Broadcaster and journalist Brenda Emmanus OBE was the BBC’s Arts, Culture and Entertainment Correspondent for 18 years. Right now, she’s busy working on a range of projects including an ITV documentary to mark the late Princess Diana’s birthday. Brenda is a friend and client of Mary Martin. “I can’t remember exactly when I met Mary. I knew her on the scene, the celebrity community of people in my life network. Mary just appears in your life! Once she’s in she makes an impression. She’s a generous friend, an open person.”
They share a major interest in common: a passion for fashion. “As a child I cut out dolls from magazines and dressed them up. I’ve very eclectic taste. My work in the newsroom is quite formal but my role allows me to be much freer to wear more what I like. I’m mainly a lover of dresses although I do love trousers – the androgynous look – too. I love dramatic dresses that really embrace fashion. I’m up for drama on stage but go casual at the weekend. I’m stimulated by the visual, beauty and art.”
“I love the childlike quality to Mary’s apparel,” reveals Brenda. “She doesn’t use design patterns; she just creates from the heart. Mary’s impulsive – she likes to try things like a child with paints. She’s passionate and curious about everything: Pop Art, the Renaissance, music. She works as an experimental artist. Like most geniuses she’s not afraid to try and fail. She takes you out of your comfort zone. Mary allows me to pull out my inner diva, to go wholly out: she’s all bells and whistles! She’s fearless with high drama and that’s what makes her fun, mad fun!”
Brenda explains, “I host a lot of awards and red carpets. Two days before one of my events I needed something… and a ballgown appeared from nowhere! That’s what’s amazing about Mary, creating an outfit from scratch within a day or two. Thanks to her I looked great on stage presenting the Screen Nation Awards. Mary makes you try stuff you probably wouldn’t think of trying. She’s like a motor. But she values my opinion – we have an exchange of ideas.”
“Mary is not a wallflower,” smiles the broadcaster and journalist. “She’s a whirlwind; you know when she’s present. I learned that Mary studied really late overcoming a challenging childhood through dreams and ambition. She’s found herself. She has a clear vision of what she is as a designer. Mary has a rightful place in the world of fashion. What she’s achieved in such a short time, going international! She sees joy in everything. A crazy but extraordinary woman! She’s very resilient. Self triumph over adversity.”
Like Mary, Brenda acknowledges her own spirituality. “Experience higher being,” she recommends. “I have learnt to trust my inner voice, my intuition. Media is so impressed by the outer world but the inner one is so important. Life is a journey. Be true to your own spirituality. Surrender to the path the universe has mapped out for you. I meditate a lot for calm and peace. Be still – there’s so much to learn. Reset who you are. Value art, love, people, creativity. We’re not on this planet for a very long time.”
One of the stalwarts of the London restaurant scene, Le Caprice, has sadly closed. It was the all stars favourite, or at least was for the earlier decades of its 40 year lifespan, hosting late and living legends from Diana Dors to Princess Diana to Diana Ross. A little bit of 20th century glamour vanished with its closure. Even more sadness saying farewell, adieu, goodbye to nearby Indian Accent. There was nowhere better to savour soy keema, quail egg and lime leaf butter pao than in this intimately luxurious luxuriously intimate hideaway. Relative newcomer Hide, a scallop’s throw from Le Caprice, has been steadily growing its presence since opening on Piccadilly in 2018. Hide at Home – the same Michelin starred food delivered to your doorstep – is Chef Ollie Dabbous’ latest innovation. It comes with Hide at Home Culinary Instructions which boil down to “eat and enjoy”. Our Saturday evening meal arrives:
Each course is an individual explosion of taste, texture and colour with a common aesthetic theme of Hide’s signature edible flowers. Hide Restaurant has three spaces denoting floor level: Below, Ground and Above, the latter with sweeping views across Piccadilly to Green Park and its latest addition, The Queen’s Meadow. Eating on our terrace, we add a new fourth space: Outside, which has sweeping views across laurel and bay trees to our obelisk topped trellis. Ollie Dabbous’ aim is, “To make food taste as good as it possibly can by respecting the integrity of the ingredient through a style of cooking that is organic but refined.” This rings true, whether enjoying his food in Below, Ground or Above or best of all, Outside.
Who needs the walls to speak when there are learned historians in spades. It’s like The Interregnum happened yesterday. King’s Lynn is a microcosm of academia. Such rigour. Barley twist columns (inspired by Solomon’s Temple) supporting a most generous half moon pediment form an enigmatic doorcase on Queen Street. Instead of opening into a panelled hall, the doors lead into a porch, open on one side to a walled garden, home to two black cats. Apparently this is a common arrangement in historic Lynn. It means the windows and doors of the house beyond can be left freely ajar on a sunny day.
“Wine was a very important part of Lynn’s economy,” he records. “Lynn traded with France, Madeira, Spain and the Canary Islands. Queen Street used to be called ‘Winegate’. The introduction of trains wiped out the local economy. The ground was cut from beneath its feet. As a result nothing really happens in the house architecturally after 1850.”
The entrance arrangement is the first of many surprises. An early Georgian façade cloaks a medieval merchant’s house. A five storey tower with mullioned windows is an unexpected feature in a corner of the walled garden. “It’s relatively recent, 1570,” smiles Simon. Flues in the four corners of the tower with alternating fireplace positions on each floor make the top room especially snug. Interior surprises of the main house include vast vaults from the 1220s (the earliest brick building in Norfolk) and 1260s tiles under the kitchen floorboards.
“Clifton House is arguably one of the most complete medieval houses anywhere,” Simon continues. “It’s a complex: the adjacent counting house, yard and warehouses would all have been part of this house.” Following mid 16th century alterations of the medieval house, from 1690 to 1700 a “big remodelling” occurred. Then owner, wine merchant and MP Samuel Taylor, turned to the distinguished local architect Henry Bell. The façade owes much to this period. “Bell was mad keen on big pediments.” The architect inserted a sweeping staircase leading to the piano nobile: the landing doorcases all have most generous pediments.
Halfway up the staircase is the dining room with panelling mostly pre dating Henry Bell. But it does have a highly unusual late 17th century decorative niche hidden behind sliding sash panels. “I’ve never seen anything quite like it!” he beams. Two panels are counterweighted by lead weights. The original paint scheme of sunrays bursting out of a gold shell against a pea green background has been reinstated. “This room is always five degrees cooler than outside! But with a massive fire lit and the curtains pulled, it’s great for entertaining.”
Simon and Anna are currently restoring the upstairs drawing room. An old photograph shows it once resembled a “1950s Indian restaurant”. Removal of the unforgettable forget-me-not blue flock wallpaper has revealed long forgotten stone coloured panelling. “What we are doing is completely recessive. It has a shattered appearance which we quite like!”
Like the unpeeling of an onion, the gradual restoration of the house continues to reveal itself. Really, it’s a conversation about conservation.
County Tyrone sure isn’t the most obvious location to come across an overblown Tudorbethan mansion. This half timbered affair would look more at home in the Surrey Hills. Southeast England, not northwest Ulster. A Cyclopean scaled forerunner to Stockbroker’s Tudor semi d’s. The landscaped gardens are an attempt to tame the wildness of this rainswept region. It’s not surprising, then, to learn the architect of Sion House was an Englishman.
The original early 19th century house, which would later be engulfed through rebuilding, was a much more typical country house of this region. It was a mildly Italianate three bay wide by three bay deep stone faced two storey house built in 1846 to the design of the illustrious Sir Charles Lanyon, a starchitect of his day. A 19th century John O’Connell. Less than four decades later, William Unsworth designed a replacement house. With gusto.
William Unsworth is famed for designing the first Shakespeare Memorial Theatre in Stratford-upon-Avon. Perhaps that’s where he developed his penchant for all things half timbered. He was mates with Sir Edwin Lutyens. Ned also knew his jettied projections from his mullioned multi diamond paned canted bay windows. William just happened to be the son-in-law of his client James Herdman. He was also brother-in-law of the celebrated Missionary of Morocco, Emma Herdman.
The Herdmans arrived in Ireland from Ayrshire in 1699. This Plantation family swiftly established itself as big time farmers. At the time of the first potato famine of 1835, the Herdman brothers James, John and George upped sticks to the sticks, moving from Belfast to the district of Seein in County Tyrone. Adopt a broad Ulster country accent and saying it aloud you can hear how Seein evolved into Sion. Those were the days when spelling – for those who could actually write – was idiosyncratic at best.
John Herdman had gone into partnership in 1833 with Thomas, Andrew and St Clair Mulholland who owned York Street Linen Mill in Belfast. The Herdman brothers brought this expertise to the development of a new spinning mill at Sion. Not content with just building a country house and mill, the Herdmans philanthropically added a model village, Ulster’s answer to New Lanark. Soon there was a shop, cricket club, fishing club and cottages fitted out with – ta dah! – newfangled gas as soon as it became available. William Unsworth also designed a gatehouse to frame the main entrance. Again, he discontinued the tradition of single storey demure vaguely neoclassical gatelodges. Instead a Hansel and Gretel version of the black and white three storey gatehouse of Stokesay Castle appeared.
“Sion House was my grandfather’s home. I lived there after the Second World War. It was such a busy house! As well as my relatives and Welsh nanny, there was a cook and four or five parlour maids. A dairy maid, washer maid and four under gardeners came during the day. The head gardener lived in the gatelodge. It was very self sufficient. In fact the whole of Sion Mills was like that. When we needed a plumber, he came from the mill.
The Italianate gardens were designed in 1909 by Inigo Triggs of Hampshire. Inigo was in partnership with William Unsworth and a friend of Gertrude Jekyll. I was recently asked to go along to Glenmakieran in Cultra which I’m quite sure is another Unsworth house. In 1955 a fire threatened to destroy Sion House. Such a huge house. Nevertheless my grandfather rebuilt all 50 rooms exactly as they were before. I remember the oak panelling in the dining room and linen wall covering in the drawing room.
In 1967 it took just one day for Ross’s to auction the house and its contents, even the books. The house went for only £5,000 and the contents £3,000. Fortunately Sion House is well documented. My grandfather wrote daily letters from 1934 to 1964 chronicling life in the house. At the moment I’m writing a book about my mother Maud Harriet Herdman MBE JP, a fascinating person.”
After much ado involving a collapsing clock tower and the first Compulsory Purchase Order of a Building at Risk in Northern Ireland, Hearth Preservation Trust restored the roadside stables block. It’s now a tearoom and education centre. But something is awry at Sion House. The gatehouse is boarded up; the river overgrown; the façade butchered; the lean-to fallen over. It’s as if the struggle to combat the barrenness of its far flung location has proved too much. The tall neo Elizabethan chimneystacks have been lopped off; the veranda has vanished like the lost ‘h’ from verandah. Worst of all, the back of the house looks like it’s been struck by a meteorite. There’s a gaping hole in the centre in its centre. A spiffingly watchable tragedy. Another Irish country house bites the dust. And then there were none. Less of a whodunit and more of a whodidn’tdoit. Ulster says so.
The Irish Builder flatteringly recorded the rebuilt Sion House in its December 1884 publication. Even then, the country house halcyon days had less than half a century to go. Sion House, besides being almost unique in style, was one of the last country houses to be built between the Gael and the Pale.
“Sion House, the residence of E T Herdman Esq, JP, which, for some time past, has been undergoing extensive alterations, is now completed, and as the building and grounds are singularly picturesque and pleasing, a short description of what is unquestionably one of the most unique and remarkable examples of domestic architecture in the North of Ireland, will be read with interest. The approach to the grounds is on the main road from Strabane to Baronscourt, about three miles from the latter place, and is entered through a delightfully quaint Old English gatehouse of striking originality, containing a porter’s residence and covered porch carried over the roadway.
Winding down the graceful sweep of the avenue, through the wooded grounds which appear to have been laid out with considerable judgment many years ago, we catch a glimpse of the house, reflected in the artificial ponds formed in the ravine that is crossed by a two arch stone bridge of quite medieval character.
As we approach the house, the general grouping of the house is most pleasing, and the full effects of the rich colouring of the red tiled roof is now apparent, diversified with quick pitched gables, quaint dormers, the beautifully moulded red brick chimneys, the skyline being covered by the Tyrone mountains and the village church in the distance. The style of the building is late Tudor of the half timber character, which, though it has been described as showing a singular and absurd heterogeneousness in detail, yet gives wonderful picturesqueness in general effect. The principle entrance is on the north side, through a verandah, supported on open carved brackets, in which is placed an old oak settle, elaborately carved and interlaced with natural foliage in bas-relief. On entering through an enclosed porch we are ushered into a spacious panelled hall, with its quaint old fashioned staircase, open fireplace, and wood chimneypiece, with overmantel extending to the height of the panelling.
The screens enclosing the entrance porch, as also that from the garden entrance to the southeast side, are filled in with lead lights, glazed with painted glass, and emblazoned with national and industrial emblems, monograms and coats of arms. The billiard room, which is in a semi-detached position, and entered from the east side of the hall, is very characteristic of the style of the building, having the principal roof timbers exposed, and forming the pitched ceiling into richly moulded panels. The walls are wainscoted to a height of five feet in richly moulded and panelled work. The fireplace is open, and lined with artistic glazed earthenware tiles of a deep green colour and waved surface, giving a pleasing variety of shadow, and is deeply recessed under a quaint panelled many centred architectural, freely treated, forming a most cosy chimney corner with luxurious settles on each side. On a raised hearth, laid with terra-metallic tiles in a most intricate pattern, are some of the finest examples of wrought iron dogs we have ever seen. There is also in this chimney nook a charming little window, placed so as to afford a view of the pleasure grounds. The reception rooms are on the south side. On entering the spacious drawing room we notice particularly the panelled arch across the further end, which forms a frame to the beautiful mullioned bay window, enriched with patterned lead glazing.
From the recess of the bay a side doorway leads to a slightly elevated verandah, enclosed with balustrade, extending the full length of the south façade, and leading to the beautiful conservatory on the south side, with a short flight of steps giving access to the tennis lawns. The dining room is enclosed off this verandah by a handsome mullioned screen, having folding doors and patterned lead glazing similar to the drawing room bay. The walls of this room are panelled and moulded in English figured oak, enriched with carvings, the arrangement of the buffet being an especial feature, as it forms part of the room in a coved recess and designed with the panelling. The fireplace is open and lined with tiles, in two colours, of the same description as the billiard room, with chimneypiece and overmantel of carved oak, having bevelled mirrors, and arms carved in the most artistic manner in the centre panel. The mullioned screen masked by a gracefully carved arch, made in oak, and capped (as is also the panelling over the buffet and mantel) with a moulded cornice, supported with artistically carved brackets and richly dentilled bed mouldings. Here and in the drawing room the ceilings are of elaborate workmanship, enriched in fibrous plaster, with moulded ribs in strong relief, and massive cornices, with chastely enriched members. The floor, like those of the principal rooms and halls, is laid in solid oak parquetry.
The library and morning room are situated on the north side. These rooms are complete in arrangement for comfort, most of the required furniture and fittings being constructed with the building and in perfect character. The culinary departments are situated on the west side, on the same level with the principal rooms. They are of the most perfect and convenient description, containing every modern appliance for suitable working.
Here also the evidence of artistic design is to be observed, more especially on a wrought iron hood, constructed over the range for the purpose of carrying off the odour from the cooking, to flues provided for that purpose. The hood is a very intricate piece of wrought iron work, which, we learn, was manufactured at the engineering works of the Messrs Herdman and Co. The upper floors contain 16 spacious bedrooms and dressing rooms. Several of the bedrooms are obtained by the judicious pitching up the main roof, and obtaining light through the quaintly shaped dormers, which form so marked a feature on the roofline. There is a spacious basement extending under the entire area of the building, which contains the usual offices, and in which are placed two of Pitt’s patented apparatus, now so favourable known for warming and ventilating, by which warmed fresh air is conveyed to the various apartments and corridors.
One of the great features of the exterior elevations is the balconies, of which there are several, whence views of the varied scenery and charming surroundings can be obtained. There is also easy access to the leads of the roof, from which more extended views of the beautiful and romantic valleys of the Foyle and Mourne, together with the picturesquely grouped plantations of the Baronscourt demesne, and the far-famed mountains of Barnesmore, Betsy Bell, and Mary Gray, can be seen in the distance. From this point a magnificent bird’s eye view can be obtained of the village of Sion and of the palatial buildings which form the flax spinning mills and offices of the Messrs Herdman and Co, which we are pleased to observe are so rapidly extending their lines and improving under the enlightened policy of the spirited owners.
The gardens and grounds are laid out in terraces, with low red brick walls, in character with the house, which give great effect when viewed from the several levels. It is noticeable throughout the perfectness and richness of all the detail, which has been carried out with great care, from special designs. The architect has succeeded in giving an individuality and picturesqueness of outline, due proportion of its parts and beauty of the whole, to the buildings and grounds, which have not been heretofore obtained in this part of the country.
The execution of the work throughout was entrusted (without competition) to Mr J Ballantine, builder, of this city, who has carried it out in a style of workmanship maintaining his high reputation as a builder, and reflecting credit on the skilled tradesmen associated with him in the work. The entire building, gate entrance, bridge, grounds, fittings, and principal furniture have been carried out according to the designs, and under the superintendence of Mr W F Unsworth, FRIBA.”