INTERIORS  PARTNERSHIP DEIRDRE DYSON When lockdown hit, Deirdre Dyson was on a boat in the Guadeloupe Islands; she remained there for three months. Her long-held fascination with the ocean, com- bined with this period of complete isolation, led to the creation of her 2022 collection, ‘All At Sea’. Each piece is bespoke, hand- woven by Nepalese craftspeople from purest Tibetan wool and silk – materials that lends the rugs a distinctive, flickering light. Visit deirdredyson.com

BATTERY CUISINE Whether made from borage, nasturtiums or clover, there is something miraculous about a flower fritter. How can something so delicate it shrivels in a child’s hand hold its shape in a pan of boiling oil? With a sprinkle of sea salt, they’re simply delicious. All you need to think about is whisking up a light Japanese-style batter to dredge the blooms – just make sure you don’t miss the season, says Daisy Garnett. After all, tempura fugit! Photography: Tessa Traeger Top: a courgette flower in its batter puffs up and turns a pale golden brown as it fries in a large vat of sunflower oil. At home, a medium saucepan with a finger or two of oil works perfectly well. Opposite: flower fritters are spread out on a rack to drain briefly before being served. Good enough to eat

table

table WHEN my late father turned 75, years ago now, my sisters so flimsy, so ready to fall apart in a child’s hand, through a gloopy batter then dunking it in boiling oil would destroy it. But no, the and I threw him a dinner. The older one and her husband cleared flower holds up and is instead transformed into a snack that is, in their bedroom of furniture, painted a mural on the walls, and set one package, crisp and velvet-smooth in texture, subtle in fla- up trestle tables for the evening. I was in charge of cooking. What vour, and intriguing as an offering. I remember watching one would you most like to have, Dad, I asked him. He looked at me cook dredging and frying a large sprig of borage, and thinking, blankly, not mad about menus. But he didn’t want to be unhelp- surely not, but then eating it and wondering what I’d been doing ful either, so he had a think. ‘I know,’ he said, suddenly pleased all my life not letting that plant – calendula and clover too, come with himself. ‘Those yellow flower things you made all summer.’ to that – take over the garden. He was talking about the courgette flowers I’d picked from That’s the flowers. The batter couldn’t be simpler. You whisk the garden, dredged in batter, then fried and served as they came flour with cold fizzy water or beer until it is the consistency of out of the pan. ‘Those,’ he said, gaining momentum. ‘Those yel- double cream, but not as smooth – it’s counter-intuitive but low guys are what I want to eat most, always. Let’s have those.’ lumpy is good. Some cooks add an egg-yolk at the beginning, mixed into the flour, others a foamy egg white at the end once the We didn’t. We couldn’t. Flower fritters out of season for a flour and water are amalgamated. Both are good. Neither makes party of 30 people with one amateur cook who also has to join as much difference as you might think. Keep the mixture cold by the gathering? Not possible. But you get the point. A fresh flower adding a few ice cubes: you want that batter to jump to it when it fritter is about as magical a thing as you can eat. It’s also, evoca- hits the hot oil, so that your fritters are crisp and light rather than tions aside, lip-smackingly delicious. But to evoke, just for a sec- greasy and sad. This reaction is a crucial part of the dish. ond: flowers, people. How about that? Frankly I find anything that grows astonishing. I pull up a potato and swoon. But beauti- Don’t be put off by the prospect of deep-frying. You don’t need ful, delicate, sexpot flowers – the apex of a whole system of gallons of oil and it won’t catch fire; just sling enough into a sauce- growth – dense with reproductive energy and designed to in- pan for your fritters to cook in. Dust the flowers in flour before spire frenzied pollinating activity before morphing into seed? coating them in wet batter, then fry them one at a time, more or You get to eat those? Come on! less, until they are golden. Let them drain on kitchen paper before sprinkling with salt, and eat piping hot, milliseconds after they’ve You can eat many flowers raw. Nasturtiums and violas, sun- come out of the pan. They are flowers. Nature has designed them flower and cornflower petals are lovely sprinkled in salads, and to shriek: Come! Consume me! Their codes, even to lumbering, god knows Instagram is awash with images of dahlias and roses slowcoach humanoids like us, remain clear. Eat them $ and pansies beautifying cakes and cookies. But there is nothing quite like a flower fritter. You’d think that dredging something Top left: pot marigolds, clover and nasturtiums spill out from a basket, ready to be dipped and deep-fried. They’re also good in salads and pretty adorning cakes. Top right: rare sighting – a plate of seasoned courgette flowers in a light Japanese-style batter. Mostly they disappear straight from the draining rack

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The original Hands-free function Hand-crafted form Discover the VOLA hands-free collection RS11 Wall-mounted dispenser in brushed gold. 4821 Hands-free basin tap in brushed gold. Explore the story vola.com/on- design. Follow us on instagram for more inspirational design and architecture @vola.denmark VOLA International Studio VOLA UK Ltd. - Highfield House vola.com 32-36 Great Portland Street 108 The Hawthorns London W1W 8QX Flitwick MK45 1FN Tel.: 020 7580 7722 | [email protected] Tel.: 01525 720 111 | [email protected]