Month: October 2023

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Art Design Fashion Luxury People

Queen Ronke + Lavender’s Blue

Haute Monde

Ife is an ancient Yoruba city in southwest Nigeria believed to date from between the 10th century BC and 6th century BC. It has a population of just over half a million and is located about 220 kilometres from Lagos. Ife is famous as a centre of the arts, especially for its ancient bronze, stone and terracotta sculptures. Queen Ronke Ademiluyi-Ogunwusi of Ife is the contemporary embodiment of this creativity, in serene and regal form. Her Royal Majesty was born into royalty as a Princess (her great grandfather was Ooni Ademiluyi) so marrying the 51st Ooni of Ife, counted first among the Yoruba monarchs, continues her life in palaces, when she’s not travelling for work.

After studying law at Thames Valley University she decided to follow her passion and work in fashion. “I’m in love with Western designs but I look to Africa for inspiration,” Queen Ronke shares. “Africa has 3,000 tribes and each tribe has its own unique fashion culture. In Nigeria we have around 500 ethnic groups all with their own fashions. I think we are only scratching the surface so far with African fashion!”

One of her royal roles is as Cultural Ambassador and in 2016 she visited President Bola Tinubu (then Lagos State Governor) to explain the initiatives of African Fashion Week Nigeria which she had just established. “Immediately he supported it,” Queen Ronke confirms, “and also reached out to others who could support it because he believes in the creative sector. He knows the development a nation can gain from small and medium enterprises. If you look at the fashion, hair, makeup and music industries you can see how the value chain grows our national wealth tremendously.”

Queen Ronke is at the Institute of Directors on London’s Pall Mall for Africa Fashion Week London which she launched 12 years ago. It has grown from strength to strength year on year and now hosts 30 catwalk shows, a conference, an awards ceremony and retail outlets. Her Royal Majesty looks suitably resplendent in her own designs. She confirms, “My position comes with my appearance as the wife of the King. You must keep up that appearance because you’re representing your husband wherever you are. If you’re dressed in jeans or not dressed in a proper manner it would have an adverse effect. People feel that being born royal I must always know better.”

Africa Fashion Week London is now Europe’s largest showcase of design from Africa and the African diaspora. “It’s a collaborative catwalk, exhibition and business development programme,” she summarises. “I want to highlight emerging designers and bring awareness of Africa’s burgeoning fashion industry to the international market.” The life and work of Her Royal Majesty Queen Ronke Ademiluyi-Ogunwusi of Ife combines beauty and intelligence, style and substance, heritage and commerce. And she knows how to make an entrance.

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Art Design Fashion Luxury People

Design Museum London + The Offbeat Sari

Indian Spring

Unravelling its forms, revealing it as a layered metaphor for the subcontinent, an exhibition at the Design Museum London brings together 90 of the finest saris of our time from designers, craftspeople and wearers in India. The sari is an unstitched drape wrapped around the body; its unfixed form has allowed it to morph and absorb changing cultural influences. Versatility is key: it can be wrapped, knotted, pleated, tucked or divided in two, either highlighting or concealing the body. Contemporary designers are experimenting with hybrid forms such as sari gowns and dresses as well as innovative materials like woven steel and distressed denim.

Curator of The Offbeat Sari exhibition Priya Khanchandani says, “The sari is experiencing what is conceivably its most rapid reinvention in a 5,000 year history. It makes the sari movement one of today’s most important global fashion stories yet little is known of its true nature beyond south Asia. Women in cities who previously associated the sari with dressing up are transforming it into fresh everyday clothing. For me and for so many others, the sari is of personal and cultural significance. It is a rich dynamic canvas for innovation, encapsulating the vitality and eclecticism of Indian culture.”

The most striking piece was made for the billionaire businessperson Natasha Poonawalla to wear to the 2022 New York Met Gala. An embroidered tuile sari with a train designed by Sabyasachi Mukherjee was worn over a gold Schiaparelli bodice, bridging the gap between fashion and sculpture. This was stylist Anaita Shroff Adajania’s interpretation of the Met Gala dress code Gilded Glamour. All bases are covered at this exhibition from haute couture to street fashion. There’s even a sari for rock climbing.

The exhibition isn’t just about the finished products: Ajrakh is an ancient method of hand carved wooden block printing that traditionally uses motifs based on Islamic geometry. Sample blocks are on display. A silk sari may be typically designed using a dozen or more blocks and then will undergo a complex process of printing and dyeing using natural pigments. The Offbeat Sari is yet another revealing fashion exhibition at the Design Museum London.

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Art Design Fashion Luxury People

Mary Martin London + Sustainability

Harbour Lights

Back at our home from home, Chelsea Harbour, we catch up with the Queen of Fashion. It’s the eve of Africa Fashion Week London – she’s headlining a catwalk of Africa and the African diaspora’s very finest. Before all the glitz and glamour, funk and fantasy, jazz and pizzazz, Mary talks to us about the serious side of her fashion artistry: sustainability. At the most fundamental level, her clothes are made to last. But there are multiple layers (pun) to her green credentials.

“I care passionately about sustainability, the environment, the climate emergency and nature. My eponymous fashion label Mary Martin London (MML) reflects these passions. MML could easily stand for Materials Made for Life! I also greatly care about Africa and again my clothes reflect this interest. While many of my models are either from Africa or the African diaspora, I employ and attract a diverse talent: one of my first catwalk models was Polish while I also have mature female Irish clients.”

“I am from a family of 13 siblings and am the second youngest of six sisters so as a child I got used to wearing ‘hand me downs’. I would give these fifth hand clothes my own spin by adding individual accessories. I have been collecting old fabrics from the 1970s. I recently bought factory leftovers of linen which I will use for my next collection.”

“My Queen of Africa dress is an aesthetic interpretation of the countryside: the colourway of this dress represents brown for earth, green for grass and yellow for the sun. My Cecil the Lion dress came about when I heard the tragic news story from Zimbabwe of a lion maimed and killed by a recreational big game hunter. Layers of tulle around the neck and shoulders represent Cecil’s mane. The back of the dress has got the silkiness and fineness of the lion’s body.”

“I also draw and make my own prints. For my first men’s collection, I designed a print called Slaves in the Trees. I researched the Himba Tribe in Namibia and discovered they use a lot of orange face paint and hair mud. Orange is for the vibrance of earth and black is for the unseen missing elements. Orange represents the sun, the happiness outside. The print also commemorates the suffering inflicted during the slave trade.”

“Many of my dresses have historical inspiration which ties in with the sustainable use of recycled materials and reimagining vintage pieces. Last September I organised a fashion shoot of The Return Collection at the Foreign and Commonwealth Office. This collection was in part inspired by Georgian costume and aristocracy. Except in my imagination the black models are now the reigning grand aristocracy! The Grand Staircase and Durbar Court provided the perfect backdrop for these extravagant clothes. The collection reuses sequins from old costumes.”

“I continue to research and look for new methods to reinvent old materials in exciting ways. My passion for sustainability, the environment, the climate emergency, nature and of course Africa drives me to be ever more creative, stretching my imagination and skills. I make clothes to last: they represent the antithesis of the throwaway culture. Mary Martin London is all about making the world a better, more exciting and more caring place for current and future generations.”

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Design Fashion People

Pavlo + Piccadilly London

Always in Season

London Fashion Week has barely ended before Africa Fashion Week London begins. Just enough time for a shoot with Pavlo in the park. It’s the September and October issue really.

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Art Design Hotels Luxury People Restaurants

Nate Freeman + The London Edition Hotel Punch Room Fitzrovia London

The Second Age of Umber

“You must not ever stop being whimsical.” Staying Alive by Mary Oliver, 2016.

When New Yorker Nate Freeman, ArtTactic podcaster and Vanity Fair writer, comes to town where does he go and what does he do? Why, he fills the Punch Room in The London Edition with 100 of the capital’s brightest. Punch and conversation flow while supper is served. Gruyere and thyme tartlets and tuna kimchi seaweed canapés to be precise. Waving goodbye to Nate and the revellers, the following morning it’s the Sheraton Grand Park Lane Hotel for Women Leading Real Estate. And for breakfast? Canapés of course.

“And you must not, ever, give anyone else the responsibility of your life.” Still Staying Alive by Mary Oliver, 2016.

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Art Design Luxury People Restaurants

The Portrait Restaurant St Martin’s Place London + Richard Corrigan

The Artists as Youngish Men

Chop chop! Who’s slicing and dicing and spicing the veg? Grand Chef Richard Corrigan himself. Next thing he’s marching over to our table: “Here’s mash to celebrate being Irish!” There’s mash and there’s Made in The Portrait by Richard Corrigan Mash. Its sunny complexion is what Nancy Lancaster would call “buttah yellah”. Picture perfect. The best olive oiled potato money can buy and even better when it’s on the (pent) house. Funday Sunday set lunch is best eaten while floating above the Mary Poppins roofscape over Trafalgar Square in a cloud of fervent luxury.

Richard’s menu is imaginative and concise with just four or five options per course. Keeping it vegetarian, today’s choices for lunch are burrata (peach, fennel, pistachio), conchigliette (cauliflower, Spenwood) and goat’s milk ice cream (English cherries, Riesling). This top floor new restaurant really is the English cherry on the icing on the cake that is the revamped National Portrait Gallery. Chop chop! It’s time to go dancing.

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Architects Architecture Art Design People Town Houses

Asamhaus + Asamkirche Munich

The Maximalists

It’s amazing what Cosmas Damian and Egid Quirin Asam managed to pack into just 176 square metres of Munich cityspace. Visual feast … aesthetic wonder … treasure trove … dusting nightmare … phrases fail to fully describe the interior of Asamkirche. This is late baroque at its most brilliant. Built as a private chapel adjoining Asamhaus, their home next door, after popular demand the brothers opened it to the public.

Cosmas Damian and Egid Quirin were two of the nine children of Hans Georg Asam, the wealthy resident painter of Benediktbeuem Abbey in Upper Bavaria. The brothers were apprentices under their father. Their talents were perfectly complementary: Cosmas Damian worked as a painter and sculptor; Egid Quirin, as architect, stuccodore and sculptor. The pair took on many public commissions but it is at Asamkirche, which they dedicated to St John of Nepomuk, that they had free rein to go wild. And wild they went.

The façade of Asamhaus can be seen along Sendlingerstrasse but Asamkirche is today shrouded in scaffolding. That makes the interior come as an even bigger surprise. It’s a 1740s visual tornado of painted cherubs and gold plated skeletons and barley twist columns, stuccoed and frescoed and marbleised to within a square millimetre of its life. Words don’t do it justice, but Gesamtkunstwerk goes some way.

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Architects Architecture Art Design People

St Ursula’s Church Munich + August Thiersch

The Greatest Quadriptych

It’s called the “Cathedral of Schwabing”. This late 19th century building is a prime example of Rundbogenstil, the German round arch historic revival style which combines Byzantine, Renaissance and Romanesque architecture. St Ursula’s is a basilica in brick. A treasure house of ancient and contemporary ecclesiastical art, not least Spanish artist Pepe Vives’ mixed media on wood quadriptych Grabchristus (2020). The only guidebook is written in German by Sibylle Appuhn-Radtke so over to an online auto translation:

“In the 19th century, Schwabing experienced a rapid change from a village to a city. The village centre around the old St Ursula Church at the English Garden (today St Sylvester) expanded to the west and north. Industrial plants such as the Maffei machine factory partially replaced the previous agricultural economy, and workers moved to Schwabing. The barren fields and pastures west of today’s Leopoldstrasse became building land which was masterplanned with a road network. As the university and the art academy on the northern border of Munich became more important, the population rose in just a few decades from 1,667 (1885) to over 11,500 (1890). The boom led to Schwabing’s short term status as an ‘indirect city’ (1887 to 1890). It was then incorporated into Munich and became one of the most popular districts.”

“The small village church couldn’t keep up with the crowds. After calls for a new building had already been made in the 1860s, the initiative took shape in 1879: the Schwabing masterbuilder Josef Vasek drew the first plan for a new building on the site of the former St Nikolai Infirmary. When this was rejected by the Royal Building Authority, the young architecture professor August Thiersch was brought in to ‘improve’ it in 1880. The order marked the beginning of difficult planning that lasted more than a decade with different designs and submission. Only when Dr Peter Erlacher, Priest of St Ursula’s (1886 to 1920), acquired an undeveloped piece of land in 1888, was Thiersch able to design his building on Kaiserplatz: a north facing church with symmetrical annexes that were to be connected to the church by porticos. The Munich Planning Office under Theodor Fischer responded to these plans by laying out the north south route of Friedrichstrasse in such a way that it enabled a distant view of the façade if St Ursula’s. The church thus became a defining focal point for the new Schwabing.”

“The architect August Thiersch (1843 to 1917) came from well known family in Bavaria. His grandfather Fredrich had been President of the Academy of Sciences in Munich under King Ludwig I. The young August, who spent his last years of school in Munich, received a humanistic education based on classical ideals. After studying at the Polytechnic and Engineering Schools, the two forerunners of today’s Technical University of Munich, he initially worked as an engineer and then developed a particular interest in new construction techniques. He completed his architecture studies in 1872 while working as an assistant for the architect Gottfried von Neureuther.”

“Among Thiersch’s publications, his renowned Handbook of Architecture (1883) stands out. Following in the footsteps of architectural theorists of the 15th and 16th centuries, he searched for the foundations of harmony in architecture and found them in clear numerical relationships and formal analogies. His largest church building, St Ursula’s, is based on the 1:2 ratio. The church is a built model of Thiersch’s theory of proportions and is therefore of great importance for architectural theory at the transition to modernity. In this point it surpasses Thiersch’s other churches in Augsburg, Berchtesgaden, Eichstatt and Zürich.”

“At the laying of the foundation stone on 23 September 1894 a perspective was published showing Thiersch’s vision of the future Kaiserplatz. The church was planned as a triple aisled cross shaped basilica with a porch, crossing dome and freestanding tower. To the west and east were to be cubic two storey residential buildings connected to the church via open arcades. The proportions of these buildings were carefully determined according to Thiersch’s theory of proportions so that they should result in a harmonious ensemble. However the execution only partially corresponded to these plans: only the east annex building, the rectory was built; the western one fell victim to austerity measures. The long unused buildings site to the west was leased in 1959 and a student residence, Pater Rupert Mayer Home, was built on it. the open façade on the east side was changed to a closed corridor with individual rooms off it. As a result of these interventions, the open symmetrical and cheerful planned square suffered greatly. However the route emphasising the central axis and the bordering of the church square counteract this shortcoming.”

“Before the completion of the church construction (it was consecrated on 10 October 1897), two structural problems had to be overcome: the construction of the crossing dome and the belltower. After Thiersch had considered various construction techniques for the dome, he decided on the most innovative solution: a double shell tambor dome made of two different concrete masses. The inner dome was made of aerated concrete; the outer dome which is visible from a distance was made of harder saturated concrete material. The attached lantern is a small domed structure made of sandstone. Red roof tiles laid on the outer dome shell are reminiscent of the dome of the Florentine Cathedral.”

“In 1933 damage occurred to the roof and dome shells, so ring anchors were installed at the base of the dome and another layer of concrete added to the roof. These measures led to further damage over the course of the 20th century – deformation of the carbonated concrete shells and the formation of cracks – so that they were undone in an extensive restoration from 2011 to 2018. First the lantern was dismantled, then the concrete layer from 1933 removed, the cracks filled, and the other dome shell reinforced with a new concrete layer connected to the old. A new tiled roof on a slatted frame was attached to the dome.”

“The slender 64 metre high belltower was originally intended to be freestanding in the style of an Italian campanile. Apparently though during construction, concerns arose about its stability. That is why a bridge room was built between its ground floor and the transept. The tower was so endangered because of its construction materials (unplastered bricks with sandstone cornices), the concrete staircase and the heavy steel bells hung in 1948 that during the early 21st century restoration a steel skeleton had to be installed to stabilise the walls and support the steps. At the same time, the Perner Bell Foundry in Passau manufactured four new lighter bronze bells which were mounted in the reconstructed wooden belfry. Instead of the two bell hood initially planned by Thiersch, the tower has a pyramidal pointed helmet. Thiersch took the church of Santo Spirito in Florence as a model.”

“When you walk along Freidrichstrasse towards St Ursula’s, the brick red dome and the slender campanile catch your eye from afar; as you get closer, the elegant two storey façade of the basilica made of exposed brick with sandstone components catches your eye. Standing on Kaiserplatz, you can see that the central axis of the façade, which is framed by pilasters, is decorated with Christian imagery. The pediment contains a mosaic by Karl Ule (1858 to before 1939) designed by the painter Wilhelm Volz (1855 to 1901). It shows the Lamb of God in a wreath carried by angels. Below, a stone statue of Christ by Balthasar Schmitt (1858 to 1942) is enthroned in a shell niche. There are also tiny scenes on vases in the pilaster reliefs of the parables of the Good Samarian (Luke 10:25 to 37) and the Return of the Prodigal Son (Luke 15:11 to 32). The busts are of the prophets Daniel, Ezekiel, Isaiah and Jeremiah. Two portico and steps are now popular places for sun seeking residents. Events also often taken place on this ‘stage’.”

“If you walk around the church to the east, you first pass the simple rectory and parish office and in its garden is one of the removed bells. Walk along the wall of the parish garden and you reach the east transept. This elevation is classically structured with a pediment and oculus, and a large round window reminiscent of an ancient thermal bath window in a semicircular flat niche. The tympanum, which was executed by Heinrich Waderé (1865 to 1950), contains figures of the Madonna adored by the old Simeon and Hanna. The low cross shaped sacristy, which is to the northeast between the choir and the transept, has its own apse with arched windows. The west side of the church is largely blocked by the student dormitory building, but you can see the upper parts of the transept front. Before you end the outside tour stand again in front of the steps to the south and you can see the walled up portal on the west wall of the church above the courtyard entrance. This was supposed to lead to the unexecuted colonnade connecting the western annex to the church.”

“If you enter the church through the east vestibule you first stand in the staircase hall to the organ gallery. You case the last completed stained glass window executed by Ludwig Kirchmayr in 1897. Next to the door is a memorial plaque to the architect August Thiersch. If you continue to the left into the nave, you get the first impression of the long axis of the space. The nave is separated by the aisles by arched arcades on composite columns. Above this are arched windows which original had coloured borders. Like its inspiration Santo Spirito, the colours are very reserved.”

“In the south wall you enter the former baptismal chapel through an elaborate wooden grille. It was converted into a prayer room by architect Helmut Rudolf in 2005. The room had lost its original function because the baptismal font had been moved to the southeast crossing column decades ago. The baptismal font, sculpted in early Renaissance forms, dates from 1898. The circular altar island rises over three steps in the centre of the crossing. It was built in 1979 to accommodate the powerful celebration altar by Thomas Otto Munz (1929 to 2011). Associated with the altar is the gilded wooden cross by Maria Munz-Natterer (2008), a highly abstracted crucifix that shows Christ as King with huge stigmata.”

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Architects Architecture Art Design Developers Luxury People

Residenzpost + Louis Vuitton Espace Munich

Suited and Rebooted

There’s more to Louis Vuitton than branded suitcases. In 2014 the Fondation Louis Vuitton opened in Bois de Boulogne Paris. This is a major cultural and artistic institution embodying the company’s philanthropic commitment to support the arts. Gallery offshoots of the Fondation are springing up in world cities. Hot on the high heels of Paris, Singapore, Tokyo and Venice comes Espace Munich.

“While all Espaces follow a shared global vision, they are tightly intertwined with their local context,” explains Chairman and CEO Michael Burke. Espace Munich is set behind the retained façade of the Palais Toerring-Jettenbach. Designed by Bavarian court architect Leo von Klenze, this neoclassical building was badly hit in World War II. The rebuilt arcaded and frescoed façade provides an architectural punctuation stop to the west end of Maximilianstrasse (“millionaires’ street”!). The current exhibition is As Slow As Possibles by American film artist Sarah Morris.

An architectural model of Fondation Louis Vuitton is on display in the lobby linking the gallery to the store. Michael explains, “This magnificent ‘vessel’ in the Jardin d’Acclimatation Park was designed by the Pritzker Prize winning architect Frank Gehry. It is a technological feat that pushes the boundaries of architecture with its 12 glass sails enveloping ‘icebergs’ on a vast reflecting pool.” The store reassuringly still contains branded suitcases.

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Architects Architecture Country Houses Design Luxury People Restaurants Town Houses

Sigi Schelling Werneckhof + Werneckstrasse Munich

Her Namesake

A German restaurant serving German food, it is named after its Chef Patron and address. Sigi Schelling is the Chef Patron. Werneckstrasse is the address. It’s one of the classiest streets in one of the classiest areas of Munich: Schwabing. And it turns out to be one of the classiest restaurants in the city. Werneckstrasse is a quiet leafy street off the quite lively Feilitzschstrasse. The walled miniature estate of Suresnes Schlöss dominates the northern part of the street. This castle was built in 1718 for the aristocratic Cabinet Secretary Franz von Wilhelm. It is now a conference venue owned by the Catholic Academy of Bavaria. A sunny yellow façade and Mediterranean shuttered windows can be glimpsed through the cast iron entrance gates and screens.

At the southern end of the street set among townhouses and wooded gardens is Sigi Schelling Werneckhof. A metal sign projecting from the facade and an inset porch with a table of flowers and a stack of business cards in olive green, damson blue and plum red heralds the culinary destination’s presence. The restaurant occupies the ground floor of a traditional mixed use block also painted sunny yellow. A small lobby leads into two adjoining dining rooms. The kitchen is out of sight behind a sliding mirrored door.

Sigi explains, “Cooking is my life. My dishes combine originality, sophistication and lightness. For me, perfection on the plate means straightforwardness in harmony with accompanying elements. All masterfully prepared. Our menus reflect love, passion, experience and appreciation for authentic high quality products. It is a pleasure for my team and me to present you with an unforgettable experience. Nice to have you here!” Later, the waitress will add, “Each day Sigi is the first one in and the last to leave at night.”

The five course tasting menu on a Saturday evening is easily adapted to pescatarian needs. “The Chef is going to make you sole,” the waitress confirms, replacing the venison course. And this being a Michelin starred restaurant, cutting and deboning the sole is a performance carried out by no fewer than three staff in the middle of the dining room. Amuse bouches and canapés bracket the meal but not before fennel infused Don’t Mix the Drugs Gin is served with Thomas Henry of Palatine Tonic Water. Cuvée Excellence Blanc 2019 from Rhône accents the five courses.

The tasting menu is a classic that could match the orders. The original simplicity of Doric: Bretonic Lobster (marinated garden tomatoes, yuzu, bergamot). The organic fluidity of Ionic: Char (pumpkin, pumpkin seed oil, buttermilk). The refinement of Corinthian: Brill (shrimps, gnocchi, cauliflower, Thai curry anise sauce). The structural simplicity of Tuscan: Sole (quince, chestnut, mushroom). The richness of Composite: Curd Cheese (goat’s cheese soufflé, marinated blueberries, poppy seeds, plum, sour cherry ice cream). Saturday dinner is a lively four hour affair.

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Architecture

Green Walls + Wilhelmstrasse Munich

The Ivy

Up our strasse.

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Art Luxury Restaurants

Munich +

A Foreign City in a Faraway Land

Munich is so far south it’s twice the distance from Berlin as it is from Zürich. The German city is slightly closer to the equator than Paris. Salzburg is signposted out of the centre. Little wonder it’s so metropolitan. When in Munich … Nothing tastes as good as skinny fries (in Bayerischer Hotel of course). Except for strawberry tart (in Brioche Dorée overlooking a rainy courtyard behind Isabel Marant in Residenzstrasse).

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Art Design Restaurants Town Houses

Kaisergarten Bar + Restaurant Munich

Bavarian Nights

For 100 years an Art Nouveau house on the corner of Kaiserplatz and Kaiserstrasse opposite St Ursula’s Church has been an hospitable hotspot of Schwabing. Kaisergarten’s interior (think dried flowers and chopped logs) overlooks a chestnut tree filled beer garden. Cheers everyone to the Kaiser!

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Architects Architecture Art Country Houses Design Developers Hotels Luxury People Restaurants

Stapleford Park Hotel + St Mary Magdalene Church Melton Mowbray Leicestershire

Making a Splash

It was 35 years ago and there was no escaping Stapleford Park in the print media. American entrepreneur Bob Payton knew how to make a splash. Instead of hiring only interior designers to decorate the bedrooms of his newly converted country house hotel, he threw a shirtmaker, a porcelain company and a perfumier amongst many others into the mix. It caught the press and public’s attention. Eight years later, another media savvy entrepreneur, this time Englishman Peter de Savary, took over Stapleford Park and opened it as one of his Carnegie Club outpost adding not least the Knot Garden in front of the main entrance door. Cue double page spreads in the supplements once more. Skibo Castle in Dornoch, the home of the Victorian philanthropic industrialist Andrew Carnegie, continues to be a Carnegie Club. His portrait hangs in the gents’ bathroom at Stapleford Park. Just when we thought life couldn’t get any more glamorous, we find ourselves pottering about the Wedgwood Room of the hotel, weighing up a walk in the Capability Brown designed parkland of heaven verging fields versus tea on the terrace. Happy camping. We do both.

Bob Payton bought the house and its 200 hectare estate from Lord Gretton for £600,000 and spent a further £4 million rejuvenating and opening it as a hotel and leisure resort. We’re privileged to exclusively share his last recorded interview before he died in a car crash in 1994: “I first saw Stapleford Park from the back of a horse riding nearby in rolling countryside. Stapleford has been for many centuries a sporting lodge with riding, shooting and lavish entertainment all part of its heritage. It is our endeavour to keep that same style for many years to come. So interesting is the history of Stapleford Park and fascinating its architecture that the house was open to the public for several decades. Walking through the house and around the grounds is like going on a magical mystery tour. Through each and every doorway, there is another adventure. Set in 500 acres of woodland and parkland, the house provides breathtaking views of the surrounding countryside from every room.”

“Our approach to life in the country is that of a relaxed, comfortable, casual existence. We’ve replaced the servants and butlers if the old days with a team of people who are dedicated to making sure you enjoy our home and all it has to offer. We hope you like our approach to hospitality. To complement the eclectic architectural style of this most unusual house I invited several famous names to design bedrooms based on their own image of life at Stapleford Park. Signature bedrooms have been created by Tiffany, Wedgwood, Lindka Cierach, Lady Jane Churchill, Crabtree and Evelyn, Nina Campbell, Liberty, Max Pike and many others. We’re thrilled that these folks found Stapleford Park such an exciting challenge.”

“The dining room is decorated with ornate and intricate woodwork accredited to the most famous of all English carvers, Grinling Gibbons. In these luxurious surroundings, we serve traditional English cuisine with the occasional flair of old fashioned American cooking. You can enjoy the food that Stapleford’s guests have enjoyed over the centuries and much much more. As for sport, the surrounding Leicestershire countryside is most famous for its equestrian links. We offer most kinds of equestrian pursuits including carriage driving and riding instruction. There is clay shooting on the property and game shooting can be arranged. You can fish on the lake in front of the house or at nearby Rutland Water. If that’s not enough, there’s tennis, croquet and basketball, as well as walks through and around the property in this most lovely of settings.”

“Come and discover a truly great undiscovered part of England. Stapleford Park is in reality most people’s fantasy of the quintessential English countryside. Let me tell you about Edward Prince of Wales. His mother wouldn’t let him buy Stapleford Park because she felt that his morals might be corrupted by the Leicestershire hunting society. Well that was 100 years ago. Fortunately the Royal Family settled at Sandringham so that all of us may now enjoy the pleasures of this most idyllic estate.” The Royal Family are still happily ensconced at Sandringham and we are even more happily enjoying life at Stapleford Park.

The house glows a golden hue in afternoon sunshine and shimmers a mysterious grey in morning mist. Poet Mary Oliver writes in her essay Wordsworth’s Mountain (Upstream Collected Essays, 2016), “This is to say nothing against afternoons, evenings, or even midnight. Each has its portion of the spectacular. But dawn – dawn is a gift.” Every elevation and wing is a piece of architecture in itself and together they form a visual whole in material only. Crunchie the ginger cat (technically the neighbour’s but wise enough to hang out on the estate) matches the ashlar stone. One minute Stapleford Park is a Jacobean manor house; turn a corner, the next minute it’s a Queen Anne stately home; turn another corner, a Jacobethan hunting lodge; one more, a Loire château. As for the entrance front facing the quiet waters of the lake, the nine bay string coursed perfection is as symmetrical as a supermodel’s face. No big name architects are recorded (unlike the landscape and panelling!) but two owners have added their name for posterity in stone carvings on the exterior of a wing: “William Lord Sherard Baron of Letrym Repayred This Building Anno Domini 1633”. Underneath there’s a postscript: “And Bob Payton Esq. Did His Bit Anno Domini 1988”.

Indoors the eclecticism continues thanks partly to the layering of six or so centuries and partly to the aforementioned cohorts of dreamers and designers let loose on the fabric and fabrics. The main block is laid out around two vast double height top lit spaces: the Staircase Hall and adjacent Saloon. Public and private lounging and dining ebbs and flows throughout the ground floor. The Morning Room (with its mullioned bay window). The Harborough Room (crimson Gainsborough silk wallpaper). Billiard Room (converted games table). The Orangery (windows galore). The Grinling Gibbons Dining Room (festooned panelling by his namesake). The Old Kitchen (stone vaulted ceiling). Formal dinner is served in the Grinling Gibbons Dining Room: Baron De Beaupre Champagne; pea, goat’s curd, mint pistou tartlet and crispy onions; butter roasted cod, fennel and leak cream, new potatoes, sea herbs. Stapleford Park is a bread roll’s throw from Melton Mowbray and its Stilton Creamery so a generous cheese board offering is called for: Beacon Fell, Bingham Blue, Pitchfork Cheddar, Ribblesdale Goat’s, Tuxford and Tebbut Stilton. Five tall sash windows frame the descent of darkness. Mary Oliver again, “Poe claimed he could hear the night darkness as it poured, in the evening, into the world.”

The first floor is filled to the ceiling roses with the Grand Rooms: Savoir Beds, Crabtree and Evelyn, Wedgwood, Lady Jane Churchill, Baker, Turnbull and Asser, Flemish Tapestries, Amanda by Today Interiors, Campion Bell, Sanderson, Eleanor, Lyttle, Lady Gretton, Zoffany, Warner. We’re in the Wedgwood Room, one of the very grandest, with views across the green pastures. Below a Waterford Crystal chandelier and over a Wilton carpet everything is iconic Wedgwood blue and white from the wallpaper to soap dish. Life and Works of Wedgwood, a book by Eliza Meteyard (1865) in the library, praises the entrepreneurial potter, “His name lives in the industrial history of the country he loved so well, and so enriched by the bounties of his art and the example of his worthy life.” Ah, on the table that’s just what we like: a handwritten welcome note. And sash windows that open fully.

The second floor is filled to the rafters with the Slightly Less Grand Rooms: Panache, Wishing Well, Haddon, Treetops, Bloomsbury, Savonerie, Sanderson, Molly, Peacock, Lake View, Game Larder, Burley, Early, Green Gables, Melody, Max. A row of servants’ bells in the corridor reveals the more prosaic original room names, “First Floor: No.1 Bedroom, No.1 Dressing Room, No.2 Bedroom, No.2 Dressing Room, Bathroom, No.3 Bedroom, No. 4 Bedroom, No.5 Bedroom, Bathroom, No.6 Bedroom, No.6 Dressing Room, No.7 Bedroom, No.8 Bedroom. Second Floor: No.1 Bedroom, No.2 Bedroom, Bathroom, No.3 Bedroom, No.4 Bedroom, No. 5 Bedroom, No.6 Bedroom, Dark Room, No.7 Bedroom, No.8 Bedroom, Front Door, Luggage Room, Tradesmen.” Windows are open to the sights and sounds of birdlife: cooing pigeons, flying geese, scarpering pheasants.

Beyond the exquisitely manicured formal and semiformal and informal suite of gardens, the former stable block turned spa matches the house in both material (ironstone rubble with ashlar dressings) and style (baroque revival). There’s a named architect and exact construction date: Peter Dollar, 1899. The Oxfordshire born London based architect Peter Dollar is best known for his Majestic Picturedrome on London’s Tottenham Court Road. In contrast to the historicist appearance of Stapleford stable block, the cinema was an Edwardian looking brick and rendered four storey with attics building. Opened in 1912, it was demolished just 65 years later. His fine stable block has fared rather better. The stalls are occupied by beauty treatment salons and are labelled after racehorses: Apple-Jack, Black Beauty, Red Rum and so on. There’s also a thatched roof theme running through the estate secondary buildings from the gatelodge to cottages and contemporary houses for hire.

The parish and estate church, St Mary Magdalene, is an architectural and acoustic marvel. Again there’s a named architect and exact construction date: George Richardson, 1763. Ashlar with ashlar dressings retains the material theme but the style is high Gothick. The architect trained as a draughtsman under James Adam. Across the west end of the nave is the galleried family pew. A chimneypiece kept the chills at bay in winter.

Lord Nelson’s Prayer at Trafalgar dated 21 October 1805 is framed and nailed to a post in the nave: “May the Great God whom I serve grant to my Country, and for the benefit of Europe in general, a great and glorious Victory; and may no misconduct in anyone tarnish it; and may humanity after Victory be the predominant feature in the British Fleet. For myself, individually, I commit my life to Him who made me, and may His blessing light upon my endeavours for serving my Country faithfully. To Him I resign myself and the just case which is entrusted me to defend.” At the afar end of the nave, on the pulpit lectern the Bible lies open at Psalm 23.

It’s a family church. Literally. Or rather families church. Heraldic shields are displayed on the elevations between the windows and buttresses. On the long south facing nave elevation: Cave, Hill, Noel, Verney, Pedley, Faireax, Denton, Calverly, Christopher, Bennet, Bury, Brow, Folville. On the gabled east facing chancel elevation: Branchester, Bruley, Danvers, Bisett, Mosley. On the long north facing nave elevation: Brabazon, Woodfort, Burges, Fitz-Maxilion, Consull, St Hillary, Clare, Lacy, Verdon, Hauberk, Eyton, Melville, Woodville. And on the west facing towered entrance front: Roberts, Hearst, Sherard, Reeve. It is Sherard that takes pride of place: this family owned the estate for half a millennium.

But it is a servant’s gravestone which is positioned closest to the entrance pathway: “Sacred To the Memory of Mary Carnaby who departed this life the 13th Day of January 1799; aged 59 Years. The daughter of Mrs Drake of Woolsthorpe, and Granddaughter of John and Ann Peele of Cockermouth in the County of Cumberland. She was Housekeeper to the Earl of Harborough for 17 years, which employment She discharged with uprightness and fidelity, becoming the imitation of posterity. Earthly Cavern to thy keeping, We commit our Sister’s dust. Keep it safely, softly sleeping, Till our Lord demand thy trust. Erected by her Aunt Tarn of Cockermouth.” Bless Aunt Tarn.

The sense of family intensifies even more in the chancel. Facing each other are impressive monuments. In the northern recess is a memorial to the 1st Earl and Countess of Harborough (in 1719 they were upgraded from 3rd Lord and Lady Sherard by George I) and their young son (all wearing Roman clothing) in white marble by the Flemish born sculptor Michael Rysback in 1732. A Sherard family memorial predating this church occupies the southern recess: effigies of Sir William and Lady Abigail and their 11 children. An even older memorial salvaged from the demolished church on this site is a brass engraving dedicated to Geoffrey and Joan Sherard and their 14 children dated 1490 and set in the nave floor. All three memorials highlight the commonplace nature of the once infant mortality.

The inscription on the plinth of the Harborough memorial reads: “To the Memory of Bennet 1st Earl of Harborough, only surviving son and heir of Bennet Lord Sherard of Stapleford, Baron of Letrim in the Kingdom of Ireland. By Elizabeth daughter and coheir of Sir Robert Christopher of Alford in the County of Lincoln Knight. He married Mary Daughter and Coheir of Sir Henry Calverley of Ariholme in the Bishoprick of Durham Knight. By whom he had issue one son, who died an infant. He was many years to the time of his death Lord Lieutenant and Custos Rotulorum of the County of Rutland, Lord Warden of Justice in Eyre North of Trent. He died the 16th day of October in the year of our Lord 1732, aged 55.”

A plaque on the wall over the Sherard memorial reads: “William Lord Sherard, third Sonne of Francis Sherard Esquire, Had Issue seaven Sonnes, Bennet, Philip, George, Francis, William, Henry, John, foure Daughters, Emelin, Abigail, Anne, Elizabeth, By his Wife Abigail eldest Daughter of Cicil Cave Esquire, third Sonne of Roger Cave of Stanford, in the County of Northampton Esquire. And this hee most affectionately dedicated to his Memory for him, herselfe, and their Children.” Doesn’t “seaven” look better spelt to emphasise it rhymes with “heaven”? Another inscription is set into the plinth below: “Here lies interred the Body of Sir William Sherard, Lord Sherard Baron of Letrime in Ireland, His most singular. Piety, Bounty, Courtesy, Humanity, Hospitality, Charity, Crown’d his mortall life, which (after he had enjoyed LII years) he changed for that which is immortall, the first day of April in the yeare of our Lord God MDCXL. Whose coming he here expectes.” During our stay we come across several spellings of the Irish county of “Leitrim”.

Australian entrepreneur David Fam, CEO of Dreamr Hotels, has owned Stapleford Park since 2022 and is instilling his expertise in “wellness, healing and ancient wisdom” into the hotel. “One can roam all day, constantly finding new works of art and hidden rooms in this labyrinth of style,” wrote Luc Quisenaerts in his guide Hotel Gems in Great Britain and Ireland, 1997. We do, we do. Mary Oliver one final time, “How wonderful that the universe is beautiful in so many places and in so many ways.” We could dwell in this house forever.