SPHERE_Winter2025_18.4

SPHERE

THE LONG LENS ON LUXURY

REGULARS

10 NUCLEUS

Our curated selection of the season’s best fashion, culture, travel, beauty, food and drink

28 FASHION

Lace served with attitude for women, and rich, easy-to-wear velvet for men

44 JEWELLERY

Avril Groom explains the enduring allure of white diamonds

89 SPHERE LIFE

What’s new in the worlds of wellness, interiors, nature and gifting

FEATURES

32 DOUBLE ACT

The hospitality power couples behind the world’s renowned hotel brands

40 A WALK ON THE WILD SIDE

Introducing luxury wallpaper and fabric purveyor Cole & Son’s exquisite new collection, inspired by Africa’s landscape

50 NEW KIDS ON THE BLOCK

Meet the designers shaking up the fashion world order

58 HITTING THE SWEET SPOT

Champagne enters a zzy new era; just hold the sugar

64 THE SEEDS OF CHANGE

How spent grain, mushroom spores and bacteria are at the forefront of innovative bio-textile production

70 ROOMS FOR IMPROVEMENT

Swimming pools are out, oxygen pods are in for wealthy Londoners buying new-builds in the city

76 UNDER THE HAMMER

From rare handbags to vintage jewellery, auction houses are doing a roaring trade in the luxury market

82 THE WORLD’S YOUR OYSTER

Our guide to the best creative reset escapes, designed to refresh mind, body and soul

98 GOING TO GROUND

Matteo Temperini, executive chef behind Ristorante Campo del Drago at Rosewood Castiglion del Bosco, on his tru le passion

EDITOR’S LETTER

Welcome to our winter edition alongside our exceptional partner Cole & Son, with our bespoke cover by illustrator Michele Marconi. The issue is all about celebrating the season in the best way we know, from raising a toast with low-sugar Champagnes to giving (or receiving) the most glimmering white diamonds. As the temperature drops, set your sights on far- ung locations — we bring you the ultimate guide to cultural trips home and away. Behind the scenes at many renowned hotels are power couples who keep the wheels turning — Ben McCormack takes a journey with some of those shaking up the industry. Style is also high on the agenda with a look at some of the new cities around the world making waves in the fashion industry, and Josh Sims takes a peek at some of the most unusual new materials in design — from mushrooms to lotus leaves. We also put a spotlight on Cole & Son’s stunning designs and how auctions are taking the luxury world by storm.

As ever, we unearth the latest leaders in style, culture, food, drink, travel and wellness. For weekly access to the hottest news and luxury insights, don’t forget to subscribe to our newsletter at spherelife.com and please let us know at sphere@iln.co.uk if you would like to receive the magazine in the future. Enjoy the read!

SPHERE

Editor

Jemima Sissons

Art Directors

Dominic Murray-Bell

Jo Murray-Bell

Sub-Editor

Rachel Roberts

Senior Content Executive

Pippa Lowe

Content Assistant

Clara Taylor

Production Director

David Gyseman

Colour Reproduction

Lorna Wilson

Group Advertising Director

Jane Washbourn tel: +44 (0)7920 821 577

email: jane.washbourn@iln.co.uk

Chief Executive (and Online Editor spherelife.com)

Lisa Barnard email: lisa.barnard@iln.co.uk

Contributor

Lucia Ferigutti

SPHERE PARTNER COLE & SON cole-and-son.com

website: spherelife.com

instagram: @sphere_life email: sphere@iln.co.uk

CONTRIBUTORS

Michele Marconi is an Italian illustrator whose work blends smooth forms, vibrant colours and textures. His work is showcased worldwide across editorial and commercial projects, and art galleries. Recent clients have included American Airlines, Forbes, the Financial Times Wired and Google.

NINA CAPLAN

Wine, travel and arts writer Nina Caplan

is the author of award-winning travel memoir The Wandering Vine: Wine, the Romans and Me. She writes wine and lifestyle columns for Times Luxx, Club Oenologique and The New Statesman, and is a regular contributor to Travel + Leisure magazine.

FREDA LEWIS-STEMPEL

Freda Lewis-Stempel grew up driving 4x4s on an organic farm in the Black Mountains, where her love for cars and sustainability was formed. Freda is a motoring journalist for the Daily Mail and has written about EVs, motoring and the countryside across online and print, from Cazoo to Country Life

BEN MCCORMACK

London-based Ben McCormack has been the restaurant expert for Telegraph Luxury since 2013. His work was shortlisted in the Restaurant Writer category at the 2020 Fortnum & Mason Food and Drink Awards. He is also a regular contributor to The Standard Food and Travel and Decanter

JOSH

Writer Josh Sims contributes on a range of topics to titles such as Esquire The Times and South China Morning Post. He lectures in journalism and is the author of several books on matters of style and fashion, including Icons of Men’s Style and Retro Watches: The Modern Collector’s Guide.

AVRIL GROOM

Avril Groom writes about luxury jewellery, watches and fashion for a number of upmarket publications and websites, including the Financial Times HTSI magazine, Condé Nast Traveller and Telegraph Time. She also edits Country and Town House magazine’s jewellery and watch supplement.

© 2025 Illustrated London News Limited. Articles and other contributions published in this journal may be reproduced only with special permission from the Publishers. The Publishers Illustrated London News Ltd accept no responsibility for any views or statements made in the articles and other contributions reproduced from any other source. All details and prices are subject to change. No responsibility is accepted for the claims made in advertisements appearing in this journal and the Publishers reserve the right to accept or refuse advertisements at their discretion.

Printed by: Paragon

SPHERE magazine is published by Illustrated London News Limited, Soho Works, 4th Floor, The Tea Building, 56 Shoreditch High Street, London E1 6JJ Registered in the United Kingdom No. 15725542 Website: iln.co.uk

ISSN: 2040-5316

A

Racing Machine On The Wrist

NUCLEUS

SUITE DREAM

There is no shortage of hotel suite o erings in London, but for those who long to be transported back in time and enjoy one of the best riverside views in the capital, the four new “Cabin Suites” at Sea Containers London are just the ticket. Harking back to the hotel’s design concept of the golden age of transatlantic cruising, four “journeys” are represented, including The Edwardian and MidCentury (pictured here). Guests are immersed in a glamorous time capsule, furnished with carefully curated period detaills — not least a cocktail trolley arriving at your Cabin door to signal aperitif time. Cabin Suites from £743, seacontainerslondon.com

FIT FOR ROYALTY

Paying homage to the birthplace of the late Queen Elizabeth II, the flamboyant Lilibet’s sits on the site of the townhouse where the young princess was born. The Russell Sage-designed restaurant — where pink velvet chairs blend with gilt mirrors, Murano glass chandeliers and hand-painted walls — is a gem of a dining room, and the walk-in oyster bar is set to be one of the hottest perches in town. The exquisite menu overseen by Ross Shonhan spans the lightest crab tart and whole ‘unsung’ fish varieties, served three ways. lilibetsrestaurant.com

MAN WITH A PLAN

Known better as a fashion designer, Henry Holland has now turned his creative hand to the home. His inaugural highly sculptural furniture collection spans five pieces, including a chair and pou e, all made in the UK. This Stratus Console Table o ers a graphic showstopper, hand-forged in bronze with a solid bronze frame and sand-cast pebble feet, finished with otherworldly suspended earthenware ceramic spheres. £9,950, henryhollandstudio.com

LIP SERVICE

The new Lip Softie from Los Angeles-based Tower 28 is a perfect defence against wintry winds. The food-grade, vegan and fragrancefree balm is formulated with shea butter, jojoba oil and lysine to soften and moisturise. Non-sticky and safe to use on sensitive skin, choose from clear or several sheer shades and keep one in every pocket. £16, tower28beauty.com

NUCLEUS

IN GOOD HANDS

Travel in perfect harmony with the changing time zones with Richard Mille’s new RM 63-02 Automatic Worldtimer. The ultimate accessory for jetsetters, the watch’s ingenious mechanism allows the wearer to instantly determine the time in any part of the world. Cased in red gold and titanium, it contains an in-house automatic calibre CRMA4, with a limited edition of just 100 pieces. POA, richardmille.com

LEAF PEEPING

Exploring the beauty of nature cast in gold, gems and other fine materials, New Nature at the David Dill Gallery is a new group exhibition of fine jewellery curated by author and art historian Carol Woolton. Narrated through the artisanship of seven jewellers, it encompasses the hyper-feminine works of Hong-Kong based Michelle Ong, the intricate mosaics of Maurizio Fioravanti and the naturalistic, delicate pieces of Christopher Thompson Royds (pictured, his Catkin earrings, POA). davidgillgallery.com

IN THE FRAME

Costume designer, photographer and dandy Cecil Beaton might not be associated with the wilds of Wales, but the style setter is celebrated at an insightful exhibition at Hawarden Estate in Flintshire, where he was a regular guest. Cecil Beaton: A Family Archive will focus on personal and family memorabilia. The estate, owned by Beaton’s great-nephew, Charlie Gladstone, also o ers workshops spanning wreath-making and pickling techniques. hawardenestate.co.uk

TASTE TEST

Bringing together two muchloved brands, Fortnum & Mason has arrived at Bicester Village in Oxfordshire, o ering an elevated pit stop between luxury purchases and window shopping. The famous store, which opened in 1707, provides a contemporary interpretation of the agship, decked out in the signature Eau de Nil hue. Solid walnut service desks with Georgian beading add elegance, while the red-coated sta o er seamless service. Pick up a classic such as Fortnum’s Royal Blend Tea with some Gingerlossus biscuits to dunk inside. Champagne bottles and other gifts can also be personalised. A booth outside, Fortnum & Mason On The Go, serves takeaway treats such as crumpets with coronation chicken. fortnumandmason.com

NUCLEUS

UNDER PRESSURE

As one of the UK’s foremost reflexologists, she is known for her intuitive touch and ability to heal through her bespoke treatments. Andrea Hurst has now joined the Guerlain Spa at Ra es London at The Owo with four di erent o erings, including The Grounding Reboot, which aims to restore the nervous system and regulate energy flow (£265 for an hour), to the comprehensive Full System Detox and Release (3 hrs, £800) for those seeking a complete emotional and inner reset. ra es.com

URBAN LEGEND

The ultimate jewellery queen of West London for those in the know, Ming Lampson has been crafting one-of-a-kind bespoke pieces for her roster of high-end clients for the last 25 years. Ming’s new collection celebrates this quarter-century milestone, with the designs centred around architectural gems from the area she knows inside out: Notting Hill and Portobello Road. Snuff ring set with imperial jade cabochon and baguette-cut diamonds, in platinum and gold, £POA, mingjewellery.com

NUCLEUS

PEAK PERFORMANCE

Paying homage to the George Mallory boot from the 1924 Everest expedition, Crockett & Jones’ sturdy new boot, the Everest, offers two styles built on legacy and defined by bespoke heritage. Made with the same waterproof side leather as the Mallory boot, a half-bellows tongue and a waterproof feather-line membrane, the Everest is built for endurance and as an ode to history. £695, crockettandjones.com

HOME SWEET HOME

Better known for her Ascotready couture pieces, Suzannah London has launched its first interiors collection. Designed alongside artist MarieLuise Bantel, the range includes cotton bedding, handmade ceramics by Emma Glipa, supersoft silk pyjamas and a fragrance, To The Fairest, all in a dreamy palette of whites, pinks and greys. From £45 for a candle, suzannah.com

A NATIONAL TREASURE

Fresh from the success of his sell-out show at the Fondation Louis Vuitton in Paris, David Hockney returns to home soil with an exhibition at Annely Juda Fine Art’s new space in Hanover Square. The Mayfair gallery’s inaugural show will debut a series of Hockney’s never-beforeseen paintings, such as this dazzling depiction of Gauguin’s Chair and Vincent’s Chair. Running until 28 February. annelyjudafineart.co.uk

BORN TO BE WILD

Stockholm and South Shields do not suggest the most obvious union, but a collaboration between ARKET and Barbour has brought the two locations together for a special launch this winter. The brands have co-designed a capsule collection in nature-inspired hues of greens, blues and blacks, interwoven in the custom tartan check. Bringing to life the coastlines of the North Sea and the wild landscapes of the Baltic archipelago, the launch campaign was shot on the island of Gotland in Sweden and captured real people living and working on the rugged terrain. Meanwhile, Barbour welcomes another collaboration launch with Sorel, with three limited edition footwear styles, to keep toes dry and toasty all season. Jackets from £199, arket.com

NUCLEUS FOOD AND DRINK

MAKING A SPLASH

Overlooking the Grand Union waterway in Westbourne Park, Canal is the bustling new restaurant from the team that brought Bistro Freddie and Crispin to the culinary scene of East London. New York chef Adrian Hernandez Farina brings bold flavours to the table, from Mangalitza sausages with pickled chillies to monkfish draped in datterini tomatoes and capers. Cocktails such as the Brown Butter Old Fashioned come courtesy of super hip mixologists, A Bar With Shapes for a Name. mason-fifth.com

HOT STUFF

Bringing some of the finest Thai flavours to the heart of Soho, Platapian fuses the fiery cooking of southern Thailand with the delicate flavours of the north. The sharing menu kicks off with the most deliciously spiced crispy chicken skin with garlic and kaffir lime. Buckle up for the extremely chilli-fuelled pork laab, or a fresh and zingy chicken salad. Claypot beef rice offers the most warming autumnal fare. Leave space for a creamy pandan crème brûlée with coconut milk ice-cream or stick to cocktails for afters, with a tom yum-tini made using Finlandia vodka, lime and bird’s eye chilli. pataralondon.com

UNRIVALLED PANORAMAS FROM TOWER EAST, THE ROYAL BOROUGH’S ONLY RIVERSIDE TOWER.

Exquisitely designed and crafted homes, spectacular views and exceptional private resident’s health and wellness club.

To register your interest in the rarest of homes: C all 020 3993 4869 or visit chelseawaterfront.co.uk/towereast

A development by:

NUCLEUS FOOD AND DRINK

DUTCH COURAGE

As part of Queensway’s glitz-dusted renaissance, Amsterdam restaurant Nela has landed in the newly opened luxury development, The Whiteley. Following launches in Ibiza, the signature flame-led cooking features baked breads, pizzas, seared cuts and seasonal vegetables. Start with yellowtail with burnt aubergine and oysters with fermented chilli before moving to slow-cooked Scottish shortrib alongside an Unspoken Truth, Nela’s take on a spicy margarita made with Don Julio Blanco, Don Julio Reposado, Italicus, Beesou honey aperitif, lime and jalapeno honey ice. nelarestaurant.com

CITY SLICKER

If those walls could talk… in the ’90s, the Met Bar was the only place you had to be seen, Cosmopolitan in hand. Now the drinks list at the new iteration, Labombe, is far more grown-up, in fact, it features one of the capital’s most impressive wine lists. From the team behind much-loved Trivet in Borough, the new restaurant is making a name for itself with its wild mushroom pici and costoletta alla Milanese. labombe.co.uk

CREAM OF THE CROP

Reviving the much-loved cordial, Christopher’s is a new range of soft drinks co-founded by Tom Parker Bowles and Jolyon Fenwick, o ering small batch premium blends. An antidote to the overly sweet o erings on the market, ingredients are at the forefront, with the berries grown on a single Herefordshire farm and the lemons sourced from a family producer on the Ionian coast of Sicily. Enjoyed equally mixed with soda or tonic water as a mixer to cocktails, flavours include Gooseberry and Lime, Sicilian Lemon and Redcurrant. christopherscordials.com

TICKLED PINK

One of Mayfair’s most loved hotels offers a new culinary experience this season. The Beaumont Mayfair has opened Rosi restaurant, championing British fare, and welcomes celebrated chef Lisa GoodwinAllen as Culinary Director. The cuisine includes classic comfort dishes such as Chicken Diane and the showstopping Old-Fashioned Pork Pie, served in the beautiful Art Deco dining room. thebeaumont.com

BIRDS OF A FEATHER

Nestled in the heart of the Mendip Hills, Mad Swans is a new bucolic escape offering a wealth of activities as well as a return to nature. With eco-cabins, a 12-hole golf course, padel, pickleball, a putt patch and more, the new hotel — courtesy of the owners behind Beaverbrook — has fabulous food inspired by Ollie Dabbous on the menu. From £195, madswans.com

LIVING LA DOLCE VITA

For those who cannot bag themselves a reservation at the peerless Passalacqua hotel, which graces the shores of Lake Como, this might be the next best thing. Assouline’s new book celebrates the 18th-century estate, which features 24 rooms and suites, alongside storied salons. Through exclusive photos and guest memories, the hotel is brought to life over 200 pages. £100, assouline.com

THE HIGH LIFE

Bed down in style this winter in Le Park 1963’s new luxury chalet apartments, situated in the heart of Val d’Isère. The 11 residences are crafted from antique stone with aged alpine wood across the framework and beams. Inside, the elegant interiors are complemented by sweeping mountain vistas and communal features, including a ski room, yoga studio and gym, alongside a concierge. Apartments from 9,660,000€, freespiritalpine.com

Cool runnings

Motoring journalist Freda-Lewis Stempel heads to the Polestar testing camp to discover how the Swedish EV brand develops the performance of its electric cars

The Arctic Circle. Home to some of the most extreme conditions on earth. Its sub-zero temperatures, snow blizzards and frozen water have proved the ultimate challenge for explorers for centuries, from Georgian sailor Sir John Franklin to America’s Ann Bancroft. Today, it’s Swedish EV brand Polestar that’s navigating the Arctic Circle’s harsh winters: between December and March, Polestar dices with Northern Sweden’s snow and ice to develop the famed performance DNA of its electric cars.

Every winter, Polestar descends on the small town of Lapland’s Jokkmokk, home to its testing camp — the Polestar Arctic Circuit — made up of three high-speed racetracks on a sparkling-white frozen lake encircled by snow-tipped r trees. Only elk, moose and huskies share the ice with the Polestar team.

Each day, the engineers ne-tune every sleek, luxury Polestar EV that makes it from concept to driveway. The Fastback 2, the family-friendly 3 SUV, the 4 SUV coupé and the new 5 Performance GT have all been perfected in Jokkmokk’s extreme conditions.

Headed up by racing driver and chief tester Joakim Rydholm, the gripless one-

metre-deep ice (only 25cm is needed for safety, and cracking is perfectly normal) is the engineering version of an artist’s blank canvas.

Driving on ice is driving without traction, feeling how a car behaves in every situation, from steering to braking and balance. The engineers learn the bitingly quick pace and precise handling of a Polestar and how to re ne it. The result? Every Polestar owner gets a high-performance ride.

On the circuit, it’s as normal to see Joakim hanging out of a Polestar, feeling for vibrations with a gloveless hand in -20 degrees, as it is for the EVs to be sliding sideways around bends spraying up a urry of snow as the rear icks out.

For Joakim, it’s the ice-rink driving that creates the Polestar performance DNA: ‘The thousands of hours behind the wheel make sure every Polestar car is in harmony. Every owner should feel at ease and have fun, knowing that they are a good driver when they’re in our cars. And that every model has been tweaked in a way that makes it special. If a car works in the Arctic Circle, it works everywhere.” polestar.com

WINTER DRIVING TIPS

Polestars can tackle all winter conditions, and onboard systems like Electronic Stability Control, which helps prevent skidding, are there to keep you safe.

If you do hit ice, don’t panic. Ease o the accelerator and don’t brake suddenly. Turn into the skid — it feels counterintuitive, but it will help regain traction.

Always when driving on ice, or in di cult winter conditions, smoothness is key.

Accelerating, braking and steering must be done gently and consistently. Enter bends slowly and turn through steadily to maintain grip and stability.

Keep your speed down, look ahead for potential hazards, and be alert for patches of treacherous black ice.

It doesn’t matter if it’s a frozen lake or a wet B-road — braking distances increase tenfold, so leave up to 10 times the gap to the car in front.

NUCLEUS BEAUTY

FLIGHT OF FANCY

A new addition to the popular Les Essences de Diptyque collection of fragrances, Lazulio eau de parfum is inspired by the peacock feather. Multilayered and vibrant, it’s an amber, woody scent that combines tangy rhubarb with benzoin resin sourced from Laos, alongside notes of vetiver from Haiti and a touch of rose to round o the olfactory bouquet. £255, diptyqueparis.com

DOUBLE TAKE

Les 4 Ombres, Chanel’s iconic eyeshadow quad since the 1980s, has been reimagined as Les 4 Ombres Boutons, embossed with motifs emblematic of the maison: tweed, quilting, the number five and camellias. The collection includes four palettes, ranging from fresh-faced, shimmery pink Mademoiselle (pictured) to glamorous Baroque, with glittery copper, purple and gold. £72, chanel.com

FACE TIME

Created specifically to address the effects of menopause and other age-related hormonal changes on the skin — namely density loss, dullness, dryness and age spots — La Prairie’s new Pure Gold Revitalising Essence delivers instant hydration and plumpness. It also supports long-term skin restoration by stimulating collagen production and helping to strengthen the skin barrier. £420, laprairie.com

SMOOTH TALK

A post-shower essential to combat winter skin dryness, Salt & Stone’s new ultra-rich body cream is formulated with squalane, seaweed extracts and argan oil. Available in three delicious scents (santal and vetiver, bergamot and hinoki, sa ron and cedar), it’s formulated to absorb quickly and leave skin nourished for 72 hours. £42, saltandstone.com

FASHION

Sharpen up ethereal lace with bold accessories and be the fiercest belle of the ball

1 Gianvito Rossi Claudia 85 lace knee-high boots, £1,555, mytheresa.com 2 Erés Voltige bodysuit, £755, eresparis.com 3 Chaumet Bee de Chaumet bracelet in white gold, set with semi-pavé, brilliant-cut diamonds, £11,500, chaumet.com 4 Rabanne dress in lace, £1,230, rabanne.com 5 Valentino Garavani Lace trimmed ribbed cashmere beanie, £420, net-a-porter.com 6 Lily Gabriella Fine Jewellery 18k black gold set with black diamonds, £15,000, lilygabriella.com 7 Cora Sheibani Facets & Form Large Renaissance earrings with orange & pink topaz, grey spinel, mandarin garnet, pink sapphire set in platinum, POA, corasheibani.com 8 Scarlett Poppies Starlight velvet kimono, £435, libertylondon.com 9 Jacques Wei Embroidered leathertrimmed lace midi skirt, £395, mytheresa.com 10 Dolce & Gabbana My Sicily handbag in plongé calfskin, POA, dolcegabbana.com

FASHION

CRAFTED THROUGH THE CENTURIES

As the iconic brand Swaine celebrates 275 years, Clara Taylor looks at why it is the leading example of enduring British artisanship and a living institution that continues to evolve with the rhythms and reinvention of London itself

In the last three centuries, London has signi cantly transformed. Gone are the horse-drawn carriages that were pulled across cobbled streets, the choking smog from the early stirrings of the Industrial Revolution, and the hiss of steam trains, which have since been replaced with the rumblings of the Underground.

Through all this change, Swaine, one of London’s oldest names in ne goods, has quietly remained a constant. Originally established as an 18th-century equestrian whip maker, Swaine has weathered centuries of change, living through empires, monarchies and revolutions without once compromising its dedication to British artisanal craft — a unique feat for the luxury sector, given the challenge of adapting to contemporary retail, technological evolution and shifts in supply chains.

From the beginning, Swaine’s identity has been deeply rooted in the city where it was founded and is arguably inseparable from the history of the capital. The two have grown in tandem. What was once a single Georgian workshop has since grown to become an international brand, strengthened through a series of notable acquisitions whose expertise and skill are folded into the company along with Swaine’s own leather legacy (established 1750), specialising in exotic folios, holdalls and accessories. These luxury brands include Brigg (umbrellas, est. 1836 — spanning collapsible innovations to exotic snakewoods) and

Herbert Johnson (hatters, est. 1889 — handcrafting everything from berets and bowlers to Panamas and fedoras).

One need only turn to the silver screen to understand the impeccable pedigree of these products. Be it James Bond’s briefcase, Mary Poppins’ umbrella, The White Lotus’s Parker Posey’s scarf, Indiana Jones, or perhaps more surprisingly, Ali G’s hat, it’s clear that Hollywood has had Swaine on speed dial for quite some time.

While tradition and heritage are central to the brand, Swaine is unafraid of modernity. Recognising the need to keep up with the times, after two centuries calling St. James’s its home and living a stone’s throw from The Mall, Swaine moved only a few years ago to better serve its loyal clientele. The agship store and busy workshop can now be found in none other than the prestigious Mayfair district — the gem in London’s retail crown. Not only can you view the full Swaine collection, but you can also watch as a team of artisans hand-cut, skive and stitch using traditional saddlery techniques. The sound of the work and the smell of the products immediately transport you back to the rst craftsmen labouring away in the original 18th-century workshop all those years ago.

Beneath the store stands the workshop, a space that also serves as an impressive installation. The umbrella room is a signature feature of the venue, thanks to the immersive display of hanging Perspex columns, created

to mimic falling rain. It serves as a theatrical reminder of the functionality of the Swaine collection, while also nodding to the artistry implemented in the both the design and manufacturing process of the products.   Every detail, from the lighting to the layout, re ects precision and elegance — central pillars of the brand.

With 275 years in the industry comes a level of experience that isn’t enjoyed elsewhere. While each meticulous stitch represents a timeless elegance, Swaine is committed to ensuring that these skills don’t vanish with the old guard. The brand has invested in teaching the next generation of craftspeople. Highly skilled professionals who carry the company’s knowledge share it with eager apprentices. This process brings alive the company’s proud hand-made ethos, as articulated succinctly by Edward Swaine Adeney: “The machine is, in fact, used as servant — not master. This, then, is the formula: honest material and the nest craftsmanship that can be put into the moulding of it.”

In an era of hyper-fast micro trend cycles, Swaine serves as a ne example of what endures. As London continues to reinvent itself, Swaine, too, will continue to stand the test of time. Not just because of nostalgia or a longing for simpler times, but because of an insistence that creating by hand still matters. A true testament that craftsmanship is made to last.  swaine.london

DOUBLE ACT

Meet the hospitality power couples who mix pleasure with business to be the force behind some of the world’s most well-known and celebrated hotel brands

WORDS BEN MCCORMACK

Behind some of the world’s most respected hotel brands lies a secret ingredient that goes beyond business strategy: powerful partnership. From reimagined country houses to contemporary urban retreats, the hospitality industry has long been shaped by couples who share not just a marriage certi cate, but a uni ed vision for exceptional experiences. These dynamic duos bring together complementary strengths, where one partner’s creative air is balanced by another’s business acumen, or shared passions that drive innovation in service, design or cuisine. When genuine fervour meets mutual respect and a commitment to creating extraordinary stays, the results can be transformative, building generation-lasting legacies.

This year marks the 40th anniversary of Firmdale Hotels, the empire built by Tim and Kit Kemp that has rede ned boutique hospitality. Their story began through Leszek Nowicki, a Polish architect who Kit worked for, “making the tea and carrying around a tape measure” while Tim, then a property renovator, was a client. A couple of years later, Tim and Kit found themselves seated together at Nowicki’s wedding and began to date.

“Tim invited me to have a look at a property he was renovating for himself,” Kit recalls. “He told the builder, ‘I think I’ll need a cat ap.’ And the builder said, ‘but you haven’t got a cat.’ And I thought, I have a cat — maybe he is quite serious about me.”

Both brought design sensibilities, but their roles diverged strategically. “I think we work quite autonomously,” Kit explains. “Tim allows me to do the interior design, although he’s very much involved with the kitchens for the restaurants, and the bathrooms. But he nds

the properties and his is the nancial mind.”

They launched the 38-room Dorset Square Hotel in 1985. “A small hotel that had character wasn’t seen as something that was worthwhile or even pro table,” Kit says. “It was a struggle. We approached about 14 banks before anyone said, oh, that might be a good idea.” Following Dorset Square’s success, the press had a name for that good idea: the boutique hotel.

Today, Firmdale encompasses some 11 individually styled hotels across London and New York, 10 of which earned Michelin Keys in 2024. Keeping it in the family, Kit’s design team now includes two of her daughters. Next up will be Bedford Place, a Bloomsbury townhouse opening in 2027, with a rst east London hotel in Shoreditch to follow, proving that four decades haven’t dimmed the Kemps’ ambition to produce distinctive properties together.

rmdalehotels.com

“Our properties are designed with our grown-up children and their families in mind, and we warmly welcome the next generation”

David and Karen Richards met at 16 at a Young Farmers dance — an appropriately West Country beginning for a couple who would go on to create two distinctive Cornish coastal retreats. David built his career in Formula 1 and rally racing, led the takeover bid for Aston Martin and served as CEO and chairman of motorsport and engineering group Prodrive, alongside roles as a quali ed pilot and chairman of the Air Ambulance.

Karen dedicated herself to supporting David’s high-octane career while raising their family. In 2013, becoming a hotelier allowed her to channel years of homemaking and hosting experience into her own venture.

The pair balance each other beautifully. “Karen is the creative director who brought the interiors and the hotels’ awless concept to life,” David explains. “She wanted to design two di erent, yet complementary, hotels.

My role is nance, recruitment and marketing — but in the background.”

Karen took complete creative control, de ning every detail from uniforms to menus, local art to playlists. The Idle Rocks attracts a multigenerational clientele and what David calls “the inner circle of F1”; the St Mawes Hotel, a three-minute walk away, serves as a local landmark at the heart of village life.

Their philosophy centres on e ortless comfort and locally sourced menus, with the wellbeing of sta as important as the enjoyment of guests. “We preserved and rede ned two beautiful hotels on the Cornish coast,” Karen says. “Our properties are designed with our grown-up children and their families in mind, and we warmly welcome the next generation.” idlerocks.com; stmaweshotel.com

The couple’s philosophy is originality, personality and quality, known within their business as OPQ

Andrew Brownsword’s path to hospitality was unconventional. Studying business at Brighton Polytechnic with the ambition of going into hotel management, he took a summer job with a printing rm and experienced his lightbulb moment: greeting cards cost very little to produce. He dropped out immediately, selling cards from his car boot and building an empire he would eventually sell to Hallmark in 1994 for approximately £195 million.

Christina, who had worked as a bookkeeper in Andrew’s publishing business, became his life and business partner. In 1994, they bought The Bath Priory, initially intending it as a new home to move to from their Royal Crescent house. However, nding the new property too large and impractical to live in, they returned it to hospitality, launching their second career.

The couple’s philosophy mirrors Andrew’s

greeting card success: originality, personality and quality, known within their business as OPQ. Their impressive expansion has been opportunistic rather than strategically planned, with many of their acquisitions being distressed properties in need of rescue. They have breathed new life into each through substantial investment in both the fabric of the buildings and an unwavering commitment to high standards — for example, Gidleigh Park on Dartmoor is currently Michelin-starred and won two stars under previous chefs Michael Caines and Michael Wignall — ensuring each hotel re ects the couple’s personal vision and design aesthetic.

Every hotel is meant to feel like a home away from home, not least because many

of the properties were initially known to the Brownswords from family holidays and personal experience; The Bath Priory, for instance, was a favourite local dining destination for the family.

Today, Andrew Brownsword Hotels encompasses 12 distinctive properties, from the 900-year-old Amberley Castle in West Sussex to sleek city-centre Abode hotels in Canterbury, Manchester and Chester. Their hotel collection showcases 20th-century art — much from their personal holdings — while Gidleigh Park boasts one of Britain’s largest wine cellars. The family retains complete ownership, with their children increasingly involved, ensuring their careful custodian-ship continues into the next generation. brownswordhotels.co.uk

“Pubs for me are, quite literally, public houses, somewhere you can walk in and feel as if you are at home”

SAM & GEORGIE PEARMAN, COUNTRY CREATURES AND CUBITT HOUSE

Sam and Georgie Pearman have spent over 20 years building their hospitality empire together, but their backgrounds couldn’t have been more di erent. Georgie grew up surrounded by her parents’ hotel business during the 1970s and 80s — “when melon, powdered ginger and a glacé cherry were considered exotic,” she says. “More like Fawlty Towers than what we are part of now.” She studied law at university and became a solicitor. Then she met former professional rugby player Sam.

Sam’s upbringing centred on parents who loved entertaining. “Pubs for me are, quite literally, public houses, somewhere you can walk in and feel as if you are at home,” he explains. “Always comfortable, always friendly, always inclusive.”

The couple founded The Lucky Onion hospitality group in 2006, leaving the business in 2017, rst to start Country Creatures and then to take over Cubitt House — two distinct

brands with contrasting philosophies.

“Country Creatures was created to focus on the true beauty and charm of the countryside, whereas Cubitt House brings the creative design of the city,” Sam explains.

The Country Creatures portfolio includes The Double Red Duke and Mason’s Arms in the Cotswolds, while Cubitt House’s eight pubs-cum-boutique hotels include the The Princess Royal in London’s Notting Hill. Next year brings The Wild Duck Inn to Country Creatures, a Grade II-listed former gardener’s cottage near Cirencester given a glow-up with 20 bedrooms.

After two decades of working side by side, the couple has mastered the professional partnership. “We have the perfect sounding board for all our ideas,” Georgie says, although they rmly insist on boundaries: no work discussions at home with children, family and friends present. countrycreatures.com; cubitthouse.co.uk

A REGAL ROAM ABOUT BRITAIN

Autumn / Winter edition 2025 available on newsstands (£9.99)

Order Copies: hello@iln.co.uk & at amazon.co.uk from Illustrated London News www.iln.co.uk

A walk on the wild side

All creatures great and small grace renowned British wallpaper company Cole & Son’s latest collection of elegant yet playful creations

WORDS FIONA MCCARTHY

We are more than pattern designers, we are artists, now and for the future,” enthuses Marie Karlsson, Creative and Managing Director of the 150-year-old British wallpaper company Cole & Son. “Everything we do starts with a hand-drawn and painted design. We constantly reference our incredible centuriesold archive of printing blocks for inspiration. We live history and we live art,” adds the dynamic Karlsson, who has led the brand for close to a decade. Combining the two has been Cole & Son’s winning concept since block printing specialist John Perry founded the company in 1875.

“We take inspiration from the past but then make it relevant for today’s and tomorrow’s audience. We have such an extensive timeless portfolio because we can go into the archive to pick out something nobody has seen before, which we can then recolour and make cool and relevant for today.”

Steeped in this prestigious heritage — Cole & Son’s wallpapers can be found in Britain’s most

important stately buildings from Chatsworth House and Buckingham Palace to the Houses of Parliament — while remaining a driving force in innovation, sustainability and craftsmanship has long been the secret to the company’s success. Cole & Son’s papers are sought after around the world by leading interior designers such as Martin Brudnizki (best known for Annabel’s, The Ivy, La Fantaisie in Paris and The Fifth Avenue Hotel in New York) and Kit Kemp, a big fan of the brand’s collaboration with Fornasetti, deploying colourful pu er sh and whimsical monochromatic clouds on the walls of her hotels’ bedrooms and restaurant bathrooms in London and New York.

From an elegant townhouse to a rambling country pile, Cole & Son’s designs t perfectly into any interior. “They bring a feeling of comfort and sophistication but also a sense of escapism,” says Karlsson. This is particularly true of its latest collection, its third designed in collaboration with South African ceramics studio Ardmore, founded by Fée Halsted on her farm in the foothills of the Drakensberg Mountains 40 years ago. ‘Baobab’ is full of

vivid, soulful magic, from exotic birds to slinky big cats, set within the rich, lush ora and foliage native to the landscape surrounding Ardmore’s home within the KwaZulu-Natal.

Nine immersive, intricate and abundantly joyful wallpaper designs burst with regal cheetahs prowling through the long grasses of the Savannah; a tower of long-eyelashed gira es enjoying a moment of pause among tall acacia trees, nibbling on their feathery leaves and u y pink pom-pom owers; and leopards romping through a tropical playground of waterfalls and pools dotted with ery red-hot pokers, water lilies and the occasional hot-pink amingo. ‘Tree of Life’, the hero of the collection, is a generous repeat mural ri ng on the folkloric mysticism of one of Africa’s most important symbols, the ancient baobab, iconic for its ‘upside-down’ bulbous base and outstretched canopy of leafy limbs.

A cacophony of crowned cranes, king shers, amingos, wading jacanas, African hoopoes, striking storks, parakeets, parrots and lovebirds in jewel hues ll its winding, overlapping

boughs hanging with fruit, seedpods and powderpu owers. It took Cole & Son’s creative team, on the upper oors of the brand’s agship gallery on Jubilee Place in Chelsea, close to 1,500 hours to hand-paint the design; much like the time it takes Ardmore’s artisans, including throwers, sculptors and painters, to hand-craft teapots and vases, bowls and jugs, whose A-list fans include Dame Helen Mirren and Eric Clapton.

It is the kindness of expression imbued on each animal or bird’s face — whether it’s the gentle eyes of a wise old owl or the cheeky grin of a chimp — that makes Cole & Son’s Ardmore wallpapers so appealing. “It’s not literally a leopard, it’s a fantasy leopard,” says Karlsson of how the design team bring these patterns to life. “We want to make everything elegant, not aggressive, but not lose the raw charm and character of Ardmore’s ceramics.”

It is a process she describes as “design meets art”. “Our artists love to paint, and they have the freedom to explore ideas without having to be too prescriptive,” Karlsson adds. This includes drawing on the melting pot of cultures that lter through to the UK from all over the world. “The English style has always encompassed everything from Asian chinoiseries, Indian chintzes and Middle Eastern ikats, as well as Belgian linens, Italian jacquards and French cut velvets and silk, so we too take all those in uences and make them our own.”

This ethos threads its way through the recently launched Classics Collection Volume II, a ower-packed rendition of archival artwork across seven designs reworked by Cole & Son’s artists by hand. From a striking climbing trail of Chinese magnolias, brought to life in soothing shades such as charcoal, rose pink, powdery white, sky blue and lemonade, to bold, explosive vintage poppies with ru led petals and leaves lending a regal touch in bold pinks, buttercup yellows, emerald and sapphire, there are also elegant patterns featuring a rainfall of lantern-like fuchsias and a large-scale ‘Moss Trellis’ design dating from the 1930s, which has been given a modern abstract appeal in earthy hues.

Cole & Son’s skill also lies in understanding how an overall design will impact a space. “The

“Our artists love to paint, and they have the freedom to explore ideas without having to be too prescriptive”

way we draw a leopard walking through the jungle can form the pattern of an urban stripe or a small harlequin e ect,” says Karlsson. Or it can be about capturing an ancient art such as the watercolour nature of brush painting in the new ‘Chinese Branch’ pattern or the perfectly imperfect overlapping of leafy, detailed linework in ‘Iris’, which then creates a full, lush wallcovering in gentle shades of lavender, duck-egg blue, dusky coral and chalk.

“Sometimes we want to hide the visual format, so it is not as obvious, and sometimes we want to elevate it,” explains Karlsson. “But either way, the secret is not to irritate the eye. It has to feel comfortable.” And the greatest irony, she adds, is that “it can actually be more harmonious to have pattern rather than all white across walls because it relaxes your eyes and you don’t have to think. Home needs to feel like a sanctuary.” cole-and-son.com

ICE QUEENS

The classic white diamond is shining bright once again, with a dazzling array of options for both investors and jewellery fans alike

WORDS AVRIL GROOM

arilyn Monroe may have sexily crooned “diamonds are a girl’s best friend” in 1953, but over 70 years on, we are living in more equal times. For the last decade and more, diamonds have become the best buddy of many wealthy men. Not often for wearing themselves, though there is indeed some of that, and not always for the time-honoured reason of bestowing a gift on a loved one. Less romantically, a large diamond is today an essential part of the ultra-high-net-worth individual’s investment portfolio, the ultimate expression of portable wealth. As Coco Chanel explained why she only worked with diamonds for her one-o 1932 high jewellery collection, the gems have “the greatest value in the smallest volume.” Nothing has changed in nearly a century. At this level, the diamond’s relation to actual jewellery is practically accidental; it’s often secreted away in a bank vault where the owner hopes it will gather

From left: Harry Winston Couture high jewellery bracelet, pear-shaped, square emerald-cut and round diamonds, platinum; Chanel Reach for the Stars high jewellery collection, Take a Chance asymmetric Comet earrings, round diamonds, white gold; Smiling Rocks Bold ring, satin-finish 14 kt gold, lab-grown marquise diamond, £3,375; Repossi Blast high jewellery collection Spirale earrings, yellow gold, pear-shaped diamonds; All high jewellery items, POA

value in the dark. In short, large, top-quality diamonds are now a luxury commodity alongside art, classic cars and Hermès handbags.

The top diamond price so far is $71.2m (including fees) for the CTF Pink Star, a 59.60 ct oval, fancy vivid pink, internally awless stone sold by Sotheby’s Hong Kong in 2017. A rich pink stone this big is almost unheard of, and pink diamonds have extra cachet for their rarity, especially since their main source, Australia’s Argyle Mine, closed in 2020, though the Star was mined in Africa. The most expensive white diamond yet is a 163.41 ct pear-shaped stone sold by Christie’s in Geneva the same year for $33.7m. That those peaks were reached eight years ago does not necessarily indicate a slowdown — despite uctuations, average prices for diamonds of 2 to 2.5 ct have risen nearly 10 per cent in the past three years, and larger stones rise much faster due to their rarity.

All of which sounds welcome news for the investor, less so for the jewellery fan. However,

there are two sides to this story. Prices for smaller diamonds are dropping signi cantly. According to diamond market analysts Tenoris, prices for 1 carat diamonds decreased by 26 per cent in America — the world’s biggest jewellery market — between May 2022 and the end of last year. There are several reasons: economic and political uncertainty, the falling popularity of marriage, a slowdown in China, and younger generations preferring experiences to possessions. The biggest reason is the advent of lab-grown diamonds, identical in chemical and physical detail to natural diamonds and forecast by Morgan Stanley to make up over 21 per cent of the market this year, driven largely by younger consumers’ environmental and ethical concerns. Increasing production and cheaper methods have forced their price down by over 70 per cent in ve years, but investing is not their customers’ chief concern.

Meanwhile, the price of gold — always a safe haven in troubled times — reached a record

price of over $3,200 per ounce in late October, and many jewellers say their biggest cost is now gold, not diamonds. The nal price for a piece of jewellery may not be dropping much, but consumers will enjoy the prospect of more bling for their bucks, especially applicable to pavé, made from mixes of tiny diamonds known as melée.

Perhaps it’s a coincidence, but while coloured gemstones, including diamonds (which represent a tiny 0.1 per cent of gem diamond production), feature in every high jewellery collection, the pure sparkle of white diamonds is resurging. Their wattage draws the eye more than the most wonderfully tonal coloured design. This was brilliantly exploited by Harry Winston, New York’s “King of Diamonds”, who invented the cluster setting — mixing di erent cuts in layers to refract maximum sparkle from every angle — and helped start product placement with Hollywood stars. In the rm’s high jewellery, nearly every diamond is of investment size,

and even in their top-end ne jewellery, such as the Couture suite, the cluster setting ensures maximum brilliance.

In the UK, Gra arguably has access to the grandest diamonds through links with mining companies and acquisitions from mines in Botswana and Lesotho, noted for producing very large, ne quality roughs. It owns the Lesedi La Rona, a 302.37 ct square emeraldcut, awless quality stone cut from what is currently the fth-largest rough ever found. Gra is also (relatively) democratic, turning out easy-to-wear motifs — chains, bows, butter ies — blazing with top-quality pavé, alongside its unique masterpieces. It helps if your family are diamantaires, like that of Paris-based designer Valérie Messika, who is celebrating 20 years of a business aimed at women buying their own diamond jewellery. Her ideas include double- nger rings and her trademark Move motifs, executed in perfect pavé, often with a punk-inspired edge. Another way for brands to obtain great

diamonds is to be a sightholder — selected by main trading company De Beers for a regular allocation of mixed-quality roughs, which the brand processes. This has less prestige in depressed times, but as the only sightholder in Japan for 30 years, Tasaki, primarily an innovative pearl brand but with a wider remit especially in high jewellery, creates beautiful, classic pieces featuring serious stones surrounded by mixed cuts.

Sourcing stones is never an issue for great, historic jewellery houses, and diamonds of all shapes and sizes are their stock in trade, as Cartier’s recent V&A exhibition emphasised. Its archives encompass virtually all the jewellery-making materials known, generally further enhanced by diamonds. Yet, in the phantasmagoria of every high jewellery collection, there are a few outstanding white-only pieces. For example, Cartier’s current style revolves around a complex geometry of stones, woven into whichever of its signature styles the designers deem

In the phantasmagoria of every high jewellery collection, there are a few outstanding white-only pieces

appropriate — ranging from Art Deco or the romantic guirlande style to a tougher, more modern abstraction. The latest collection, En Équilibre, displays them all.

Boucheron is also historic, yet under its highly innovative creative director Claire Choisne, it produces extraordinary work at the boundaries of jewelcraft and advanced technology. Alongside, its Histoire de Style high jewellery focuses on white diamonds, and some very classy ne jewellery spins o . The latest, Flèche, is inspired by an Art Deco arrow motif, now wittily twisted into elegant rings, bracelet and hoop earrings, as well as more conventional, but no less striking, straight pins and necklaces, all composed of faultlessly set small diamonds.

Couture houses now marketing high and ne jewellery are understandably in uenced by fashion, which means a wealth of coloured stones. However, Chanel keeps white diamonds at its heart in homage to that 1932 original, strongly referenced by the latest collection,

Reach for the Stars, based on Mademoiselle’s favourite symbols, including comets, wings and lions. Dior’s jewellery designer, Victoire de Castellane, adores colour and brings it very subtly into white diamond high jewellery, as tiny seed pearls or a white opal with very pale re, while ne jewellery features all-white rose and thorn motifs.

White diamonds are also great for more minimalist design, from Pomellato’s Sabbia, with abstract “bud” discs snow-set — a tricky pavé technique with varied diamond sizes — on baguette stems, to Bucherer’s Rock Diamonds mixing small diamonds and polished white gold in shard-like trapezoid settings. Like every piece featured so far, the purity of diamonds is enhanced by setting in white metal — gold or platinum. But today’s jewellers are increasingly contrasting their diamonds with coloured gold, harkening back to early 1970s style and making it modern. Repossi’s new Blast pieces, featuring triballooking, ribbed rose gold scattered with

Clockwise from left: Boucheron Flèche ring, round and baguette diamonds, white gold, £26,600; Fernando Jorge Vertex high jewellery doubled earrings, graduated baguette and round diamonds, yellow gold; Dior Milly Dentelle high jewellery collection necklace, white opal, flower-set diamonds, rose gold; Matilde Jupiter rings, oval labgrown diamonds, white and yellow recycled gold, £2,910; Bucherer high jewellery Rock Diamonds bracelet, round and baguette diamonds, white gold; Pomellato Sabbia high jewellery earrings, snow-set and baguette diamonds, white gold

pear-shaped diamonds at random angles, or Brazilian designer Fernando Jorge’s Vertex, set with baguettes in designs abstracted from vertebrae, are high jewellery options. Mouawad’s rose gold-set, diamond and mother-of-pearl butter ies, or Annoushka’s Knuckle ring, threading diamond pavé through a triple yellow gold ring, derived from a high jewellery design, are repeatable. Similarly, designs like Smiling Rocks’ yellow gold abstract ring with a marquise diamond and their pavé and gold bean necklace, or Matilde’s sinuous rose and white gold Jupiter ring and Moon Drop earrings, exemplify this trend. These are two of the leading brands using only lab-grown diamonds and, in Matilde’s case, recycled gold. She shortly celebrates ve years in business and notes “a fast-growing acceptance of sustainable alternatives, a real change in mindset towards a responsible luxury future.” Diamonds may be forever, but deciding which and how we choose now includes some radical choices.

NEW KIDS on the BLOCK

A clutch of cities across the globe are home to exciting, emerging designers who are shaking up the status quo of the fashion world

WORDS CLARA TAYLOR

Fashion has long had its capital cities, where style is the very lifeblood of the metropolis. Think the golden era of Paris, where Dior, Saint Laurent and Chanel held their rst trunk shows in gilded salons. London, with a wide-eyed Twiggy trotting about the streets; the Studio 54 disco-chic from New York; or the timeless tailoring of Milan.

But the fashion world order is shifting. After decades of dominance, the supremacy of the Big Four is waning. Current economic pressures in the West have led to a downturn in the luxury market, while in Asia and the Middle East, growth surges. Consequently, we’re entering an exciting era where the fashion establishment fragments, and new style hubs emerge. Places like Lagos, for example, where couture is crafted using centuries-old techniques, or Seoul, where fashion and technology are inextricably intertwined, are coming to the fore. As the old guard makes way for the new, these are the cities leading the new fashion frontier.

LAGOS: HANDWOVEN TO HIGH FASHION

Nicknamed the “New York of Africa,” Lagos has always held strong at the heart of pan-African fashion. Beautifully bright and bold traditional dress is embedded in its heritage, from ornately embroidered Komole occasion wear to artfully knotted Gele headwear. Shade Thomas-Fahm, dubbed “Nigeria’s rst fashion designer,” was at the forefront of Lagos’s fashion boom postIndependence, when clothes were used as a means of freedom and expression. It’s her signature, contemporary take on legacy fashion that we see among today’s designers.

Take Bubu Ogisi, the designer behind IAMISIGO, which was recently awarded the Zalando Visionary Award at Copenhagen Fashion Week. Her latest collection, described

as “The Wizard of Oz meets Jacquemus,” was dedicated to preserving Africa’s cultural heritage through making wearable art, using techniques like hand-weaving, glass blowing and bre knotting. IAMISIGO is just one of the many Lagos-based brands garnering international attention, such as Lisa Folawiyo, whose colourful use of traditional cloth wax prints and beading is now stocked in Selfridges and was shown in the V&A’s Textile and Fashion Collection. We also cannot forget Amaka Osakwe, the powerhouse behind Maki Oh. The designer is favoured by former First Lady Michelle Obama, Rihanna, and none other than Beyoncé, who sported her designs in her Formation music video.

ANTWERP: QUIET AUTHORITY

For those in the know, Antwerp has quietly solidi ed its position as an understated fashion destination for quite some time. The city’s Brutalist and Gothic architecture has been re ected in the work of the avant-garde designers known as the “Antwerp 6,” including Dries Van Noten and Ann Demeulemeester. Considering the city’s relatively small population, it’s a haven for artists. The famous Royal Academy of Fine Arts Antwerp, one of the most prestigious fashion design courses in the world, is a breeding ground for the next generation of talent — Martin Margiela and Raf Simons are alumni of the programme. But it’s more recent graduates like Charlotte De Geyter, who is one half of the motherdaughter duo behind Bernadette, who are catching the eye of the fashion crowd. In typical Antwerp style, Bernadette’s collections draw inspiration from classic couture, with an admiration for construction and detailing, all used to demonstrate timeless beauty. The designs, however, are centred on the female silhouette, with the A/W25 collection dedicated to “natural cycles that de ne a woman’s journey.” La Collection is another notable export from Antwerp. Founded by Florence Cools and Artur Tadevosian, it focuses on minimalist lines, muted colours and intriguing tailoring, all made from natural bres designed to be lifelong investment pieces.

BARCELONA: RISE OF INDEPENDENT DESIGNERS –

If you’ve looked at social media in the last year, chances are you will have stumbled across Paloma Wool. What started as a 15-piece collection of sweatshirts now shows at Paris Fashion Week and has everyone on and o the internet hooked. Asymmetric T-shirts draped o shoulders, silk skirts over trousers and capri pants are all part of the classic Paloma Wool playbook, which has captured the hearts of Bella Hadid and Hailey Bieber.

This is all part of a broader, thriving independent design scene coming out of the Catalan capital that blends Mediterranean ease with cosmopolitan edge. Flabelus’s velvet Mary Janes and Alohas’s limited drops have also gone international and garnered cult status. As has Gimaguas, which, through a combination of viral products (the striped halter neck Été dress being the rst) and pop-ups, has become the Gen Z It Girl’s brand of choice. The annual 080 Barcelona Fashion Week also showcases the next likely crop of global heavyweights.

SEOUL: FUTURISTIC FASHION

The future of fashion is much debated, often with buzzwords like “sustainability” and “innovation,” and often with very little substance. Hannah Shin, however, is actually showcasing futuristic fashion. With her S/S26 Tech Couture Show, she turned to 3D printing using biodegradable laments and AI actuators, as well as hand-stitched embroidery and organza corsetry. The result? A breathtaking blend of science lab and runway.

Seoul’s position on the global stage has been cemented through a series of global initiatives. Dior, Gucci and Ami have all held various shows, opened new stores and thrown parties in the Korean capital. This year’s Seoul Fashion Week partnered with Fashion Council Germany, which saw a 12-brand strong delegation showcase their collections. As the world clamours over all things Korean — from K-pop to K-beauty — it’s no wonder that Seoul has become a focal point for the industry’s attention.

GLASGOW: TARTAN TRENDSETTERS

–

The UK is often, and fairly so, accused of being too London-centric. But thanks to fashion’s long-held obsession with tartan, we’re seeing Glasgow take up the country’s style mantle. Home to a gritty and eclectic arts scene that has produced the likes of Christopher Kane, Jonathan Saunders and Pam Hogg, it’s easy to see how Glasgow has become a centre for creativity, recognised no less by Versace, which opened its rst store outside of Italy there.

Despite the gravitas of the big designers, the hottest fashion ticket in town is, apparently — and somewhat surprisingly — the annual ceilidh held at Fair eld Working Men’s Club. Attendees are encouraged to wear their clan colours, paying homage to their heritage, while bringing it rmly into the 21st century. Perhaps it’s best to take a cue from the stock at the Lunch Concept store and pair it with a red leather corset held together with safety pins.

MEXICO CITY: HOMEGROWN HUB

–

As tari -related chaos ensues north of the border, Mexican fashion looks inwards, speci cally towards its own capital, which in recent years has become somewhat of a mecca for young creatives. Artists have ocked to Mexico City thanks to an abundance of available large studios, burgeoning street art collectives and an overall unapologetic experimental aura. It’s a spirit not lost on the larger design houses like Dior, whose 2024 Cruise Show was hosted in the city, where many pieces paid homage to the emblematic gure of Frida Kahlo.

Naturally, we’re seeing a swell of homegrown talent, developed and nourished right in Mexico City. Designers like Roberto Sánchez, who created an upcycled sequin jacket featuring his signature clown baby print for Bad Bunny, and Coral Castillo, whose ethereal, structured, feminine designs were seen in the nal of S19 of Project Runway Together, they embody a scene that has helped Mexico City leapfrog past São Paulo as the fashion capital of Latin America and take centre stage on a global level.

This page: Tartan never goes out of fashion and appears in many iterations. Opposite: Vibrant fuchsia featured in the Dior Cruise 2024 Collection, shown in Mexico City

HITTING the SWEET SPOT

Pure and elegant low- and no-dosage Champagnes, with little to no additional sugar, are the avour of the year

WORDS NINA CAPLAN

On a hillside in northern France in May, two glasses of Champagne were being poured. The location was both glamorous and not: a classic picnic bench on a day cool enough to make me wonder if climate change was quite the threat we hear about. But the two bottles, one white and one pink, had come out of an elegant wicker hamper; their labels were designed by Philippe Starck, their contents were Roederer Brut Nature 2015, and they were being served overlooking the Cumières vineyard from which they came. And besides, both glasses were for me.

To understand what Brut Nature is and why it matters now, it helps to look back about three centuries. Back then, the zz was considered a fault: Champagne, like any other wine, was supposed to be still. The region’s cool climate, which led winemakers to blend grape varieties, plots and reserve wines from previous years to achieve the nal avours they sought, also meant that the yeasts often went to sleep before they had nished their work, awakening as the temperature went up in spring and returning to duty, often with explosive results. Once those bubbles became desirable, it was a question of adding sugar for the yeast to work

on in the bottle: alcohol is the byproduct of that process, although that wasn’t properly understood until the 19th century.

There are two types of sugar added to Champagne: the liqueur de tirage, which kicks o the secondary fermentation (which must, according to the rules, take place in the bottle) and the liqueur d’expédition, needed to top up the bottle before the cork goes in. Once the yeast has nished work, it dies, and the dead yeast — the lees — enriches the wine as it ages. But it doesn’t look terribly nice to have a layer of gunk in the bottle. This is where the ingenious riddling system comes in, gradually turning and tipping the bottles over months until all the lees are collected in the bottle’s neck, to be frozen and then removed. (This is called disgorgement.) All of this is easier now that we have automation: there must have been nearly as much bodily harm from frozen lees hurtling at its liberator as from the bottles that exploded in the cellars. But it leaves the level of liquid in the bottle lower than it should be, and so a blend of sugar and wine is used to top it up. How much sugar — known as the dosage — is what determines the sweetness of the nished Champagne. How sweet should Champagne be? That

depends on whom, and when, you ask. Champagne used to be very sugary, with the Russians in particular demanding Champagnes that make Coca-Cola look healthy. O cially, a Champagne is sweet at over 50g/l: some zz destined for the Tsars used to have 300g/l.

Everyone had a sweeter tooth back then: sugar was an import, exotic and expensive. Anybody who has ever seen pictures of the fantastical sugar-paste fantasies that the early 19th-century chef Marie-Antoine Carême created as table decorations — edible classical buildings, to delight an aristocracy enamoured of Ancient Greece and Rome — will know what allure the “white gold” had, but it was also necessary. Before climate change, Champagne was a much colder place, and it wasn’t only yeast that found it hard to thrive. Grapes had trouble ripening: they might stay on the vine until October, with growers praying that the summer would be hot and long, but since it was never that hot or that long, they were still high in acidity and relatively low in sugar. Which, it turns out, made them perfect for

sparkling wine. Acidity gives freshness and helps ensure ageability, while sugar rounds out the wine; together, they provide balance, which is as essential to wine as alcohol. (The alcohol needs to be balanced, too.) The combination of sugar’s popularity, acidity’s prevalence and the novelty of bubbles made Champagne one of the most popular luxury products in the world, associated with every celebration. And that is still the case, because a drink that has shown all kinds of ingenuity throughout its history wasn’t about to be beaten by changing tastes, weather patterns or anything else.

Already, di erent dosages were added for the English, who preferred their Champagne more savoury, than for those sweet-toothed Russians. In 1842, Perrier-Jouët started exporting Champagne that was only lightly sweetened to London, while Ayala created “Dry Champagne” (the English name a clue to the target clientele) in 1865. At 21g/l, it sounds pretty sweet to today’s drinkers, but at the time, usual levels were seven times that. In 2007, the same estate created Ayala Brut

Nature, which is zero dosage: the modern equivalent of 21g/l.

In 1874, the canny Madame Pommery released “Pommery Nature,” and 15 years later, the rst Brut Nature was created by Mathilde Perrier at Laurent-Perrier: Grand Vin Sans Sucre. Because fashions are cyclical, this was revived by the late Bernard de Nonancourt, LaurentPerrier’s President for over 50 years, in 1981. He called it Ultra Brut.

Around this time, Michel Drappier, who is the seventh generation of his family to produce their Champagnes, also became interested in reducing sugar levels. He and his children make several, including a version with no added sulphur, and their other cuvées have a very low dosage, too: Clarevallis, a blend from organic vineyards that is one of the nest Champagnes I can remember trying, is just 4g/l.

There is currently no more fashionable style of Champagne. Some love the purity, believing that removing those drops of sugar lets the terroir express itself more fully. The growervignerons (small producers making Champagne from their own grapes) tend to be purists,

The combination of sugar’s popularity, acidity’s prevalence and the novelty of bubbles made Champagne one of the most popular luxury products in the world

so this works for them. “No dosage, no blending, one variety,” says Bertrand Gautherot of Vouette & Sorbée: he claims he would even remove the bubbles, if he could.

“Zero Dosage Champagnes have become more common due to better natural ripeness in the grapes,” agrees Dawn Davies, head buyer for The Whisky Exchange and a Master of Wine, the most prestigious designation of expertise in the wine world. Consumers looking for drier Champagne styles has gone hand in hand to some extent with the popularity of Grower Champagnes, as the small growers tend to prefer lower or no dosage.

Aurélien Laherte, seventh generation of Laherte Frères, an 11-hectare property in the Marne Valley, makes several; also in the Marne Valley, Melanie and Benoît Tarlant, siblings whose family have been winemakers here since 1687, have made zero dosage, along with long ageing, a signature. “The idea is to be authentic and stay connected to our terroir,” says Melanie. She was talking at an event on Women in the World of Wine at the magni cent Royal Champagne Hotel & Spa, owned by Denise Dupré and Mark Nunnelly,

whose Champagne brand, Leclerc Briant, also has a strong focus on low and no dosage. “It’s never my decision,” says their winemaker, Hervé Jestin, talking about whether to add sugar and if so, how much: “it’s the wine’s decision.” Or sometimes, it isn’t: all the Larmandier-Bernier Champagnes have 2g/l, because that is what the family thinks tastes best. There is no right or wrong: both these producers make delicious Champagnes, just the right side of austerity. Also opting for low, rather than no, are Billecart-Salmon, whose wonderful Clos Saint-Hilaire, from a single hectare of old Pinot Noir, and Blanc de Blancs are both under 2g/l, and Bollinger, whose magni cent RD 2008 has 3g/l. Telmont’s Réserve de la Terre, meanwhile, is 2.5g. Acidity is vital in all these grand Champagnes because they are intended to age. Even the Bollinger, which is already 17 years old, can be laid down, and in this case the dosage is a late addition: RD stands for recently disgorged.

But for some, the climate means that the sugar is no longer needed at all. For the late, much-missed Frédéric Panaïotis, Cellar Master of Ruinart, their Blanc Singulier 2019

re ected “the impact of climate change on Champagne”: it was an especially hot vintage. Still, they make this zero-dosage cuvée every year. Bruno Paillard also produces a Zero Dosage, and Pol Roger Pure is a pretty, lemony version, very di erent from their other wines.

At Philipponnat, meanwhile, they have it both ways: their Royale Reserve — a blend of the three principal Champagne varieties, all from Premier and Grand Cru vineyards, and named in honour of the Champagnes they once made for Louis XIV — has 8g/l but now also comes in a zero dosage version.

The day after my picnic, the 2018 vintage of Roederer’s collaboration with Starck was launched, beneath the pure iron curves of Paris’s Grand Palais. Cellar Master JeanBaptiste Lécaillon said that, while Champagnemakers used to ght for ripeness, these days the struggle is for freshness. For Starck, however, it’s a question of style. “All my life I have tried to have less, to nd inner joy through minimalism,” he said. I looked at the glass and metal structure above us, proudly displaying its own beauty while also enabling us to see the sky, and knew just what he meant.

page: The

THE SEEDS OF CHANGE

With their surprising plant-based and even bacterial origins, pioneering bio-textiles are being woven into the fabric landscape

WORDS JOSH SIMS

When Brett Cotten rst poured the brown gloop into baking trays in his kitchen lab, the entrepreneur admits that the results looked rather like a apjack. Some re nements of the supramolecular chemistry and £4m of investment later, and now Arda Biomaterials, his Bermondsey-based company, is producing a strong and supple kind of leather-like material that has been successfully tested in the making of bags and wallets.

What’s curious is what it’s made from: proteins derived from brewers’ spent grain (BSG). That’s the primary waste material from beer-making, which brewers typically pay to have taken away, to be used for cattle feed or, worse, dumped in land ll. But this is not just about making good from waste: critically, Arda’s product is a replacement for both ‘pleather’ — the petrochemical-based faux

leather — and the real thing, with its often dubious animal welfare record. There’s so much BSG around, Cotten reckons just 10 per cent of it could meet global leather demand.

“The look and feel of our material are important, of course, but talk to fashion brands and they do want something with a lower impact — and you nd that often half of their footprint comes just from their choice of materials,” says Cotten. “Clearly, the public is increasingly thinking more about the issues around textile production too.”

Indeed, Arda is far from alone in exploring the potential to create textiles from the unexpected. Scientists and start-ups, such as Algiknit or Modern Meadow have, over the last decade, explored the repurposing of plant materials. For example, Flu Stu , which was launched three years ago, is a textile lling for quilted pu a-style clothing derived from broadleaf cattail plants, which also happens

to absorb 66 per cent less water than down and dries twice as fast as traditional duck down. But they have also experimented with many types of feedstocks — mycelium, mushroom spores, yeast, orange bres, agricultural waste, seaweed, milk and even bacteria among them — with a view to pioneering entirely new textiles from scratch.

“Textiles are fundamentally polymers, and, in principle, those polymers could be derived from all sorts of biomasses with a carbon structure as their backbone, so there’s a lot of opportunity here,” explains Rosa Arrigo, associate professor in inorganic chemistry at the University of Salford. “We need to make the likes of nylon and polyester sustainable, and they could be developed from bio-based resources instead of petrochemicals. And, given time and resources, completely new kinds of textiles could also be created.”

Take, for example, the ground-breaking

raincoat made using a carbon-negative, plastic-like material created from algae by the US industrial designer and researcher Charlotte McCurdy — a bio-textile that would later be used for a one-o Phillip Lim dress, complete with algae-based sequins. She’s now working on developing bio-textiles capable of replicating the elastic properties of fossil fuel-based fabrics such as Spandex. McCurdy also reckons bio-textiles are about to really resonate. “I think we’re seeing the same shift for bio-textiles as happened with organic food,” she argues. “That was originally seen from an environmental point of view, but as soon as the more personal health perspective was pushed, the market exploded. And with bio-textiles we’ll see the same shift from the environment to health, regarding the impact of micro-plastics and toxins from clothing, which we’re more knowledgeable about now.”

McCurdy also predicts that the fashion industry is likely to take more interest in bio-textiles too, if only as a way of shifting how clothing is currently framed in the

context of sustainability. Away, she says, from the commonplace green thinking that posits clothing as intrinsically environmentally harmful and even trivial, the only solution being to consume less of it, and towards a mindset that can again embrace clothing as one aspect of, as she puts it, “living positively.”

Bio-design is also ltering into the things we put in our homes. Pioneering Danish designer Jonas Edvard has been working with mushroom mycelium to make experimental textiles since 2012, combining di erent plant-based materials for their speci c qualities and resulting in a kind of u y skin that is modi ed to produce either a hard or exible structure. So far he’s turned this bio-material into the likes of rough-and-ready, grow-your-own lampshades and chairs.

Getting there won’t be easy, however. We may, as some suggest, be gradually moving towards a more nature-driven approach to design, in which we’re inspired by the properties and behaviour of organisms. But bio-textiles remain both a niche industry,

mostly still in the research phase, and face multiple challenges — not least, Arrigo suggests, funding and a lack of coordination between science and the needs of industry.

Brett Cotten has reservations too: “When you get into the weeds, you nd problems with the feedstock — ensuring supply and that it is consistent and processed consistently, for example — or with performance or pricing,” he says. “And to reach the public with these textiles, you need massive scaleability and a guaranteed quality because no fashion brand will compromise on that, and a ordability. So I think in the end there will only be a few great winners out of the hundreds [of experiments].”

Then, argues Assunta Marrocchi, associate professor of biotechnology at the University of Perugia, Italy, where she co-heads the Polymeer Project to develop a BSG-derived bio-plastic, there is the challenge of image. Not least, this includes the need to overcome the perceived “yuck factor” in wearing a garment derived from many of the proposed feedstocks. “The problem is persuading

“We

need to make the likes of nylon and polyester sustainable… they could be developed from bio-based resources instead of petrochemicals”

Italian luxury goods company Loro Piana has launched a limited-edition £3,000 blazer made from a silk-like yarn derived from lotus leaves

people to accept bio-textiles,” she says. “They hear ‘bio-based’ and immediately think ‘biodegradable’ and then just ‘degradable.’ They assume these textiles are not long-lasting. So there’s education to be done.”

These many complexities are why, to date, bio-textiles have typically been made for products at the luxury end of the market, which has been more able than the massmarket to trumpet sustainability as a sales pitch, and produced more as talking points than commercial ones. Over recent years, for example, Italian luxury goods company Loro Piana has launched a limited-edition £3,000 blazer made from a silk-like yarn derived from lotus leaves.

Slowly though, these new textiles are being embraced less for being an alternative to some more commonplace, environmentally unsound textile, and more for their own particular bene ts. Sportswear company Sundried, for example, uses a fabric derived in part from co ee grounds, for its advanced sweat-wicking and UV protection properties, with Pangaia making some of its activewear

from bres derived from castor oil or corn. “We’re working closely with innovators worldwide to bring next-generation materials into wearable, everyday pieces, showing both the industry and customers that these better solutions exist today,” as the brand’s chief impact o cer, Maria Srivastava, has it.

Meanwhile, German company Qmilk creates a fabric out of casein, a protein derived from milk deemed un t for human consumption, which is used by Vaude, the performance clothing brand. Qmilk has the tensile strength of wool and can be blended with other fabrics, and is also hypoallergenic, anti-microbial, moisture-wicking, ameretardant and temperature-regulating: ideal for hospital bedding, for example.

“Fashion often resonates with a wider group of people, but it’s in the specialist application that bio-textiles will pay o ; for sport, for automotive upholstery, and so on,” says Marrocchi. “Unfortunately, these specialist industries are not very good at communications, certainly relative to fashion. These bio-textiles will eventually

break through, but we’re not there yet.”

Indeed, to get there, perhaps we need to frame these new bio-textiles in a new way. Jen Keane is co-founder of Modern Synthesis, a London-based developer of a form of “microbial weaving” that uses a speci c strain of bacterial nanocellulose to create a hybrid material that is grown rather than spun or woven, but strong and lightweight enough to be used for shoes. Keane argues that we need to stop seeing bio-textiles as a way of displacing those derived from petrochemicals and value them for their own potential. “It’s hard for people to imagine what these new materials can do when we’re so used to the ones we’re familiar with and understand,” she says. “But we are trying to do something new here. And, yes, the new ones are going to feel and look di erent. We shouldn’t just be trying to replicate those materials that have been around for centuries, but also celebrate the novelty of the new ones. And there are so many of these all at the cusp of launching now, just at the nal push. But we’re close, and it’s happening.”

ROOMS for IMPROVEMENT

Wealthy Londoners buying new-build apartments expect life-enhancing amenities as part of the package, from oxygen pods to IV drips on tap

WORDS ZOE DARE HALL

arrels of ice and oxygen- lled chambers. Glass boxes that emit a continuous, loud thwack and silk drapes that dangle from the ceilings of the gym. Should an alien land in London, they would marvel at how the residents of London’s luxury developments are living these days.

Much of it comes with a vocabulary that’s pretty space age to anyone under 30, too, with sales agents talking of biohacking and cryotherapy and nootropic drinks. Living for as long as possible is high in the minds of the wealthiest buyers these days, “and the next level of longevity-driven amenities includes hyperbaric oxygen therapy chambers, red light therapy walls, personalised chronobiology lighting systems and epigenetic testing

stations,” comments Kate Donneky, managing director of the super-prime property management company Rhodium. It all makes prime London living sound like a science lab or circus designed by Blade Runner

What’s clear is that, for London’s wealthy, buying a new-build apartment has become about far more than simply purchasing a property. It’s about nding a place that also o ers the potential for 24/7, 360-degree self-improvement.

“Wellness is no longer a buzzword; it is the battleground,” says Toby Downes from Haringtons’ UK buying agency. “Buyers want longevity: cryotherapy, red-light therapy, oxygen pods, recovery zones. They want silence at night, medical-grade air and proper cooling systems that mean you are not lying

awake in a heatwave. If a £20m at cannot deliver that, they will walk away.”

Fighting talk, indeed, and it makes sense. If you’re a billionaire living your best life, you want it to go on forever. But does having life-enhancing — maybe even life-prolonging — amenities on tap really make someone choose one development over another?

Absolutely, according to Alex Michelin, co-founder and CEO of Valouran, development managers of The Whiteley in Bayswater, where part of the huge juice bar is now a cryotherapy chamber. “People tell us, ‘I believe if I buy here, I’ll live longer.’ They see the cold plunge, the Peloton bikes and the hyperbaric chamber, and they feel it’s time to focus on their health — and they only need to take the lift downstairs to access it,” says Michelin.

Even the wealthiest one per cent can’t resist a bandwagon if it o ers optimal health, it seems. The super-rich residents of The OWO Residences in Whitehall, where Ra lesbranded apartments are priced up to £85m, have demanded that a cold plunge bath be installed. “Ultra-high net-worth buyers often won’t know what they need until they see someone else has it,” comments Robert Cox, head of new homes at Strutt & Parker London. At Chelsea Barracks, where a concierge doctor service will administer your energising IV drips, the new ve-bedroom penthouse at 9 Mulberry Square, on sale for £44m, features a timber-clad ice bath and barrel sauna feature on the huge wraparound terrace. “The luxury o erings here are driven by the evolving expectations of UHNW buyers seeking convenience, privacy and holistic wellbeing,” comments Chelsea Barracks’ chief sales and marketing o cer, Richard Oakes.

On the fast-changing Battersea waterfront, a Victorian candle factory that once served royalty now forms part of The HiLight, a 24-storey tower that — when complete in March 2026 — will showcase London’s rst residential rooftop designed for “full-sensory holistic restoration.” Think hot and cold running therapies, including three wellness pods with adaptable light, sound and mood, an ice bath and a terrace bar that serves up

“Wellness is no longer a buzzword; it’s a battleground. Buyers want longevity: cryotherapy, red-light therapy, oxygen pods, recovery zones”

vitamin gummies and mushroom drinks.

But is it all just woo-woo — or does it really woo property buyers into parting with their hard-earned (or inherited) cash? Marie-Julie Gheysens, managing director of The HiLight’s developers, Ghelamco UK, admits she approached this new world of wellness with a healthy dose of scepticism. “I questioned everything at the beginning, thinking, ‘isn’t this all just a marketing stunt?’ But I tested it all,” she says, mentioning regular trips to Bali and Bangkok to investigate ancient medicine and deep dives into health clinics from the legendary Lanserhof in Switzerland to the private members’ club-like Remedy Place in the US and London.

It helps, too, that Gheysens is only 31, so she brings a millennial open-mindedness to the challenge of how to enhance property buyers’ lives. “It’s so important to be preventative, which is di erent to proactive,” she says of The HiLight’s partnership with biohacking company Solace Health, which will help residents to transform their wellness and performance based on full body scans.

There are aromatherapy and meditation companies on board, too. “When you arrive at a spa, they ask you if you’ve come to relax, to be energised, to get grounded. We should ask the same questions when you visit a property development,” she says. “We need to push

boundaries. It’s all about adding layers to people’s experience.”

Where luxury developments have focused in recent years on the communal — from dining rooms to shared social spaces — now the focus needs to be more on “self,” thinks Gheysens. “Americans have been looking at this move from physical improvement to the emotional aspect for a while. It’s about choosing a place to live based on what will make us feel better,” she comments.

There’s no denying the Insta appeal, either, of an eye-catching amenity such as the glass sky pool suspended between two buildings at Embassy Gardens in Nine Elms, with its demographic of buyers and renters that can loosely be summed up as “the children of Chelsea families,” according to Brian De’ath, managing director of sales and marketing.

The newly launched nal phase of Embassy Gardens is The Capston, where aerial silks — for those who prefer to do their yoga and Pilates at altitude — are part of the sensually designed gym with its mushroom-like pillars and timber-clad machines. “It’s a niche

o ering, but core and grip strength are essential as we age,” says De’ath.

It’s never a case, though, of creating something purely for the sake of being di erent, and it’s not just about “the toys,” he adds. “We leave the golf simulators and arcade games to the many London venues that do it so much better than us. I don’t want to bring that stu into the place I live in. Our main motivator is what environment we are creating as you journey throughout the building. Within that, you can have your personalised experience, whether it’s your private PT in the gym or aesthetician in the spa.”

Given a three-year lapse between launching sales and handing over the keys, developers need to know that their o ering won’t just be a fad that fades. Swimming pools are losing their lustre in mid-size schemes as even the super-rich baulk at how they bump up the service charges (and are rarely used). “Show a billionaire family a shared basement pool and they’ll walk away; show them a penthouse with its own spa and nail salon, and it instantly changes things,” comments Olivia McSweeney

“Show a billionaire family a shared basement pool and they’ll walk away; show them a penthouse with its own spa and nail salon, and it instantly changes things”

at Sotheby’s International Realty UK.

But cryotherapy is here to stay, asserts Alex Michelin. “People are even asking us to design hyperbaric chambers for their private homes, not just for big developments,” he says. So popular is this form of self-preservation for the super-rich, he’s working out how to incorporate one in his latest scheme, Bishops Avenue Gardens in Hampstead’s original “billionaires avenue” (a moniker that now applies to most of the a luent enclave).

The padel boom is “unstoppable” too, thinks Rupert des Forges, Knight Frank’s head of Prime Central London. “If you have a building that can take a padel court rather than a private cinema, then that’s de nitely of interest to buyers.” Pickleball will surely be next — in Miami, The Standard Residences has a court that doubles as a disco oor — but for now London is padel mad, including a court tucked into the Victorian railway arches at Bankside Yards in Blackfriars.

Podcast rooms are also big news in US developments — and Opus, Bankside Yards’ rst residential tower, includes one for residents, along with music and art studios.

“Flexibility” is the key to futureproo ng, says Native Land’s executive director, Nicholas Gray. “These studios can evolve into creative hubs, private wellness spaces or something entirely new, depending on how residents choose to use them,” he comments.

And what about ice baths? Yasmin Ulhaq, founder of Glen eld Property Management –who manages high-net-worth clients’ London homes and investment properties, including in developments such as Chelsea Creek and 20 Grosvenor Square — audibly sighs. “They make people feel good, and developers will pack in every type of extravagant add-on to cater to buyers’ every whim, so I think they’re here to stay,” she says.

She’s sceptical about some trends. “Serious golfers don’t want golf simulation rooms,” she says. “And cryotherapy chambers. Who wants to stand in minus 100 degrees for recovery?”

What buyers really like, however, isn’t necessarily using these luxury amenities, but knowing they can if they want to. “They love the wow factor and the idea of selfoptimisation,” says Ulhaq, “even if they never nd time to actually go near the gym.”

UNDER the HAMMER

It’s brisk business for auctioneers in the luxury space, thanks to buyers’ bids for items from rare handbags to vintage jewellery

WORDS SIMON BROOKE

As the luxury sector navigates the current challenging economic landscape, sales in stores and online retail have been squeezed. However, one relatively new commercial channel is booming. Recently at Sotheby’s Paris, a vintage Hermès Birkin bag sold for $10m, the highest price ever paid for a handbag. Meanwhile, according to market research rm, ArtTactic, luxury goods sales reached a market share of 18.8 per cent by value for auction house sales in the rst half of 2024, rising to 20.2 per cent in the rst half of this year. The volume of luxury item sales has also surged, with the number of lots sold rising 21.9 per cent year-over-year, from 22,960 in the rst half of last year to 27,985 in the rst half of 2025.

Christie’s has seen a 29 per cent increase in luxury sales in the rst half of this year compared to the same period in 2024, accounting for $468m, or about 23 per cent of its global auction sales. Such growth is

particularly signi cant, since ArtTactic has also calculated that ne art sales at Christie’s, Sotheby’s and Phillips fell 44 per cent in the rst half of 2025 compared to the same period in 2022. Phillips’ jewels sales doubled from 2022 to 2024, totalling revenues of $60m, and it is increasing its o erings each year, with 1,000 lots sold in 2024 — a 16 per cent increase on 2023.

Roseberys, a privately owned specialist ne art and antiques auction house and valuer, has seen a “huge” increase in its sales of luxury items and watches over the last two years and in December 2024, it launched a dedicated luxury department. “Watches have become an established collecting category over the last two decades or so, but now, because this category is so big and mature, people have started looking for new brands to collect,” says Kate Lacey, a watch specialist at Roseberys. “We’ve seen huge growth in demand for independent makers such as Roger W. Smith and F.P. Journe. There’s also a growing interest

among both male and female buyers for pocket watches.”

The demographic of buyers has also changed considerably over recent years, she says. “It used to be predominately middleaged men, but what I’ve found so interesting is the number of women taking part in watch auctions. I rst noticed this in Hong Kong, but now we’ve caught up here, and we’re seeing a huge increase in the number of younger female collectors. It’s driven by fashion more than it used to be. We’re also seeing a lot of these young buyers and consigners using Instagram, for instance.”

According to Kate’s colleague Sally He, a luxury items specialist, buyers are attracted to auctions for a variety of reasons these days. “It might be because they don’t want to have to wait a long time for a particular bag to be released, and so they buy vintage, but they’re mainly interested in limited editions; they want something more exclusive.” Among the hottest brands at auction over the next year

or so, she believes, will likely be Jonathan Anderson, following his move to Dior, and pieces designed by Phoebe Philo, either from her tenure at Celine or from her own, eponymous brand.

There’s a connection with two key trends among younger a luent customers — renting and concerns about sustainability. “We’re seeing a lot more rotation these days,” explains He. “People will buy a watch or a bag at auction, use it for a few years, and then sell it again through an auction house and buy something else.”

Christie’s is seeing considerable interest among buyers in vintage jewellery from the 1970s, 1980s and early 1990s. “A good example is Bulgari’s Monete collections,” explains Rahul Kadakia, International Head of Jewellery at Christie’s. “The rst appearance of the Monete collection took place in 1966 and was adored by lm divas like Elizabeth Taylor and Grace Kelly. Later, in the 1980s, a second wave of jewellery pieces centred around ancient coinage was released by Bulgari. In 2022, a third collection came to market. Initially, the auction market mainly focused on the 1960s pieces, but interest has expanded to the 1980s pieces in the last two to three years. The secondary market will turn its interest more rapidly to the 2022 pieces as earlier pieces are

more di cult to nd.” In November, it will sell the Mellon Blue in Geneva. The Fancy Vivid Blue Diamond, weighing in at 9.51 carats, is expected to fetch between $20m and $30m.

Sotheby’s luxury business has tripled since 2019, selling into new categories and geographies, to reach over $2.3bn last year.

This December, Sotheby’s launches Collectors’ Week, a programme including auctions, panel discussions and exhibitions to take place in Abu Dhabi. Staged in partnership with the Abu Dhabi Investment O ce (ADIO), auctions will o er high jewellery, rare timepieces and high performance cars among other items.

“Auctions tell stories about rarity, provenance and demand,” says Paul Redmayne, Senior Vice President for Luxury Sales, Sotheby’s Dubai. “They create high-visibility price benchmarks that help feed back into brand desirability at the retail level. There is also a diversi cation of collectors’ demographics. They are becoming younger and can be found in emerging luxury markets such as the Middle East, which has been growing exponentially over the past ve years, especially. There is also the recognition that exceptional luxury items can hold their value over time and even increase in value to become class assets.”

Bonhams has recently held online sales of luxury items, including “From the Vault: an

“Luxury is no longer just about status; it’s about personal connection and enduring value”

impressive private collection of Chanel,” featuring many rare bags and runway looks and “London Luxury: Handbags and Fashion,” with a number of Hermès Birkin and Kelly bags, plus two simulated pearl jewels from Jacqueline Kennedy’s personal collection.

“When I rst started o ering bags at auction, the client base was a small, dedicated group who understood luxury and luxury resellers,” says Meg Randell, Bonhams’ Head of UK & Europe for Designer Handbags and Fashion. “Now, we have a much broader group buying on the secondary market, with archival pieces being of key interest. There’s demand for archival fashion pieces, particularly runway or red-carpet items. We tend to sell to individuals who are buying for themselves, either to wear or looking for investment pieces. The age range can vary from people in their early 20s looking for the latest ‘hype’ piece, to women in their 50s seeking a more classic item.”

In general, luxury brands themselves are happy with this trend, believes Mario Ortelli, Managing Partner of Ortelli & Co, a strategy and mergers and acquisitions advisory company specialising in the luxury goods industry. “They don’t believe that auction

house sales cannibalise their retail strategy; if anything, this new channel complements it,” he explains. This is partly because for many years now brands such as Cartier, Bulgari and Rolex have been buying back their own items from auction to develop their museums.

Not only that, but auction house sales help to transform luxury items into an asset class, which adds to their appeal and increases their perceived value, he says. “It turns them into investment pieces and adds to their exclusivity and the scarcity around them. Auction houses also provide independent valuations — it’s not just the luxury brand claiming that one of their watches, accessories or items of clothing is worth a particular amount of money.”

These products can be viewed as works of art, alongside the paintings and sculptures that the auction house might be selling, Ortelli points out. Many of these buyers are younger consumers who are more attracted by luxury collectibles and who might become the art collectors of the future.

Nick Carter, the Managing Director of Lots Road Auctions, which hosted its rst standalone Luxe Auction last year, has found that two categories are really capturing the

imagination of buyers — watches and ne art. The auction house will hold a sale of pieces from interior designer Anouska Hempel in November. “We expect the momentum we’re seeing now to continue — and even accelerate — in the coming years,” he says. “More than ever, buyers are after authenticity, craftsmanship and stories behind the pieces they invest in. Luxury is no longer just about status; it’s about personal connection and lasting value.”

Concerns about sustainability and the growth of “conscious consumption,” are changing attitudes and priorities among luxury consumers. “Auctions o er a way to participate in luxury that feels responsible and rewarding,” Carter explains. “Rare watches, iconic handbags, ne jewellery and ne art will remain cornerstones, but expect to see an even greater appetite for unique items that carry history and character. Ultimately, this trend re ects a broader shift. Luxury buyers want pieces that resonate emotionally and nancially — items that tell a story, hold their value and t seamlessly into a thoughtful, modern lifestyle. It’s an exciting time for the market — and for collectors who know that true luxury is timeless.”

The world is YOUR OYSTER

It may be time to embrace your artistic sensibilities and combine them with a unique experiential escape

Twenty- rst-century burnout is everywhere. Between circling back, taking it o line, and stakeholder alignment, it’s understandable why people are so frazzled that they feel they need time out. But is opping on a beach or even sheltering under a weighted blanket actually the right type of R&R?

Experts prescribe seven types of rest: physical, mental, emotional, sensory, social, spiritual and creative. The theory is that a simple stretch of lie-ins or stints in warmer climes may not quite

bring about recovery in the way we once thought. Enter the creative reset. These trips are designed to disconnect but also spark inspiration, leaving the mind refreshed. Be it a painting in the grounds of a French château, writing while looking out over the azure of the Great Barrier Reef, or even yodelling to your heart’s content in the Alps, these are the artistic, cultural trips that will reawaken imagination while giving your brain the space it craves. Here’s our curated roundup.

ART

Chateau Charente , Painting Retreat

France is responsible for some of the world’s pre-eminent painters, from Cézanne and Gauguin to Monet and Manet. Chateau Charente, a charming countryside estate on the border of Bordeaux and Cognac, hosts artist-led painting holidays. Guests can paint en plein air beneath centuries-old trees, and unwind with gourmet meals and local wines.

To book: Six-night artist residency, suitable for all levels, from £3,894, chateaucharente.com

Palacio Nazarenas, A Belmond Hotel, Cusqueño Ceramics Experience

Capital of the former Incan Empire, Cusco stands today as a UNESCO World Heritage site. Those staying at Palacio Nazarenas, a Belmond Hotel, Cusco, can immerse themselves in Cusquenian culture via the Tater Vera Experience. Named after the local artist, whose three-hour ceramics masterclass guests can join, the experience ends in a piece of intricately painted art, ready to take home.

To book: Prices for the Palacio Nazarenas junior suite start at £885 per night, belmond.com

Craft Inn, Traditional Japanese Pottery

Kintsugi — the Japanese art of repairing broken pottery with gold lacquer — has captured global attention, but Japanese craft is far richer, as Craft Inn demonstrates. Located in the merchant town of Yame, a plethora of classes are on o er, including traditional Japanese pottery sessions held in a washitsu. Craft Inn is for those seeking yutori — the art of slowing down and creating space.

To book: Packages are for a maximum of ve days. Price on enquiry, craftinn.jp/en

Rome Cavalieri Vatican Tour

Seek out Rome’s treasures at the Vatican as day breaks, before the crowds start to descend. Starting at Rome Cavalieri, the day will begin in the company of the Clavigero, the custodian of the Vatican’s 2,800 keys. Be guided through the corridors to be the rst to see works by Raphael and Bramante before a private viewing of Michelangelo’s masterpiece: the Sistine Chapel and The Last Judgment

To book: From £6,608 for up to eight guests, hilton.com

One&Only Kéa Island, Athens Artist Programme

Dubbed Little Paris in the 1970s as a Mecca for artists, the One & Only Kéa Island honours the location’s history with its artist-in-residence programme, alongside workshops for guests to hone artistic skills and welcomes its own in-house curator, Sotiria Antonopoulou. Guests can also visit the atelier of the celebrated Greek painter, Alekos Fassianos.

To book: From £1,541, oneandonlyresorts.com

Scott Dunn Bhutan and Thailand Cultural Tour

Explore the heart of Thai and Bhutanese culture with Scott Dunn’s two 14-night journeys. Cruise along Bangkok’s khlongs on a private longtail boat to discover the city’s artisan communities and learn about age-old weaving and thangka painting techniques from local masters in Thimphu. Bhutan.

To book: From £11,000 per person excluding international ights, scottdunn.com

WRITING

Finisterra Travel, Moroccan Writing Retreat

Travel writing is the articulation of a person’s connection to a place. Finisterra Travel invites budding scribes to the medinas of Marrakech to join award-winning journalist Claudia Laroye for hands-on workshops, meaningful encounters with locals, and quiet moments that spur guests to pick up their pens.

To book: The seven-night trip includes boutique hotels and riad stays, private transportation, sightseeing excursions and writing workshops. £2,143, nisterra.ca

The Whitsundays Writers Festival, Yangaro Resort

The Whitsunday Islands’ brilliant white silica sand contrasts with the ultramarine horizon of the Great Barrier Reef, which has attracted the attention of the literary community. The Whitsundays Writers Festival hosts a four-night Memoir Writing Intensive at the Yangaro Resort, o ering a transformative opportunity to reconnect with the past, weaving personal stories into powerful narratives.

To book: Package includes expert workshops, immersive writing experiences, and four nights’ accommodation at Yangaro Resort. £1,242, yangaro.com.au

Kevin Anderson & Associates Tuscan Writing Experience

KAA’s Tuscan writing experience promises focused creativity in the rolling hills of Chianti. Mornings are spent crafting prose in a 1,000-year-old estate with the expert guidance of New York Times bestselling authors, while afternoons are spent wandering through local olive groves. The retreats are limited to small groups or available for private bookings to provide an intimate and distraction-free environment.

To book: Six-night writing retreat at the Poggio alle Corti is available upon request through the KAA website, ka-writing.com

Sea Library, Teranka Formentera

Situated on Formentera’s Migjorn beach, the 35-room Teranka o ers its Sea Library, stacked with books inspired by the locale. Its inaugural writer’s residency this year brought together writers and literary gures from publisher Jamie Byng to poet David Whyte with workshops and talks on the connection between poetry and imagination. Watch this space for next year’s programme.

To book: Prices start from £1,113 per night, teranka.com

Archaeological Paths, Royal Egypt Tour

Private Edition

Partnering with the world-famous archaeologist Dr Zahi Hawass, second only to Indiana Jones, Archaeological Paths’ two-week tour, complete with stays at historic ve-star hotels and a luxury Nile cruise, provides unparalleled access to Ancient Egypt, such as standing between the paws of the Great Sphinx or accessing the Tombs of the Pyramid Builders, an active excavation site.

To book: Private Royal Egypt Tour priced at £14,574 per person (based on double occupancy), archaeologicalpaths.com

Six Senses Kaplankaya, Turkey, Ancient Wonders Tour

Six Senses Kaplankaya invites guests to step into the captivating history of the Aegean with its Ancient Wonders experience. Tours are guided by experts through the streets of Ephesus to the Temple of Artemis, the Library of Celsus, and the ruins of Aphrodisias — a UNESCO World Heritage site.

To book: Reservations for the Ancient Wonders Tour can be made through the Six Senses concierge at concierge-kaplankaya@sixsenses. com; sixsenses.com

Carlton Luxury Holidays, Saudi Arabia, Discover AlUla Season

Much of the Middle East is shrouded in mystery, which Carlton Luxury Holiday’s Discover AlUla archaeological venture aims to unlock. The UNESCO-listed Jubbah, AlUla Old Town, Elephant Rock — where dinner is served in the desert under the stars — are all on the agenda of the 11-day adventure.

To book: Rates available upon request, carltonluxuryholidays.co.uk

The Lana, Dubai Architecture Experience

The Dorchester Collection’s The Lana in Dubai o ers a new art tour exploring the city’s architectural heritage. Inspired by the hotel’s ‘future classic’ Foster + Partner’s design, Eyes on the Future takes guests to the new Marasi Bay Marina, the Dubai Design District and the Al Shindagha district under the watchful eye of an architect expert.

To book: Rates from £300 low season, £600 high season, dorchestercollection.com

Left: The Six Senses Kaplankaya on the shores of the Aegean Sea

Below: Archaeological Paths’ guests view a new discovery in Egypt

THEATRE, MUSIC & DANCE

Anantara Villa Padierna Palace, Marbella, Private Flamenco Experience

Flamenco is known for its emotionally charged style, complex footwork and swishing skirts. Guests at the dusky pink Anantara Villa Padierna Palace can experience and learn the folkloric Spanish dance from the country’s leading bailador, José Franco. The lesson takes place in the resort’s amphitheatre, reinforcing the historic importance of the amenco tradition.

To book: Private performances with four artists from £1,145 + VAT per hour, anantara.com

Due Torri Hotel, Verona, VIP Opera Experience

Opera is to Verona what wine is to Bordeaux. The city bows in deference to the Arena di Verona, home to worldrenowned productions that attract the industry’s nest. It’s here that the Due Torri Hotel grants guests VIP backstage tours, as well as a Michelin-starred dinner on the little-known star roof, overlooking the Piazza Bra.

To book: Reservations can be made by emailing giorgia.gazzuola@duetorrihotels. com; hotelduetorri.duetorrihotels.com

Left: Le Grand Bellevue, Gstaad, in all its snowy splendour

Below: Four Seasons, Nashville, o ers a private in-suite performance by top country and western songwriters

Four Seasons, Nashville, The Songwriter Experience

Called “Music City” for a reason, Nashville’s rich musical history is what connects its people to their metropolis. The Four Seasons arranges for a private in-suite performance from top Nashville songwriters. Who knows, the intimate experience may inspire the next Dolly Parton, Johnny Cash or Sheryl Crow.

To book: The Songwriter Experience can be booked directly through the Four Seasons Nashville. £2,470 for 1 hour, fourseasons.com

Jazz Tour at Fairmont, Le Montreux

Known for its jazz festival and musical legacy, Montreux is also home to Chalet Claude Nobs, private home of the jazz festival’s founder. Normally closed to the public, the hotel o ers a private tour of the house, with rooms lled with rare recordings and musical memorabilia.

To book: Price on request, contact montreux@ fairmont.com

Le Grand Bellevue, Gstaad, Yodelling

Most people head to the mountains to perfect their parallel turns or o -piste skills. Come away with a new string to your bow with yodelling lessons at Le Grand Bellevue in Gstaad. Used traditionally to communicate across Alpine valleys, the workshop teaches warm-ups and a few high notes.

To book: From £640 for half-board, bellevue-gstaad.ch

andBeyond, Photographic Boating Safari on the Chobe River

Situated near the banks of the river Chobe, guests of andBeyond’s Chobe Under Canvas Safari can choose to opt in to complimentary photographic boating safaris. The Voyager River boats are equipped with individual chairs that rotate 360º and camera mounts for longer telephoto lenses, making them perfect for capturing great wildlife close-ups under the guidance of expert rangers.

To book: Subject to a minimum two-night stay, the Photographic Boating Safari is complimentary to guests of andBeyond’s Chobe Under Canvas Safari, andbeyond.com

Lightfoot Travel, Mongolia luxury Photography Trip

Award-winning luxury operator Lightfoot Travel o ers luxury photography trips worldwide, guided with as much — or as little — support from travel photography specialists as desired. The Mongolia iteration is particularly spectacular, thanks to the stunning sunrises over the dunes in the Gobi Desert, the verdant green hills of the highlands, and the authentic Mongolian homestay experience.

To book: Prices for the Classic Mongolia start at £9,280 per person, lightfoottravel.com

Quasar Luxury Galápagos

Photography Cruise

Birthplace of the theory of evolution and home to the iconic giant tortoises, the Galápagos archipelago is the ideal subject for landscape and wildlife photography. With around 40 years of local guiding experience, Quasar hosts 8- or 15-day photography cruises, suitable for all abilities and fashioned to maximise wildlife spotting in the pristine marine environment.

To book: Luxury Galápagos Photography Cruises are bookable for 8 or 15 days via the Quasar website, quasarex.com

AE Expeditions, Antarctica Through the Lens Fly/Sail Voyage

Experiencing the Antarctic truly feels like a privilege due to the shrinking ice caps. AE Expeditions’ Antarctica voyage o ers guests the rare chance to capture the quiet coves lled with brash ice and vast glaciers. Guests are own over the Drake Passage, minimising the amount of travel to ensure as much time as possible with the penguins and humpback whales.

To book: Quotes start at £24,845 for the Antarctica Through the Lens Fly/Sail Voyage, aexpeditions.co.uk

L ife

GIVING | LIVING | NATURE | NURTURE

GIVING

GIFTING | PHILANTHROPY | CHARITY

WORD ON THE STREET

London-based outerwear label Ladéga was founded last year by former Burberry and Ralph & Russo designer Tumisola Ladega-Hewitt.

Rooted in slow fashion, garments are crafted from deadstock fabrics sourced from luxury fashion houses, with most styles available on a made-to-order basis only. Signature Flared Trench, £915, ladega.co.uk

SPIN A YARN

What began as a few small gifts for friends and family during lockdown has evolved into a sustainable knitwear business that founder Anna Wheeler runs from her solar-powered Warwickshire studio. Colourful jumpers, accessories and blankets are made in the UK from 100 per cent Scottish-spun lambswool and 100 per cent Italian-spun merino, with fully biodegradable buttons derived from nutshells. Notgrove neckerchief, £66, cotswoldknit.co.uk

GREAT SCOT

This season, Islay distillery Port Ellen celebrates 200 years with the release of a 42-year-old single malt. Originally distilled in 1983, just before the distillery closed for a four-decade-long hiatus, production is limited to just 150 bottles worldwide, and available to buy by in Islay by appointment only. Slàinte! Port Ellen 200th Anniversary Edition, £7,500, diageorareandexceptional.com

MESSAGE IN A BOTTLE

When launching 39BC, Sharmadean Reid MBE considered the symbolic significance of the ritual of bathing across ancient cultures, from Roman baths to North African hammams. The debut collection of four shower oils is inspired by the love story between Antony and Cleopatra. Each fragrance, intense and created to linger subtly on the skin, is crafted around ingredients selected for their healing and moodshifting powers: opulent jasmine and musk, earthy patchouli and sandalwood. £39, 39-bc.com

BACK TO NATURE

Each piece in Bamford’s new From the Fields collection has travelled no more than 552 miles from pasture to final product. Merino wool from Daylesford farm’s Saxon Merino sheep is processed and spun in Cornwall, then knitted in London and Nottingham into items including cushions, gilets and the softest dog jumpers. Similarly, hides from the farm’s own Aberdeen Angus organic cattle are transported to a Derbyshire hide yard and Bristol tannery before being handcrafted into bags in Rutland. From £150, bamford.com

LIVING

SLEEP ON IT

Known for making the most luxurious beds in the world, Savoir has unveiled the opulent Hugo, featuring a deep-buttoned headboard inspired by the furniture traditions of British stately abodes. Make every home a castle with this bedroom centrepiece, which can be crafted with a range of fabrics, from velvets to ne linens. A contrasting jacquard stripe on the reverse adds a jaunty touch, a base in walnut burr adds style, and curved wings block draughts while providing side support. All products are made to order in England and Wales. From £12,620, excluding fabric. In the fabric shown, £16,010, savoirbeds.com

BATHING BEAUTY

Making soaking time an art form, West One Bathrooms has unveiled a complete renovation of its flagship Mayfair store. Reimagined in collaboration with interior designer Naomi Astley Clarke, the showroom features blush-toned panelling with inset Lalique crystal panels, a Champs-Élysées chandelier by Lalique and a mural hand-painted by artist Freddie Wimsett. Pink Onyx Scalloped Basin including wall brackets, £11,904 inc. VAT, westonebathrooms.com

KINDRED SPIRITS

Make cocktails centre stage with this soigne cocktail cabinet from O cine Gullo. A collaboration with Pierattelli Architetture, it fuses the soft, sleek tones of warm- grained Canaletto walnut with luxurious Carrara marble. A nickel finish brings the piece together. Both attractive and utilitarian, it meets all the requirements of the stylish drinker — from a pull-out shelf covered in eco-leather for storing glasses to two drawers designed to contain utensils and ice trays. Soft backlighting also adds a theatrical e ect. Unveiled at Milan Design Week 2025, it is a one-o showstopper. POA, o cinegullo.com

BLOCK PARTY

Brighten up winter with Otto Tiles & Design’s new Terrena Collection, which fuses solid glazes in striking shades of Ruby Red, Jade Green and Deep Blue, alongside softer, calming neutrals and mineral tones. Made in small batches in Italy, the tiles can brighten walls or, with some finishes, floor spaces. Layer together, use geometrically or let the single hues sing by themselves. From £89 per sq m, ottotiles.co.uk

NURTURE

CHILD’S PLAY

Catch the winter sun with the family at the dreamy Four Seasons Marrakech. A wonderland for adults and children alike, start the day with the majestic breakfast spread and a dip in the pool, which is heated all year round. The kids’ club has a raft of new activities, from Arabic tales to performing plays in the adorable mini theatre. The hotel o ers sunset camel rides in the Palmeraie and, for the pluckier o spring (and adults), sunrise hot air balloon rides where you oat hypnotically over the Agafay Desert — but hold on tightly for the bumpy landing! With separate adults’ and children’s pools and some of the best pizzas and pasta in town at the Quattro Italian restaurant, this is one of the best hotels for families in the Red City. £480 a night, fourseasons.com

ON THE FACE OF IT

Making waves in the heart of West London is the slick Clinic Holland Park, which has become a go-to for those looking for a pep up, from laser skin resurfacing to mole checks and nutrition and wellness assessments. Ameela is its new skin regeneration treatment that combines polynucleotides with the advanced delivery of bioregenerative Exosomes — targeting both deep dermal repair and surface level renewal. Treatments from £150, theclinichollandpark.com

MAKE A MOVE

The Tokyobike Paddle Balance Bike is the ideal introduction to cycling, crafted with the same care and design detail as Tokyobike’s renowned adult models, only perfectly scaled down for little riders. With a thoughtfully curated colour palette, it’s as stylish as it is fun and is sure to turn heads at the playground or park. Suitable from the moment a child starts walking, it’s the perfect first step toward a lifetime of cycling adventures. Tokyobike in Tomato £154.95, available at sorenshouse.co.uk

SHORE UP

Stay cosy and dry this winter with these technicolour Evo Pro Changing Robes from Red Equipment. For those 4–13-year-olds brave enough to dip their toes — or more — into wild swimming, these provide snuggly post-dip protection. With deep pile, supersoft fleece and waterproof outer, they are also ideal for pitch-side warmth and come in colours including Alpine Blue, Sage Green and Stealth Black. From £84.95, red-equipment.co.uk

NATURE

BRANCHING OUT

When creating Perfumer H’s first bathing collection, founder Lyn Harris drew inspiration from outdoor swimming in her native Yorkshire. For the scent, she chose the brand’s beloved Rain Wood, blending a woody base of juniper and cedarwood with patchouli leaves and top notes of galbanum, elemi and pepper. The collection launches with a hand wash, body wash, body lotion and soap bar. From £25, perfumerh.com

GAME CHANGER

Located 5km upstream from the main camp, two new three-bedroom villas have opened at Mpala Jena near Victoria Falls, Zimbabwe: amenities include private riverbank pavilions, perfectly positioned to relax and observe wildlife between safari drives. Mpala Jena is part of Great Plains, the African eco-tourism organisation founded by National Geographic filmmaker-explorers Dereck and Beverly Joubert. From £4,765 on an all-inclusive basis, greatplainsconservation.com

COME RAIN OR SHINE

Tested on Mount Everest, Mountain Pro is the new mountaineering range from ThruDark, the British high-performance clothing brand started by former UK Special Forces operators Anthony “Staz” Stazicker CGC and Louis Tinsley in 2018. Designed with the harshest conditions in mind, the pieces are made with industry-leading performance fabrics that ensure garments are waterproof, lightweight, breathable and extremely hard-wearing. thrudark.com

OUT OF THE BLUE

Designer Melanie Georgacopoulos’s jewels are not your grandmother’s pearls. Her innovative use of pearl and mother of pearl results in contemporary, sculptural pieces, made using an array of techniques such as experimental carving. V signet ring, recycled 18ct yellow gold with white mother of pearl and white diamonds, £5,200, melaniegeorgacopoulos.com

Going to ground

Matteo

executive chef behind the two Michelin-starred Ristorante Campo del Drago at Rosewood Castiglion del Bosco, shares his extensive tru le knowledge

What are the main di erences between the various types of tru es, for example summer tru e and winter tru e?

The summer scorzone tru es are black on the outside and ochre on the inside, with a softer avour, while black winter tru es have a strong depth of avour and are incredibly versatile. The classic white tru es are the rarest and have spectacular marbling and a very earthy, pungent aroma. From March until May, marzolino tru es can be found; they are smaller and coarser, with a slightly nutty avour.

In your opinion, what is the most prized tru e in the world and the best way to use it?

White Alba tru es are known as the diamonds of the culinary world because they are both rare and delicate. They are best served thinly shaved over pasta, eggs or meat, or over a rich, egg-based sauce.

Can you describe a recipe from the hotel that uses tru e and that we could make at home?

Braised meat tortello which is topped with

black tru e is a popular dish on the menu. The lling is beef that has been slow-cooked in spices and herbs, making it very tender and avourful. It pairs perfectly with tru e.

Are there any tru e experiences that are o ered by the hotel?

We’re lucky that Rosewood Castiglion del Bosco is set on its very own 5,000-acre estate, with a huge amount of centuries-old woodland that is perfect for growing tru es. In autumn, guests can join a “tartufaio” or tru e hunter to teach them how to nd the fungi with the help of specially trained dogs. They then return to the hotel to enjoy a four-course tru e dinner featuring the treasures they’ve unearthed.

Within how much time should tru es be consumed? How can you tell if a tru e is too old?

A few days, because they lose aroma and then texture, becoming too soft. Moisture damages them. Fresh tru es should be rm, hard and strongly aromatic.

What is the best way to store tru es?

It depends on the variety. If it’s soft like white tru e, place it above rice and absorbent paper in the fridge. If it’s drier, just wrap it in paper in the fridge.

Is it possible to create other interesting products with tru es, such as tru e oil? If so, how are they made?

Often, these products are not made with fresh tru es. Personally, I don’t like them and avoid using them in my dishes as they don’t provide the same depth of avour.

What is the “right” amount of tru e to use in a dish?

Five grams per serving (when grated on top).

What should you never do with tru es?

Don’t wash the fungi under running water — it ruins them — and cook them as little as possible to preserve the aroma, especially when they are fresh.

rosewoodhotels.com/en/castigliondel-bosco