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Architecture Art Design Fashion People

Design Museum London + Alexander McQueen + Rebel Show

Rebels With a Cause

The John Pawson redesigned monument to minimalism has taken on a whole new splash of colour and pattern. Making waves at the Design Museum is Rebel: 30 Years of London Fashion sponsored by Alexander McQueen. Dynamic, daring and determinedly rebellious, this show invites visitors to get on a Septemberfest rollercoaster of a ride. The press breakfast (avo prods and fruit torpedoes – fashionistas need to keep trim) – is full of everybody one should know on the elite fashion circuit.

Tim Marlow, Chief Executive of the Design Museum, shares with us, “We’re delighted to be collaborating with the British Fashion Council to showcase and explore the youthful energy, creative vision and rebellious spirit that is so central to their NewGen programme. Visitors are going to be stunned by many of the instantly recognisable fashion items on show. We hope they’ll also be captivated by the breadth, depth, diversity and world class talent that has emerged from the London fashion scene in the past three decades.” Caroline Rush, Chief Executive of the British Fashion Council, reciprocates, “We’re thrilled to be collaborating with the Design Museum to celebrate our wonderful NewGen initiative and its influence and legacy over the last 30 years.”

And stunned we are – what a show! All 300 or so designers who benefitted from the rightly celebrated NewGen grant funding programme are referenced. Lee Alexander McQueen was the standout talent from the first NewGen cohort. Archive pieces and photomontages give insights into his – to put it mildly – nonconformist work. ‘Art Show’ celebrates London’s art education establishments and features more talented alumni. But this is no passive exhibition. It’s full on interactive. ‘Backstage’ is all about artificial reality sponsored by Snapchat. Before long we’ve donned designer motorcycle helmets, had our faces painted and entered a cyber world of fun. That’s before shaking our booties to Eric Martin (Technotronic) in the ‘Club’ inspired by those 90s temples of decadent dance, Heaven and Turnmills.

Next comes ‘Runway’ where dozens of mannequins are frozen in time mid strut. Collections by J W Anderson, Wales Bonner, Craig Green, Christopher Kane, Meadham Kirchhoff, Sinéad O’Dwyer line the catwalk. Wait, there’s more! ‘Changemakers’ celebrates NewGen designers doing just that since 1993 – confronting the norms, fighting against stereotypes – in performance and politics. Sarah Mower, British Fashion Council Ambassador, tells us more, “It’s impossible to underestimate the influence London has on Britain’s fashion talent. It’s a city that produces wave after wave of young designers who value originality, wearing what you believe in, and tackling social issues to make a better world. The city’s art schools, clubs and catwalks are brought to life like never before.” Marjan Pejoski’s Swan Dress is one of many eye catching pieces never before on display in London. Born in Macedonia, the designer studied at Central Saint Martins before unveiling his first show in 2001. That same year, Icelandic singing sensation Björk famously wore the dress to the Oscars.

Colour Explosion’ revels in just that. Clements Ribeiro recalls, “Colour was massively unfashionable at the time. Everything was grey, downbeat, raw edged or minimal. We decided to go against it with colour, cashmere stripes, clashing prints and luxury. We called it ‘clumsy couture’. Colour turned out to be our superpower.” Fellow designer Craig Lawrence created huge knitted colourful forms in materials such as sweetie papers. He reflects, “My Ribbons Jumper and Leggings are like a big creamy strawberry marshmallow. That summer I was an ice cream man in Ipswich. Somehow, the extreme lollipop colours, stripes and bobbly bits sort of seeped into my Central Saint Martins holiday project.”

We’re at the Rebel press preview with another super talented member of the Martin family. Carrying on the fearless rebel tradition, Eric Martin’s sister, fashion artist Mary Martin, says, “I’m the middle child, the seventh of 13 children. We’re all very creative. I’m loving this show – it’s absolutely fabulous! I studied fashion at the University of East London and launched my label Mary Martin London in 2018. It’s fascinating to see this record of rebelliousness at the heart of London fashion. I like to see my clothes as carrying on that tradition, flying the flag.” Literally – one of Mary’s early dresses was a reworking of the Union Jack. We check out Russell Sage’s upcycled Union Jack jacket which Kate Moss modelled for a Vogue cover back in the day. Then it’s on to the next show. The waves haven’t stopped rolling in the capital.

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Architects Architecture Design Hotels Luxury

Pont Street + No.11 Cadogan Gardens Hotel London

Beautiful as a Story

Pont Street Architecture © Lavender's Blue Stuart Blakley

“Architectural fashion is often a reaction to what went immediately before. There’s even a perceptible difference between Pugin the father and Pugin the son’s work. The second generation architect’s designs are more rationalised,” observes artist and architectural publisher Anne Davey Orr. “The use of concrete in the 20th century would issue in a much more open expression of materials and structure.” In between trying not to butcher quotations (it was a late night chat) it’s worth noting the penultimate decades of the last two centuries both stuck to something of a “more is more mantra”, a sort of turn of the century syndrome. Eclecticism gone wild. Competent chaos. Not without honour and slightly mad. Pont Street for the 1880s and 90s; postmodernism for the 1980s and 90s. Out went conformity and goodbye to context; in came variety and hello to contrast. Many a dazed and disorientated architectural historian has spent sleepless nights defining and redefining the late 19th century style or rather style hybrid. North German Revival? Queen Anne? Flemish Renaissance? Hans Town? Or simply Cadogan? Osbert Lancaster, never short of a catchy phrase, opted for Pont Street Dutch. John Betjeman shortened it to Pont Street which if nothing else is certainly geographically specific. He calls it the “new built red as hard as the morning gaslight” in his poem The Arrest of Oscar Wilde at the Cadogan Hotel. These days the arresting SW postcodes are as golden as they’re terracotta.

11 Cadogan Gardens © Lavender's Blue Stuart Blakley

Equally contentious is who invented it? John James Stevenson claimed “Queen Anne” as his baby; the 21st century artists sounding George and Peto produced some of the most overblown examples in Harrington Gardens SW7 but the style was to become synonymous with the domineering work of Norman Shaw. Whoever dreamt up Pont Street, and in reality it was the usual hotchpotch of talent and self publicity, the style spelt the death knell, the writing on the rendered wall, of regular terraces, issuing in an asymmetric age of individualism. “Look at me, look at me, look at me!” screams each and every house as the roofline tipsily whooshes and swooshes along more Dutch gables than Keizersgracht. Against the navy blue canvas of a sun drenched winter’s morning, the red brick and terracotta dressed with whitish stone renders Pont Street a patriotic tricolour. If walls could speak: “We may look Dutch or German or kinda Belgian (although certainly not anaemic Italian) but We Are Proud To Be British!” Its strength of character allows 20th century blips such as the picture window spanning the penthouse of 41 Lennox Gardens to be immersed into the wider picture of Pont Street. The houses (age unconsciously) celebrate their birthdays. “1884” shouts 25 Lennox Gardens in two foot tall letters from its third floor. A few doors up 43 Lennox Gardens tells the world it’s a year younger.

11 Cadogan Gardens Hotel © Lavender's Blue Stuart Blakley

While unsettling for minimalists or purists, a wander in wonder along the wonderful streets of SW1 and SW3, the blessed boulevards of the hallowed Cadogan Estate, throws up a maximalist and impure visual feast, an aesthetic eyeful, for the devil and angels are in the detail. At a glance, here are just some of the hyperactive highlights. Keyhole silhouette broken pediment copper dormers in Sloane Gardens. Double decker dormers in Culford Gardens. Witch’s hat copper turrets where Draycott Place meets Blacklands Terrace. Quoined porthole windows peering out of 54 to 58 Draycott Place. A neo Elizabethan fretwork loggia hugging 3 Cadogan Gardens. Pierless Brighton balconies clinging on to 85 to 87 Cadogan Gardens. A French château mansard atop 89 Cadogan Gardens. Twin Queen Anne fanlights surmounting the doorcase of 105 Cadogan Gardens. Stumpy Ionic pilasters with egg and dart capitals framing the porch of 60 Cadogan Square. A pair of ballsy busty bulbous oriel windows bursting out from 84 Cadogan Square. A crowd of Georgian, gothic, plate glass, lead paned, stained glass, dormer and gabled windows on the side elevation of 63 Cadogan Square. Oh, and a lonely half oriel window for good measure. Pont Street itself bisects Cadogan Place Gardens under the watchful eyes of Jumeirah Carlton Tower. But the great swathe of red is mostly found between Sloane Street and Lennox Gardens. The extremities of Pont Street dive back into stuccoland.

A morning of architectural investigation deserves an afternoon of pure indulgence. Historically, afternoon tea was the outcome of dinner hour slipping to after 7pm in the early 19th century. Hiccupping ladies at first surreptitiously downed tea and gobbled cakes in their boudoirs after midday. Certainly, trailblazing trendsetting taboo busting zeitgeisty gal-about-castle Duchess of Rutland was bolshily dispensing tea in her boudoir by 1842. By Pont Street times, both sexes were merrily letting rip into scones and clotted cream in the drawing room or on the lawn. Where better then to indulge than No.11 Cadogan Gardens, the hotel bought by the synonymous Estate in 2012? It’s a thoroughly sophisticated member of Small Luxury Hotels of the World.

11 Cadogan Gardens Interior © Lavender's Blue Stuart Blakley

A maze of lacquered cloistered sequestered panelled hallways and passageways leads into the consciously picturesque opalescent drawing room. Linen at the ready, afternoon tea awaits, designed to instil a divine inertia into the remainder of a blurred and stimulating day. Decked and bedecked, trellised and jardinièred, the terrace is tucked between the townhouses and the mews to the rear. A flashback in paradise, evanescent and alive with remote anticipation, it’s a place to dwell on the meaningfulness of life. Another surprising space, full of heavenly glamour, is the Versailles inspired mirrored hall. Oil paintings of aristos line the ascending staircase to the 54 bedrooms. Monochromatic photos of models Christie, Linda and Kate line the descending staircase to the basement. Souls of different ages, the universe in process of consummation. No.11 has a distinct and dynamic personality, warm and sensuous, functioning outward from within.

11 Cadogan Gardens Sandwiches © Lavender's Blue Stuart Blakley

Over to the father of town planning Manning Robertson for some contrariness: “Definitions of architecture are as unsatisfactory as any other expositions of the aim and meaning of the arts; but if architecture is to be alive at all it must clearly involve the erection of buildings to suit the demands of the period, and the embellishment of those buildings according to the dictates of the materials in use, the treatment being a direct reflection of the outlook of the epoch, based of course upon past work, insofar as it is applicable. We cannot say that the 19th century, which produced principally a dead copying of the past, did not reflect itself truly; it was, on the contrary, amazingly accurate in illustrating that the worship of material prosperity is not consistent with a high level of art. Public attention was absorbed elsewhere; architecture had to look after itself; what more natural than that men living in such a period should turn round and, as a sop to the aesthetic, attempt to reconstruct periods long since dead? The Victorian era was an age of immense scientific achievements, but it was also unique as an age that produced no living and typical architecture, unless one calls an indiscriminate repetition of past styles ‘typical’.”

11 Cadogan Gardens Afternoon Tea © Lavender's Blue Stuart Blakley

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Art Luxury People

National Geographic Store Knightsbridge London + The Ghost of Crete

Grecian 2015

The Ghost of Crete @ Lavender's Blue photo by Apostolos Trichas

Destination known. Another evening, another ambassador. Diplomatic community. Greek Ambassador to the UK Konstantinos Bikas co hosted a party along with his cohort the Governor of Crete Stavros Arnaoutakis at the National Geographic Store opposite Harrods and basking in the afterglow of The Lansbury. It was the London Launch of a celebration of all things Cretan. Incredible Crete.

Paulina Filippou Isle of Olive © Lavender's Blue Stuart Blakley

Stavros commented, “Over half a million people from the UK have visited Crete this year. Tourism makes up 70 percent of our GDP. We have 1,000 kilometres of coastline and one third of all five star hotels in Greece are on our island.” Woody Allen ponders in Love and Death, “I wonder if Socrates and Plato took a house on Crete during the summer?” The island is after all where the first civilisation in Europe began and later home to Titus, recipient of an epistle from St Paul.

The accompanying photographic exhibition illustrated the built and natural wonders of Crete. The ghost of Crete. Shot in 1905 and then again 101 years later. Previously the only evidence of the rural legend of the Cretan wildcat was a couple of pelts purchased at the turn of last century by palaeontologist, zoologist and ornithologist Dorothea Bate. An expedition by the Natural History Museum of Crete and the University of Perugia rediscovered the Cretan wildcat in 1996. One was captured, photographed, studied, tagged, released and tracked for a few months across its habitat on Psiloritis Mountain.

Notes were swapped at the soirée on the travels and travails of reportage with The Fly Away American, a Texan turned serial expat. Snappy wordsmiths at work. Isle of Olive (say it quickly) did the catering. “We’re based in Broadway Market,” said Christie Turlington Paulina Filippou, who owns the company with her husband. “And sell a range of natural Greek products.” The healthiness of the Mediterranean diet was on display. Dittany by Votania, artichokes, cheese, tomatoes, olives and olive oil by Lyrakis and of course, no meat. Nothing tastes as good as skinny Dakos. Destination next also known. The Tom Dixon lunch @ The Mondrian. 

House of Olive Party © Lavender's Blue Stuart Blakley

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Art Design Luxury People Restaurants Town Houses

The Cristal Room Paris + Baccarat

The Truth is Plain to See

Cristal Room Baccarat Hall © Stuart Blakley lvbmag.com

Like a forest fire, raging, sparking, keep ‘er lit, l’enfer, burning everything in its way with gusto, the desire, the lust, the greed, no make that the need to be and see and be seen and be paid to see and be paid to be seen… at the latest greatest eating house as it consumes London. London’s burning. Just as every other developer in town introduces his high density scheme as “inspired by the meatpacking district”, so the Manhattan trend for chasing restaurants for a fleeting 15 seconds has well and truly arrived in the English capital. Last year it was Balthazar, last Christmas it was Il Ristorante, last month it was Hoi Polloi, next month it will be Ham Yard. Now, very now, so now, right now, right on, it’s Chiltern Firehouse. Right?

Cristal Room Baccarat Entrance © Stuart Blakley lvbmag.com

With a three month waiting list for bridge-and-tunnel nonentities, the only alternative is to longingly gaze through the lead paned windows as girls-about-town celebrities Lily Cole, Lilly Allen, Lil’ Kim, bask in mutual glow, relishing the comforting closeness of riches and recognition, enjoying the peace and prosperity of the city. There’s always Monocle café across the street. At The Wolseley, Scott’s, Le Caprice, dining numbers dip slightly while the cameras flash outside The May Fair or Dabbous or The Ivy (weekend lunch menu Saturday 14th September 2002, £17.50, plus £1.50 cover charge in main dining room) and then it’s business as usual as Kate Moss, Kate Middleton, Katie Hopkins, return. In this feverish race to trip the light fantastic, skip the bright fandango, flip the trite almighty, moths fluttering up the lampshade of life, there are burnouts. Bistro K, where art thou? Senkai, why oh why? Enough. It’s time to tango in Paree.

Cristal Room Baccarat Staircase © Stuart Blakley lvbmag.com

The restaurant with a palace attached. No ifs, no buts. A ballroom (turn cartwheels ‘cross the floor) abuts the dining room abuts the marble staircase. A swimming pool fills the basement. More hôtel than hotel. Where the red carpet is always rolled out. Welcome to the Cristal Room at Baccarat, the hôtel particulier at 11 Place des États-Unis, 16th Arrondissement, a plumped up cushion’s throw from the Arc de Triomphe. Louis Quatorze, Quinze and Seize meet the current King of Design, Philippe Starck Première, Deuxième and Troisième. Where the past is never passé, lending a presence to the present. A place transcending our time, deserving of its own hard backed Assouline tribute. There are no equals.

Cristal Room Baccarat Light © Stuart Blakley lvbmag.com

Cristal Room Baccarat Jaguar © Stuart Blakley lvbmag.com

Cristal Room Baccarat Table Display © Stuart Blakley lvbmag.com

Princess Grace Baccarat Invitation © Stuart Blakley lvbmag.com

Cristal Room Baccarat Ceiling © Stuart Blakley lvbmag.com

Cristal Room Baccarat Dining Room © Stuart Blakley lvbmag.com

The ghosts of the great and the good reside at no.11. They’ve all dined here. Not all at once. La Majesté Impériale le Tsar Nicholas II; Empereur de tautes les Russies; La Majesté Mozaffar-al-Din, Shah de Perse; Le Duc de Windsor et La Duchesse de Windsor; Comtesse Jean de Polignac; Monsieur Salvador Dalí et Madame Gala Dalí; Monsieur Alberto Giacometti; Monsieur Francis Poulenc; Monsieur Jean Cocteau; Monsieur Luis Buñuel; Monsieur Man Ray; Monsieur Marcel Duchamp; Madame Peggy Guggenheim; Mademoiselle Chanel; Mademoiselle Lee Miller; Mademoiselle Kiki de Montparnasse (ok maybe not her); Messieurs Lavender’s Blue. The crowd called out for more. Once the residence of les grands fromages Vicomte Charles de Noailles and Vicomtesse Marie-Laure de Noailles, their descendants lease the hôtel back to Baccarat.

Cristal Room Baccarat Candle © Stuart Blakley lvbmag.com

Mirrored lipsticked lips snogging niches shriek of decorative welcome from the leafy square. Staggeringly strange explosions of rarity erupt amidst terrifying grandeur. Like an emissary from a modernist future, a marble head utters eloquent profundities. A chandelier, Baccarat no doubt, drowns in a glass cube of water (dry chandeliers are priced €20,000 to €120,000). A jaguar (glass objet d’art, not a car) in the library is ours or yours for €25,000. A gargantuan chair lords it over the landing. Upstairs, ladies lunch (“You simply must come to Munich”), boys do late brunch, eating, meeting, sat in satin seating. Le ciel, c’est les autres. A social whirl, the dining room is hummin’ harder, metaphoric symbols of cymbals clash in ironic oxymoronic cacophonic supersonic discordant harmony. Crystal (natch), mirror, gilt, chalkboard, linen (a whiter shade of pale), scaglioli, marble, wood, exposed brick (au natch) and trompe l’oeil (the sky’s the limit) rise as a realised Piranesian fantasy. Vasi, Candelabri, Cippi, Sarcophagi… “Vous êtes là!” the waiter randomly points on our opened map. We are, we’ve arrived. On a sultry late afternoon in August, fellow diners desert post dessert and we embrace the dining room to ourselves.

Cristal Room Baccarat Mirror © Stuart Blakley lvbmag.com

Appetites ablaze, we consume Michelin starred Guy Martin’s natural white asparagus, pecorino espuma and bresaolo in pesto garlic followed by Pollock fish cooked a la plancha with leeks and radishes in a dashi broth. C’est bon. C’est très bon. “Do you wish to continue outside?” Terrace for two, s’il vous plaît. Exquisite Harcourt is served alfresco. This is a light pistachio cream and crispy biscuit speckled with gold leaf as if fallen from the cornice. Let the rich eat cake. We call out for another drink, the waiter brings a tray. And so it was later.