Harper`s Bazaar - July 2016 UK

Transcription

JULY
2016
£4.40
z a a r. c o.
ww
harpers
ba
w.
uk
EMILIA
CLARKE
From Game of Thrones
to modern heroine
THE BEST
of BRITISH
Perfect
tea-dresses,
pink cardigans
& floral wellies
SUN
KISSED
BEAUTY
HOW TO
GET A
HEALTHY
GLOW
The
SUMMER
of
LOVE
07
9 771751 159088
FASHION’S ROMANTIC NEW MOOD
CONTENTS JULY 2016
102
PAGE
ON THE COVER
102 Emilia Clarke: from Game of
Thrones to modern heroine
From 149 Sun kissed beauty: how to
get a healthy glow
From 61 The best of British: perfect
tea-dresses, pink cardigans &
floral wellies
130 LAST NIGHT I DREAMED
I WENT TO MANDERLEY
AGAIN… Karen Elson conjures
up an English gothic romance
FEATURES
102 SWEPT AWAY Emilia Clarke on the
pleasures of working with the female
team behind her new film after the
macho atmosphere of Game of Thrones
140 STATE OF THE ART As Tate
Modern is expanded and relaunched,
we meet five women who exemplify
the brilliance of the iconic gallery
66
114
FASHION
BESIDE THE SILVER SEA
Hollie-May Saker takes to the beach
in silk, tulle and cashmere
www.harpersbazaar.co.uk
61
72
74
78
STYLE
10 THINGS WE LOVE From Stella
McCartney’s swimwear to Hermès’
royal-birthday scarf
THE STYLE GUIDE The trophy
skirt, and six ways to wear it
MY MOODBOARD Emilia
Wickstead’s silver-screen
inspirations for S/S 16
MY LIFE, MY STYLE Inside the
Cotswolds home of the knitwear
designer Alex Gore Browne
ACCESSORIES
ABSOLUTELY FABULOUS
Animal print, vivid greens and
peacock blues make the season’s bags
and shoes a riot of joyous colour
85
86
90
92
93
94
96
97
BAZAAR AT WORK
BOLD STROKES Red and black
accessories for a strong business look
DOUBLE LIFE Could a second job
be the key to professional fulfilment?
TALKING POINTS
ABOUT TIME Yayoi Kusama’s
new shows bring her life-long search
for the infinite to London
REAL DEALS The best of the
Masterpiece art fair
SPIRIT OF THE PLACE
How the Althorp Literary Festival
lifts the heart and enlivens the mind
THE ART OF CRAFT AS Byatt’s
new book hails two titans of design:
William Morris and Mariano Fortuny
DADDY COOL The novelist Kit de
Waal recalls how her dashing father
informed her own sense of style
DO THE CHARLESTON A touch
of Bloomsbury Group panache
July 2016 |
H A R P E R’ S B A Z A A R
| 29
▼
PHOTOGRAPH: DAVID SLIJPER. SEE MAIN STORY AND STOCKISTS FOR DETAILS
Emilia Clarke in
Christian Dior
Haute Couture
CONTENTS
114
PAGE
The fashion story
‘Beside the silver sea’
BEAUTY BAZAAR
149 HEAT WAVE How to create
a subtle, believable summer glow;
get sleek, frizz-free hair; and pick
the right SPF products for you
156 SUN-KISSED SCENTS Perfumes
that whisk you away to far-off lands
158 THE BEAUTY EDIT The actress
and model Gabriella Wilde reveals
her routine
ESCAPE
162 IN SEARCH OF ALBION
Discover the most glorious
destinations our isles have to offer
FLASH!
168 L’ENTENTE CORDIALE
A very British fashion celebration
in the heart of Paris
169 SOUTH BANK SHOW The stars
and stories from the National
Theatre’s glamorous dinner
REGULARS
EDITOR’S LETTER
CONTRIBUTORS
HOROSCOPES July in the stars.
By Peter Watson
170 STOCKISTS
178 WHY DON’T YOU? Unique
fashion advice that summons the
spirit of Diana Vreeland’s famous
monthly column
52
54
98
SUBSCRIBE to
HARPER’S BAZAAR
For this month’s fabulous
subscription offer
COVER LOOKS Above far left: Emilia Clarke wears silk dress, to order, Christian Dior Haute Couture. Pink gold, diamond and sapphire earrings; matching ring, both from a selection, Dior Joaillerie. Near left
(subscribers’ cover): silk chiffon dress, to order, Christian Dior Haute Couture. Styled by Leith Clark. Hair by Kevin Ryan at Art & Commerce, using Unite Beach Day Texturizing Spray. Make-up by Monika Blunder at
the Wall Group, using Smashbox. Manicure by Nettie Davis at the Wall Group. Photographs by David Slijper. Above near right (limited-edition cover available exclusively online at www.hearstmagazines.co.uk/hz/
july16-KarenElson): wool jacket, about £1,545; matching trousers, about £570; wool mix jumper, about £935, all Céline. Hair by Panos at CLM Hair & Make-up, using Tigi Bed Head. Make-up by Mary Frost at Jed Root,
using Chanel S/S 2016 and No 5 Body Cream. Model: Karen Elson at Tess Management. Photograph by Erik Madigan Heck. Above far right (limited-edition cover available at Harrods, Selfridges, selected
independent retailers and online at www.hearstmagazines.co.uk/hz/july16-HollieMaySaker): stretch cotton frilled jacket, £1,545; matching trousers, £475, both Christopher Kane. Studded leather sandals, £295,
Church’s. See Stockists for details. Hair by Kota Suizu at Caren, using Leonor Greyl. Make-up by Ciara O’Shea at LGA Management, using Chanel S/S 2016 and No 5 Body Cream. Model: Hollie-May at Models 1
34 |
| July 2016
PHOTOGRAPH: AGATA POSPIESZYNSKA
turn to page 56, or ring 0844 322 1768
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TRAVEL
With music festivals, sporting tournaments and the Queen’s 90th-birthday
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FA R M H O U S E R E T R E AT S
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The best places to stay, from Cornwall
to the Cotswolds
The most spectacular beach-front houses
available for rent in this country
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PHOTOGRAPHS: REGAN CAMERON, COURTESY OF SOHO FARMHOUSE, ERIK MADIGAN HECK, DAVID SLIJPER
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Published on 1 June
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FASHION
Fashion director AVRIL MAIR
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Style director-at-large LEITH CLARK
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Senior fashion assistants CHARLOTTE DAVEY, LUCY KEBBELL
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CONTRIBUTING PHOTOGR APHERS
DAVID BAILEY, KOTO BOLOFO, HENRY BOURNE, JULIAN BROAD,
REGAN CAMERON, LIZ COLLINS, HARRY CORY WRIGHT, TOM CRAIG,
HARRY CROWDER, VICTOR DEMARCHELIER, FRANÇOIS DISCHINGER,
PAMELA HANSON, ERIK MADIGAN HECK, ALEXI LUBOMIRSKI,
MARY M C CARTNEY, TRENT M C GINN, JEAN BAPTISTE MONDINO,
VINCENT PETERS, DAVID SLIJPER, BEN WELLER, PAUL ZAK
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PHOTOGRAPH: DAVID SLIJPER, GRAHAM WALSER/HEARST STUDIOS
CONTRIBUTING EDITORS
SOPHIE ELMHIRST, AMANDA HARLECH, ANNA MURPHY,
JULIE MYERSON, ANDREW O’HAGAN, CAROLINE ROUX,
CATHERINE ST GERMANS, SASHA SLATER, MARTHA WARD
Published on 1 June
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EDITOR’S LETTER
Left: Emilia Clarke
wears Christian Dior
Haute Couture (page
102). Below left: ‘Beside
the silver sea’ (page 114)
£595
Amanda
Wakeley
Welcome to the July issue of Harper’s Bazaar, which celebrates all
that we love about being British. Our starting point is not an insular
definition of an island nation, closed to outside influence or suspicious of foreign affairs. We are part of a global brand, with several
dozen sister magazines around the world – including the United
States, China, Russia, India, Spain, Germany, Holland, Japan and
Australia – and the British edition has always been inspired by
fashion designers, photographers, writers and artists of different
nationalities. What links our contributors is creativity, rather than
creed; a belief that we are greater together than apart.
But this approach is also integral to what it means
to live and work in Britain today. I am a Londoner, born
and bred, in a city defined by flux and motion; a place
kept alive by constant new life-blood, rather than stagnation; with an ebb and flow of immigration and exodus,
from the Romans onwards. Consider the currents now
at play in the fashion industry: British creative directors
taking the helm at international brands (Phoebe Philo
at Céline, for example); while simultaneously, London
has become the base for talented designers from around
the world (including Erdem, Roksanda, Mary Katrantzou, Simone Rocha and Emilia Wickstead). So, too, have British
actors and directors spread their wings, whether in Hollywood or in
the imaginary landscapes of fantasy – as epitomised by our
From a
selection
cover star this month, Emilia Clarke (having come to
Boodles
fame in Game of Thrones, she is about to star in the
EDITOR’S
adaption of Jojo Moyes’ novel Me Before You).
PICKS
All of which means, I hope, that you’ll disI’m dressing for the Althorp
cover as much to enjoy in the July issue as
Literary Festival this month, and
we’ve had in the voyage of its creation.
while I’m hoping for balmy sunshine,
Finally, in the spirit of collaboration, we’re
I’m also prepared for the uncertainty of
also encouraging you to become members
an English summer. All of which calls
of our Bazaar readers’ panel (www.harpers
for a resolutely British approach:
bazaar.co.uk/reader-panel). We truly want
Amanda Wakeley separates,
to know which beauty products you love – so
Boodles diamonds and
please join us, and start spreading the word…
a smile…
From a
selection
Boodles
£530
Erdem
£830
Manolo
Blahnik
£295
Amanda
Wakeley
52 |
| July 2016
£3,500
Dior
£2,215
Sara
Battaglia for
Salvatore
Ferragamo
Justine Picardie
PS: Don’t miss the chance to subscribe to
Harper’s Bazaar – turn to page 56 for
details of this month’s offer.
PHOTOGRAPH: DAVID SLIJPER, AGATA POSPIESZYNSKA, OLIVER HOLMS,
GRAHAM WALSER/HEARST STUDIOS. SEE STOCKISTS FOR DETAILS
NATIONAL
TREASURES
The bestselling author’s varied
career includes working as a
minicab controller and writing
Braille statements for NatWest.
After nine years as a
correspondent for The
Independent, she began writing
novels full-time in 2002. Me
Before You, published in 2012, has
sold over three million copies
and has been adapted into
a film starring Emilia Clarke.
Read her interview with the
actress (above left) on page 102.
The best thing about being
British ‘The English countryside
and greasy-spoon cafés.’
The daughter of an Irish
mother and a Caribbean father,
Birmingham-born Kit de Waal
worked for years in criminal
and family law before writing
her first novel at 51. My Name is
Leon, her debut, sparked a
six-way bidding war between
publishers and is out this
month. On page 96 she tells
us how her father’s sense of
style informed her own.
The best thing about being
British ‘My father only ever
intended to come to England
for a short time and yet, when
he went back to the Caribbean
in his sixties, ostensibly to stay,
he was back within three
months. He missed
Morecambe and Wise.’
Five words that sum up
Britishness ‘Fair, funny,
freaky, off-beat, cool.’
Your British hero ‘Graham
Greene. I have read all his books
and essays and learned more
from him than any other writer.’
56 |
| July 2016
Born Alalia Chetwynd, the
performance artist changed her
name to Spartacus in 2006
because she wanted something
that was ‘more robust’. She was
nominated for the Turner Prize
in 2012, and her work is
exhibited in the Saatchi Gallery
and the Tate (page 140). She
changed her name again to
Marvin Gaye in 2013, and lives
in London with her husband
and four-year-old son.
When his pictures of Emma
Watson appeared in US Harper’s
Bazaar when he was only 19,
Crowder became one of the
youngest ever contributors to
the magazine. Five years later,
his pictures regularly feature in
Town & Country and Bazaar
UK, including his
shoot with the
knitwear designer
Alex Gore Browne
on page 74 (right).
The most beautiful place in
Britain ‘Scotland: the beaches
The biggest myth
about the British
above Ullapool.’
‘That we drink too
much. Wait, who
am I kidding?’
The biggest myth about the
British ‘That we’re not sexy.’
Favourite British work of art
‘I like Peter Blake’s 1967 cover
of the Beatles’ Sgt Pepper’s
Lonely Hearts Club Band.’
Your British hero ‘Isambard
Kingdom Brunel.’
Favourite British
work of art
‘I can’t choose
one. Anything by
Hockney or Bacon.’
Your British hero
‘Don McCullin’s
photographs and
Christopher
Hitchens’ essays
have had a huge
impact on me.’
Five words that sum up
Britishness ‘Stoic, kind, fair,
humorous, thirsty.’
Favourite book by a British
author ‘National Velvet by
Enid Bagnold.’
Favourite British work of art
‘Whistlejacket by Stubbs. Or
anything by Bruce McLean.’
PHOTOGRAPHS: DAVID SLIJPER, HARRY CROWDER, JUSTINE STODDART, COURTESY OF JOJO MOYES
CONTRIBUTORS
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PHOTOGRAPHS: DAVID SLIJPER, GRAHAM WALSER/HEARST STUDIOS
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STYLE
Edited by AVRIL MAIR
10
THINGS
WE LOVE
The most romantic looks for summer
T H E OB J E C T
OF DE SI R E
Bracelet, from
a selection
Boodles.
Ballet shoes,
from £40
Freed
P h ot o g r a p
hb
yP
COMPILED BY ANNA ROSA VITIELLO. SEE STOCKISTS FOR DETAILS
Boodles has captured the grace and elegance
of a prima ballerina in ‘Pas de Deux’,
a collection inspired by the Royal
Ballet – a duet made in heaven.
AU
LZ
AK
STYLE
£2,495
Jimmy Choo
TO K
E
E
R E B O OT
A mainstay of great
British style, the welly has
gone luxe for S/S 16. Saint
Laurent’s tapestry rose-print
boots will be as at home in the
city as in the country: has there
ever been a better excuse
to invest in a pair?
N
T H
£1,255
Saint Laurent by
Hedi Slimane
E
OW
NAM
T HE
A N N I V E R SA RY:
J IM M Y CHOO
W E
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ac
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T H R E E G R AC E S LO N D O N
Founded in 2015 by Catherine Johnson,
Three Graces is a desirable collection of handmade silk
sleepwear, robes and lingerie. Truly the stuff of dreams.
62 |
| July 2016
IN
From a selection
Mulberry
I
-T
£575
Roksanda
£99
Marks & Spencer
A N YA H I N D M A R C H
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PHOTOGRAPHS: JASON LLOYD-EVANS, IMAXTREE, GETTY IMAGES, KAT PISIOLEK AND GRAHAM WALSER/HEARST STUDIOS. COMPILED BY CHARLOTTE DAVEY AND ANNA ROSA VITIELLO. SEE STOCKISTS FOR DETAILS
£570
Victoria Beckham
£295
Anya Hindmarch
£445
Stella McCartney
£720
Alexander McQueen
at Net-A-Porter
£36
Topshop
£1,395
Anya Hindmarch
ve
her,
re e
e
; rat
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t
g
…
et
ND
E
R rywhere
£695
Burberry
£259
Polo Ralph Lauren
£295
Anya Hindmarch
£295
Amanda Wakeley
£280
Hermès
T H E
C OL L A BOR AT ION
E I S S U
HERMÈS
Marking the
momentous occasion of
the Queen’s 90th birthday,
Hermès has reproduced an
original 1980s Henri
d’Origny scarf, updated
with four figurine
horses.
R
M AC K I N TO S H
The historic British label Mackintosh has teamed
up with Maison Michel for a capsule collection of
three waterproof hat styles, including this
fisherman’s hat with signature saddle stitch.
Rainy days have never looked so appealing.
E
MAISON MICHEL X
E
T H
£1,299
Alexander McQueen
at Harrods
£1,890
Erdem at Browns
T H E
K EY PIECE
TEA- DRESSES
Who can resist the charm of the
tea-dress? Certainly not Alexander
McQueen or Erdem, whose
embellished floral versions are pretty
and feminine in equal measure.
A pussybow tie, a ruffled sleeve,
a high neck… the delight
is in the detail.
£225
Topshop Unique
64 |
| July 2016
£865
Peter Pilotto
STYLE
E
KNI
WEAR
£480
Simone Rocha
T
TH
£786
Barrie
£260
Bella Freud
£395
Pringle of Scotland
CARDIGANS
Never underestimate the appeal of the familiar: the humble cardigan earned big fashion credentials
this season. Choose pastel tones for a summery mood and button up to the top for lady-like gentility.
Y
E
ng
TN
fo r :
R
pi s w i
A
STE
mw
cLL A MCC
ins
p i r e a r l i ne ,
feat ur i ng seven
ed
e ...
s t r ip
u ng
l
p
es. Ti m
e
e t o t a ke t h
it i
wa
st
m
n
e
be
’ve her
e
w s w c he d Ol y
It’s t he ne
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PHOTOGRAPHS: GRAHAM WALSER AND MATT VEAL/HEARST STUDIOS. COMPILED BY CHARLOTTE DAVEY AND ANNA ROSA VITIELLO. SEE STOCKISTS FOR DETAILS
THE SW IM W E A R
NO 1
drama
flo
o
lengt
h
r-
A long, flowing silhouette
adds a grown-up elegance
to sparkly sequins.
STYLE GUIDE
THIS PAGE: woven skirt,
£270, CH Carolina Herrera.
Cotton and lace shirt,
£1,370, Miu Miu. Leather
bag, about £1,030, Marc
Jacobs. Suede sandals,
£355, Stuart Weitzman.
OPPOSITE: sequin skirt,
£995, J Crew. Cotton shirt,
£190, Jacob Cohen. Gold
ring, £140, Links of London.
Gold and diamond ring,
£7,050, Boucheron.
Leather bag, £1,510,
Gucci. Suede heels,
£165, Russell & Bromley
y-li
k
a
e
d
la
upda
t
NO 2
e
Bold block colours
for an instantly fresh new look.
T H E S T Y L E G U I D E
T HE T R O P HY
SK IRT
From show-stopping stripes to romantic pleats, this classic piece is reinvented
for summery chic By ANNA ROSA VITIELLO
PHOTOGRAPHS BY ALEXANDER MEININGER
STYLED BY FLORRIE THOMAS
e
nd
p
l a
le
NO 3
ated
past
STYLE GUIDE
N
Pretty without being prim: the fluidity
adds a touch of subtle grace.
l
NO 4
mer
a
im
tle sh
t
i
The secret to mastering contemporary glamour,
a metallic midi transforms a fine-knit sweater.
From far left: organza skirt, £995; cashmere
top, £625, both Christopher Kane. White gold
bracelet, £5,300, Cartier. Leather and metal
clutch, £795, Giuseppi Zanotti Design.
Crochet and leather heels, £625, Tabitha
Simmons. Polymix skirt, £49.50, Marks &
Spencer. Wool jumper, £600, Maison Margiela
at Harvey Nichols. Gold ring, £1,285, Cassandra
Goad. Leather bag, £1,095, Saint Laurent by
Hedi Slimane. Leather heels, £595, Jimmy
Choo. Polymix skirt, £29.99, H&M. Cashmere
jumper, £225, Joseph. Gold bracelet, £4,235,
Tiffany & Co. Crocodile clutch, £1,522, Nancy
Gonzalez. Leather heels, £505, Giuseppe
Zanotti Design. Silk mix skirt, £455, Max Mara.
Wool top, £595, Christopher Kane. Diamond
ring, £3,150, Tiffany & Co. Metal clutch, £1,095,
Jimmy Choo. Leather heels, £180, Kurt Geiger
ALEXANDER MEININGER
pa
th
e
ring
da
irin
g
NO 5
Embrace Modernist colour
in unexpected combinations.
ALEXANDER MEININGER
ct m
h
NO 6
tc
e
rf
a
the pe
THIS PAGE: polyester skirt,
£970, Mary Katrantzou at Harvey
Nichols. Elastane top, £20, Next.
Gold bracelet, £5,225, Cassandra
Goad. Leather clutch, £950,
Sergio Rossi. Crochet flats, £465,
Tabitha Simmons. OPPOSITE:
wool skirt, £375, JW Anderson at
Net-A-Porter. Cotton and silk top,
£205, Sonia Rykiel at Net-A-Porter.
Gold bracelet, £4,950, Cartier. Gold
ring, £1,285, Cassandra Goad.
Suede sandals, £920, Gianvito
Rossi. See Stockists for details.
Manicure by Sabrina Gayle at
LMC Worldwide, using Chanel
Le Vernis in Ballerina and Body
Excellence Hand Cream. Model:
Serena Marques at Nevs Models
Team a brightly coloured silk skirt
and clutch with lace flats and a simple
blouse for a summer occasion.
STYLE GUIDE
Left: Emilia
Wickstead’s
moodboard for S/S
16. Below: looks
from the collection
MY
MOODBOARD
The designer Emilia Wickstead recalls Fifties
silver-screen goddesses for her latest collection
Emilia Wickstead has dressed everyone from the Duchess of
Cambridge to Diane Kruger, so it makes sense that strong women are
her focus this season. The designer looked to timeless icons of the
1950s, including Lauren Bacall and Grace Kelly. ‘I was inspired by
their ability to be comfortable and happy in exploring their identity,’
says Wickstead. ‘I wanted to capture this, and create something fresh and
exciting.’ Taking an evocative image of Romy Schneider as her starting
point, Wickstead translated it into voluminous silhouettes and bold
prints, with billowing gowns awash with colourful florals and dresses
featuring gathered hems for a ‘puffed-sleeve’ effect. Sporty stripes also
materialised in feminine pastels on an empire-line silk dress. ‘I love to mix
traditional with contemporary to add some punch to delicate shapes,’
says Wickstead. ANNA ROSA VITIELLO
72 |
| July 2016
MOODBOARD COURTESY OF EMILIA WICKSTEAD. PHOTOGRAPHS: IMAXTREE
STYLE
MY
LIFE,
MY
STYLE
The knitwear designer Alex
Gore Browne opens up her
Cotswolds home – and
her wardrobe – to
reveal a collection of
eclectic vintage treasures
By LUCY HALFHEAD
Photographs by HARRY CROWDER
W
hen I was growing up, I
wasn’t into fashion at
all,’ admits the British
knitwear designer Alex
Gore Browne, as we walk along the river
that separates her garden from the sheepflecked Wiltshire countryside beyond. ‘I
used to love constructing intricate little
theatre scenes out of cereal boxes. Now,
when I knit on the machine, it’s the process
of transferring the needles and casting off
that I find very therapeutic.’
Gore Browne launched
her eponymous label in 2000
after completing a BA in
Textile Design at Central
Saint Martins. Along with
her peers, who included
Jonathan Saunders and
Roksanda Ilincic, she trained
under the tutor and course
director Louise Wilson.
‘Louise was absolutely terrifying,’ she says, ‘but, boy, did
74 |
| July 2016
you want to work hard.’ Her sophisticated
handmade pieces soon caught the eye
of Alexander McQueen and Matthew
Williamson, who sourced fabrics from her,
and Joseph Ettedgui, who bought the entire
collection for his Brompton Cross shop.
Today, she is a knit consultant for
McQueen, working from a sun-dappled
studio at Tidmington House, where she
lives with her husband Jo, the son of Lord
Bamford and heir to the JCB-digger business. They met in Ibiza through a mutual
friend, and married at Chelsea Old Church
in 2007 in front of 100 friends and family,
followed by afternoon tea at Claridge’s.
‘I made my own dress for the wedding and
my bridesmaids’ dresses,’ she says. ‘It took
me about a month… never again.’
The couple moved to the Cotswolds six
years ago, and are now happily settled there
Above: Alex Gore
Browne in her bedroom,
wearing a top, £745,
from her own label. Silk
skirt, £775, Roksanda.
Below: freshly picked
flowers on the
mantelpiece. Below left:
the entrance to
Tidmington House
STYLE
Above: jumper,
£785, Alex Gore
Browne. Silk skirt,
£1,260, Jenny
Packham at
Net-A-Porter
candles follows you from room to room, as
do the family’s trio of canine companions,
Button the beagle puppy, Tigger, a whippet,
and the black labrador, Moon. Log fires
crackle, and glass vases overflow with foxgloves and peonies from Willow Crossley
Flowers. Upstairs in the children’s bedrooms, fairy lights are strung across the
Barneby Gates stencilled star wallpaper,
and Bamford body products line the
bathroom shelves.
The rich paint colours on the ground
floor are the perfect backdrop for a beguiling
collection of vintage prints and retro toys,
including a glass cabinet of miniature cars
that mirror the Alfa Romeo, Porsche and
BMW parked on the drive outside. Gore
Browne is an aficionado of the websites
Selling Antiques and 1stdibs, as well as
July 2016 |
H A R P E R’ S BA Z A A R
| 75
▼
with their two children: Tilly, who is seven,
and five-year-old Teddy. They live 20
minutes up the road from Daylesford, the
1,500-acre organic estate founded by Jo’s
mother, Lady Bamford. They had driven
past this Grade II-listed house countless
times before, and admired the elegant
façade, which is visible from the road, when
eventually it came up for sale. But it was also
the previous owner’s bold use of colour that
clinched it for them. ‘It was so refreshing to
see,’ says Gore Browne, ‘because you get a
lot of neutrals and beige everywhere today.
Tidmington felt like a real home.’
It’s true; the house is effortlessly welcoming. The heady scent of Bamford
car-boot sales and Chipping Norton’s
Station Mill Antiques Centre. ‘There’s also
the Newark Antiques & Collectors Fair…
I’ve been there a lot,’ she says. ‘I really enjoy
searching for evocative pieces.’
This seems to apply to Gore Browne’s
wardrobe too: ‘I love sourcing unique
vintage garments – I’ve got an amazing allin-one with culotte trousers that used to be a
beach robe from the 1950s.’ She also has
a weakness for Chinti and Parker cashmere
jumpers (arranged by colour like a rainbow
in her walk-in-wardrobe)
that she wears with her own
fluid knitted skirts or thrown
on over Frame Denim jeans.
‘I do love dressing up,’ she
says. ‘It’s nice to put on a pair
of Aquazzura heels when I
go back to London, because
you just can’t do that here.
Basically, you’re stepping out
into mud for nine months of
the year.’ So at home you’re
more likely to find her in
American Apparel leggings
and Repetto ballet pumps for doing the
school run. ‘Another benefit of working from
home,’ she says.
When they bought Tidmington, Gore
Browne converted the dining-room into
a magical children’s playroom, complete
with swings and giant beanbags, that gives
Giffords Circus a run for its money. ‘We’re
just not formal people at all – we do a lot of
‘It’s the process
of transferring
the needles and
casting off
that I find
very therapeutic’
76 |
| July 2016
SEE STOCKISTS FOR DETAILS. STYLED BY ANNA ROSA VITIELLO. HAIR AND MAKE-UP BY RACHEL SINGER CLARK, USING BUMBLE AND BUMBLE
AND TOM FORD BEAUTY. PHOTOGRAPHS: COURTESY OF ALEX GORE BROWNE, KAT PISIOLEK AND GRAHAM WALSER/HEARST STUDIOS
Right: a piece from Gore
Brown’s A/W 16 line.
Below: a collection of
yarns. Bottom: jumper,
£595, Alex Gore Browne
STYLE
PHOTOGRAPH: XXXXXX
Below: lace and
cotton dress,
£300, SelfPortrait at
Net-A-Porter.
Cardigan,
£1,285, Alex
Gore Browne
fancy-dress in this house,’ she says. For her
40th-birthday party last year, guests were
invited to the ‘Tidmington Wilderness’ –
a wonderland conjured up by Amanda
Sheppard and India Langton’s Rose Productions, where
multi-coloured balloons cascaded from upper windows
and down the exterior walls of
the house. Gore Browne wore
Pucci and danced all night in
the ribbon-draped marquee,
after a Daylesford feast. ‘It
was amazing,’ she says, ‘the
greatest show on Earth.’
But despite the allure of
this rural idyll, following a
career break after the birth of
her children, Gore Browne has returned to
her knitting machine, and is preparing
to unveil a collection for A/W 16. Her trademark feminine flourishes are visible in her
new Pierrot-style cocktail sweaters in
feather-light cashmere and merino wool –
delicate beading, ruffles and the perfect gold
trim. ‘I’m never confined by the boundaries
of knitting,’ she says. ‘I’m inspired.’
ALEX’S WORLD
£70 Charlotte
Tilbury at
Net-A-Porter
Print, £220
Hugo Guinness
Cushions, £295
each Yastik by
Rifat Ozbek
Coffee-table
book, £9.95
Anthropologie
July 2016 |
| 77
ACCESSOR IES
nt
H
by
e d i S li ma
ne
A BSOLUTELY
FA BULOUS
£9
6 0 S aint L au
re
Edited by AVRIL MAIR
Pre-fall 16’s combination of prints, patterns and a punchy palette
captures the essence of English eccentricity
Photograph by PAUL ZAK Styled by FLORRIE THOMAS
ACCESSORIES
£1,770
Gucci
£455
Lanvin
£680
Lanvin
ar
d
From
a
se
lection Cho
p
£2,350
Chanel
Cuff, £400
Hermès
£ 15
Lu
xo
tti
ca
£1,150 Jimmy Choo
6
D
ol
ce
& G a b ba na
at
Clutch, £1,880
Hermès
£270
Gucci at
Net-A-Porter
SI R E N C A L L
ful leopard
Pillar-box red and play
spots for high-octane glamour
£595
Jimmy
Choo
£2,100
Dior
From a
selection
Harry
Winston
£2,400
Céline
£525
Jimmy
Choo
PHOTOGRAPHS: KAT PISIOLEK AND GRAHAM WALSER/HEARST
STUDIOS. SEE STOCKISTS FOR DETAILS
£2,100
Calvin Klein
Collection
,80
£7
0 B oodl e
£512
Oscar de
la Renta
s
£ 1 , 8 5 0 Stell
July 2016 |
cC
ar
tne
y
| 79
▼
aM
£136
Ralph Lauren
at Luxottica
£395
Dolce & Gabbana
at Browns
£535
Casadei
an
g le ,
£ 3 45
F
di
Hairclip, £695
Dolce &
Gabbana at
Net-A-Porter
en
B
£820
Max Mara
£1,990
Gucci
£620
Marni
£275
Burberry at
Net-A-Porter
FI E L D DA Y
Embellished emerald tones
£2,050
Saint Laurent
by Hedi Slimane
£445
Gianvito
Rossi at
Net-A-Porter
create a floral fantasy
£260
Tod’s at
Net-A-Porter
From a
selection
De Grisogono
£1,775
Valentino
Garavani
£1,195 Alexander McQueen
Bangle, £345 Fendi
Bangle, from
a selection
David Morris
80 |
£485
Erdem
| July 2016
PHOTOGRAPHS: KAT PISIOLEK AND GRAHAM WALSER/HEARST STUDIOS. SEE STOCKISTS FOR DETAILS
Necklace,
£1,100
Gucci at
Browns
ACCESSORIES
£ 1 , 360 V
al
en
t in
o Garav
an
i
MOONAGE DAYDR E A M
▼
These glorious Valentino Garavani boots may not be practical for festival season,
but wherever they take you, adventures are sure to follow
PAUL ZAK
ACCESSORIES
£ 2 , 2 5 0 Lo
SIMPLE
PLE ASUR ES
ui
u i t to n
sV
Stay cool in the city heat with Louis Vuitton’s
effortlessly elegant colour-block tote
PAUL ZAK
£310
Dior
From a
selection
Céline
£40
Pandora
£521
Dolce &
Gabbana
at Sunglass Hut
Stole, £880
Louis Vuitton
£355
Escada
£475
Jimmy
Choo
£3,000
Louis Vuitton
Brooch, from
a selection
David Morris
CIND ER ELL A
STO RY
£665
Gucci
£560
Manolo
Blahnik
ue prove the sky’s
Polka-dots and peacock bl
the limit for present-day princesses
£115
Hermès
G
ri s
og o n o
, 6 0 0 De
About £780
Givenchy by
Riccardo Tisci
£ 11
£260
Prada at
David Clulow
£2,7
0
D io r 0
£415
Aquazzura
From a selection
Dolce
& Gabbana
From a
selection
Dolce &
Gabbana
Ring, from a
selection
David
Morris
July 2016 |
| 83
▼
PHOTOGRAPHS: KAT PISIOLEK AND GRAHAM WALSER/HEARST STUDIOS. SEE STOCKISTS FOR DETAILS
£1,290
Cartier
AT WORK
Wallet, £395
Mulberry
Edited
by
D
LY
Sunglasses, £380
Dior
I A SL A
T
Compact, £43
Chanel
ER
Phone case, £240
Louis Vuitton
Watch, from
a selection
Patek Philippe
Money clip,
£100
Aspinal
of London
ZA K
UL
PA
Card holder, £575
William & Son
Ph
o t o g ra p h b y
Purse, £225
Paul Smith
£220 for
100ml
Armani Privé
BOLD
STROKES
Apply a painterly dash
of red and black
Sticker, £45
Anya Hindmarch
Styled by CHARLOTTE DAVEY
Pen, £220 Asprey
SEE STOCKISTS FOR DETAILS
Pen, £880 Hermès
Lipstick, £19.50
Laura Mercier
Keyring,
£180
Bottega
Veneta
£1,950
Prada
DOUBLE
LIFE
In our digitally driven age, finding the free
time for creative expression can be difficult.
But could another job be the answer?
Helen Kirwan-Taylor explores the
benefits of having a portfolio of careers
A
s I type this, I note with resignation that I have once again
dripped red acrylic paint across my keyboard. This sort of
thing never happened before I decided to embark on a new life as a
‘co-careerist’ – a person who does more than one thing for a living.
For the past two years, I have divided my time between
journalism and multimedia art. My second career came about by
accident. I used to make artworks for friends, then I showed one to
an American retailer who said: ‘I want to sell them.’ Subsequently, a
gallerist in London suggested we do a show in six months. Had I not
experienced years of working to tight deadlines under extreme
pressure, I could never have done it.
I now earn about as much money in my studio as I do at my desk.
And I am, of course, not alone. Today, more than a million people in
Britain have more than one job. Many are obliged to do so to pay
the bills; for others like me, however, it’s about finding an outlet for
personal expression in an increasingly technology-focused world.
86 |
| July 2016
It is not, after all, financial necessity that has inspired Gwyneth
Paltrow to add food writer and businesswoman to her CV, driven
Angelina Jolie to tie a humanitarian string to her bow, nor, I suspect,
induced Yana Peel to become the new director of the Serpentine
Gallery, as well as an investor, philanthropist, children’s author and
CEO of the debating forum Intelligence Squared.
Psychologists call it ‘effort-driven reward’ – the surge of serotonin
you feel when admiring a creative task you’ve just completed. ‘Many
of us put a passion on hold while moving up in our careers; then you
get to middle age and you feel you have to express yourself,’ says Dr
AT WORK
Helen Kirwan-Taylor
Henrietta Bowden-Jones, a psychiatrist specialising in addiction, who has
recently applied to study for an MA in
creative writing. ‘It’s easier for people
who have already achieved in one
field. They have a sense of accomplishment and, to a certain extent,
are allowed to fail.’ In her case, writing
her book affords her some muchneeded respite from the reality of her
demanding medical career.
But there is more to this trend
than personal fulfilment. Having
several jobs may mean you become
better at everything you do. Josephine
Fairley, the co-founder of Green &
Black’s organic chocolate, is a serial entrepreneur and journalist who is evangelical
about the benefits of a portfolio of careers.
‘The solution to one work problem often
comes when I’m focused on something
different,’ she says. ‘When I took time off,
I found I was bored and boring.’
‘Creativity is combining things that
weren’t combined before,’ explains Robert
Root-Bernstein, a professor of physiology at
Michigan State University (and also an
author and a professional artist). ‘Therefore,
creativity requires more than one line of expertise.’ He
argues that the co-careerist brings the skills from one
job to the other, most notably ‘imaging’, ‘abstracting’
and ‘body thinking’ – using sensation and emotions as
well as analysis – themes explored in his book Sparks of
Genius, written with his wife Michele (a creative-writing
PHOTOGRAPHS: TOM CRAIG/TRUNK ARCHIVE, COLIENA RENTMEESTER/TRUNK ARCHIVE, TINA HILLIER,
COURTESY OF HELEN KIRWAN-TAYLOR, GRAHAM WALSER/HEARST STUDIOS. SEE STOCKISTS FOR DETAILS
It’s all about
finding an outlet
for personal
expression in a
technologyfocused world
and history lecturer, author and haiku poet).
Certainly, I find that the more time I spend
on my art, the more fluid my writing becomes.
The more I experiment in my studio, the more
I also experiment with my words. As a journalist, I’m used to everybody wanting to
talk to me. As an artist, I have to make four calls
for one that is returned. Consequently, I’ve
grown a thicker skin and have more tenacity.
When writing gets stressful, I dream of my
studio. When an artwork isn’t turning out as I want
it to, I seek solace at my computer. Journalism can be
done on demand; art requires the right mindset. I
find that in both sides of my life, I no longer procrastinate (because that means going back to the
other job, and nothing focuses the mind more than
having a paying client).
Of course, there are sacrifices to be made. I structure my life to be up early, so that
requires less socialising, and I
work weekends and holidays.
I stop if I’m tired, but that
rarely happens: switching
worlds makes each one feel
fresh and new.
Left: Angelina Jolie.
Right: ‘&’, an artwork
by Helen Kirwan-Taylor
loosely based on Gustav
Klimt’s ‘The Kiss’
SMART THINKING
JO GLYNN-SMITH’S essential advice for a stylish business life
£298 J Crew
£220
Longchamp
£395 Anya
Hindmarch
THE SHOES
For dashing around
town, invest in some
smart trainers and
avoid those inelegant
moments when
changing from heels
to flats in the street.
THE NOTEBOOK
Even in this digital age, there is
a satisfaction to writing down
lists or inspirational thoughts
in a proper notebook.
THE BAG
Not just a beautiful accessory of
the perfect size, Aspinal’s Editor
bag is equipped with an inbuilt
mobile-phone-charging function
and the new Aspinal Tile Tracker,
which allows you to track your bag
via your mobile for added security.
THE COAT
There’s good reason why
the trench-coat is such
a classic for work: it’s
lightweight, waterproof
and goes with everything.
£895 Aspinal of London
July 2016 |
| 87
TALKING POINTS
PHOTOGRAPH: COURTESY KUSAMA ENTERPRISE, OTA FINE ARTS, TOKYO/SINGAPORE AND VICTORIA MIRO LONDON, © YAYOI KUSAMA
Edited by HELENA LEE & CATRIONA GRAY
Yayoi Kusama’s
‘The Scent of a
Flower Garden’
(2015)
FOREVER YOUNG
The evergreen Yayoi Kusama continues her fascination with the
infinite in nature-inspired new works. Plus: Erica Wagner on
AS Byatt; Althorp’s literary gathering; and the Masterpiece art fair
TALKING POINTS
ART
ABOUT TIME
A London exhibition of new pieces by Yayoi Kusama examines infinity, as her place
in the echelons of the art world is finally being aknowledged By CLAIRE WRATHALL
hiny, colourful, playful yet meaningful, vibrant with polkadots and plump with pumpkins, the work of the 87-year-old
Japanese artist Yayoi Kusama has irresistible and broad
appeal. Indeed, if interest in an artist can be gauged by the numbers
of people who flock to their exhibitions, Kusama is arguably the
most popular artist in the world. In 2014, more than two million
people in Latin America alone queued for her retrospective ‘Infinite
Obsession’, camping out overnight in Mexico City to be certain of
seeing her installations. Part of Kusama’s legend is fuelled by
the dramatic details of her life: she famously renounced her avantgarde existence in 1960s New York to return to Japan in 1973,
eventually admitting herself to a Tokyo psychiatric clinic, the
better to manage the anxiety and depression that have plagued
S
90 |
| July 2016
her since childhood. She has lived in the clinic for nearly 40 years.
Kusama is herself something of a work of art, her diminutive figure
instantly recognisable in photographs or in crowds by her synthetic
vermilion Louise Brooks bob, carmine lipstick and A-line polka-dot
dresses. Even her wheelchair sports dots. (The dots, she has said,
are a way of ‘translating the obsessional images… the products
of neurosis and therefore inextricably connected with my disease’.)
But then, self-image and fashion have long been part of her
practice. Even by the permissive standards of 1960s New York, the
dresses she designed (and wore) there were shocking, with circular
cut-outs positioned to reveal the wearer’s breasts and rear. Not
so the collection she created for Louis Vuitton in 2012, which
ran to drop-waisted dresses, cropped trousers, classic trench-coats,
PHOTOGRAPHS: COURTESY KUSAMA ENTERPRISE, OTA FINE ARTS, TOKYO/SINGAPORE
AND VICTORIA MIRO LONDON, © YAYOI KUSAMA, PHOTOGRAPHY © NORIKO TAKASUGI
Above: the artist Yayoi
Kusama at the age of 10
in 1939. Right: her ‘The
Festival Day’ (2015)
silk squares and bags, all covered with irregular polka-dots.
The seeds of Kusama’s fascinating career trajectory were
sown when, in her twenties, she came across the work of
Georgia O’Keeffe. The American artist’s luscious, highly stylised
floral paintings were a revelation. ‘I’d been dreaming of going
to America and escaping my family,’ she tells me by email from
the clinic in Tokyo. (Her English is fluent, but she is uncomfortable speaking it.) ‘So I wrote to her. And miraculously, she
responded with great kindness. Her letter gave me the courage
I needed to leave.’
As a young woman in New York, she thrived and innovated,
experimenting with silkscreen wallpapers three years before
Andy Warhol’s Cow Wallpaper (Warhol had come to the opening
of her 1963 show, ‘One Thousand Boats’, and told her he loved it);
and exhibiting her soft sculptures ahead of Claes Oldenburg’s. The
first of her discombobulating Infinity Mirrored Rooms also predated Lucas Samaras’ mirrored Room No 2, which was hailed as
ground-breaking. ‘There has finally been a realisation that, arthistorically, she is an incredibly important figure,’ says her friend
Glenn Scott Wright, the co-director of the Victoria Miro gallery.
‘The annoying thing for her was that the artists she influenced
were men; they got taken up by the art world, and she didn’t.’
Fast-forward several decades, and after a period of relative
obscurity, Kusama was invited to represent Japan at the 1993
Venice Biennale. She created another mirrored room filled with
pumpkin sculptures, in which she resided, dressed as a magician.
The motif of the pumpkin continues to fascinate her.
‘My love of them stretches back to when I was a little child’,
she says. She grew up during World War II, when pumpkins were
the principal food on which her family subsisted. ‘I have always
found them to be such tender things to touch and so wonderfully
humorous, humble and appealing. They have a warm feeling
and human-like quality in their form.
They make me feel happy. They are my
friends. And I will always celebrate them
in paintings and sculptures.’
The latest iteration of her pumpkin
sculptures, this time in mirror-finished
bronze, are among the never-before-seen
works in her new London show, currently
on display at both Victoria Miro galleries.
‘I love bronze as a material,’ she adds.
‘Its warmth and endurance are very suited
to the character of the pumpkin.’
Mirrors, too, continue to loom large in
‘There has finally
been a realisation
that, art-historically,
she is an incredibly
important figure’
Right: her ‘Lights
of the Heart’
(2016). Above
right: a portrait
of Kusama
her work. ‘There will be three spellbinding
new mirror rooms in my exhibition,’ she
says. ‘In the new version, you’ll be able to
walk into the space and be surrounded by
an infinite field of illuminated pumpkins.’
She has even produced some new
paintings, part of an ongoing series she
calls ‘My Eternal Soul’. She says her canvases ‘ join all the philosophies of my art:
an explosion of ideas that represent my
preoccupation with infinity and the search for peace and
love that has always been at the heart of my work. I feel my
happiness through their vibrant colours; their strength
and clarity flood me with energy’.
Although she is now in her late eighties, Kusama shows
no sign of slowing down. ‘I am an artist. My work is my
life. I have so much I want to do [that] I am determined to
live until I am 300 years old. Each day I create a new world
by making my art. I will never run out of ideas. All I hope
to do in the time left is to turn as many of them into
concrete forms as possible.’
‘Yayoi Kusama’ is at Victoria Miro, 16 Wharf Road, London
N1, and 14 George Street, London W1 (www.victoria-miro.
com), until 30 July.
July 2016 |
| 91
TALKING POINTS
BEST FOR… CERAMICS
ADRIAN SASSOON
As well as dealing in antique
china, Sassoon also represents
leading contemporary
ceramicists including Hitomi
Hosono and Felicity Aylieff.
www.adriansassoon.com
BEST FOR… SCULPTURE
BASED UPON
ART & ANTIQUES
Founded in 2004 by twin
brothers Ian and Richard Abell,
this London-based studio has
become celebrated for its
large-scale metallic artworks.
www.basedupon.com
REAL DEALS
For lovers of fine art, antiques and design, the
annual Masterpiece London 2016 fair is an
unmissable treat, whether you’re seeking a
piece of modern jewellery or classical sculpture.
Although it attracts a strong contingent of
international exhibitors, the British dealers
have plenty of treasures to catch the eye. CG
Masterpiece London 2016 (www.masterpiece
fair.com) runs from 30 June to 6 July at
the Royal Hospital Chelsea.
BEST FOR… FURNITURE
ROSE UNIACKE
The queen of serene interiors hosts a
curated selection of 20th-century
antiques to grace any home.
www.roseuniacke.com
BEST FOR… PAINTINGS
DICKINSON
From Van Goghs to Renoirs,
this fine-art dealer has a
varied but first-rate selection
of canvases.
www.simondickinson.com
92 |
| July 2016
BEST FOR…
JEWELLERY
SYMBOLIC & CHASE
Be it a Cartier ladybird
brooch or a lovebird
diamond ring from
Van Cleef & Arpels,
each of Symbolic &
Chase’s vintage gems
is utterly charming.
www.symbolicchase.com
Parkland on the
Althorp estate
PHOTOGRAPHS: COURTESY ADRIAN SASSOON LONDON, DICKINSON, SYMBOLIC & CHASE, ROSE UNIACKE, BASED UPON, SOPHIE CARRÉ, HARRY CORY WRIGHT. A DISTANT LANDSCAPE
– BLUE & WHITE MONUMENTAL VASE (2014) BY FELICITY AYLIEFF. THE TALE OF THE KANGAROO AND THE DINGO (2014) BY ROBIN BEST. STILL LIFE WITH BOOKS AND BIRD (2014) BY
FELICITY AYLIEFF. TURQUOISE AND MAGENTA BY NATASHA DAINTRY (2014). MISS ALICE VASE (2015) BY KATE MALONE. A YELLOW GOLD, SILVER, ENAMEL, RUBY AND DIAMOND
BUTTERFLY BROOCH (C 1900). A GEM-SET AND DIAMOND FALCON STICKPIN C 1800. A CARTIER CORAL, DIAMOND AND BLACK LACQUER LADYBIRD BROOCH (1970S). AU BORD DE
L’EAU (1885) BY PIERRE-AUGUSTE RENOIR. ITALIAN GLOBE CHANDELIER ITALY (C 1950). MOULIN DE LA GALETTE (1887) BY VINCENT VAN GOGH, RIBBON BAR (2012) BY BASED UPON
BOOKS
T
But other tales remain intangible,
his summer heralds the 13th
or are still unfolding here; perhaps in
annual Althorp Literary
the minds of those authors that come
Festival, and although I
to speak at the festival, or in their
confess to being superstitious by
spontaneous conversations with
nature, the prospect of returning to
such a mag ical place still fills me
Whether you seek convivial discussion ardent readers and fellow writers. As
for myself – I always appreciate the
with delight. It is the fourth year
or moments of tranquillity, the Althorp chance to be alone for a time, beside
that Harper’s Bazaar has partnered
the lake that encircles the small island
with the festival, though I had expeLiterary Festival is a tonic for the soul
where Diana, Princess of Wales,
rienced the marvels of Althorp on
By JUSTINE PICARDIE
was buried, returned to her childseveral occasions before then, as an
hood home at last after her death in
author and a guest.
1997. Her grave is hidden by trees
The memory of my first visit still
and the dark water; mysterious, unknowable. It is in
remains vivid: the sight of a great stately home
these quiet moments that I find myself thinking of my
coming into view, as the long drive curved through
own sister, who died three weeks after Diana; and of
swathes of green parkland. Inside the house, a grand
the incomprehensible catastrophes that led to their
high-ceilinged hall, hung with 18th-century equine
deaths; and of what it means to lose a sibling; and of
paintings; beyond, an imposing oak staircase leading
coincidence and tragedy and fate…
up to a Tudor panelled picture gallery and a regal
Yet whenever I walk away from the lake, it is not
array of portraits. But aside from the visible treasures
with the shadow of foreboding, but of hope – beck– exquisite art, delicate china and antique furniture;
oning towards the welcoming house and warm
a library filled with rare and beguiling books; a
conversations; towards convivial experiences, and a
corridor lined with marble busts of Roman emperors
– there is also a tantalising sense of the stories contained within these renewed faith that maybe, in these precious moments to come, the
walls. Some have already been told, most notably by Charles opening lines of a different story might just begin to emerge…
Spencer, the 9th Earl, the founder of the literary festival and himself Justine Picardie will be speaking at the Althorp Literary Festival on Friday
a distinguished writer and historian.
1 July at 4pm. Visit www.spencerofalthorp.com for details and to book.
SPIRIT OF
THE PLACE
A WOMAN OF TASTE
This month, English Heritage unveils a blue plaque on the front of Elizabeth David’s Chelsea home
– the first time that the accolade has been awarded to a food writer. David found fame by bringing
the flavours of Provence to post-war Britain and, in 1949, also began writing regularly for Harper’s
Bazaar. Her column’s advice on packing the perfect picnic still rings true today: ‘The fare should
be simple, with a fresh and countrified air. Such elegant foods as foie gras seem to lose their fine
lustre when eaten out of doors, whereas the rustic charms of black olives and crusty French bread
find their natural affinities upon hillside and seashore.’ CG
July 2016 |
| 93
Left: wallpaper by William
Morris from 1889. Below:
fabric by Mariano Fortuny
BOOKS
THE ART
OF CR AFT
The cover of AS Byatt’s 2009 novel
The Children’s Book is a work of art
in itself. The hardcover shimmers
blue, rich as lapis; and reproduced
on this background is an image of
a Lalique brooch, jewelled and
By ERICA WAGNER
ornate. A dragonfly stretches its
wings, above the title and below
the author’s name; or at least it
looks like a dragonfly at first glance. Peer more closely,
however, and you’ll see a woman’s head where the insect’s
should be, the face and full breasts gleaming turquoise.
From the slender body sprout golden claws, like the talons
of an eagle, and the blue-green wings shimmer with gold
tracery, startlingly lifelike. And the novel begins in the
V&A – or what would become the V&A, because in 1895, at
the book’s outset, the institution was still called the South
Kensington Museum – founded to inspire British craftsmen
and designers. The Children’s Book, like so much of the
author’s work, is intimately linked with the idea of craft and craftsmanship; of what can be made when we really take the time to look
at the world.
And so it should come as no surprise that Byatt’s latest offering
is a slender but deliciously rich meditation on two artists who
blurred the boundary between art and craft, and whose patterns
and designs were intimately linked with both history and the
natural world. Peacock & Vine finds Byatt reflecting on the life
and work of the English artist William Morris (1834–1896) and
the innovative Spanish designer Mariano Fortuny (1871–1949). The
book is a gift to any lover of the author’s work because it is, in part, a
Above and right:
details from the
Valentino Haute Couture
S/S 16 collection
94 |
| July 2016
PHOTOGRAPHS: © VICTORIA AND ALBERT MUSEUM, LONDON, PRIVATE COLLECTION/
DE AGOSTINI PICTURE LIBRARY/BRIDGEMAN IMAGES, GETTY IMAGES, ALAMY, IMAXTREE
In her latest work, AS Byatt shines
the spotlight on two 19th-century
creative greats
TALKING POINTS
Clockwise from below left:
Mariano Fortuny. One of
his fabric prints. Morris. His
chrysanthemum wallpaper
revelation of her thinking
process: how one moment
of reflection leads to another;
how seemingly eccentric
connections can be strengthened and supported by
close consideration and close
observation. Byatt sees the
world as few others are able
to. Towards the end of the
book, she describes watching visitors pass through an
exhibition of Monet’s paintings of Rouen Cathedral, only
glancing briefly at each canvas as if they could then be ticked
off a list. Byatt is startled by this behaviour. By contrast, she
sat on a bench in front of the paintings, trying to take in every
detail of colour and shade. ‘It is not possible to remember
whole cathedrals, only impressions. But it is exciting to try.’
Indeed it is, if you are willing to take the time to do so, and
not only when you are strolling through a gallery. The work of
these artists still resonates in the present day: the fluid, luxurious
designs of the Valentino Haute Couture spring/summer 16 collection were inspired by the work of Fortuny. Very much more than
a fashion designer, he was also a pioneer in photography and
lighting design. And Morris was a polymath who, when he
wasn’t designing textiles, was campaigning for socialism or
translating Icelandic sagas. Both were interested not simply in
individual objects, but in creating a whole world. Each took
patterns from nature and transformed them: feathers, flowers,
the ripe swell of a pomegranate, that most symbolic of fruits.
I thought of the opening of Byatt’s novel Babel Tower, when a
character imagines writing a poem about a pomegranate: ‘He
thinks of Persephone as he used to imagine her when he was a
boy, a young white girl in a dark cavern, before a black table,
with a gold plate containing a heap of seeds. He had supposed
the six seeds she ate were dry seeds, when he was a boy and had never
seen a pomegranate. Her head is bowed, her hair is pale gold. She
knows she should not eat, and eats.’ Babel Tower was published a few
years before the turn of the century, but part of the pleasure of
reading this wonderful author is to see her looping back to the
images that have fascinated her, which will always fascinate her.
The full name of the heroine of Babel Tower and the three other
novels that make up the Frederica Quartet – The Virgin in the Garden,
Still Life and A Whistling Woman – is Frederica Potter; and there’s a
lot in that surname. Byatt has said of herself that she is a ‘Northern
puritan by upbringing’, descended from generations of potters in the
Five Towns. Craftsmanship is in her blood. When I first became
enraptured by her work at university, it was this attention to craft, to
making, that so captivated me. You can’t read her work and slide past
it, as those gallery-goers did when they skated past Monet. Art is
always an invitation to pay attention. As a writer, I have found that
if getting older has one advantage (and actually, you
know, there are many), it is that I am far more willing to
take the time to be attentive, to really look. There is
beauty in the work of William Morris and
Mariano Fortuny, to be sure – but there is
beauty all around us too, all the time.
‘Peacock & Vine’ by AS Byatt (14.99,
Chatto & Windus) is published on 7 July.
DESIGN
ANIMAL MAGIC
To mark the 150th anniversary of Beatrix Potter’s birth, Penguin is releasing five new editions
of the author’s much-loved stories (£6.99). Each has a cover created by a contemporary designer,
from Orla Kiely’s hedgehog pattern for The Tale of Mrs Tiggy-Winkle to the floral-print
reworking of Squirrel Nutkin by the duo behind Preen. CG
July 2016 |
| 95
DADDY
COOL
Kit de Waal, the author of the
highly anticipated debut novel
My Name is Leon, recalls how
her dapper father informed her
own fashion sense
My first notions of style came from my father. He
was six feet four, handsome and athletic. Every
West Indian man had a nickname and to his
friends, my father was ‘Slender’. He loved clothes. Although we had
little money, he would buy ‘suit lengths’ in mohair and fine wool and
leather-soled Chelsea boots or dress shoes; when he died, we found
drawers and cupboards of silk ties and matching handkerchiefs. He
never went out anywhere. There were very few places in the 1960s
where a black man could take his white wife. So he had his suits
tailored for their style and beauty.
He worked all his life as a bus driver, which is where he met my
mother, an Irish conductress as small and neat as he was tall. She
said that when she met him he reminded her of the film star
Harry Belafonte. Even going to work was an opportunity for my
father to look good.
Some of my first memories are of being in the kitchen while my
father pressed his bus uniform before his shift. He would stand
over the ironing board and arrange his navy serge trousers under
a sheet of thick, brown paper. In his massive hand, the iron looked
like a toy. He would turn the dial to maximum and plant it down
carefully, watching the paper curl at the edges. The smell of scorching paper filled the room.
The trousers tamed, my father would start on his jacket; a jacket
was never to be pressed. It was coaxed into obedience with steam
ART
Natasha Law’s
‘Tie Back in
Gray’ (2014)
Left, from top:
Kit de Waal
aged about four.
Her father
from a constantly boiling kettle. Holding it high
over the stove, my father brushed the cloth with
his asbestos hands, whirring it around like he
had a motor for a wrist, smoothing the front,
tugging the back, folding back the lapels again
and again. After 10 minutes in his hands, the
thing looked new. He always steam-ironed his
shirts and wore a Windsor knot in his tie.
It would often take my father an hour to leave
the house, a straight parting in the left side of
his hair, dampened with Bay rum. If he took us
anywhere he liked for us all to dress up. We
wore Crimplene dresses in pale blue, our
hair scraped back into a bun. My brother
would wear a dickie bow and a blazer.
Although my Irish grandmother never
got on with my father, she was similarly
stylish. I remember her pale-green twin-sets
and tweed skirts. She had her hair set
regularly, and on special occasions would
wear a long chiffon skirt and pearls. I have
a photograph of her with my grandfather,
sitting on their sofa looking very debonair;
she must have been 75 at the time.
When I left home at 16, I lived the life of a hippie with the
attendant cheesecloth smocks, jeans and sandals. There’s so much
of the 1970s in today’s fashion that I often lament getting rid of
some of the beautiful stuff I had then: suede skirts, mohair jumpers,
platform shoes.
These days, I buy a lot from COS and Toast, and every now and
again an expensive handbag, but I also have my father’s habit of
buying clothes and ‘keeping them for best’. Of course, ‘best’ never
comes, or comes so late that the thing is dated by the time I put it
on. It’s what I’m working on at the moment: seizing the day – or
at the very least, the day dress.
‘My Name is Leon’ by Kit de Waal (£12.99, Viking) is published on 2 June.
LAW UNTO HERSELF
Natasha Law is known for her bold depictions of the female form, but her ambition
is to make you overlook her subject matter completely. ‘What I really want is for
your eye to be drawn to the colours, so you don’t see the figure,’ she says. Many of
her paintings depict young women in the act of undressing: it’s the shapes made in
these ‘very banal or awkward moments’ rather than the eroticism that attracts Law.
‘Women possibly spend more time faced with other women’s bodies than they do
their own,’ she observes. ‘The female form is a subject that I’m familiar with from the
inside and outside – it’s me, but it’s equally that “other”.’ Based in Peckham, Law
juggles her time between work and family. Her three children are all fledging
creatives, and given that their father is a scriptwriter and their uncle is Jude Law,
they have probably inherited plenty of talent. ‘I’ve tried to open their eyes to other
options,’ she says, ‘but ultimately you want them to do what makes them happy.
And my job certainly brings me that.’ CG
‘Natasha Law’ is at Eleven Fine Art (www.elevenfineart.com) from 24 June to 27 August.
PHOTOGRAPHS: COURTESY OF KIT DE WAAL, COURTESY OF ELEVEN, LONDON (WWW.ELEVENFINEART.COM), GETTY IMAGES, ALAMY, KAT PISIOLEK
AND GRAHAM WALSER/HEARST STUDIOS. SEE STOCKISTS FOR DETAILS. OPPOSITE: BACKGROUND FABRIC, £98/1.5M SHEET, LANGTON TEXTILES
BOOKS
TALKING POINTS
Roller, £15;
applicator,
£22, both
The Painted
House
Rug, from
a selection
Christopher
Farr
Cushion,
£59.95
The Charleston
Shop
Paint in
Charleston,
£39.50 for
2.5 litres
Farrow & Ball
£950
Susan
Osbourne
Books, £1,200
for 29
Lorfords
Candlestick,
£315
Paul Young
at Online
Ceramics
Shade, £45;
base, £110, both
Cressida Bell
INTERIORS
Statuary
head, £450
Lorfords
Wardrobe,
about £1,400
L&K Antiques
£695
Graham and
Green
DO THE
CHARLESTON
Celebrate a century of the Bloomsbury
Group’s unique country-house style
Plate, £60;
saucer (sold
with cup),
£38, both
Bloomsbury
Ceramics
Compiled by SOPHIE BLOOMFIELD
and MARISSA BOURKE
£600
The French
House
From £9
each
Neptune
Bespoke
cushions, from
£48 each
Cabbages
& Roses
From a selection
Frost Antiques
Plates,
£8 each
Anthropologie
Caddies,
£550 each by
Claudia Rankin at
Wilson Stephens
& Jones
HOROSCOPES
The future revealed: your essential guide to JULY By PETER WATSON
CANCER
CAPRICORN
22 June – 23 July
22 December – 20 January
A secret ambition may soon become a reality. Don’t feel guilty that
you haven’t discussed it with those closest to you. You shouldn’t
sacrifice the chance to broaden your horizons because you’re afraid
of being labelled a deserter. No one has the right to hold you back.
MOTTO OF THE MONTH You wouldn’t worry what people think of you
if you knew how rarely they do it.
Uncertainty about joint financial or business deals might have
scared you off. But that’s no reason to steer clear. Find out if the
situation has improved and whether all has been clarified. Proceed
with cautious optimism, provided everything appears to add up.
MOTTO OF THE MONTH Attitude is that little thing that
makes a huge difference.
LEO
AQUARIUS
24 July – 23 August
21 January – 19 February
Fears about income, work or wellbeing shouldn’t dominate. Jupiter’s
tie-up with Mercury will remind you that many of your talents or
resources are overlooked. If an exciting new challenge arises, never
doubt you’ll have access to what’s required to make a success of it.
MOTTO OF THE MONTH With one drop of ink, you can make
the world think.
Some others may ridicule your means of getting onerous tasks out
of the way. But with a Sun-Neptune link on your side, you’ll happily
apply unconventional, creative techniques to areas that have been
left untended for too long. Ultimately you will be the winner.
Will you care what anybody else thinks or says? Absolutely not.
MOTTO OF THE MONTH Better untaught than ill-taught.
VIRGO
PISCES
24 August – 23 September
20 February – 20 March
Others may admire your unusual take on property or financial
matters. But will they back you up if things go awry? Ensure your
approach won’t require huge risks. You’ll be excited at the prospect
of doing something different. But what are the potential costs?
MOTTO OF THE MONTH Why worry if you’re not understood? It’s far
worse not to be understanding.
The care and attention you give to one or two special individuals is
rewarded a thousand-fold. Even so, you sometimes feel drained of
the energy and enthusiasm required for you to engage in something novel and inspiring. Don’t be afraid to admit that you would
like – and need – some time for yourself. It’s your right.
MOTTO OF THE MONTH Do not cut down the tree that gives you shade.
LIBRA
ARIES
24 September – 23 October
21 March – 20 April
Do you allow your private life and your everyday responsibilities
to clash rather too often? In mid-July, with the Sun confronting
Uranus, you might be forced to make a hard and fast decision
between your sense of duty and something precious you’ve craved
for a while. Refuse to feel guilty if, for once, you pamper yourself.
MOTTO OF THE MONTH A steady income is often the way to mediocrity.
Unexpected news mustn’t rock your home and family life entirely.
As you adjust to the enforced changes involved, try to look and feel
quite unfazed by it all. One or two less-worldly individuals will
model their behaviour on yours. If you can put on a brave front till
things settle down, everyone will benefit.
MOTTO OF THE MONTH Charity sees the need, not the cause.
SCORPIO
TAURUS
24 October – 22 November
21 April – 21 May
Having been distracted from your career path or some fairly
heavy commitments for a while, you might soon feel the need to
get back in the driving seat. Although certain others will be glad of
your interest and support, they mustn’t be left feeling threatened
by your reappearance. Ease your way in slowly and respectfully.
MOTTO OF THE MONTH Virtue is not knowing but doing.
People asking endless questions about your long-term plans should
be put in their place. But don’t feel you must respond in a rude or
unpleasant way. Find subtle means of discouraging them from
interfering in areas that are none of their business. One particular
topic really mustn’t be discussed openly. You’ll soon find out why.
MOTTO OF THE MONTH An eye for an eye will make the world go blind.
SAGITTARIUS
GEMINI
23 November – 21 December
22 May – 21 June
Why feel obliged to respond to people demanding financial or
emotional support? You’d obviously help if you felt their needs
were genuine. But you’ll wonder whether they’re capable of helping
themselves. Don’t be afraid to focus on yourself for a change.
MOTTO OF THE MONTH Tortoises get nowhere until
they stick out their necks.
Refuse to allow bills or bank accounts to come between you and
those close to you. Pluto’s run-in with Venus could raise questions
or unearth awkward facts and figures. You’ll have a tendency
to overreact. You must remember that your relationships mean
a great deal to you. Mischief-makers should be given short shrift.
MOTTO OF THE MONTH Before you leap high, you must take a long run.
For an in-depth personal reading, visit www.harpersbazaar.co.uk.
98 |
| July 2016
FR E E NE XT MONTH WITH
4 L’OCCITANE GIFTS
TO COLLECT
WORTH
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a total of
£32
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21ST-CENTURY BRITANNIAS
The Game of Thrones actress Emilia Clarke swaps dragons and conquest for diamonds and couture;
fashion and literature elide as Karen Elson summons the spirit of Daphne du Maurier;
and we meet five women at the heart of Tate Modern’s renaissance
SWEPT AWAY
Emilia Clarke is riding the crest of a wave of success in Game of Thrones,
and now she is also set to shine in a film adaptation of the British
bestseller Me Before You. Here, she talks to the novel’s author Jojo Moyes
about fame, feminism, wigs and wonderment…
PHOTOGRAPHS BY DAVID SLIJPER
STYLED BY LEITH CLARK
All clothes and jewellery throughout, to order, Christian Dior Haute Couture, except where stated
E
Three scenes with Emilia Clarke
SCENE 1
The first time I talk to Emilia Clarke is at Pinewood Studios, where we
have just begun shooting the film of my book, Me Before You. She is a tiny,
gorgeous presence, fuelling her way through the long days with everpresent flasks of water with strawberries, cucumber, mint. Clarke is
rigorous about staying in shape, and in a break between scenes we lunge
and squat our way around the lot while chatting (mine are comical
enough that a producer’s assistant takes pictures from behind). Emilia’s
working day started some time around 5.30am. As we wrap that
evening, her personal trainer is waiting to do another hour with her.
There may have been rehearsals for the following day’s scenes after that.
Throughout all this, she will smile. By the end of the shoot, in June,
most of the production team will be slightly in love with her.
DAVID SLIJPER
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sapphire and tourmaline
bracelet, both Dior Joaillerie.
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selection, Dior. Pink gold,
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DAVID SLIJPER
SCENE 2
Paris. Our last day of filming. Emilia has been diagnosed with a
fractured hip, following a treadmill accident that resulted in weeks
of intense pain. One of our final scenes involves her reading a letter
in a café, weeping, then walking across Parisian cobbles in five-inch
heels. She completes each take beautifully, but every time the word
‘cut’ echoes across the Place Dauphine, her face drains of colour
and the crew rush over with crutches. The pain is such, she tells me
later, that it makes her want to throw up. By the end of the day,
when we exchange gifts and tears, she can no longer stand, and
receives hers sitting on a kerb. Hours later, she will fly off to promote
the Schwarzenegger blockbuster Terminator Genisys, in which she
plays the female lead. She will complete that worldwide tour on
crutches, immaculately made up, the smile in place.
‘Nothing grinds my gears like people not turning up or not being
ready to work,’ she says. ‘The show must go on. This is ingrained in
me.’ Emilia Clarke is old-school.
Louisa Clark, the heroine of Me Before You, is a quirky girl from a
small town, who is given the job of helping care for Will Traynor,
an angry, paralysed man, and manages to change his mind-set –
and her own life – in the process. The story
is romantic, funny and sad, and in casting
the film, MGM wanted someone who
could make an audience laugh and cry;
an ordinary girl who manages to convey
something extraordinary.
I had assumed the actress who played
Daenerys – the Khaleesi – in HBO’s Game
of Thrones would be too glacial, too poised,
too blonde (it turns out it’s a $7,000 wig).
But Clarke, in person, is quite different: a
brunette with a palpable warmth and
a megawatt smile, a girl who swears like a
trooper and has a keen sense of the absurd.
She has that rare ability to look quite ordinary one moment, and incandescent the
next. After an endless audition process,
the studio asked me to rate my top three
Louisas. I had to tell them that I only had one. I had never
pictured Louisa Clark fully in my head as I wrote her, but I did now.
Hollywood is littered with embittered writers complaining
that their characters are nothing like the people on screen. I just sat
back in awe every day and watched as Louisa, with what Will
calls her ‘bad jokes and your ridiculous clothes and your complete
inability to ever hide a single thing you felt’, appeared in vivid
Technicolor in front of me.
‘Lou is definitely the character closest to me in real life,’ says
Clarke, sitting in a Los Angeles café so low-key I’m embarrassed
to submit expenses. Our table outside is an upturned crate. They
do not take reservations. The servers do not register the identity of
the brunette in the cream jumper.
‘I spent my time on Game of Thrones growing into an adult, but
Louisa shows my more bright-eyed and bushy-tailed side. On a
personal level, it’s been really nice to allow myself to just be me, and
she is a heightened version of that. I’m not Khaleesi. I stoop!’ (she
doesn’t). Later, she will joke that it’s a pleasure to finally play a part
where nobody is trying to kill her.
Emilia Clarke grew up with her brother Ben in Berkshire; her
father is a theatre sound engineer, her mother a businesswoman
who runs marketing teams for large global consulting companies.
From her parents, she inherited her work ethic, as well as an understanding that everyone on a stage set is equal. She describes her
family as close, and as her biggest advocates.
Game of Thrones has made her famous, yet thanks to the wig, she’s
preserved an ongoing level of anonymity. But roles as Holly Golightly
in Breakfast at Tiffany’s on Broadway, in the films Dom Hemingway
with Jude Law and Terminator Genisys, and
as the face of Dior’s Rose des Vents jewellery collection – in addition to growing
tabloid interest – mean that privacy is
disappearing fast. The trailer for Me Before
You was released in February. Within two
weeks, it had notched up over 60 million
views. More than half the comments on
her Instagram feed, she noted, were now
about her as Louisa Clark.
‘The joy of that wig is that I’ve had years
to come to terms with where I’m at. It’s
easier to handle because of it. You’re like,
“OK, I feel comfortable, everyone’s nice.
I’m not surrounded by paparazzi”,’ she
says. (In fact, I register the exact moment
the man at the counter realises who he’s
been talking to. Five minutes after we sit
down at our crate with our salads, a table is magically found.)
Working on a film set can be notoriously tricky: everyone has
stories of clashing egos, badly behaved stars (and, yes, writers). But
even grizzled, veteran crewmembers observed what a happy production Me Before You was. Perhaps it was down to the director
Thea Sharrock, who hails from theatre and is collaborative rather
than dictatorial, but it was unquestionably helped by the fact that
Clarke and Sam Claflin (Finnick from The Hunger Games; Alistair
Ryle in The Riot Club), who plays the male lead Will Traynor, plainly
loved working together. It was not unusual to see the two of them
skidding around the set on Will’s electric wheelchair, or pranking
each other in the trailers. For a weepie about a man who doesn’t
want to live, there was an awful lot of laughter.
‘These movies happen once in a blue moon. Lou has this quote,
“This has been the best six months of my entire life.” That was true
for me,’ Emilia says. ‘Our crew had such a giggle. Everyone just got
on. Thea is an absolute dreamboat. She’s an actor’s director and, let
me tell you, they are few and far between.’
‘She brought a level of professionalism and total dedication to
work every day, but never at the expense of fun,’ Sharrock says of
Emilia. ‘She was never afraid of hard work, always wanted to be
Game of Thrones
has made her
famous, yet thanks
to the $7,000 wig,
she’s preserved
an ongoing level
of anonymity
DAVID SLIJPER
Pink gold and diamond earrings; matching ring; white gold, diamond, garnet and emerald ring, all Dior Joaillerie
DAVID SLIJPER
pushed further than she thought she could go. She gave herself
entirely to the part of Lou, so much so it was hard sometimes to
distinguish Clark from Clarke.’
Me Before You is a female-led film; unusually for a Hollywoodbacked production, it has a female director, female writer and three
female producers. After the testosterone-fuelled sets of Terminator
Genisys and Game of Thrones (which has been repeatedly criticised
for scenes of sexual violence against women), this was a new experience for the actress.
‘I’m normally surrounded by dudes. Doing Me Before You meant
I didn’t have to be continually proving myself in a man’s world,
having to try and force people to listen to me. I’ve got a really strong
mum. I was brought up thinking that men and women are equal.
It’s only as I’ve got older that I’ve been like: “Mum! What the f…?
Why are they treating me differently because I’ve got a pair of tits?”’
I am reminded of a time on set when I happened to tell her my
daughter was having to deal with sexist behaviour for the first time.
A few days later, I was handed a bag containing a designer dress
and a leather bag that Emilia had brought in for her. ‘This sounds
awfully Oprah Winfrey, but I can’t be having a good time unless
I feel other people are having a good time,’ she says. ‘A life lived in
isolation is not a life lived.’
For several years, she has had a peripatetic life, flitting between the UK and LA. ‘I
came out [to LA] in January with my best
friend and only meant to stay a month but
I’m still here.’ She is based in hipster Venice,
rather than Beverly Hills, which she jokingly refers to as ‘Beverly Hells On Earth’.
‘There are particular pockets of LA where
you have to be “on” all the time,’ she says. ‘A
friend says it’s like a smog hangs over LA –
a smog of anxiety and desperation and fear,’
though she says learning to love the City of
Dreams has been good for her confidence.
‘California living is easy-breezy. You’re
not up against the weather or people’s
slightly pessimistic attitudes. When you
sift through all the Botox and glamour,
you can find a relaxed California vibe. It’s
lovely.’ Her career – and geography – may be taking her into a rarefied
space, where it’s harder to work out which friends are real and where
old friends struggle to understand a new reality. I tell her about a podcast in which the Oscar-winning actress Julianne Moore discusses
the transient nature of film relationships. Her theory is that if you
manage to take one friendship away from a production it is unusual.
Clarke agrees. ‘That’s why this movie was so exceptional. Thea
will be godmother to my children. Fact. And Sam and I have known
each other for a while. So we will always know each other.
‘Sometimes you get really close to someone but you know you
won’t see each other after the movie is done – “red carpet buddies”.
That can be a big thing to come up against, because you constantly
have to check in with your friends at home. They’re all, “But you’re
off living the dream”, and I say, “No I’m not”. Actually everyone else
has got a life, and you have to put your life on hold to make a movie.’
Honesty, she says, is the key. ‘We’ve been through it. If I sense that
they’re starting to get a bit funny about [her success], I’ll be hugely
honest. Call it First World Problems or Holly-problems. Or whatever.
But I’ve fought them on it, and been like “Oi. Nothing’s changed.”’
The smartest thing, she believes, is bringing them along on the
journey. Hence, she is writing a script with her best friend Lola. ‘You
take them to [showbusiness events] and they’re not cynical, they’re
like, “Wow! This is amazing!”, and you see these things with fresh
eyes. They’re a touchstone. It’s healthy.’
SCENE 3
The Lancôme pre-Baftas dinner in February; Emilia is there accompanied by Thea Sharrock. During the evening, I find myself shielding
her from male attention. It might be because of the smile, or her
diminutive size, but men approach Emilia a lot. She tells me about a
household name she had to firmly rebuff the previous evening (I’ll
save his blushes, and won’t mention who).
Later that night, she will be enthusiastically serenaded, gospel-style, by another.
‘I don’t get hit on a lot,’ she insists. ‘Last
year I could have been wearing a sandwich board and ringing a bell and nobody
would have noticed!’ I glance at the men
at the next table who have given up trying
not to stare, and I find that hard to believe.
As I leave, a man approaches and asks
for a picture ‘for my son. He’s a huge Game
of Thrones fan’. I lose count of how many
times this happens. She keeps smiling,
even as his hand slides around her
shoulder. I wonder how many of these
sons actually exist. I remember feeling
quite glad she wasn’t on her own.
Clarke talks a lot about the importance
of keeping family and friends close. A nomadic lifestyle – and a
prodigious work rate – makes it hard to hold down a relationship.
She split from the comedian Seth MacFarlane in 2013. Last year, she
says, was ‘tough’, but she is dating again ‘and every choice I make is
about freedom. And fun’.
For now, she is enjoying what she calls ‘a good day’ in her career,
and trying to build in some time to enjoy herself after a couple of
whirlwind years. A romantic comedy looms this summer, as well as
a gritty role in a lower-budget movie. As perhaps befits someone
whose father has witnessed the trajectory of hundreds of acting
careers, and believes the most valuable lines an actor can learn are:
‘Do you want fries with that?’, she says she has learned to take
success day by day.
‘It will go away, without a shadow of a doubt. Everyone goes in
peaks and troughs. The balance is having the confidence to go “OK,
I’m going to take that good thing, and try and believe two per cent
of it and just be in that moment. Just being present, instead of looking
over your shoulder.”’ Emilia laughs. ‘For now I’m in a lovely spot.’
‘Me Before You’ is in cinemas nationwide from 3 June.
Me Before You
has a female
director, writer and
producers – a new
experience after
the testosterone of
Game of Thrones
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B E S I DE T H E S I LVE R S E A
A timeless summer story on the Sussex shore
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THE NEW TATE MODERN
STATE OF THE ART
Ahead of the launch of the bold reimagining of the iconic
London gallery, we celebrate four female artists breaking
the mould, and the curator championing their work there
BY SOPHIE ELMHIRST
PHOTOGRAPHS BY FRANÇOIS DISCHINGER
RACHEL WHITEREAD
Sculptor
with her ‘Untitled (Floor), 1994 – 5’
‘My mother was an artist, and when I was 13,
she held a groundbreaking exhibition called
Women’s Images of Men at the ICA, put together in our basement
in Muswell Hill. I was completely fascinated
by it, and felt very proud of the women.’
T
July 2016 |
| 141
▼
ate Modern, on a typical Sunday morning, is
somewhere between playschool, rave and church.
Toddlers hurl themselves down the wide concrete slope in the
Turbine Hall, hipsters prowl the galleries, and the rest admire
the collection, take coffee on the sixth floor and watch boats skim
past on the Thames. There is none of the usual reverence or hush
associated with visiting a museum: it’s full, noisy, steaming with life.
‘It represents access,’ says Daria Martin, an artist whose film, Birds,
will form part of the ‘new’ Tate Modern.
For the gallery is about to re-launch: in June, a vast extension
called the Switch House will open, designed by the original Tate
Modern architects Herzog & de Meuron. There will be a full
re-hang of the collection and the unveiling of a new area, the
Tanks, dedicated to live art and performance. The Tanks were,
literally, the oil tanks that fuelled the old Bankside Power Station
out of which the original Tate Modern was carved. You can still
smell the oil, apparently, but now the space is, according to the artist
Marvin Gaye Chetwynd, ‘harsh, concrete and beautiful’. Her film,
Hermitos Children, will play there, beanbags laid out for viewers,
142 |
| July 2016
PHOTOGRAPHS: FRANÇOIS DISCHINGER, TATE PHOTOGRAPHY, © DARIA MARTIN, © RACHEL WHITEREAD
Martin. 3 Marvin
Gaye Chetwynd
and Joe Scotland
in the Tanks, at
Tate Modern.
4 Dock (2014) by
Phyllida Barlow
work will sit in the re-hung Boiler
House – the original Tate Modern
building – in a room at the end of a
sequence of galleries. The piece is
monumental, but also collapsing, as
her sculptures often are. It looks like a
3-D puzzle, a giant and broken Rubik’s Cube – multi2
coloured and tilted to one side, stairs on the ceiling, walls
mid-tumble. It was inspired by a radio programme she
heard about Hurricane
Katrina, and the account of
a man returning to his
house in New Orleans to
find it, literally, upsidedown. Now, here it is, her
own upside-down house,
still and massive. For
Barlow, it was ‘an astonishing surprise’ to show here,
and to be given a room
of her own. ‘To have a
gallery to itself, and also
one at the end of a sequence
of galleries. There’s something truly remarkable
because it seems exactly
the place that that partic3
ular work needed to go.’
Of these four artists,
Barlow is the oldest at 72. She remembers,
painfully clearly, the moment one of her
tutors at the Slade said to her: ‘I won’t be
having many conversations with you
about making work, because I know by
the time you’re 30 you’ll be making jam
and having children.” And I said to him:
“Well what’s wrong with that?”’ She was
delighted by her comeback, and acknowledges that the tutor was right in one sense
– she had five children – but drastically and happily wrong in another.
Barlow has had one of those careers that seems to get better as she
gets older, the recognition for her work only growing with time.
She’s proof to a younger generation that the notion of having to
sacrifice everything, including yourself, for the sake of your art is
both outdated and false.
All of the artists featured have children, all balance competing
demands on their time, all make bold and innovative work.
Whiteread’s sons are 10 and 15, and so far show little interest in art.
She doesn’t mind, but notes a difference from her own experience
▼
a sense that the way people watch is just as important as what
they’re watching.
‘My vision over the next few years is one that is more
international and more diverse,’ says the new director Frances
Morris, who has worked at the gallery since it first opened in
May 2000. ‘It will expand the traditional stories of
1
modern art and ‘isms’ to encompass different views
from around the world. It will focus on how artists
work and the way we experience art here and now. It’s
an incredible opportunity to tell the story of modern
art in fresh and exciting ways.’
For the artists who are part of that story – such as
the four women featured here – Phyllida Barlow,
Rachel Whiteread, Daria Martin and Marvin Gaye
Chetwynd – Tate Modern is
more than simply a home for
their work, or a bastion of
London’s contemporary-art
scene. Martin, an American,
describes how she first came
here from working in the
ultra-commercial atmosphere
of LA. ‘There’s much more
public and institutional support here,’ she says. As for Tate
Modern: ‘It’s a big machine,
but it makes contemporary and modern art less opaque. And
that’s great.’
Because it can be bafflingly opaque: who hasn’t stood in front
of a piece of conceptual art, read the blurb, and wondered if
they’d missed some vital briefing that explained what they were
meant to think? Tate Modern, somehow, demystifies even the
most obscure work, makes it fun. When the new building opens
– a kind of enormous, distorted tailfin rising up behind the
original gallery – there will be three weeks of live performances
including Tania Bruguera’s performance
piece using police on horseback to herd
the visitors, and Tino Sehgal’s gallery
attendants who randomly break into
song. You’ll also find children’s spaces,
performances by community choirs, film
screenings and Tate Exchange – 50
organisations, from charities to universities, taking over a floor of the gallery to
debate and respond to the art. A hyperactive host of things, that is, to dismantle
4
any remaining barriers to the work, and
bring people in.
1 Embankment by
The sculptor Phyllida Barlow describes
Rachel Whiteread.
the moment an audience meets a work of art,
2 A still from Birds
and becomes, as she puts it ‘equal protag(2001), a 16mm
onists: that to me is a great thrill’. Her own
film, by Daria
MARVIN GAYE CHETWYND
Performance artist
pictured: her piece ‘Hermitos Children, the pilot episode’ (2008)
‘When I walked into the new Tate Modern building it
felt like a thrill. It was like, “Oh wow,
I want to get lost in here, this is amazing.” I think the public will own it
quickly and say, “This is ours, this is our space.”’
PHYLLIDA BARLOW
Sculptor
with her ‘Untitled: Upturned house 2’ (2012)
‘I feel it’s important to be an artist,
not a woman artist, and to be within a context, for better or worse,
of the whole historical footprint of art
and its anomalies and idiosyncrasies.’
when, growing up, she’d draw and paint to find relief from boredom.
‘One of the things I blame is the internet,’ she says. ‘Creativity gets
switched off by this demon that’s always in the house… My kids
say, “I’m bored”, and I say, “Good! Work out how to not be bored!”’
Her own work, like Barlow’s, is large-scale, hefty, suited to Tate
Modern’s industrial-size dimensions. In the new re-hang, she will
show Untitled (Floor), a cast of a wooden floor made up of 14 slabs of
polyester resin. This kind of super-size sculpture, she’s found over
the years, is not the sort of thing that collectors tend to buy for their
homes – and so she’s grateful for a gallery with enough funds to
purchase it and enough space to show it. It’s also not always the genre
of work associated with women artists. ‘There’s a macho side of this
world,’ says Barlow, ‘especially sculpture.’
Fortunately, in the form of Frances Morris, Tate Modern has a
new director who has long championed the work of women artists.
‘There has been a significant increase in the percentage of women
artists in Tate’s collection over the past 50 years, and this gap is
narrowing,’ says Morris. ‘The playing field isn’t level yet, but I really
hope that visitors will see how women have been and are an incredibly important part of the story of art across the world.’ That, for
Barlow, is key – not to make women artists a special case, but
for them to be shown and seen as equals. As she says of Frances
Morris: ‘She has a very powerful understanding of the broader
context of art, male and female: all art. I don’t think her attitude to
women artists is patronising in terms of isolating them.’ In the new
Tate Modern, these four artists will simply form part of the
cacophonous whole – a great, sprawling, cavernous, concrete
powerhouse, which still smells, just a little, of oil.
144 |
| July 2016
FRANCES MORRIS
D i re ctor of Tate Mo der n
pictured in the Tanks
‘I want to focus on how artists work and
the way we experience art here and now.
It’s an incredible opportunity to tell the story
of modern art in fresh and exciting ways.’
DARIA MARTIN
Artist and film-maker
pictured on Level 2 of the Switch House
‘There used to be such a myth around the idea that
artists must be all-consumed by their work at all times,
and it must be their first and only love.
I think many artists through the ages, both male and female,
have deflated that myth.’
BEAUTY
PHOTOGRAPH: EMMA TEMPEST
Edited by SOPHIE BLOOMFIELD
HEAT WAVE
Your summer routine made easy, from perfect bronzers
and the best sunscreens to frizz-free hair and the most evocative perfumes.
Plus: the beauty secrets of the British actress and model Gabriella Wilde
BEAUTY BAZAAR
Limited Edition
Gelée Bronzer,
£33
Estée Lauder
£6.99
L’Oréal Paris
£30
Clarins
N
Cheek & Lip Tint
in Honeysuckle,
£16.75 Jouer at
Cult Beauty
Sun-kissed Face
Gelee, £23
Clinique
G
T O U C H
E
I
Does anyone really want to look
tanned any more? A glowing tint is
How to look naturally radiant
one thing, but a homogenously
bronzed complexion looks both
instead of blandly tanned
passé and ageing, especially if
By SOPHIE BLOOMFIELD
achieved using a deep self-tanner
and bronzing powder, which all too
often result in a mottled, obviously
made-up finish. Thankfully, the new generation of
NO-TAN TAN ACCENTS
tanning cosmetics have been carefully calibrated to
‘Using brown make-up tones alone can look flat and
make you look healthy rather than fake. These are
muddy,’ says the make-up artist Sam Bryant. ‘Adding
the products to use and the tips to employ to look
a little peachy pink to the centre of the cheeks is the
effortlessly sun-kissed this summer.
prettiest compliment to sepia tones on the lids,
SHEER BASES
temples and bridge of the nose.’ Cream colours tend
The latest liquid and gel bronzers blend into the
to look more natural than powders, since they blend
skin, imperceptibly tinting it a couple of shades
into the skin rather than sitting on top of it. Hourglass
deeper. ‘It’s about boosting the face with a very
Illume Sheer Colour Trio, £56, gives a beautifully
minimal veil of colour, not covering it with base,’
realistic flush that works on every skintone.
says the make-up artist Val Garland. ‘The effect
FINE BRONZING POWDERS
should be neither oily nor powdery, just superFor the most natural effect with powder bronzer, a
conditioned.’ To achieve this desirable finish, apply
light dusting of By Terry Hyalauronic Hydrayour bronzing gel evenly over a non-greasy moisPowder, £42, gives your complexion a perfect
turiser (Crème de la Mer the Moisturising Gel
velvety-matte base that ensures it doesn’t ‘grab’ onto
Cream, £108, and Dior Hydra Life Pro-Youth
the colour. ‘Sparkly finishes and orange tones have
Sorbet Creme, £45, are
no place in a believable bronzer,’ says Terry Barber,
both excellent), and blend it
one of the many make-up artists who sidesteps this
into the hairline, neck and
issue by choosing deeper shades of face powder
ears with a buffing brush.
(MAC Mineralise Skinfinish, £24, is superb) over
traditional bronzing powders. That said, there are
now some good realistic options, including Guerlain
Terracotta the Bronzing Powder in Clair Brunettes,
and Chantecaille HD Perfecting Powder. Both have
£44
Chanel
great colours and sheer textures. Clarins Summer
Bronzing and Blush Compact and Chanel Les
£36
Beiges Healthy Glow Multi-Colour Duo No 1 clevGuerlain
erly combine their tanned shades with flattering
peachy blushes.
S
PHOTOGRAPHS: EMMA TEMPEST, KAT PISIOLEK/HEARST STUDIOS
G OLD
STA NDA R D
F I N I S H
£62
Chantecaille
Terrybly Densiliss
Sun Glow in Sun
Bronze, £76
By Terry
Gel Brush, £40;
Bronzing Gel,
£30, both
Sensai
L I P S
L’Oréal Paris
Infallible Matte Max
Lip Pen in Silencio,
£6.99; or Dior
AddictUltra Gloss in
649, £23
B R O W S
Charlotte Tilbury
Legendary Brows,
£18.50; or Givenchy
Mister Eyebrow
Filler, £17.50
L A S H E S
Sisley So Curl
Mascara, £39
£22.50
Aveda
£28.99
Braun
T H E
E
‘What did women use before Frizz
Bid farewell to unruly summer hair
Ease?’ is a question I’ve asked
myself several times. For years, I’ve
with these frizz-fighting techniques
struggled with an unruly, blurry
By VICTORIA HALL
halo along my parting and
around the crown of my
head. Frizz is a constant
battle for many women, and when John the air makes the hair strand expand and subseFrieda launched its iconic serum in 1989, quently lose its shape.
the brand changed the landscape of hair‘It’s important to remember that healthy, shiny
styling. In the decades since, the fight hair has movement, so avoid heavy products,’ says
against flyaways has become much more the hairstylist Adam Reed. ‘They may act as a
sophisticated with advances in science and barrier to frizz, but can easily weigh your hair down
£32
Living Proof
technology. From heated appliances to the and leave it feeling lank.’ Swap thick treatment
rise of blow-dry creams, there is a source of masks and heavy styling balms for a lightweight
frizz-relief for all hair types. The trickiest blow-dry cream, such as Aveda Smooth Infusion
part is deciphering which of the countless Naturally Straight; or, for finer tresses, Living Proof
products on the shelves will work for you.
No Frizz Weightless Styling Spray.
The main cause of frizz is dehydration. As
Sad but true: the heated straighteners that can
the hairstylist James Galvin explains: ‘If hair is tame frizzy hair may make the problem worse in the
nourished and hydrated, the cuticle, which is the long run. ‘To create a super-luxe finish you need to
outer layer, lies flat and smooth. If it’s dry or use a brush and a good heat-protective spray,’
damaged, the cuticle becomes rough
explains the hairstylist Luke Hersheson.
T I A L
N
and the hair unruly.’ Another factor
‘Straighten hair section by section, from
E
S
S
is humidity; extra moisture in
the root to the ends to smooth and seal
S
each strand.’
T H E W E E K L Y
S U P P L E M E N T
Color Wow Coconut
Cocktail Bionic Tonic works
as a hydrating coat for each
strand of hair to boost
moisture and shine.
£22
Color Wow
£40
Oribe
S H A M P O O &
C O N D I T I O N E R
THICK HAIR Pureology
Smooth Perfection Shampoo
and Conditioner untangle and
smooth thick, unruly hair without
making it feel heavy or greasy.
FINER TRESSES Oribe
Cleanse Clarifying Shampoo,
£38, is a game-changing mousse
that cleans, conditions and
calms hair. Follow with the
Essential Antidote Replenishing
Conditioner for maximum impact.
GHD
T H E H E A T
P R O T E C T O R
Redken Frizz
Dismiss Smooth Force
Lightweight Smoothing
Lotion Spray, £17, eases
frizz and boosts shine,
with no residue.
T A M I N G
T R E A T M E N T S
AT-HOME John Frieda
Frizz Ease 10 Day Tamer
Pre-Wash Treatment is the
closest there is to an at-home
permanent blow-dry.
Straighten your hair once
you’ve washed and dried it,
for longer-lasting results.
IN-SALON Hershesons
Permanent Blow-Dry, from
£250, offers three months
of tamed lengths – perfect
for thick, unruly locks
or for those jetting off to
humid climes.
£12.99
John Frieda
Shampoo, £16;
conditioner, £20,
both Pureology
PHOTOGRAPHS: EMMA TEMPEST, KAT PISIOLEK AND GRAHAM WALSER/HEARST STUDIOS
SMOOTH
A S SILK
Bamboo Smooth
Kendi Oil Pure
Treatment Oil,
£20.50
Alterna
S M O O T H I N G
S T Y L E R S
THICK HAIR: GHD
Platinum Styler, £165,
is the perfect tool
for those who want a
straight, sleek look.
FINER TRESSES: Braun
Satin Hair 7 Iontec Brush
won’t straighten your hair,
but it does brush away the
halo of frizz thanks to
the ion technology.
£165
BEAUTY BAZAAR
BEAUTY BAZAAR
SAFE AND
SOUND
outdoors and reapplied every two hours to maintain the SPF value
stated on the bottle,’ says the dermatologist Dr Anjali Mahto. The
LA-based dermatologist Dr Harold Lancer recommends using
one to two ounces for your entire body, which means at least a
teaspoon-sized amount for your face and neck.
DO YOU NEED TO WEAR SPF IN THE UK?
Lock out harmful rays and keep your
skin healthy with our pick of the best
sun protection By VICTORIA HALL
‘Even on a grey day, up to 80 per cent of UV rays can penetrate the
clouds, so you should wear a minimum SPF15 every day wherever
you are,’ says Dr Mahto. Many face creams contain an SPF15 or
above. This will protect your skin on the way to the office in
the morning, but the majority of the
formula will have evaporated or
rubbed off by lunchtime, so if you’re
planning to sit out in the park, make
sure to reapply your sunscreen, or dust
Peter Thomas Roth Instant Mineral
SPF45, £24 at Cult Beauty, over
your make-up.
WHAT TYPE OF SPF IS BEST?
There are two types of sun protection:
the physical kind, which blocks and
reflects UV rays, and a chemical variation that absorbs them before they can
harm your skin. While each kind has its
merits, it’s best to opt for a cream that
uses a blend of both – which most now
do – to ensure it offers strong, broadspectrum protection. If you have very
sensitive skin, choose physical sunscreens, as chemical formulations
can irritate. Try SkinCeuticals Sheer
Mineral UV Defense SPF50, £35, and
Lancer Skincare Sheer Fluid Sun
Shield SPF30, £42, for micronised
formulas that are absorbed quickly
without leaving a visible trace.
IS WATER-RESISTANT SUN
PROTECTION NECESSARY?
‘A formula is deemed water-resistant if
at least 80 per cent of it can withstand
two 20-minute submersions in water,’
explains Dr Walayat Hussain, a spokesperson for the British Association of
Dermatologists. However, the testing
doesn’t take into account towel-drying
or sweating, meaning that reapplication after swimming is essential.
Consequently, as there’s virtually no
benefit to choosing a water-resistant
formula, it’s better to opt for easyto-apply sun creams, such as Vichy
Idéal Soleil Invisible Hydrating Mist
SPF50, £16.50, and Sisley Milky Body
WHAT FACTOR SHOULD YOU USE?
HOW MUCH SHOULD YOU APPLY?
Mist Sun Care SPF30, £83.
DOES WEARING SUNSCREEN AFFECT VITAMIN-D LEVELS?
Vitamin D is produced by the body when bare skin is exposed
to sunlight. It’s essential for healthy bones and is thought to prevent
diseases including some cancers and arthritis. ‘Short exposure to
the sun, such as a 15-minute walk, is a good balance between
making vitamin D and the risk of skin cancer,’ says Sarah Williams,
a health-information manager at Cancer Research UK. To avoid
skin ageing, expose your arms and legs, but keep your face covered
with SPF or wear sunglasses and a hat.
Few of us apply sunscreen correctly, which can have lethal consequences. ‘Sunscreen should be applied 30 minutes before going
Prince’s
Trust
Limited
Edition
Invisiblur
Perfecting
Shield
SPF30,
£69.50
Murad
154 |
Prevage
City
Smart
Hydrating
Shield,
£55
Elizabeth
Arden
THE PRODUCTS
Pivoine
Sublime in
Amber
Rose, £12
L’Occitane
Protecting
Fluid SPF50
UV, £65
Crème de
la Mer
| July 2016
Mineral Matte
UV Defense
SPF30, £39
SkinCeuticals
Silky
Bronze
Cellular
Protective
Cream For
Face
SPF30,
£80
Sensai
Gelcream
Light
SPF50,
£24
Heliocare
PHOTOGRAPHS: ENRIQUE BADULESU/TRUNK ARCHIVE, KAT PISIOLEK/HEARST STUDIOS
An SPF50 will give you 98 per cent
protection, while SPF30 offers 97 per
cent. The length of protection offered
by different factors depends on how
quickly your own skin burns. For
example, if you burn within three minutes without any sun cream,
an SPF30 should protect you for 90 minutes and an SPF50 for 150
minutes. On holiday, you should opt for a minimum of SPF30 and
seek shade regularly. ‘Start with SPF50 for the first couple of days
and then lower it to SPF30 once your skin’s tolerance has built up,’
advises the plastic surgeon and skin-cancer specialist Marko Lens.
Layering factors won’t give you extra protection: if your moisturiser
contains an SPF15 and you put an SPF30 sunscreen on top, your
level of protection will still amount to SPF30, not SPF45.
BAZAAR PROMOTION
Small wonder
SUNGLASSES, £100, MAX AND CO. SWIMSUIT, £105, BODAS. BEACH TOWEL, £22; LEATHER WASH BAG, £60, BOTH THE WHITE COMPANY
Portable yet powerful, Foreo’s
Luna Go cleansing device is the perfect
on-the-go skincare solution
H
oliday packing can be a stressful experience:
just how many different outfits should you
bring, and how many airport-regulation-size
beauty products can you squeeze into your
cosmetics bag?
Fortunately, travelling light doesn’t have to involve making
sacrifices in your skincare regime. The key to avoiding
excess-baggage charges is to invest in multi-tasking products
that give you the results you need with the minimum of fuss.
Foreo’s Luna Go cleansing device – a lightweight, extraportable version of the Luna 2 – is one such example. Fitting
easily into your make-up bag, it’s a compact cleansing
solution that uses cutting-edge technology to give you a
glowing complexion. By directing pulsations through its soft
silicone touch-points, the ultra-hygienic device lifts away
layers of dirt, oil and make-up residue, leaving your skin
deeply cleansed, while lower-frequency pulsations help fight
the signs of ageing. Plus, it’ll remain charged for up to 30
uses, with no replacement brushes needed, so it’ll last you
all holiday long.
You can tailor the treatment to your needs by choosing
from four different brushes, each designed for a specific skin
type: sensitive, normal, combination and oily. After using the
device, you’ll find your skin primed to absorb your favourite
skincare and make-up products even more effectively.
Assuming you can fit them into your cabin baggage, that is…
The Luna Go costs £69. For further information, visit
www.foreo.com/HB2016.
BEAUTY BAZAAR
SUN-K ISSED
SCENTS
i B r ow n
£1
48
fo r
100
m l Cr e e d
£4
9
fo
70
fo r
100ml Tom
Fo
rd
£
r1
0
0m
lG
ue
rl a
in
Z
UL
Photo
graph by PA
AK
BY VICTORIA HALL
r
fo
r
£ 50
e
obb
ud
50
lB
0m
While these perfumes may have different
notes, they all share one miraculous
power: with one spritz you’re
transported to a far-flung beach,
warm sand between your toes
m
10
l E steé L a
£ 5 0 fo r
BAZAAR PROMOTION
Hannah, 35
A lighter
touch
The latest innovations and
techniques for applying facial
fillers offer discreet yet
game-changing results
T
here was a time when you could
always tell that your friend,
neighbour or work colleague
had dabbled with facial fillers.
The tell-tale signs of pillowy eyes, overly
plumped cheeks and puffy lips gave the
game away. Fast-forward 10 years and you’re
now wondering why she looks so good,
rather than questioning what she’s had done.
Juvéderm facial fillers are made up
of ‘cross-linked’ hyaluronic acid, which can
be synthesised as a runny or thick gel.
The variety of consistencies allows for
a tailored approach to
treatment, depending on
the area of the face and
ageing concerns. Juvéderm
Voluma is slightly thicker in
its consistency, and is used
to restore facial volume;
whereas Juvéderm Volbella
is thinner, and so is used to
treat fine lines and delicate
areas such as the lips.
Allergan, which makes
Juvéderm facial fillers, leads
the way in the development and training
of the practitioners who use its products.
In the UK alone, it trains up to 1,500
physicians every year, so they are trained
to the highest standards, and know how to
EXPERT
C O N S U LTAT I O N
D R TA PA N PAT E L ,
AESTHETIC
P R AC T I T I O N E R
get the best possible
results from using the
Juvéderm range.
The way in which
fillers are applied has
changed over the past
decade, too. Experienced practitioners take
a holistic approach, and
look at your face as a
whole, rather than pinpointing specific lines
to plump. The medical director at the
Phi Clinic in London, Dr Tapan Patel, uses
a concept developed by the Brazilian
surgeon Mauricio de Maio that assesses
how treating one area could have a positive
impact on the adjacent zone. In this sense,
it has never been more important to find
the right practitioner for you.
To find your nearest clinic, go online at
locator.juvederm.co.uk.
DATE OF PREP: MAY 2016 UK/0279/2016
You’re
wondering
why she
looks so good
‘The aesthetics industry is rapidly
evolving and new, sophisticated injection
techniques allow practitioners to work in
an increasingly effective way, ensuring
a better aesthetic outcome. I continue
to invest a lot of my time developing my
skill set, so I can pass on the benefits to
my patients. I’d recommend that all
patients ask their practitioner about his
or her recent training experience, as the
success of any treatment is dependent on
this. I use an approach, developed by the
leading Brazilian plastic surgeon Mauricio
de Maio, that assesses the face as a whole,
to determine the impact that treating one
area will have on another. This allows me
to offer genuinely bespoke treatment
plans that deliver incredibly effective yet
subtle-looking results.’
Green
Tomato
Leaf Candle,
£44
Jo Malone
London and
Marthe
Armitage
BEAUTY BAZAAR
Gabriella Wilde.
Below right: the
Somerset countryside,
where she lives
Advanced
Night Repair
Concentrated
Recovery
PowerFoil
Mask, £16
Estée Lauder
£38
Neom
O rg
a n i c C o co n
ut
Vi
rg
in
O
il ,
.3
£4
WELLBEING PHILOSOPHY
‘Rather than taking supplements, I eat healthily and
get all the vitamins I need
through my diet. Most days,
I have a green juice with
spirulina, flaxseed and chia
seeds – I avoid adding too
much fruit, as it is just
another form of sugar. Now
that I live in the Somerset
countryside, I find walking
is the best form of exercise.
I also meditate as often as
possible, and I try to get away
on a week-long silent retreat
around twice a
year. They give me so much energy.
I really recommend them.’
BEAUTY ICON ‘Vibrant, healthy women
inspire me, rather than anyone noticeably “made-up”. My mother has always
been a role model, and I also love Carolyn Murphy’s natural look.’
Gabriella Wilde
£6.95
Dr
PawPaw
MAKE-UP ESSENTIALS
‘I rarely wear mascara during
the day. Instead, I always use an eyelash curler and
apply Estée Lauder’s Little Black Primer, £20, which
makes lashes appear as though they’ve been dyed. If
I look a little tired, I apply a white eyeliner to the
inner corner of my eyes to make them seem bigger
and brighter. Defined eyebrows are important to me,
as is a really good gel eyeliner.’
£50
Estée
Lauder
£36
Diptyque
158 |
£10.20
Bioderma
Sold with candle
(above) Jo
Malone London
| July 2016
£21
Aveda
PHOTOGRAPHS: REGAN CAMERON, GETTY IMAGES, KAT PISIOLEK/HEARST STUDIOS
essential, and I use it all over my body. Estée Lauder’s
Advanced Night Repair Synchronised Recovery
Complex II Serum is my skincare must-have; I apply it in
the morning and at night. I
always take off my make-up
with Bioderma Sensibio H2O
Micellar Water and use Dr
PawPaw Original Clear Lip
Balm on my lips.’
TRAVEL TIPS ‘When I travel,
I pack a sheet mask and spritz
my face with Evian’s water
spray, £2.99. I also try to drink
as much water as possible on
flights and avoid any salty
foods that might dehydrate
The British actress
me further. To calm puffy
eyes, I boil green-tea-bags,
and model shares her
freeze them overnight and
wellbeing ethos
then place them over my lids.’
THE
BEAUTY
EDIT:
£40
Estée
Lauder
9 B io n a
SKINCARE NECESSITIES ‘Organic coconut oil is an
HAIR HEROES ‘I’m a huge fan of Aveda’s shampoos
and conditioners, as the formulas are gentle, but still
leave my hair thoroughly cleansed. Once a week,
I also use a home-made coconut oil mask to replenish and rehydrate.’
RELAXATION REMEDIES ‘Sleep is crucial for me. My
bedroom is a calming oasis and anything work-related
is kept in a separate room. Scents help me fall asleep.
I use a lavender room spray
or diffuser and light a
Jo Malone London candle
while I’m reading in bed.’
BAZAAR PROMOTION
Express Radiance
Ice Cubes,
£48 for eight
Anne Semonin
Precious
Serum, £96
for 30ml
Anne
Semonin
Good to glow
Radiate health and happiness
with a tailormade skincare regime
inspired by Parisian chic
Phytarosa Serum,
£96 for 30ml
Anne Semonin
T
here’s something about a Parisian woman’s
approach to beauty that can’t be put into words:
flawless skin; a glowing complexion; a certain je ne
sais quoi that emanates from every pore…
Behind the scenes though, that look of insouciant elegance takes careful maintenance. The secret lies in tailoring the
skincare regime to individual needs and to the changing of
the seasons. Whereas during winter, suffering from dry patches
may be an issue, come summer an oily T-zone may be more of
a problem, so it’s crucial to keep re-evaluating one’s skin.
The French brand Anne Semonin specialises in bespoke
skincare, with products and treatments adapted to each customer. Adjust your regime regularly by choosing from an
array of serums, from the radiance-boosting Precious Serum
to the skin-soothing Phytarosa Serum. Each formula is packed
with active ingredients and is lightweight in texture, leaving
skin feeling soft and nourished, rather than sticky or tight.
For a multi-tasking skincare solution with an advanced
anti-ageing formula, try the new Super Active Cream, available
exclusively at Harrods. Wild indigo and peptides relax facial
muscles for a Botox-like effect, while marine ingredients
including rock samphire and porphyra seaweed energise cells
and protect the skin from environmental damage.
As summer approaches, fast-track your way to looking
bright and beautiful with the brand’s Express Radiance Ice
Cubes. A travel essential, they contain a powerful blend of
plant extracts and mineral salts that helps soothe, de-puff
and restore radiance. They’re perfect for rehydrating skin
after a flight, and are even more effective if used after gently
exfoliating with the Resurfacing Peel Mask.
For a summer glow that will truly last, book a facial at one
of Anne Semonin’s European spas. The brand’s founder has
been a facialist to such luminaries as Grace Kelly and Catherine Deneuve, so you’ll be one step closer to mastering the art
of French style.
Available at Harrods, Space NK, selected spas across the world and
at www.annesemonin.com. The Super Active Cream is a worldwide
exclusive at Harrods.
The secret lies
in tailoring the
skincare regime
to individual needs
and to the changing
of the seasons
Super
Active Cream,
£159 for 50ml
Anne Semonin
Resurfacing
Peel Mask,
£74 for 75ml
Anne Semonin
ESCAPE
PHOTOGRAPH: HARRY CORY WRIGHT
Edited by LUCY HALFHEAD
THIS OTHER EDEN
Cliveden House
in Berkshire
The best of British: bucolic boltholes, magnificent
estates, coastal havens and urban retreats
IN SEARCH
OF ALBION
Our favourite destinations, from Arcadian cottages
to grand country mansions
B E S T FO R C E L E B R AT I O N S
T H E FA R M H O U S E
at Wilderness Reser ve, Suf folk
Thatched and pink like a giant sweet, the Farmhouse is part of the
impeccably landscaped Wilderness Reserve in Suffolk, a collection
of manors and country cottages set within the 4,500-acre Sibton
Park Estate, and brought back to life by the Foxtons founder
Jon Hunt. After a ramble across the Reserve’s Arcadian pleasure
grounds (including tennis courts, a swimming pool with a hot tub,
and a rowing lake), the Farmhouse’s rural fantasy land awaits.
There’s a wooden dining table of regal proportions – perfect for
a feast of artisanal cheeses, with fresh sourdough bread from the
local Two Magpies Bakery. These can be delivered to your door,
along with the morning newspapers to curl up with in the drawingroom. Turquoise walls, quirky furniture and ceramics, and roll-top
baths in the six bedrooms complete the fairy-tale interiors. It’s
a good base for seaside adventures in the coastal towns of
Aldeburgh and Southwold, where you can lose yourself in a
magical world of pier games, striped beach huts and fish and chips.
LUCY HALFHEAD
162 |
| July 2016
PHOTOGRAPHS:: CAMERON MAYNARD/APERTOPHOTOS.COM
Wilderness Reserve (020 7484 5700; www.wildernessreserve.com), from
£562 a night for the Farmhouse, based on a seven-night stay (sleeps 12).
ESCAPE
B E S T FO R G L A M O U R
S O H O FA R M H O U S E
Oxfordshire
Fashion’s favourite retreat, Soho
Farmhouse has wellington boots ready
and waiting in your cosy cabin, lest mud
ruins your Manolos. The members’-club
outpost near Chipping Norton has
facilities galore, including a Cowshed spa,
a boating lake and an indoor-outdoor pool. The cabins
are imbued with relaxed refinement, including rockingchairs, velvet sofas, hair straighteners and hot-water
bottles. Roaming milk floats – one with a bar and one
to cook breakfast in bed – mean you never have to
emerge. We loved hopping on our bicycles to explore
the deli, the cookery school, the pub and the Main
Barn restaurant. This summer, a 60-seat Electric Barn
Cinema and Japanese restaurant add to the fun. LH
Soho Farmhouse (01608 691000; www.sohofarmhouse.
com), from £160 a night for a Farmyard Room and from
£285 for a Studio Cabin.
B E S T FO R FO O D I E S
THE FOREST SIDE Cumbria
The two-Michelin-starred restaurant L’Enclume has long
been the culinary jewel in Cumbria’s crown, but there is a new
contender for that accolade. The Forest Side,
a restaurant with rooms, is housed in a
splendid slate mansion in Wordsworth’s
Grasmere. Kevin Tickle, formerly the souschef at L’Enclume, now oversees the kitchen
and the daily-changing menus. Local
produce from the garden and surrounding
60 acres takes centre-stage; the theme is
maintained in the bedrooms, where the
Harrison Spinks beds are lined with wool from the Herdwick
sheep that graze nearby. Enjoy the atmosphere of playfulness
and simple luxury – from the delicious cocktails to the bird-ofparadise wallpaper – in a setting worthy of poetry. HELENA LEE
The Forest Side (01539 435250; www.theforestside.com), from
£209 a room a night B&B.
July 2016 |
| 163
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B E S T FO R A G I R L S ’ W E E K E N D
W I L M I N G T O N P R I O RY E a s t S u s s e x
The Landmark Trust, which celebrated its 50th anniversary year in 2015, has a portfolio of
some 200 charmingly eccentric property lets, providing stressed-out urbanites with unusual
escapes. Wilmington Priory’s beautiful rooms and contemporary kitchen immediately
inspire a sense of calm – no ageing furniture, unreliable electricity supplies or draughts for
today’s Landmarkers. The original architecture has been lovingly preserved, including a
mediaeval façade, and a double-height wing, which is now home to a ping-pong table and
offers sweeping views of the South Downs. LH Wilmington Priory (01628 825925;
www.landmarktrust.org.uk), from £481 for four nights (sleeps six).
ESCAPE
B E S T FO R H O R T I C U LT U R A L I S T S
THYME Cotswolds
Idyllic is an over-used word when it comes to the
British countryside, but it is entirely appropriate
for Thyme, the Cotswolds’ newest hotel, carefully
restored from ancient farm buildings in the pictureperfect village of Southrop. Catch up on some holiday
reading under the majestic oak beams of the characterful barn, dine on seasonal food at the 17th-century
local pub, or meander along the River Leach to the
hotel’s kitchen garden, filled with geese, pigs and,
in the summer months, huge beds of fragrant flowers.
The interiors are just as splendid: sumptuous sofas
covered in tweed are sourced from the local town of
Tetbury, life-size leather sheep look on as you drink
at the aptly named Baa, and there are roll-top baths in
nearly every room. TERESA FITZHERBERT
Thyme (01367 850174; www.thyme.co.uk), from £260 a
room a night B&B.
B E S T FO R H O U S E PA R T I E S
HEDSOR HOUSE Buckinghamshire
Dating back to 1166, Hedsor House was originally
designed by William Chambers, the architect of
Somerset House. Badly damaged by a fire in 1795,
it was rebuilt in the Italian-villa style, but with a
domed hall rather than a courtyard. It’s under this
impressive ceiling that today’s guests gather for chic
cocktail receptions. This stately home is exclusively
available to large groups looking to play lord of
the manor for a few days. The current owners, the
Shephard family, are responsible for the 10 newly
refurbished luxury suites, which provide overnight
accommodation so you can keep on dancing till
dawn. There is also an elegant bridal suite with three
inter-connecting rooms where the wedding party
can prepare for their big day. LH
Hedsor House (01628 819050; www.hedsor.com), from
£5,450 for a 24-hour exclusive hire (sleeps 22).
B E S T FO R R O M A N T I C S
B AT T Y L A N G L E Y ’ S L o n d o n
Named after an 18th-century eccentric, Batty Langley’s in Spitalfields is the latest venture from
the hoteliers Peter McKay and Douglas Blain, who own Hazlitt’s in Soho and the Rookery in
Clerkenwell. Located in a historic brick terrace on Folgate Street, Batty Langley’s is deliberately
small, with only 29 rooms. Each has its own character, but all are furnished with carved wooden
four-poster beds, oil paintings and Georgian antiques. By contrast, the bathrooms are unashamedly modern. Downstairs, there’s an honesty bar, where you can mix your own drinks before
settling in front of a crackling open fire. Although there’s no restaurant, breakfast is delivered to
your room, complete with freshly baked bagels from nearby Brick Lane. CATRIONA GRAY
Batty Langley’s (020 7377 4390; www.battylangleys.com), from £250 a room a night.
164 |
| July 2016
July 2016 |
| 165
▼
B E S T FO R LO N G WA L K S
T H E P E AC O C K AT
ROWS L E Y D e r by s h i r e
The village of Rowsley is a gateway to the Peak District;
sitting at the confluence of the Rivers Derwent and Wye,
it’s ideal for exploring the majesty of Chatsworth House
and the surrounding moors. Once the dower house of
Haddon Hall and now a boutique hotel owned by the
estate’s proprietors Lord and Lady Edward Manners,
the Peacock at Rowsley charms with its nooks and crannies, buckling floors and impeccable service. Relax in one
of the 15 bedrooms, or by the open fire of the restaurant,
where dishes include an amuse-bouche of tiny fish-finger
sandwiches and a full English breakfast in the guise of an
elegant starter. And if you’re here for the great outdoors,
the hotel not only offers guided historical walks to the
nearby estates and peaks, but a candlelit bath in your room
to soak your aching limbs afterwards. HL
The Peacock at Rowsley (01629 733518; www.thepeacockat
rowsley.com), from £120 a room a night.
ESCAPE
B E S T FO R FA M I L I E S
T H E S T M AW E S H O T E L C o r n w a l l
Opening for its first summer season this year, the St Mawes Hotel, in the namesake seaside village on the
southern Cornish coast, is a more laid-back affair than its sister property down the promenade, the Idle Rocks.
Rooms have a breezy, beachy decor, with striped throws and seagrass carpets; some have bunk-beds or
mezzanine floors for families. The heart of the hotel is the pub, frequented by the locals and
holidaymakers alike, with jolly live music acts on Saturday nights. Its food makes the most of
the seaside setting, with crab linguine, mussels and lobster on the menu, plus delicious pizza
options for children. CAROLINE LEWIS
The St Mawes Hotel (01326 270170; www.stmaweshotel.com), from £185 a room a night.
166 |
| July 2016
PHOTOGRAPHS: HARRY CORY WRIGHT, DREW GIBSON, ALAMY
B E S T FO R T R A D I T I O N A L I S T S
CLIVEDEN HOUSE Berkshire
It is hard to find a hotel more woven into English history;
first built in 1666, the former home of Nancy Astor has
hosted Churchill, the Beatles and every single monarch
since George I. It was also in the Italianate mansion’s
walled swimming pool that John Profumo first encountered Christine Keeler, sparking the affair that would
alter the course of British politics. But visitors don’t come
here for the heritage alone. As well as 38 bedrooms and
suites opulently decorated with silk canopy beds,
there’s a Michelin-starred chef at the helm of the hotel
restaurant, tennis courts and champagne boat trips to
nearby Henley. TF
Cliveden House (01628 668561; www.clivedenhouse.co.uk),
from £445 a room a night.
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Johnny Coca, Vanessa
Lunt and Caroline Issa
Karla Otto
L’ENTENTE
CORDIALE
Justine
Picardie
Christopher Kane and
Emilia Wickstead
Justin Thornton and
Erdem Moralioglu
A celebration of British style in the
heart of the French capital
Edited by TERESA FITZHERBERT
Anna
Murphy
It may have been Paris Fashion Week, but at
the Peninsula Paris, Harper’s Bazaar’s editor-in-chief
Justine Picardie and the hotel’s general manager Nicolas
Béliard were celebrating the brilliance of London
designers. Christopher Kane, Roksanda Ilincic, Erdem
Moralioglu, Mary Katrantzou, Johnny Coca and Simone
Rocha were among the talented guests at a dinner in the
hotel’s Cantonese restaurant LiLi. Sabine Getty, Anna
Murphy and Caroline Issa also took a break from the front
row to feast on duck and sautéed scallops under the
glittering chandeliers. There was a ripple of excitement
when Kendall Jenner was spotted in the lobby, proving
that even fashion’s finest can get a little star-struck. TF
Mary
Katrantzou
Roksanda
Ilincic
Simone
Rocha
Daniella Pickup, Peter Pilotto
and Christopher de Vos
PHOTOGRAPHS:
OLIVER HOLMS
Justine Picardie
and Sabine Getty
FLASH!
Jessica Raine
Romola Garai
James Norton
Marc Quinn
SOUTH BANK
SHOW
Olivia
Colman
The National Theatre’s fundraiser
was a resolutely British affair
Heida Reed
The Bright Young Things Gala, staged to raise money
to support emerging talent, was an appropriately
theatrical affair. On arrival at the National Theatre,
guests were immediately immersed in a modern version
of A Midsummer Night’s Dream before they were escorted
to their tables on stage. The evening had a particularly
British flavour, from the moments of comedy
(Olivia Colman accidently bid on a holiday in the
auction) and the talent attending (War & Peace’s James
Norton, and the theatre’s artistic director Rufus Norris),
to the Nyetimber reception and menu of rare
Herefordshire beef from the enterprising chef
Ollie Dabbous. With £216,000 raised from the auction,
followed by more merry performances after
dinner, there was no doubt that the future of theatre
was looking bright. HELENA LEE
Jessie Buckley, James Norton
and Melinda Stevens
Andrew
Scott
Rufus
Norris
July 2016 |
| 169
STOCKISTS
A–B
Alex Gore Browne (www.alexgorebrowne.com) Alexander McQueen
(020 7355 0088; www.alexandermcqueen.com) Amanda Wakeley
(020 3691 2982; www.amandawakeley.com) Anthropologie (020 7529
9800; www.anthropologie.com) Anya Hindmarch (020 7493 1628;
www.anyahindmarch.com) Aquazzura at Net-A-Porter (www.net-a
-porter.com) Armani Privé (+33 1 56 89 01 18) Aspinal of London
(020 7493 9509; www.aspinaloflondon.com) Asprey (www.asprey.com)
Aurélie Bidermann (www.aureliebidermann.com) Bally (020 7499 0057;
www.bally.co.uk) Barrie at Burlington Arcade (www.burlington-arcade.
com) Bella Freud (www.bellafreud.com) Bloomsbury Ceramics
(www.bloomsburyceramics.com) Boodles (020 7437 5050; www.boodles.
com) Bottega Veneta (020 7838 9394; www.bottegaveneta.com)
Boucheron (020 7514 9170; www.boucheron.com) Browns
(020 7514 0016; www.brownsfashion.com) Burberry
(020 7806 8904; www.burberry.com)
C
Cabbages & Roses (020 3696 1310; www.cabbagesandroses.com)
Calvin Klein Collection (020 7434 0141; www.calvinklein.com)
Cartier (020 7408 5700; www.cartier.com) Casadei (www.casadei.com)
Cassandra Goad (020 7730 2202) Céline (020 7491 8200; www.celine.
com) CH Carolina Herrera (020 7581 3031; www.carolinaherrera.com)
Chanel (020 7493 5040; www.chanel.com) The Charleston Shop (shop.
charleston.org.uk) Chloé (020 7823 5348; www.chloe.com) Chopard
(020 7409 3140; www.chopard.com) Christian Dior Haute Couture
(+33 1 40 73 73 73) Christopher Farr (020 7349 0888; www.christopher
farr.com) Christopher Kane (020 7493 3111; www.christopherkane.com)
Church’s (020 7493 1474; www.church-footwear.com) Coach (020 3141
8901; www.coach.com) Cressida Bell (www.cressidabell.co.uk)
D–F
David Clulow (0845 034 8843; www.davidclulow.com) David Morris
(020 7499 2200; www.davidmorris.com) De Beers (020 7758 9700;
www.debeers.com) De Grisogono (020 7499 2225; www.degrisogono.
com) Dior (020 7172 0172; www.dior.com) Dior Joaillerie (020 7172
0172; www.dior.com) Dolce & Gabbana (020 7659 9000; www.dolce
gabbana.com) Emilia Wickstead (020 7235 1104; www.emiliawickstead.
com) Erdem (020 3653 0360; www.erdem.com) Escada (020 7245 9800;
www.escada.com) Falke at Selfridges (0800 123400; www.selfridges.
com) Farrow & Ball (020 7487 4733; www.farrow-ball.com) Fendi
(020 7927 4172; www.fendi.com) Freed (020 7240 0432; www.freed
oflondon.com) The French House (020 7371 7573; www.thefrench
house.co.uk) Frost Antiques (www.frostantiques.co.uk)
G–H
Gianvito Rossi (020 7499 9133; www.gianvitorossi.com) Giuseppe
Zanotti Design (020 7838 9455; www.giuseppezanottidesign.com)
Givenchy by Riccardo Tisci (www.givenchy.com) Graff Diamonds
(020 7584 8571; www.graffdiamonds.com) Graham and Green (020 8987
3700; www.grahamandgreen.co.uk) Gucci (020 7235 6707; www.gucci.
com) H&M (www.hm.com) Harrods (020 7730 1234; www.harrods.
com) Harry Winston (020 7907 8800; www.harrywinston.com) Harvey
Nichols (020 7235 5000) Hermès (020 7499 8856; www.hermes.com)
Hillier Bartley (www.hillierbartley.com) Hugo Guinness at Wilson
Stephens & Jones (020 7221 5265; www.wilsonstephensandjones.com)
J–L
J Crew (020 7292 1580; www.jcrew.com) Jacob Cohen at Harrods
(020 7730 1234; www.harrods.com) Jimmy Choo (020 7493 5858;
170 |
| July 2016
www.jimmychoo.com) Joseph (020 7629 3713; www.joseph-fashion.
com) Kurt Geiger (020 7836 8478; www.kurtgeiger.com) L&K Antiques
(www.gustafssonhb.com) Langton Textiles at Tissus d’Hélène
(www.tissusdhelene.co.uk) Lanvin (020 7491 1839; www.lanvin.com)
Links of London (020 7930 0400; www.linksoflondon.com) Lorfords
(www.lorfordsantiques.com) Louis Vuitton (020 3214 9200)
Luxottica (www.luxottica.com)
M
Manolo Blahnik (020 7352 3863; www.manoloblahnik.com)
Marc Jacobs (www.marcjacobs.com) Marks & Spencer
(www.marks andspencer.com) Marni (020 7245 9520; www.marni.com)
Mary Katrantzou at Matchesfashion.com Max Mara (020 7499 7902;
www.maxmara.com) Miu Miu at Net-A-Porter (www.net-a-porter.com)
Mulberry (020 7491 3900; www.mulberry.com)
N–P
Nancy Gonzalez at Net-A-Porter (www.net-a-porter.com) Neptune
(www.neptune.com) Net-A-Porter (www.net-a-porter.com) Next
(www.next.co.uk) Online Ceramics (www.onlineceramics.com) Oscar
de la Renta at Mytheresa.com The Painted House (www.thepainted
house.com) Pandora (www.pandora.net) Paul Smith (0800 023 4006)
Peter Pilotto at Browns (020 7514 0016; www.brownsfashion.com)
Philosophy di Lorenzo Serafini (020 7235 2349; www.philosophy
official.com) Polo Ralph Lauren (020 7535 4600; www.ralphlauren.com)
Prada (020 7235 0008; www.prada.com) Preen by Thornton Bregazzi
(020 8964 9995) Pringle of Scotland (www.pringleofscotland.com)
R
Ralph Lauren (020 7535 4600; www.ralphlauren.com) Robert Clergerie
(020 7935 3601; www.robertclergerie.com) Roksanda (020 7613 6499;
www.roksanda.com) Rupert Sanderson at Net-A-Porter
(www.net-a-porter.com) Russell & Bromley (020 7734 6991;
www.russellandbromley.com)
S–T
Saint Laurent by Hedi Slimane (020 7235 6706; www.ysl.com)
Salvatore Ferragamo (020 7629 5007; www.ferragamo.com) Sergio
Rossi (020 7811 5950; www.sergiorossi.com) Simone Rocha (020 7629
6317; www.simonerocha.com) Stella McCartney (020 7518 3100;
www.stellamccartney.com) Stuart Weitzman (www.stuartweitzman.
com) Sunglass Hut (www.sunglasshut.com) Susan Osbourne
(020 8969 6255; www.susanosbourne.co.uk) Tabitha Simmons
(www.tabithasimmons.com) Tiffany & Co (0800 160 1837;
www.tiffany.co.uk) Topshop (0344 848 7487; www.topshop.com)
V–Y
Valentino (020 7235 5855; www.valentino.com) Victoria Beckham
(020 7042 0700) William & Son (020 7493 8385; www.williamandson.
com) Wilson Stephens & Jones (020 7221 5265; www.wilsonstephens
andjones.com) Yastik by Rifat Ozbek (www.yastikbyrifatozbek.com)
SUBSCRIBE to
HARPER’S BAZAAR
For this month’s fabulous subscription offer
turn to page 56, or ring 0844 322 1768.
BAZAAR PROMOTION
The science
of nature
With organic beauty on the rise,
Bazaar discovers how one
brand has led the way
I
f you had to predict what the beauty industry will look
like in 10 years’ time, a super-charged serum or hi-tech
gadget is likely to come to mind. Few women would
consider organic beauty as a theme. However, Mintel’s
2025 report suggests it will be a key trend. Today, almost half of
the UK population prefer to opt for natural and organic beauty
products. Bazaar caught up with the Organic Pharmacy’s
founder Margo Marrano to find out how the brand combines
health and beauty and how it has stayed ahead of the curve…
ON THE BRAND’S ETHOS
Gene Expression, £190
The Organic Pharmacy
Herbal Toner, £31.95
‘My first job was working in a pharmacy on a Saturday, and I
was enthralled by how the pharmacist would blend ingredients
in the amber bottles and cure various ailments. It taught me that
it is possible to create an organic product that is more effective
than its synthetic counterparts without compromising on your
health or beauty. All of our products are results-driven and
contain only the best-quality ingredients in precise dosages.
It’s also very important that they are beautiful to look at and
luxurious to use. What makes me happy is to hear all the wonderful feedback from customers about how our products and
treatments have changed their lives and skin for the better.’
Antioxidant Face Gel, £54.95
ON HI-TECH ORGANIC
‘Hi-tech naturals and science have always been important
to me. It’s vital that every product does what it promises, so
I combine organic-plant actives, cosmeceuticals and vitamins,
as well as hi-tech naturals such as stem cells, hyaluronic acid
and growth factors to rejuvenate and restore the skin.’
Rose
Diamond Day
Cream, £290
The Organic
Pharmacy
Carrot Butter
Cleanser,
£39.95
The Organic
Pharmacy
ON THE BRAND’S LATEST INNOVATIONS
‘It took four years of research to ensure the Rose Diamond Day
Cream was perfect, as I wanted it to be a powerful alternative
to intrusive treatments and injectables. It contains five key ingredients, including pure diamond powder to blur fine lines and
brighten skin, and hibiscus-seed extract to boost collagen production and increase skin firmness. The cream has impressive
clinical results, with 85 per cent of testers seeing a noticeable
difference in their skin’s elasticity, smoothness and texture.’
ON THE FUTURE
‘We’ll continue to innovate. For autumn, there’ll be a new Rose
Diamond Eye Cream and other additions, so watch this space.’
For further information, visit www.theorganicpharmacy.com
ADVERTISEMENT FEATURE
Summer essentials
Look good, feel great
ENGLISH CASHMERE
CARDIGAN
The English Cashmere Cardigan is made in
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Models: Megan DuBose.
stunning contrasting ribbon and delightful jewel
Hair/makeup: Coleen M.Singson
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Available in four colours. £270.
Photographer: Dominic Senador
Visit: www.frenchvelvet.co.uk or call to
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LOOK YOUNGER LONGERTM
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for over 125 years. These come with tufts
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department stores and chemists and cost
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Buy online: www.bluevelvetshoes.com
PO Box 400, Herts, WD17 3ZW.
or call 020 7491 2613.
ADVERTISEMENT FEATURE
Luxury escapes
On the move
YOGAFRIENDS
FUERTEVENTURA
Would you like to be active, do yoga and
sports and also relax deeply? Come and join
Yogateacher Annette Arndt and her team,
year around in the ever spring climate of
Fuerteventura, Canary Islands, to celebrate an
island-style yoga and sports vacation.
The Retreat is peacefully set in Casa Yogafriends,
Enjoy your brunch by the pool after morning
BALI’S ULTIMATE VILLA – THE LUXE BALI,
PADANG PADANG BEACH
Yoga, enjoy the highest quality standards of
Wake to a Bali Sunrise over breaking waves below, as Bali’s sacred mountains stand sentinel
services. Join us for two daily Yoga-sessions,
beyond the bay. Breakfast on exotic fruits in the rainforest grove. Descend a landscaped path to
delicious organic food, volcano hiking, guided
the Indian Ocean. Sip sunset cocktails to panoramic vistas on the Penthouse Terrace – or floating in
trail running, massage, etc. You will be taken on
the cliff edge infinity pool. Three sumptuous Suites; Home Theatre, Spa, Sauna, Gym, Steam Room;
a very unique mind and body journey to be fully
original artworks; drinkable activated rainwater from every tap; discreet staff and talented Chef.
recharged, rebooted, and inspired!
Attention to every detail. Ultimate Luxury.
More infos on www.yogafriends.eu.
www.theluxebali.com
For inquiries contact us via [email protected]
www.baliluxuryvillas.com/en/villa/villa-the-luxe-bali
one of Fuerteventura´s most beautiful luxury villas.
CHATEAU LOU CASTEOU
TENNIS ACADEMY,
COTE D’AZUR, FRANCE
CHATEAU LOU CASTEOU,
BODY TONIC
LUXURY FITNESS RETREAT
September 7-12th 2016.
October 12-16th 2016. Lose weight and
Enrol now to book your place. Four nights
improve your fitness level. Set in the beautiful
luxury accommodation in the chateau.
French Cote d’Azur countryside, minutes from
Daily professional tennis coaching sessions.
the sea, this luxurious fitness retreat provides
Champagne reception. All meals, drinks, wines
the perfect balance of energetic fitness classes,
Beachcover create exquisite hand embroidered
and aperitifs. Tennis Tournaments and Award
outdoor activities including coastal and mountain
beach kaftans for style conscious women and
Ceremony. Transfers from Nice airport.
treks, aqua-gym, circuit training, gourmet meals
children. The ideal light weight accessory to
Price: £1,295 inc. VAT per person, per room
and pampered luxury to help guests improve
take you from your hotel room to the pool or
or £980 inc. VAT per person, for two guests
their fitness level or kick start a fitness regime.
beach. Available in sizes 6-22 and children’s
sharing a room. The chateau is also available
Five days luxury accommodation in the chateau
age 2-12. Looking for something a little
for private rental and is ideal for special events,
in en-suite bedrooms with sea or mountain views.
different for your next holiday?
parties and luxurious holidays.
Fabulous nutritious, low carbohydrate meals and
Visit their website www.beachcover.com
Please contact [email protected] with
elegant three course dinners with wine. Please
Email [email protected] or call
questions and for reservations.
contact [email protected] with questions
01189 404120 for more information.
www.loucasteou.com
and for reservations. www.loucasteou.com
BEACHCOVER
FOR DETAILS OF CLASSIFIED ADVERTISING PLEASE TELEPHONE 020 3728 6260 OR VISIT WWW.HEARSTMAGAZINESDIRECT.CO.UK
Bazaar fashion
Sand by Saya is known for comfortable and
eco-friendly sandals featuring elegant crystal
embellishments. Designer Saya draws inspiration
from scenes around New York City, where the
sandals are handmade on an antique sewing
machine. These versatile sandals are a must-have
for beach getaways or city girls on the go.
Visit sandbysaya.com
COLLECTION & CO
Radara™
We are an online vegan footwear brand,
targeting fashion enthusiasts seeking an
affordable shoe-drobe update.
Unique HA micro-channelling patches to
reduce wrinkles and revitalise skin
www.collectionandco.co.uk
www.radara.co.uk
HANDBAG CARE & REPAIR
SPECIALISTS
Nationwide handbag renovation service for leather & fabric bags
ideal for
home or
travel!
Before
After
Protect & Freshen Your Toothbrush!
steripod® clip-on toothbrush protector freshens and
protects for up to 3 months with active vapours. Fits
manual & electric tootbrushes. No cables or batteries.
toothbrush protector
www.steripod.co.uk
Available at Boots & Superdrug
• HANDBAG RESTORATION OR COLOUR CHANGE
• REPLACE ZIPS & LINING
• REPAIR SCUFFS, SCRATCHES, BURNS & TEARS
• REMOVE LIQUID & ALL OTHER STAINS
web: www.handbagclinic.co.uk
tel: +44 (0)1207 279963 / email: [email protected]
Bazaar Classified
GENERAL INTEREST
HEALTH & BEAUTY
SUBSCRIBE TO ONE OF OUR
TOP-SELLING MAGAZINES
Whether you are looking for fashion and beauty tips, ideas,
gossip or wanting easy and delicious recipes – look no further!
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For details of classified advertising call 020 3728 6260
CLAIRVOYANCY
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For more information email penny@dreamfindertravel.net
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FASHION
£32.95
www.helenreynolds.net
extra mins charged at £1.83 per min
visit
www.hearstmagazines.co.uk
Thomas LaVone is a Newark, New Jersey based custom couture designer known for exceptional evening wear. Born into a family of
artisans, craftsmen, and sewers Thomas would be destined for a career as a designer. He attended San Diego Mesa College design
school in California and attained an internship with Richard Tyler. Thomas would later move to New York and spend 10 years in the
fashion industry as a technical designer. He has worked for Tommy Hilfiger, DKNY, Jones New York, Planet Gold (Private Label) and
Victoria’s Secret, to name a few. Thomas LaVone evokes a timeless feminine aesthetic that is both polished and striking. An unparalleled
craftsmanship beguiles the standard with perfect lines and exceptional fit.
www.thomaslavone.com
P H OTO G R A P H ER : J O E CL A R K M UA : D. M A R I E H A I R S T Y L I S T: J E W EL DAV I S
BA
ERIE
O
R JOAI
LL
ZAAR
DI
D AV I D
The traditional etiquette of jewellery and evening gloves is arcane — but may
we suggest casting caution aside and displaying your favourite
diamonds for all to see? And yes, you shall go to the ball…
PHOTOGRAPH BY PAUL ZAK
STYLED BY CHARLOTTE DAVEY
SEE STOCKISTS FOR DETAILS
CHANEL
DE BEERS
GLOV ES , DOLCE
& GABBANA
AFF D
MOND
...WEAR JEWELS OVER YOUR GLOVES?
R
IA
G
ORRIS
S
M

Harper`s Bazaar - July 2016 UK

Transcription

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