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La Divine Comédie Demeure Privée + Spa Avignon

A Sense of Theatre

Rooftop View La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

A private paradise. A secret world. A hidden kingdom. Cloistered glory. The very essence of exclusivity. If luxury could be bottled… heavenly scent. A multiple epiphanic realisation of complete beauty and tranquillity. Not even a Gallic Frances Hodgson Burnett could dream up the discreet walled splendour of La Divine Comédie. Although Colette comes pretty close in Gigi: “Such a beautiful garden… such a beautiful garden.” Its only outward expression, an enigmatic public face, is an ivied arched wooden gate at the end of a laneway off Rue Sainte Catherine or is it Rue des Bains or Rue Saluces? Such is the labyrinth that is old town Avignon. Corrugations of sunshine ripple across the lawn and climb over a card table. Gigi again, “What about a game of piquet?”

Rooftops View La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

“We called it La Divine Comédie after the many theatrical connections of Avignon,” explains co owner Amaury de Villoutreys, a former financier. There are two theatres – Théâtre Golovine and Théâtre du Chêne Noir – within Galilean binoculars view of the house. A diorama of a stage in the dining room reinforces the theme. Distinguished architectural historian Dr Roderick O’Donnell reckons, “As Chaucer is to English, so Dante is the father of spoken Italian. Donald Tusk, President of the European Council, referenced Dante when he quipped there is a ‘special place in hell’ for certain politicians.” This could well be the beginning of always.

View La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Trees La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Terrace La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Pool La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Garden Pool La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Swimming Pool La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bench La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Urn La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Pond La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bust La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Table La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Swag La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bamboos La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Night Lantern La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Lantern La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Perspective La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Garden View La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Exterior La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Orangery La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Upper Floors La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Shutters La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Eaves La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Pavilion Table La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Pavilion La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Pavilion Bust La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Pavilion Coronets La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Staircase Hall La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bannister La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Stairs La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Night Time Stairs La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Landing La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Landing Table La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Staircase Rooflight La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Attic Stairs La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Dining Room La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Elephant La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Horse La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Taxidermy La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Chess La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Drawing Room Mantelpiece La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Drawing Room Statue La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Drawing Room Shadow La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Drawing Room Sculpture La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Drawing Room Door La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bedroom La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bedroom Diorama La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bedroom Chandelier La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bedroom Boat La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bedroom Mantelpiece La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Bathroom La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Dog La Divine Comedie Hotel © Lavender's Blue Stuart Blakley

Dog La Divine Comedie Avignon Provence © Lavender's Blue Stuart Blakley

Dog La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Cat La Divine Comedie Avignon © Lavender's Blue Stuart Blakley

Five guest suites breathe and stretch and spread and sprawl across three uncrowded bedroom floors, louvred shutters flung open to the birds tweeting leaves rustling church bells peeling. The Cat by Colette, “Above the withered stump draped with climbing plants, a flight of bees over the ivy flowers gave out a solemn cymbal note, the identical note of so many summers.” Last used as a school, the stone house – dating from the 18th and 19th centuries – is so tall yet not as tall as its smothering of ancient plane trees. Remnants of the 14th century palace of Cardinal Amédée de Saluces, ghostly tracery of the past, are imprinted on the garden wall. A 15 metre swimming pool lies hidden behind dense bamboo woodland. The perfumed aroma of musk and civet intensifies with the heat of a lost summer afternoon. Piquet time.

Cat La Divine Comedie Avignon Provence © Lavender's Blue Stuart Blakley

La Divine Comédie is the outcome of a revelatory seven year conversion and restoration programme. The interiors radiate confident good taste: the other co owner Gilles Jauffret is a leading decorator. Antique pieces, vintage finds and contemporary artworks are mixed with bravura under rococo’d ceilings. There’s an elephant in the (sitting) room. Pictures in the staircase hall are hung as close as stamps in the style beloved by Min Hogg, Founding Editor of The World of Interiors. Light selectively permeates the spaces through internal French doors and rooflights. The Cat once more: “The zone of shadow… the zone of shadow…” Persian siblings Gaston and Simone curl playfully on matching grey chairs. Thédule the Weinheimer blends in with the suede cover of a garden seat while alfresco quail’s eggs breakfast is served. Such pedigree.

Cat La Divine Comedie Avignon Hotel © Lavender's Blue Stuart Blakley

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Art Design Fashion Luxury People

Mary Martin London + DejaVu + Fashion

Working It

Mary Martin London Fashion © Lavender's Blue Stuart Blakley

Babes, every summer, just when the mercury’s rising, Mary Martin London is the star of Africa Fashion Week London and it’s not just her hotter than hot clothes that steal the show. She’s famous for mixing her own tunes for the models to strut their stuff to down the catwalk. Last year, she collaborated with D J Shack of Seven Wallace for her song ‘Article 10’. Inspired by the wedding of Harry and Megan, it features Mary’s own lustrous vocals: “Mary Martin London Article 10 The Royal Collection… How do I look? How do I look? Wow you look fabulous darling! If you got it flaunt it!” This year, Mary asked emerging Afrobeats musician Oluwande Ayodeji Oluwaga aka DejaVu to come up with a mega track. The Nigerian music artist produces beats for local and international artists. DejaVu says, “I’m unleashing my potential to be the well spring of music to the world!” Mary gave him the concept and DejaVu pulled out all the stops on the lyrics and rhythm. ‘Fashion’ is the result. “Gucci, Fendi, Mary Martin London, Givenchy, Balenciaga, Prada, rocking finest designer…” played at the catwalk to loud cheers. “You looking fresh and clean you are the one for me…” got a standing ovation. “Sexy body fine face like you…” Such was the incredible sensation that a major label, M I Raw Recordings, has picked up the track. M I Raw CEO Tony Portelli says, “As a label we pride ourselves on being truly global. We’re proud to present our newest release to the world. We’re confident you will appreciate the vocals, song writing and high energy projected from ‘Fashion’. It’s a first in multiple ways for the company to mix an Africa Fashion Week London vibe with DejaVu’s creative artistry. We expect this single to do big things in the scene and beyond!” Yeah! It’s the ultimate case of multi hyphenates in a hyper talent pool.

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Art Design Fashion Luxury People

Mary Martin London + Blood Sweat + Tears

The Men’s Collection

Mary Martin London Blood Sweat and Tears Collection

Getting the dynamic and then some. A prophetess. A field of energy. In pursuit of knowledge not glory. A divine intervention. She is so that we are.

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Design Fashion Luxury People

Africa Fashion Week London 2019 + Models

A Day at the Face Track

Freemmason's Hall Holborn Africa Fashion Week London © Lavender's Blue Stuart Blakley

Amidst the pandemonium that is the fashion show backstage, it’s impossible not to every so often glimpse the beautifully suffused light seeping through the stained glass windows, like a carpet of crushed blue sapphires. For one day a year, Freemason’s Hall in Covent Garden becomes a Cathedral of Couture. Later as the sun goes down, all eyes are on the catwalk, not on a skylight twinkling high above like a yellow sapphire encrusted in the ceiling.

Africa Fashion Week London Models © Lavender's Blue Stuart Blakley

Freemason's Hall Covent Garden Africa Fashion Week London © Lavender's Blue Stuart Blakley

Africa Fashion Week London Model © Lavender's Blue Stuart Blakley

Freemason's Hall Africa Fashion Week London © Lavender's Blue Stuart Blakley

Africa Fashion Week London Model Backstage © Lavender's Blue Stuart Blakley

Freemason's Hall Stained Glass Africa Fashion Week London © Lavender's Blue Stuart Blakl

Becca Apparel Africa Fashion Week London © Lavender's Blue Stuart Blakley

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Architects Art Country Houses Design Luxury People

The House of Lavender’s Blue + More Attitude

A Fantasia of Art

The House of Lavender's Blue Bay Trees © Lavender's Blue Stuart Blakley

Louise Harpman, architect, urban designer and Professor of Architecture, Urban Design and Sustainability at New York University’s Gallatin School of Individualised Study: “I love your flat, and it seems that we both share a fascination with designers who strive for a sense of Gesamtkunstwerk. I wonder if you have deep plum coloured smoking jackets for your guests?!”

The House of Lavender's Blue Tailor's Dummy © Lavender's Blue Stuart Blakley

The late Min Hogg, Founding Editor of The World of Interiors and member of the Irish Georgian Society London: “I think your flat looks lovely. The rooms are nice and tall. Purple is just not used enough – I adore it!”

The House of Lavender's Blue Bay Chair © Lavender's Blue Stuart Blakley

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Art Design Fashion Luxury People

Africa Fashion Week London 2019 + Mary Martin London

More Than Many Sparrows

“Mary Martin London stole the 5pm show with a colourful menswear collection.” Africa Fashion Week London official spokesperson

Multi award winning fashion designer Mary Martin took the capital by storm at this year’s Africa Fashion Week London. In a truly electrifying performance – for performance it was, combining art, design, choreography, fashion and music – she set Freemason’s Hall in Covent Garden alight. It may have been Mary’s inaugural men’s collection but the Queen of Couture couldn’t resist adding a showstopping feminine finale. Wrapped in a body stocking covered with one of Mary’s own prints, ‘Slaves in the Woods’, Aidia strutted her stuff to thunderous applause. The crowd went wild!

Only Mary would have her very own soundtrack. Music’s in the veins: her daughter Celetia is a singer songwriter (vocals for Groove Armada; lyrics for Janet Jackson). Freemasons’ Hall rocked hard to an Afrobeats hit by DeJavu. The song? ‘Mary Martin London‘. She acknowledges it’s been a lot of work designing and making her first ever menswear in the space of a few months. “Blood, sweat and tears!” The raunchy collection is dedicated to the 400 year anniversary of the first African slaves landing in America.

One of the designer’s favourite models Howey Ejegi closed the men’s show to yet more thunderous applause. The crowd went even wilder! Mary Martin Men, both on and off the catwalk, is brave, bold, brilliantly conceived. It somehow simultaneously captures movement and silhouette, definition and intangibility, light and shade. Just as she revolutionised the couture dress, so Mary has produced a collection that celebrates the male form through novel and exciting reinventions. The interplay is very very sexy.

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Art Design Fashion Luxury People

Queen Diambi Kabatusuila Tshiyoyo Muata of the Bakwa Indu People of the Luba Empire Kasaï Democratic Republic of Congo + Lavender’s Blue

Remember Us This Way

In the midst of the boldness and brilliance that is Africa Fashion Week London, Her Royal Highness Queen Diambi arrives peak afternoon with Her Royal Entourage. The African Queen graciously shares her wisdom: “It’s a beautiful day to be alive, to be in London. So I am a female king. I want to give the people of the world the type of entrepreneurship and creativity we have in Africa. The image of the woman in Africa has for too long been dictated by the western idea of beauty. We went into a path copying France and Italy thinking it is only acceptable to wear a suit to a business meeting. But we are very colourful. The time has come – we can be unapologetically African!”

“Africa is really the most ancient continent in the world, the start of civilisation and that includes fashion. Mathematics started in Africa. The fundamental principles of all types of science – architecture, urbanism – have their source in Africa. Check out the pyramids – they’re still standing! Africa is still to be discovered in so many ways. The world is playing catchup with Africa. We don’t have to play catchup – we can take the lead!”

“Today is a great time to be alive. A day of assessment. Now is the time to go back in time, to reclaim our wisdom throughout the centuries. To reclaim where we belong. To determine our own path. To redefine the parameter of our own development and prosperity. Our African image is of great value in terms of a development asset. If we are proud of who we are, wear our motifs and not fit in with the mainframe, then we can also sustain the fashion economy – we can make our own business prosperity.”

“If we are not promoting our own who are we promoting? How we look is a political choice. Experience is something they can never take away from you. They can take your things but not your history. We have to lead by example. We are really one African family – we have an obligation to tear those walls down. We have to start tearing the barriers down.”

“All these things and the fashion bring us together. We are all coming from the same home – my European brothers are not so far from Africa. Africans are not just dark skinned. Africa is the motherland for every being. Look after your mother to be blessed! We are one global economy – we need to be our brothers’ keepers to make it. Together we thrive. I am because you are.” And with that said, the drum rolls and Her Royal Highness Queen Diambi departs into the deep night with Her Royal Entourage.

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Art Design Fashion Luxury People

Mary Martin London + Mary Martin Men

Apollo

Mary Martin London Graduation © Lavender's Blue Stuart Blakley

“My God is my foundation in whom I serve,” declares fashion designer Mary Martin. And what God given talent she possesses – in reams! Electrifying the catwalks, flooding the fashion spreads and raining down pure glamour on clients in recent years with her haute couture dresses, all that’s left is one small step for a woman, one giant leap for mankind. Yes, the long awaited much anticipated greatly hoped for men’s collection. Tah dah! Mary Martin Men is finally launching! And you saw copyrighted glimpses of it here first. The official landing will be at Africa Fashion Week London.

Mary Martin London Best Fashion Designer Award © Lavender's Blue Stuart Blakley

But first, it’s the Saturday morning Vernissage. Not your ordinary time for a Private View but this is no ordinary designer. The venue? Screw art galleries. Stuff museums. Why it’s Mary’s Victorian townhouse cum fashion house cum studio. A framed music award on the staircase winks at Mary’s past: she was a successful pop music manager. Rhythm is a dancer in the blood. Her brother is Technotronic’s MC Eric of ‘Pump Up the Jam’ fame. There are plenty more awards in the drawing room. More of them later. Lot’s more. A quick peak into the first floor kitchen confirms this is no ordinary house: check out the maquette mannequins and metallic cupboards.

Mary Martin London Queen Aidia Fabric © Lavender's Blue Stuart Blakley

Onwards and upwards to the top floor. Music is blasting, models are changing, agents are calling, photographers are facetiming, and somewhere in the midst of the mayhem Mary emerges, looking sublime and very summery in a wrap dress. The mercury has surpassed 30. Aidia, the Swiss top model and a Mary Martin London favourite, is on her way. The final fittings are next week. Like, hours away.

Mary Martin Men Screen Print © Lavender's Blue Stuart Blakley

Time for the big reveal. The inaugural collection of Mary Martin Men commemorates the quadricentary of the first African slaves arriving in America. ‘Slaves in the Woods’ is her principle pattern. She has screen printed it onto vintage silk which itself has an Ancient Egyptian pattern. “Egypt was where it all began,” observes Mary. The joker pattern is used for lining. “I may be the Queen of the Catwalk,” she nods, ”but I like to have a laugh!” Another pattern she uses in the collection is ‘Mary Scissorhands’ featuring female heads as scissor handles.

Mary Martin Men Bomber Jacket © Lavender's Blue Stuart Blakley

Mary Martin Men Jacket Detail © Lavender's Blue Stuart Blakley

Mary Martin Men Haarlem Trousers © Lavender's Blue Stuart Blakley

Mary Martin Men Fabric © Lavender's Blue Stuart Blakley

Mary Martin Men Coat Pocket © Lavender's Blue Stuart Blakley

“It’s all about original ideas,” says Mary, “nothing old fashioned. I’ve taken the Haarlem trousers to another level!” The legging material around the thigh emphasises the male form. The fly is on the outside. “This is the new 2019 fly – on – the – side! It’s amazing!” A man bag in the detachable outsized coat collar is one of many other innovations. Injecting yet more urban chic into the collection is a retro bomber jacket. No show is complete without a Mary Martin London statement dress. Mary goes for it: “The lady is going to look naked! My Slaves in the Woods print will be on a body stocking looking like a tattoo! I’m going to do her hair like Medusa. I’m using my signature fluffy tulle to give her a surreal Afro! I see the visuals in my head. I dream I’m making the freedom woman!”

Mary Martin Men Mary Scissorhands Pattern © Lavender's Blue Stuart Blakley

As always, Mary’s fashion is imbued with multiple meanings and enriched with multilayering. Take the dominant colours (or rather one colour and one lack of colour) of the collection. Mary relates, “I focussed on the art of design and print… it’s a very natural feeling. I researched the Himba Tribe in Namibia. I discovered a lot of orange face paint and hair mud. It was very exciting! Orange is for the vibrance of earth and black is for the unseen missing elements.” Later she will comment, “Orange represents the sun, the happiness outside.” It’s official. Orange and black are the new black.

Mary Martin Men Pattern © Lavender's Blue Stuart Blakley

Remember those awards in the drawing room? Well, what hasn’t Mary won? Numerous International Achievers Awards (Best Female Designer; Fashion Icon 2018, International Achiever 2017, Innovator of the Year 2016), two Fabulous Magazine Outstanding Contributions to Fashion Awards, Cancel Cancer Africa Recognition Award, Inspirational Fashion Couture Special Award 2018, Mercedes Benz African Fashion Festival Best Designer 2015 and Miss Jamaica UK Best Dress 2013. Her most recent prize recognises her growing worldwide status: Scotland’s International Awards Best Fashion Designer 2019.

Mary Martin Men Jacket Pocket © Lavender's Blue Stuart Blakley

“It’s been a whirlwind year!” exclaims Mary. “You should always have challenges in life!” As well as launching her first ever men’s collection, she graduated from the University of East London with a Fashion and Textiles BA. “Draw how you can draw,” advised her lecturer Emma Ceary adding, “you have a natural talent!” Another lecturer, Lesley Robertson, told her “I’m really proud of you and all of your achievements.” Dr Sian-Kate Mooney of the University said, “It was an honour to teach you Mary. You have worked hard and listened and learned and have given yourself the gift of knowledge.” Mary danced her way across the stage at the graduation ceremony.

Mary Martin Men Egyptian Silk © Lavender's Blue Stuart Blakley

“And that’s the show and that’s my excitement! Thank you Jesus!” praises Mary. She knows those who look to him are radiant. And really, radiance is key to Mary Martin Men. It’s a sumptuously rich collection. There’s more. Things have come full circle. These days Mary may be “styling high class singers” but she herself is the subject of an Afrobeats hit by Déjà Vu.

Mary Martin Men Collar © Lavender's Blue Stuart Blakley

Categories
Design Luxury

Pullman Dining Car + Great Western Railway

Pirates

Raspberry and White Chocolate Cheesecake Great Western Railway Pullman Carriage © Lavender's Blue Stuart BlakleyIn another of life’s satisfyingly alliterative moments, we’re punch happy on the Pullman from Paddington to Penzance. Great Western Railway calls it “one of Britain’s best kept secrets”. This is the West Country’s very own Orient Express. Starched linen, silver service, tarted up, it’s quite simply the only way to travel to Cornwall in style. Our dinner arrives – drinks in Didcot, mains past Minehead, puddings through Plymouth:

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Architects Architecture Art Design People

St Michael’s Church Creeslough Donegal + Liam McCormick

A Response to Place

Really, it’s the ultimate expression of architecture as sculpture as terrain. The design of St Michael’s Catholic Church in Creeslough, County Donegal, owes as much to its humpbacked Muckish Mountain backdrop as it does to Le Corbusier’s Notre Dame du Haut in Ronchamp and abstract art. It is one of seven churches in the county designed by Liam McCormick in the second half of the 20th century.

Dr McCormick said in 1978, “I like to go and absorb the characteristics of the site, to steep myself in the quality and the character of the place and pick up some element which will give me a clue for the building.” The rugged landscape was clearly the clue to designing St Michael’s.

In place of the traditional cruciform layout, St Michael’s is an innovative fan shape, physically drawing the congregation together into one democratic space. The architect was particularly adept at capturing light in unexpected ways. Cue an idiosyncratic wall-to-window ratio and relationship. For example, a cluster of small windows filled with stained glass by artist Helen Moloney on the northeast elevation contrasts with great expanses of white rendered wall on the south elevation.

The single storey flat roofed residence next door to the church is surely by Liam McCormick as well. Its simple form and punched window openings, a reinterpretation of the vernacular cottage, would make a good prototype for contemporary dwellings. In the early 21st century MacGabhann Architects are keeping the torch lit | carrying the mantle | upholding the tradition of thoughtful design in County Donegal.

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Art Design People

Museé des Beaux-Arts + Conquête Urbaine Calais

Calaisfornia Dreaming

On a summer’s day. Liberal Christian philosopher Marilynne Robinson speaks: “What is the errand you came to flesh upon? It’s yours, not somebody else’s. Do you know what I mean? And it’s beautiful, and it has much potential as you give it attention and possibility. You are not in competition with anybody else. There’s nobody else who can be you. Your uniqueness is guaranteed so long as you respect it. My deepest feeling on this question is that if you find that something is so interesting to you that you put aside other things that are more practically important to pursue that interest, you’re doing the right thing.” Living art.

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Art Design Fashion Luxury People

Masterpiece Preview 2019 + Lavender’s Blue

You Made Us Feel So Free

Title as quotation. Business (card) as usual. We’re on it like a Jane Austen bonnet. Walking down an emerald aisle. One hundred years of San Sebastián style.

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Architects Architecture Art Design People

Carlo Scarpa + Banca Popolare + Castelvecchio Museum Verona

Strings Attached

The paradox. His architecture is so legible yet he defies classification. His work is half a century old yet timeless. His influence is widespread although he wasn’t especially prolific. His oeuvre is so Italian but he still inspired a generation of Irish architects. His personal rhetoric has universal relevance. Born in 1906, Carlo Scarpa lived, studied and worked in and around Venice all his life. Two of his projects in Verona, though, demonstrate his true brilliance. One, an augmentation of a bank. The other, a reawakening of a castle museum. Both reveal his sensitivity towards materials and textures as well as his ability to create memorable forms and spaces. It’s time to place him in the pantheon.

Of Banca Popolare, Carlo’s 1970s block is contextual in massing if not design. Or at least not detail. He was clearly unafraid of decoration. At a 1973 lecture, Carlo argued, “Why gilding? Gilding is not done in order to waste or squander money. For that matter, we wear rings of gold, not iron. Gold shines also in the dark, even in pitch darkness, if there is the slightest ray of light… So you go for precious metal, for what is rightly called tinsel. But if the form is good, if the objective results are developed in such a way that there is nothing to object to critically, this works to the advantage of the end result.” The gilding on Banca Popolare is subtly applied to just the base and capitals of the clerestory columns.

Stepping back into Piazza Nogara, taking in the full breadth of the building, it becomes apparent that Carlo is really presenting a reinvention of the palazzo façade. Looking beyond the vitrine windows and Frank Lloyd Wright style oeils de boeuf, the elevational plane is classically divided into a base, middle and clerestory. The bold proportions and monumental scale may channel Charles Rennie Mackintosh but little wonder Anne Davey Orr, former Publisher and Editor of Ulster Architect, remarks, “I’m sure Carlo Scarpa was influenced by his 16th century Venetian predecessor Andrea Palladio.” Banca Popolare is both emphatic and empathetic. And more contextual than it would first seem.

One motif that Carlo made his own is what could be called a “strings course” – parallel stepped lines, when sectioned forming ziggurats. It pops up everywhere in a multiplicity of forms: coffer, cornice, cutaway, parapet, plinth, porch. At Banca, he employs the motif as a giant T shaped corbel, aesthetically, if not functionally, supporting the vitrine windows.

“Thus his first major project was the castle at Verona,” explains conservation architect John O’Connell who is busy working in Beijing, London, Paris and Ireland. “It was very badly bombed by the Allies! He applied his very severe and practical approach whereby ‘The past is the past and if it has disappeared can now be rebuilt’. All or most museums of the western world have been inspired by his work but in particular this project. Carlo was the master of the whole museum world post World War II. He’d a very rigorous approach towards presentation and conservation employing simple and very high quality interventions.” Carlo’s new building elements assimilated in the architecture of Castelvecchio may have mellowed with age, but they still represent a revolution in the perception and display of artworks. His use of polished concrete for interiors is a forerunner to the early 21st century popularity of this material.

King Vittorio Emanuele III opened the 14th century castle turned museum in 1926. But it wasn’t until half a century later that the building’s potential was truly realised. While other Modernists jettisoned the past, Carlo’s work from the postwar era to the late 1970s venerated and transformed it. And Castelvecchio was no exception. He maintained the structure’s original integrity whilst developing an unfolding sequence of spaces and voids and vistas and objects, ceaselessly theatrical, masterful, virtuosic, populated with asymmetric incident. There’s an endless play between past and present, architecture and art.

Historical and aesthetic clarity is achieved through the coexistence of overlaying fragments of construction, selective excavation and creative demolition. This approach reaches a climax in the setting of the statue of Cangrande I Delia Scala. Frank Lloyd Wright’s “destruction of the room as a box” is taken to its ultimate conclusion. Who else but Carlo Scarpa would envisage “construction of the void as a gallery”? Demolishing the end bay of the Napoleonic wing in the courtyard, he dissolves corners to position the statue on a cantilevered platform. This complex spatial organisation thrillingly delivers visibility above and below ramparts and across and around boardwalks. Such movement – there is nothing static about Cangrande on his horse. The outer Roman tiles on the roof above are pared back to expose an underlay of green copper. Implied delamination of existing solid form leads to a richly layered materiality throughout the building.

“Stones at the top of the building can continue upwards a little, and I would like them to vibrate in the light of the sky,” Carlo lectured. “Then the sky can enter in so many ways and I would almost obtain a ‘quivering of form’, like the Ancients. And so, with a sunset grey or red, whatever it will be, I will feel their light penetrating within. In this case, the reference is to Andrea Palladio who laid his stones at a distance of two and a half or three centimetres with gaps remaining. This is what I discovered one day and what caused me to explain, ‘Good Lord, how beautiful, how expressive it is, what meaning it gives!’” An exaggeration of this effect is the medieval butterfly parapet of Castelvecchio which carves the sunrise grey or blue over Verona.

John recalls, “He enjoyed a small but very high status practice and would have met all the ‘Stars’ from Le Corbusier to Louis Kahn.” Early on in his career John met Louis, describing him as charming, self effacing, very humble. “Carlo was Professor of Architecture in Venice. This role allowed him to think everything out first, to distil ideas through academia. There is a distinct geometry to his work. He was the successor to Josef Hoffmann.”

Pantheon placement continuing, “Carlo’s pupil Gae Aulenti was a superb architect. Her greatest work is the Quai D’Orsay in Paris. Some say she was appointed because her views on life were in line with the then President Mitterrand. It is excellent – well conceived and executed. The National Art Museum project in Barcelona is commanding but weak in parts. Not her fault as the building is a late 19th century bombastic structure and the collections are mixed or of varied quality! A must, and to be seen.”

“Back to Carlo Scarpa,” breathes John. “His most engaging and demanding project is the Memorial Chapel commissioned by the Brion family outside Venice near Verona.” It’s a commemoration of death in concrete and water. The curtain wall is pierced with two interlocking unglazed oeils de boeuf framing a view of the meditation pavilion: a metaphorical section of Andrea Palladio’s interlocking columns on the loggia of Andrea Palladio’s Palazzo Chiericatti in Vicenza where Carlo played as a child; an eternal love symbol; a cross eyed bull. “Also of great importance is his extension to the Canova Museum in the Veneto as well.”

How would John O’Connell sum up Carlo Scarpa? “He sought and I believe achieved a way of detailing and using modern materials so that they conveyed the value and spiritual quality one finds in Italy with the sense of craftmanship so vital and valued in the heroic architecture of Europe from Ancient Greek times to the pre industrial world.” International architect Alfred Cochrane, currently hot in demand from Beirut to Rome, is another admirer: “Carlo Scarpa! A genius! A god in the Seventies architecture firmament.” Pantheon placement complete.

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Architects Architecture Design People

Carlo Scarpa + Corridors + Stairs

Dinner in The Garrick Beneath the Watchful Eyes of Mrs Bracegirdle

There are Carlo Scarpa corridors and there are corridors. The former enliven the journey. There are stairs and there are Carlo Scarpa stairs. The latter bring you a little closer to heaven.

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Hôtel + Café Métropole Brussels

Eclectic Dreams

It’s the café with a hotel attached. In 1890 the Weilemans-Ceuppens brewing brothers opened Café Métropole chiefly to sell their own branded beer. Such was their success they bought the bank next door and transformed it into a hotel. The five star Hôtel Métropole opened five years later. French architect Alban Chambon created Brussels’ grandest hotel. It’s all refreshingly non boutique: big, brash, bombastic. Art Nouveau meets Art Deco outside. Louis the Hooey on steroids inside. More stained glass than a cathedral. The long reception desk is a leftover from its banking days. A period open lift adds to the mood. Bell boy! All the greats have been here, done it, done it here: Sarah Bernhardt | Albert Einstein | Lavender’s Blue. It’s the last remaining 19th century hotel in Brussels.

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Art Design Luxury People

Galignani Bookshop + Rue de Rivoli Paris

There Will be a Moon in Paris Tonight

Cultured Parisiennes like Maud Rabin always comment how Paris is constantly under construction; the city as cathedral. Perhaps that’s how it can lean towards an old architecture yet expressing l’esprit nouveau. Chaneling Channelling our inner Inès (de La Fressange), chic to chic, air kissing and French embracing, we stride along Boulevard Haussmann to a Gershwinesque cacophony of taxi horns. Tout-Paris, tout suite! Palais Garnier is on our right. “It’s full of ghosts!” whispers Maud. “Paris has two opera houses. The other opera house, Bastille, was built in 1989. Très moderne!” Paying homage to the late great Karl Lagerfeld, we head for his favourite bookshop, Galignani. Danielle Cillien Sabatier, Directrice Générale, will later say, “Thank you so much for this really nice publication.”

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Architects Architecture Art Country Houses Design Developers People Restaurants

Pitzhanger Manor Ealing London + Anish Kapoor

Master of Mirrors Master of Light

Pitzhanger Manor Party Relaunch © Lavender's Blue Stuart Blakley

It’s the GSM rule. The thicker the invitation card, the better the party. The relaunch of Pitzhanger Manor proved the point. Sir John Soane’s former country house – post a £12 million facelift (or rather major surgical enhancement by Jestico and Whiles working with Julian Harrap Architects) – on a stormy night was filled with lights and flowers and music and guests.

Pitzhanger Manor Party Column © Lavender's Blue Stuart Blakley

“Lord Lieutenant, Lords, Ladies and Gentlemen,” began Sir Sherard Cowper-Coles, Chair of The Trustees. “The house was built 220 years ago. The library, 80 years ago. The garden room, three years ago.” He spoke in the garden room now rebranded Soane’s Kitchen. You guessed, it’s a café by day, venue by night. Designed by Jestico and Whiles, Soane’s Kitchen is an elegantly understated pavilion set in the walled garden.

Pitzhanger Manor Party Eagle © Lavender's Blue Stuart Blakley

Pitzhanger Manor Party © Lavender's Blue Stuart Blakley

Pitzhanger Manor Party Lantern © Lavender's Blue Stuart Blakley

Pitzhanger Manor Party London © Lavender's Blue Stuart Blakley

Pitzhanger Manor Party Ealing © Lavender's Blue Stuart Blakley

Pitzhanger Manor Party Light © Lavender's Blue Stuart Blakley

Pitzhanger Manor Party Chinese Wallpaper © Lavender's Blue Stuart Blakley

Pitzhanger Manor Party Chinoiserie Wallpaper © Lavender's Blue Stuart Blakley

Pitzhanger Manor Party Piers Gough © Lavender's Blue Stuart Blakley

Sir Sherard continued, “Every house is unique. There are degrees of uniqueness. Artfully antinomian eclecticism? That’s Pitzhanger. Not for Soane the menu de siècle. He dined à la carte. Pitzhanger is a cocktail of Georgian and gothic eccentricity. Austere and extravagant.” He praised the artist who hand painted the spectacular upper drawing room wallpaper: “Alistair Peoples, champion of Chinoiserie wallpaper!”

Pitzhanger Manor Party Anish Kapoor © Lavender's Blue Stuart Blakley

The inaugural exhibition in the library turned art gallery is by Anish Kapoor. Sir Sherard acknowledged, “Anish Kapoor sets a very high standard of excitement and artistic imagination.” The former Foreign Secretary’s Special Representative to Afghanistan and Pakistan ended by saying, “Pitzhanger is at the intersection of art and architecture and design. It is Soane’s enduring legacy. Two centuries on, he stands so tall. Pitzhanger – the jewel in the crown of the rapidly reviving Queen of the Suburbs! A wonderfully uplifting zig in a world too full of zags.”

Pitzhanger Manor Party Anish Kapoor Exhibition © Lavender's Blue Stuart Blakley

Anish spoke on the “amber melancholic Turneresque light” of Pitzhanger’s stained glass windows. “It’s like a fading yellow page of ethereal importance,” he observed. “I tried to play with it too. I do what I do. Let the conversation happen if it must.” The night ended well: a goody bag of colourful macaroons courtesy of Coutts.

Pitzhanger Manor Party Anish Kapoor Art © Lavender's Blue Stuart Blakley

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Sofitel Vieux Port Hotel Marseille + Paul Cézanne

Unstill Life

“Well, life is full of surprises,” proclaims essayist and novelist Marilynne Robinson in her 2018 collection of essays What Are We Doing Here? Couldn’t agree more. We’ve just woken up in Marseille. South of France. A night in Provence. There’s more. Breakfast in bed in the Mediterranean city’s best address. Perfection. Nowhere better to enjoy the experiential rhapsodies of reality. So far, so great, Sofitel Vieux Port. The Paul Cézanne inspired five star retreat. Marilynne believes, “Beauty is a strategy of emphasis.” Sofitel mirrors the artist’s strengths, offering a fine balancing between tradition and innovation, suffused with light and imbued with beauty; a distinctive manner of looking, a novel system of application. Pétanque, anyone?

Protestant work ethic gone astray, it’s over to Wallpaper* to extol the delights of Sofitel’s Les Trois Forts restaurant: “The restaurant at the top of the Sofitel Vieux Port doesn’t just have one of the best views in the city – taking in, you guessed it, three forts – it also has one of the greatest chefs in France running the kitchen. Dominique Frerard is a painstaking, ultra meticulous, details guy of the first order and highlight decorated for it.” Meanwhile, Sofitel’s famous feather down pillows (intrinsic to the temporal, a present pleasure) form the perfect companions to considering the mysteries of consciousness. The view’s pretty dreamy, too.

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Architects Architecture Design Developers People

La Tourette Marseille + Fernand Pouillon

The Divine Architect

“I am content to place humankind at the centre of Creation. We are complex enough, interesting enough… I find the soul a valuable concept, a statement of the dignity of a human life and of the unutterable gravity of human action and experience.” So says Christian philosopher Marilynne Robinson. Fernand Pouillon was the architect of this influential Postwar housing scheme overlooking Fort St Jean at the tip of Marseille’s Vieux Port. Completed in 1953, it quickly became something of a prototype. How to do modernism. A lesson in proportion. Rising to 21 storeys, precast concrete decks with cross walls in shuttered concrete and external walls faced with stone casing produced a lasting effect. La Tourette continues to offer sleek slices of desirable urban living.

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Design Hotels Luxury People Restaurants

Lasarte Restaurant + Monument Hotel Barcelona

Nonsense and Sensibility

Déu n’hi do! Lavender’s Blue is a release of pure joy. Visiting a metropolis to explore just one neighbourhood concentrates our minds. A new tourism. We’re on it like a Jane Austen bonnet. Especially when the met is Barcelona; the hood is Eixample; and the local is Lasarte. “Work, strive, feel, listen, talk, taste, observe, thrill, improve, excite, think, imagine, inspire, decorate, reflect, research, work, pamper.” So declares Chef de Cuisine Paolo Casagrande.

In an Ecclesiastical moment, away from lives crowded with incident, taking an initial step toward the Examen later, we’ll go for pamper. Three Michelin star pampering, if you will. Putting the gas in gastronomy we’ve enjoyed Everglades Hotel’s colcannon gnocchi (City of Londonderry) and the Capital Club’s Guildhall power breakfasts (City of London dairy) not forgetting the East India Club’s potted shrimps in seaweed butter plus we’re not averse to Hakkasan Mayfair’s finger lickin’ stir fry black pepper veggie chicken, but when in Rome the Continental foodie capital…

Lasarte is managed by the renowned Basque chef Martin Berasategui. His restaurant in San Sebastián is also called Lasarte. Guess what? It’s got the Red Book’s top accreditation too. The Barcelona outpost is on the ground floor of the luscious five star Monument Hotel, once the home of industrialist Enric Battló. Josep Vilaseca i Casanovas was the original 1890s architect. Lasarte is reached through the open plan bar, beyond the Michelin starred Oria restaurant, secreted behind enigmatic herringbone oak doors. Architects Carles Bassó and Tote Moreno, architect interior designer Oscar Tusquets and interior designer Mercè Borrell and have delivered a modern monastic aesthetic. An inner sanctum of sorts. Its cocooned in herringbone oak floors and panelling.

Martin’s signature looms large over the restaurant. Literally. It’s scrawled across clerestory height mirrors above the panelling. Paolo combines Martin’s fiery signature dishes with his own fearsome foray into Catalan cuisine, from ginger to jalapeño. He’s got range. Don’t you just love folded linen napkin trays? Synchronised pouring? Cork presenting? A wooden wheelbarrow piled high with special artisanal reminiscential original regional bread? Lasarte is the embodiment of brilliance. The Lasarte Menu is €215 a head. Time to raid the Lazard family vault again. Fotem un café?

Catalan fished stew? Suquet. Petit fours balanced on a candelabra? Candy-labra. Mim cava. Mmm cava. Ah cava. Colm Tóibín records in Homage to Barcelona, “In Barcelona the poets and the professors, the designers and the rest of the generation of 1992 have taken Champagne to their hearts. In Barcelona they call it ‘cava’, and they take it as seriously as they take most things. Codorniu and Freixenet are local brews, for everyday use like wine from a barrel… Drinking cava is an integral part of being a Catalan.”

We’re not leaving this block. Period. Homage to Eixample. Micro travel is all about discovering what’s next door. Imagine our surprise, and dedication to the cause, to discover – in a city that brims with power shopping strips – that Passeig de Gràcia, the strip that easily outstrips all others, is at the foot of the hotel’s marble steps. Colm says it has “a glamour to be found nowhere else in Barcelona, in the faces, the clothes, the hairstyles.” This is no cursory peep behind the faded Iron Curtain. These days we’re all about intense western festoons. After such sweet, salt and umami sensory satisfaction, now’s the time to join the style savvy and go spend the next two generations’ inheritance. Eixample: it’s an extension to our very existence. Salut i força al Canuti!

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Architects Architecture Art Design Developers Town Houses

Casa Amatller Barcelona + Josep Puig i Cadafalch

Sweet Dreams are Made of This

To describe Modernisme as Catalan Art Nouveau underrates its roots but it’s a fair starting point. The style originated in the 1870s when Barcelona was enjoying industrial prosperity and expanding beyond its medieval walls. This expansion, named Eixample, became the home of Modernisme. The relaxation of town planning and the influx of wealth combined with a resurgence of Catalan identity created the perfect climate for new commissions and in turn a new style. Modernisme is a manifestation of Catalan character in stone. And brick. And trencadís (broken ceramic tiles). In homage to the region’s history, Gothic, Moorish and medieval styles were fused with naturalistic motifs of Art Nouveau. Catalan architects superimposed their local customs and beliefs on traditional architecture and made it something new. The epoch ended in 1911.

Who better than Colm Tóibín to capture the spirit of the moment, speaking in 2010 , “The style is known as Modernisme, and it was taken up by Catalan architects at the end of the 19th century as a national style from a number of sources, Art Nouveau and William Morris’ Arts and Crafts movement being among them. In 1903, just two years before the Palau de Música was begun, the leading Barcelona architect Josep Puig i Cadafalch wrote, ‘the most important thing we have done is that we have made a modern art, taking our traditional arts as a basis, adorning it with new material, solving contemporary problems with a national spirit.’”

Casa Amatller is a prime example of Eixample Modernisme. Its crazy ziggurat gable and spiky dingdong parapet sew a rich Dutch pattern into the fabric. The fabric of the rich, stitch upon stitch. Casa Amatller is one of three attached mansions, each a wildly varying rebuilding of an existing structure, together known as “Mansana de la Discòrdia” or “block of discord”. Chocolatier Antoni Amattler Costa commissioned Josep Puig i Cadafalch to go for it. Big time. An oriel as big as a planet. It was one of the first houses in Barcelona to have electricity, no less. Modern without the isme too. All that, he did with great aplomb. Almost 120 years after completion, Casa Amattler still has the wow factor. Madness or genius? Chisel or pencil? Fantasy or reality?

Apropos to the source of the dosh, Casa Amatller could easily be a stage set for Hansel and Gretel on speed. Maybe a bit of Rapunzel on acid thrown in for good measure too? Josep’s heroic adeptness at ecstatic playfulness is a trait Postmodernists would strive to emulate but rarely achieve a century later. Colm observes his eclecticism: “His style moved from the strident neo Gothic to the more gentle Germanic.” Peter Thornton, writing about Paris in Authentic Décor The Domestic Interior 1620 to 1920: “Most Art Nouveau was a good deal more sober than is generally supposed.” The same could not be written about its Catalan counterpart. No way, José.

Speaking at the European Commission in Smith Square London, in January 2019, architectural historian Andrew Saint remarked, “Art Nouveau is really missing in the English context.” He cited Charles Harrison Townsend’s Horniman Museum in London as a rare example. “You can see Art Nouveau as a coalescence of vernacular traditions with an interest in urban politics. The poor old Glasgow School of Art shows that Scottish nationalism was an important force. But that energetic Pan Slavic or Catalan movement is missing in Britain.” There is no British equivalent of Casa Amatller.

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Architecture Design Luxury People Restaurants

Hide Restaurant London + Ollie Dabbous

Number 85 Piccadilly

Bookended by the Fox Club and the former In and Out Club (a shroud of scaffolding is due to be removed imminently to unveil the capital’s most hotly anticipated new hotel), Number 85 Piccadilly was also once a club. Sir Robert Taylor’s late 18th century New Grafton House was transformed into the Turf Club by John Norton in 1875. Loosely Italianate, a twin canted bay façade faced Green Park although the entrance was off Clarges Street. A recessed arch enjoyed parallel curvature with the fanlight over the doorway. A semicircle in a semicircle. The Turf Club was renowned for having 16 ducal members at one time. It was demolished in 1966.

The replacement building could have hardly been more different to its ornate predecessor. A disruptive 10 storey office block – bands of ribbon glazing interrupted by precast concrete panels – takes no architectural prisoners, no neighbourly nod, no design deference. It is what it is. Or rather it was what it was. The elevations at ground and mezzanine level, if not quite softened, have been innovatively refined. Design consultancy Lustedgreen has opened up the solid infilled areas between the structural bays and installed large format seamless glazing. Bronze fascia panels have been introduced between the two floors. The material is inspired by the Ritz Hotel along Piccadilly. The pattern is derived from the plane tree bark of Green Park. A rigidly controlled palette energises the robustness of the materiality both old and new.

All these external changes heralded the arrival of Hide, a restaurant celebrating the brilliance of young chef Ollie Dabbous. After five years running his hugely successful eponymous restaurant in Fitzrovia, Yevgeny Chichvarkin and Tatiana Fokina persuaded Ollie to head up their new venture. The Russian power pair also own Hedonism, a top end wine shop in Mayfair. The restaurant is spread over three floors – basement, ground and mezzanine – linked by a whirl of a wood staircase. The external reliance on materiality continues indoors. Rustic chic is the look with plenty of wood. Even the pen that comes with the bill is on brand. Wood. Brown dome pendant lights set in larger glass domes resemble broken eggshells. Semi-spheres in semi-spheres. Cast bronze filigree sun shades on the mezzanine windows are decorated with a leaf skeletal design. The ground floor is slightly sunken, giving guests a good view of passing Louboutins.

Ollie is full of energy, bounding up from the kitchen where he’s hard at it. “So good to see you again! I’m glad you came now as we’re really getting established! Hide is doing brilliantly!” If guests don’t fancy anything on the wood backed wine list, an order can be placed with Hedonism. Just 12 minutes later, a bottle of their finest – 6,500 wines and spirits to choose from – will arrive on guests’ tables. Brunch is soft shell crab tempura with Thai basil and green peppercorns. The crab, perched on a pebble, has been deconstructed then reconstructed. Kohlrabi, ripe pear, elderflower vinegar and perilla lies somewhere between liquid and solid. Cornish mackerel tartare and iced eucalyptus arrives steaming. It’s a shock to the senses to discover it’s a cold dish. Canelés cooked in beeswax, twisting textures, complete a wild and wonderful brunch.

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Portonovi + Boka Bay Montenegro

Portonovi + Boka Bay Montenegro

“Just as if I have returned to town from the most beautiful fairytale of my childhood.” Sophia Loren

The great Italian actress is a fan. Roughly the size of Northern Ireland but with less than a third its population, Montenegro is experiencing a long overdue tourism renaissance. This small country clinging to the edge of the Adriatic Sea in southeast Europe is set to enhance its luxury offer. Its tourism may date back to the 14th century when Sjora Roza boasted a tavern and café but it wasn’t until Montenegro regained independence in 2006 that it started securing travel destination status. Like Northern Ireland, you can only travel about 150 kilometres or so before driving into the sea or crossing a border. Unlike Northern Ireland, it averages 250 sunny days a year.

Where nature ends (five National Parks), architecture begins (three cultural Unesco World Heritage Sites). Durmitor National Park alone has 82 kilometres of canyon, 23 peaks over 2,300 metres, 18 glacial lakes and is home to 163 bird types and 1,500 flora species. It may have beaches stretching for nearly 300 kilometres, but Montenegro takes its name from the Italian for “Black Mountain”. Swim in the morning; ski in the afternoon.

Herceg Novi on Boka Bay is known as “The City of the Sun” and “The City of 100,000 Steps”. It’s both. Although “City” is pushing it for somewhere with 30,000 residents, the same population as Ballymena in Northern Ireland. The Nobel Prize Poet Laureate Ivo Andrić went further, describing it as a place of “eternal greenery, sun and promenades”. The setting is impossibly romantic: mimosa cloaked historic buildings cluster at the foot of Mount Orjen where it meets the coast. The walled Old Town, or Stari Grad, is an eclectic mix of architecture. Not surprising, considering Montenegro has belonged to six Empires – Roman, Byzantine, Ottoman, Venetian, Napoleonic and Austrian – followed by a stint in Yugoslavia before becoming the People’s Republic.

Now, Herceg Novi is set to expand. “Montenegro essence” is the strapline for the new waterside development Portonovi. It aims to capture on 26 hectares all that is great about the country. A destination within a destination. A microcosm of Montenegrin discernment. The site was a military base – 90 buildings from the 20th century were demolished. One very precious building was saved: a 16th chapel with rare 18th century frescoes. It is being carefully restored and returned to its original use. The Government is retaining the freehold of the whole site but went out to international tender for its redevelopment. Ahmet Erentok, Chairman of Azerbaijani company Azmont, who won the contract explains, “Portonovi is our largest investment outside the Azerbaijan.” It will total almost €1 billion (€960 million to be exact) when complete.

General Manager Stevan Milic relates, “Portonovi has two kilometres of coastline and a 238 berth marina. There will be 8,500 square metres retail space and a further 7,500 square metres of multifunctional floorspace. Amenities will include high fashion shops, jewellers, galleries, a gym, health club and Espace Chenot Spa. The first phase opening shortly will deliver 214 homes including 50 rental properties.” The average home is €1.6 million for 157 square metres of accommodation. Prices range from €600,000 for a one bed to €11 million for a six bed villa. The first One + Only Hotel in Europe with 10 branded villas will open next year. Its standard room will be 65 square metres. “Europe’s largest smallest room!” smiles Ahmet. The hotel will include two restaurants: Locatelli Italian and Tapa Saki Japanese. A sandy beach, tennis courts, water features and gardens will bind the built and natural environments together.

“Portonovi is typical Mediterranean style with lots of stone, timber pergolas and vivid colours,” Stevan points out. “It looks like it’s been here for ages! Other designs are completely different with lots of glass. But there’s a nice unity. Each group of homes has a pool and all the penthouses have their own rooftop infinity pools. The buildings only go up to a maximum five storeys and the slope of the site allows most properties to have sea views. Portonovi is a very high end resort of the type you can find in France or Italy.” Its Italian contractor and developer, Pizzarotti, are renowned for top end schemes in Monaco and New York. British architects Harper Downie add to the international talent collaboration. The cross border marina and helipad include passport control, customs and police. Tivat airport is just 15 minutes travel by boat. A VIP helicopter summer service from Dubrovnik adds to the luxury transport options.

Serpentine corniches snake round the coastline of Boka Bay. Verige 65 is an arrow shaped restaurant and bar built on a former parking lot at the bay’s narrowest point, 13 kilometres from Portonovi. The views are spectacular and constantly changing with the weather – Montenegro lives up to its “wild beauty” tagline – as the clouds and mountains merge and disentangle at a moment’s glance. Local tour guide Liset Kuhar calls the tiny islands in the middle of the bay in front of Verige 65 “our two little pearls”. She notes, “Our Lady of the Rocks was manmade in the 1400s. St George is a natural island with a Benedictine monastery dating from the 1100s.” Chardonnay served comes from Savina winery in nearby Herceg Novi.

Perast and Kotor are two Unesco World Heritage Sites close to Portonovi. Liset refers to Perast as “a little piece of Venice”. Bujović Palace is one of its many architectural gems. Designed by Venetian Giovanni Battista Fontana in 1694 for Vicko Bujović, Commander of the Town Fleet, the palace is what American philosopher Marilynne Robinson would call “an exploration of a glorious mind” set in stone. Liset continues, “Perast is a gorgeous baroque town built by seafaring noble families. Kotor is like Perast with stone walls and terracotta roofs. The town walls of Kotor date back to the ninth century.”

Over dinner in Porto, a traditional restaurant in the Montenegrin capital Podgorica, the Minister of Sustainable Development and Tourism Pavle Radulović acknowledges Montenegro isn’t very well known yet. “It’s a challenge; it’s an advantage. We’re trying to spread the tourist season which at present is concentrated from April to September. We’re diversifying the offer. We want the upper class of clientele to come to the Bay of Kotor. In Boka Bay in particular, we’re encouraging high end luxury tourism. We know how to cater for the needs of high net worth individuals. We’re not targeting the mass market in Boka Bay. We’ve different plans for other places. For example, we’re promoting Budva as a party town. DJ David Guetta played there recently. We want to elevate all levels of tourism.”

Pavle is in charge of the largest Government department which covers climate change, spatial planning and the environment in general. Ecology is written into its constitution. His broad remit of sustainable development and tourism is key to increasing national prosperity while keeping the country unspoiled. “We’ve opened over 50 hotels in the last two years,” he adds. “Tourism has grown to two million visitors in 2018 bringing €1 billion to the economy. But we’re very careful with growing our offer. We’re building a product. This is the place to visit; this is the place to live. We have the second deepest canyon in the world and one of the biggest natural reservoirs in Europe.”

Ahmet believes real luxury is “when you feel really comfortable, where you can be yourself in your own zone. Portonovi is a place to escape, to call up your friends and hang out for two or three days or longer. We could’ve invested anywhere but we chose Montenegro for the beauty of the country. The people are very hospitable, very committed, very friendly. Most importantly, I want Portonovi to be the number one project, the best place in Herceg Novi, the best place in Montenegro!” It’s difficult not to wax lyrical about Montenegro in winter, from the glimmering amber sun fading behind the onyx shaded clouds to the emerald green hills dotted with lemon quartz mimosa trees and alabaster alpine resorts reaching down to the golden speckled strands and clear sapphire waters. This country really is a jewel in the crown of the Adriatic Coast. As Marilynne Robinson would say, Montenegro exudes “a ravishing sense of the divine beauty manifest in Creation”. The great English poet was a fan.

“At the birth of our planet, the most beautiful encounter between the land and the sea must have happened at the coast of Montenegro.” Lord Byron

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Architecture Design

Cats + Kotor Montenegro

Feline Fine | Lavender’s Green

Our guide is the exquisite Liset Kuhar who is Peruvian by birth.

“I came to Montenegro and fell in love with it. That happens a lot when people come to this country!” We’re in Kotor, a Unesco World Heritage Site on the bay by the same name. It’s beyond gorgeous.

“Kotor was founded by the 4th Emperor of the Byzantine Empire, Constantine Porphyrogenitus, in the 10th century. The town walls, extending for 4.5 kilometres, were built between the 9th and the 14th centuries. The Fort of St John towers over the town.” A vertigo healing climb to the Church of Our Lady of Remedy, 1518, is a life must.

“Kotor is the most important town on the coast of the Bay of Kotor.”

“The town is triangular in shape with north, south and west gateways. The most recent entrance was constructed in 1555; the oldest dates from the 1400s.” A wedge of beauty.

Christmas decorations – festoons, mistletoe and ribbons – hang from the stone architecture. It’s not Christmas though. “We love Christmas, Advent, the whole season here. The Mayor of Kotor declared he’d spent so much on Christmas decorations they were to stay up for several months!”

Most towns do not have nine palaces. Kotor is not like most towns. Buća Palace is 14th century. Drago Palace dates from the 14th to 17th century. Bizanti, Grunbonja and Pima are 17th century palaces. There are four 18th century palaces: Beskuća, Grgurina, Lombardie and Vrakjen.

Cats are everywhere, nonchalantly strolling the streets, curiously peering out of doorways, meticulously sprucing themselves on walls, vainly posing on pedestals, playfully jumping up steps.

We’re in love.

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Architecture Design Hotels Luxury

Lazure Hotel + Marina Herzeg Novi Montenegro

Azure Allure

It looks like a palace you would come across in Veneto, with lower wings stretching out from a central block. That’s not entirely coincidental. It may be located next to the medieval town of Herceg Novi in Montenegro, but the original block of Lazure Hotel is 18th century Venetian. We arrive at midnight looking fresh as first bloom mimosas after a two hour drive through the mountains from the capital Podgorica. It might be 12 o’clock but we’re greeted with a typically effusive Montenegrin welcome. And pizzas. And good Turkish filter coffee served with fresh honey.

The solidity of the building’s massing is hollowed out by courtyards; some open to the elements, others glazed over. Such extravagance of space. New apartments behind the original building have mountain views. A spa and fitness suite as well as yacht club and café will complete this alluring complex. Our first floor suite has views of the 221 berth marina, softly illuminated on this mild night. Montenegro is the new Monte Carlo.

Suite dreams are made of this: a sitting room with kitchen facilities (Smeg appliances naturally), bathroom, en suite and large – that extravagance of space reoccurring – double bedroom. So light, so airy, so spacious. So technologically advanced: a light around the bed comes on automatically when you place your feet on the floor. Lazure style is all about modern rustic. Think exposed stone walls and abstract paintings and lots and lots of white.

Next to a platter of petit fours on our coffee table a note reads, “On the behalf of the entire Lazure Hotel + Marina staff, we would like to take this opportunity to welcome you to our own ‘Place of Relocation’. Friendly smiles are contagious and courteous service is our standard. Enjoy your stay and share the experience!”

It wasn’t originally a palace but rather grand naval offices. The receptionist gives us a midnight tour. She explains all the original architecture had to be kept intact. Our tour highlight is the Chapel of St Rocco, Keeper of the Dead. It opens, surprisingly, right off the main lounge area. A fresco of St Rocco himself dominates the miniscule windowless room. And so to bed, only to waken up to views across the azure Kotor Bay to the snowy peaks of the Luštica Peninsula.

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Art Design Luxury

The House of Lavender’s Blue + Attitude

The Final Show

Our magnus opus. Crescendo. An operatic high. We’ve got attitude and Attitude have got us. In a world exclusive, Lavender’s Blue the interiors (and a flash of beyond – how’s the garden?) are revealed in all their splendour in Europe’s whirl of interiors magazine, Attitude Interior Design. The Porto based publication was the perfect platform for launching our mission accomplished, a rocketing decade of shopping decorating. Closer to home, a national newspaper was keen to capture the images: The Irish Times. And the most read homes magazine on that sage and shamrock island, Ireland’s Homes Interiors + Living, celebrated Lavender’s Blue in style with a lavish spread. Phew. It’s a (very well rounded) wrap. Our writing may veer towards minimalism, occasionally. Our interiors do not. They feature some rather demanding garniture. Grab your monocle as we live up to our wallpaper. So what do the great, the good and the truly marvellous have to say?

lavender's blue courtyard zelda © lavender's blue stuart blakley

Alfred Cochrane, Artist + Architect: “Amazingly atmospheric as always. You have stood your ground and there is now a vogue again for retro country house nostalgia with a dash of Tolstoy or Turgenev where Daddy Vladimir would gladly go topless. Keep looking towards the East.”

lavender's blue courtyard © lavender's blue stuart blakley

Annabel P, Muse + Amanuensis, “Darlings, so many parties, so little time. What interiors?”

lavender's blue courtyard plaque © lavender's blue stuart blakley

Anne Davey Orr, Artist + Publisher: “I have been witness to a number of interiors which you have designed in the past.  However, none of them expressed this eclectic taste, this creative marrying of objects or these transformational powers so successfully as Lavender’s Blue itself does. In a kind of way it is a pied á terre of curiosities in which the curiosities, including you, spin off and enhance one another.”

lavender's blue courtyard sculpture © lavender's blue stuart blakley

Annabella Forbes, Actor, Art Director, Copywriter, Designer, Film Director, Ideator, Naming Consultant, Presenter, Product Innovator, Script Writer + Strategist: “It’s AMAZING! It’s fab, fab, fab!”

lavender's blue courtyard morning coffee © lavender's blue stuart blakley

Caroline Clifton Mogg, Writer: “London is a city of secret gardens, a place where plain faced streets give little away of what lies there, and where few individual facades give any clues as to the streets behind their all-embracing walls. Protected and hidden by their house the best gardens are a fusion of inside and outside… Whatever secret a garden may reveal, it will always surprise and delight those who discover it for the first time.”

lavender's blue courtyard tailor's dummy © lavender's blue stuart blakley

Dr Charlotte Blease, Cognitive Scientist + Philosopher of Medicine: “It is uncanny. You are the inheritor of Isabella Stewart Gardner’s style. I’m calling it EE – Eccentric Eclecticism.” Louise Hall Tharp, Isabella Stewart Gardner Biographer: “Mrs Gardner bought her Rembrandt with the intent of developing a real museum collection… The rooms are notable for their calculated intimacy and informality – their almost bric-a-brac juxtapositions of paintings, sculptures, drawings, pastels, letters, manuscripts, ceramics, decorative objects, and artefacts. She imitates nobody; everything she does is novel and original.”

lavender's blue courtyard ivy © lavender's blue stuart blakley

Inês Graça, Attitude Interior Design Interiors Editor: “What does one see upon entering this inner world? Broad temporal and spatial references and the thoughtful organisation of a passionate collection. Those of culture are present because of the elegance and knowledge that makes itself apparent. Singularity and extravagance define Lavender’s Blue: a hidden refuge inspired by Irish country houses named after 18th century lavender fields. A little piece of secret London that invites guests to be part of an immersive and unique experience. Fue maravilloso.”

lavender's blue courtyard statue © lavender's blue stuart blakley

John Curran, UK’s First Shigeru Ban Client: “I knew it would be interesting, but had no idea that it would be among the most engaging private interiors I have seen photographed. We pride ourselves as collectors of things we love, but you put us to shame. Having discussed John Soane at our coffee, I will somewhat shyly draw the comparison with the museum, knowing that I am not the first to do so. I have great appreciation for objects that attract the owner and that give a window into the person. Your home very much does that.”

lavender's blue outer hall © lavender's blue stuart blakley

Karla W, Heiress, “Lavender’s Blue is my absolute favourite; you have recreated a 1920s Parisian salon in present day London. The photographs are ravishing but you can only truly appreciate it in the flesh, especially by night. All the rooms are terribly, terribly smart in every sense. Every time I’m at yours I become obsessed with some fascinating detail I never noticed before. Lavender’s Blue is a rare evolutionary wonder. You’re like the sun, always coming up shining. How’s Zelda?”

lavender's blue outer hall view © lavender's blue stuart blakley

Mary Martin, Fashion Designer: “LOVE it! You’re a genius! You should do interior design! It’s exactly the taste I have! Your rooms remind me of the inside of Cardiff Castle which I used to visit as a child.”

lavender's blue drawing room view © lavender's blue stuart blakley

Mary Weaver, Houses Editor Living Etc, “Your home is so charming and original.”

lavender's blue drawing room © lavender's blue stuart blakley

lavender's blue drawing room piano © lavender's blue stuart blakley

Maud Rabin, Parisian Translator, “Your home is so stylish! Très très chic!”

lavender's blue drawing room window © lavender's blue stuart blakley

Michael S Howard, Managing Director Rasa Hospitality, “Your home is AMAZING! How fabulous is that?”

lavender's blue drawing room table © lavender's blue stuart blakley

PJ Gibbons, Editor Social + Personal, “Your house looks beautiful.”

lavender's blue drawing room urn © lavender's blue stuart blakley

Régis Camus, World’s Top Chef de Cave, “C’est magnifique!”

lavender's blue drawing room clerestory © lavender's blue stuart blakley

Dame Rosalind Savill OBE, Former Director The Wallace Collection + Sèvres World Expert, “I just LOVE it! It’s so smart. It’s so exquisite.”

lavender's blue drawing room watch © lavender's blue stuart blakley

Sandra Jonas, Former Model + Landscape Designer Georgia: “You are gorgeous!!! Zelda is so beautiful.”

lavender's blue inner hall © lavender's blue stuart blakley

Samantha Laurie, Editor Wandsworth Magazine, “What a beautiful home you have created! Are you an interior designer?”

lavender's blue inner hall cabinet © lavender's blue stuart blakley

Sheila Molloy, Châtelaine Gaultier Lodge + Castle ffrench, “Your place looks fantastic, full of the things I love. Is the cat alive or dead? My kitchen in Gaultier when it was upstairs was painted a very similar colour blue called Lobaelia pre Farrow and Balls days, Dulux I think. I saw it in the kitchen at Emo Court when Cholmeley Harrison had it about 1978!!!”

lavender's blue bathroom © lavender's blue stuart blakley

Sara Larkham, Editor Ireland’s Homes Interiors + Living: “Your home is spectacular! It’s stunningly unique and transports guests back in time… a truly unique home in London filled with character and charm.”

lavender's blue kitchen © lavender's blue stuart blakley

Simon O’Hara, Châtelain Coopershill House, “Very interesting interiors.”

lavender's blue kitchen china © lavender's blue stuart blakley

Tamar Madmoni Reich, New York Philanthropist + Holistic Health Coach, “Your home is beautiful!”

lavender's blue kitchen sink © lavender's blue stuart blakley

William Thuiller, Art Dealer + Collector: “It’s quite lovely. I love the layered textures, colours, patterns and atmosphere… sort of Leighton House meets Soane Museum, if that’s not patronising! It’s completely alien to my usual taste, in that I would never have bought any individual item, but it works superbly as an ensemble against that rich blue on the walls.”

lavender's blue master bedroom © lavender's blue stuart blakley

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Design Hotels Luxury People Restaurants

Galeries Lafayette Haussmann + Angélina Restaurant Paris

A Tale of Two Citizens

The Ritz Hotel Paris © Lavender's Blue Stuart Blakley

“Style is knowing who you are, what you want to say, and not giving a damn.” Gore Vidal

Place Vendôme Paris © Lavender's Blue Stuart Blakley

Midday in Paris. Printemps is the Harrods of Paris | Le Bon Marché is the Liberty of Paris | Galeries Lafayette Haussmann is the Selfridges of Paris. We’re bound for Lafayette’s Angélina restaurant. In the ultimate BYO experience, we’ve brought our own Champagne. Rare Champagne 2002 and Rare Rosé Champagne 2007, no less. It helps that we’re lunching with Régis Camus, the world’s most decorated Chef de Cave, even more no less. Over oeufs brouillés à la brisure de truffe d’été (scrambled eggs with summer truffle breakings) and salade de saumon fume, chèvre frais, avocat, tomates grappes, pomélo, salade romaine (smoked salmon salad, fresh goat’s cheese, avocado, tomatoes on the vine, grapefruit, romaine lettuce), Régis shares his top tips for enjoying bottled glamour:

Le Meurice Hotel Paris © Lavender's Blue Stuart Blakley

Rare Le Secret Champagne in House of Mellerio Paris © Lavender's Blue Stuart Blakley

  • “Temperature is first. It should be between 10 and 12 degrees centigrade for our Rosé and 12 to 14 degrees for Rare Le Secret Champagne.
  • The glass is very important: it is good for wine to be poured in a big glass to express itself. A small quantity in a big glass; 65 percent full maximum. Serve often to keep the perfect temperature.
  • Open the bottle delicately. Don’t turn the cap, turn the bottle.
  • The colour of all wines is either good or not. For example, rosé is not good if it is the colour of onion skin. The amazing colour of Rare Rosé Champagne 2007 has amber and copper tones. I was inspired by the stained glass windows of the Cathedral of Reims when the sun shines through. The Cathedral is the seat of the Archdiocese of Reims and is where the Kings of France were crowned.”

Rare Champagne Lunch © Lavender's Blue Stuart Blakley

Successful Champagne moments are more than mere formulae though. “Feel the joy of the colour with your eyes, the colour of life! It’s vibrant, radiant, expressive! The key is to create pleasure, to discover the smile in discovering Champagne.” Monsieur Camus props the House of Lavender’s Blue brochure on the lunch table to form a backdrop to the Rare Rosé Champagne bottle. The following day, another bottle of Rare Champagne 2002 will take pride of place in the House of Lavender’s Blue itself. After lunch at Angélina, we stroll along the golden streets past the Palais Garnier with all its ghosts, making our way through Place Vendôme, gazing at The Ritz and grazing at Hôtel Le Meurice. It’s time to roar again. Ouhouah!

Rare Champagne Box @ Lavender's Blue © Lavender's Blue Stuart Blakley

“When she was young, Loulou wanted action and fun all the time… she was in a hurry.” Eric Boman on Loulou de la Falaise

Rare Champagne @ Lavender's Blue © Lavender's Blue Stuart Blakley

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Art Design Luxury

Mellerio Paris Platinum Handbag + Fingernails

Les Nouveaux Jeunes

Sometimes you just gotta have matching fingernails and accessories. “Mellerio jewellery is bespoke. We make whatever you want,” says Director of Communications Diane-Sophie Lanselle with suave understatement. “We’ve made jewellery for all the grand aristocratic families.” This vintage platinum set dates from the 1960s and is on display in the lower ground floor showroom. The House of Mellerio at 9 Rue de la Paix is an hôtel particulier of artistry and luxury: two floors of showrooms, a design studio, a workshop and offices. Best of all are the hidden archives. Deep in the darkness beneath the City of Light, priceless records of designs and clients are kept in temperature gauged perfection.

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Architecture Art Design Fashion Hotels Luxury People

Rare Le Secret Champagne + Expérience Paris

A Revolutionary Idea

Possibly the best excuse ever to visit Paris, France. Rare Champagne, the multiple award winning Champagne, and Mellerio, the oldest jewellery dynasty in the world (founded in the 16th century), have combined their exceptional talents, refined excellence and muse affinity to create a truly prestigious treasure. Rare Le Secret High Jewellery is an exclusive cuvée from the Champagne House of Rare in a bottle decorated by French jewellers Mellerio. Customers are invited to have the decoration of the bottle transformed into a bespoke piece of jewellery by Creative Director Laure-Isabelle Mellerio once its contents have been consumed.

A bottle of Rare Le Secret High Jewellery decorated with a diamond is priced $170,000 or with a ruby, emerald or sapphire, $150,000. Out of 10 bottles worldwide, there are now just three available in Harrods London, one in Takashimaya Tokyo, one in Galleries Lafayette Haussmann Paris and one in the US through the Rare Champagne Ambassador Jonathan Boulangeat and Kyle Kaplan. American Founding Father Thomas Jefferson reckoned, “A walk about Paris will provide lessons in history, beauty, and in the point of life.” Even better, a walk about Paris en route to the studio of Mellerio will provide a lesson in luxury.

The story began in 1997 when Régis Camus, Rare Champagne Chef de Cave, had an epiphanic moment. He realized there was something special in the sparkling wines of that year and rather than declaring a vintage, he blended a small quantity of this cuvée behind closed doors, secretly ageing it in magnums. Now, 21 years later, the results are extraordinary. Régis’ personal creation has a rare depth and rich complexity, hitting lively citrus highlights while delivering tranquil notes.

This sophisticated finesse, a zenith of Champagne production, launched the collaboration between tastemakers Rare Champagne and Mellerio. “Marie-Antoinette is a natural link between our maisons,” explains Laure-Isabelle. Their shared royal patronage dates from 1780 when the Queen of France acquired a Mellerio bracelet formed of seven Ancient Roman cameos enriched with garnets. The bracelet is now on display in Mellerio’s showroom. She smiles: “Mellerio brought glamour to the Court!” Records show all the Queens of 19th century Europe bought the House’s jewellery. Ever the sybarite, Her Majesty would enjoy her first taste of Rare Champagne a few years later.

Laure-Isabelle suggests, “The refined world of Rare Champagne instantly guided my hand.” Her design for Rare Le Secret High Jewellery takes inspiration from Marie Antoinette’s extravagantly silhouetted dresses. It features a single precious jewel of at least one carat embedded in a heart of interwoven gold bands set with 510 diamonds. The gold and platinum threads swirling down the bottle, reminiscent of the flow and structure of haute couture, represent the blend of Chardonnay minerality and Pinot Noir intensity. The 24 carat solid gold muselet cap is a first, even for Champagne! The enigmatic matt black presentation box with its silver mirrored interior resembles the cases of jewellery presented to Marie Antoinette. Indeed, it resembles a Versailles salon in miniature.

A second design has also been created. The classic simplicity of a gold cartouche is reflected in the golden mirrored interior of its majestic case. Inside each bottle is the same blend of Rare Champagne. The Rare Le Secret Goldsmith is a limited edition of 1,000 numbered and engraved magnums. It is priced at $2,000. In New York, this edition is available in Baccarat, Sherry Lehmann and Sotheby’s. Harrods London also stocks Rare Le Secret Goldsmith.

“Rare Le Secret is perfect to enjoy right away,” explains Régis, “and will still be at optimum quality until 2021.” It goes well with scallop carpaccio, hot oysters, and truffle risotto. Nose, palate and view are three ways to describe bubbly. So what’s the verdict from the House of Rare? Nose: subtle salty and mineral notes with aromas of liquorice, candied tropical fruit and bergamot are followed by dried fruit and powdery floral notes. Palate: after a lively attack of Menton lemon and citrus fruits, nuances of fresh apricot, vetiver and verbena express a serene minerality. Hints of acacia honey and incense develop an oriental and smoky vinosity and ethereal finish. View: dazzling. Graceful bubbles rise in beautiful ribbons and produce a delicate sparkle.

Régis calls it “the secret within Le Secret”. That is, the transformation of something precious to drink into something precious to wear. A private visit to Maison Mellerio will allow Laure-Isabelle to turn Rare Le Secret High Jewellery’s bottle adornment into a brooch, bracelet or pendent. It’s the ultimate multisensory journey from cellar to atelier. The House of Mellerio is on Rue de la Paix, the most prestigious shopping area in the city’s Second Arrondissement. It’s between the First Arrondissement (Tuileries) and the Ninth (Lafayette). “Mellerio has been at this address for almost two centuries now. We were the first luxury goods company to open on Rue de la Paix. Cartier arrived relatively recently in 1898!” relates Mellerio’s Director of Communications Diane-Sophie Lanselle. Five star glitz of The Ritz, Park Hyatt Paris-Vendôme and Le Meurice is mere seconds away along this stretch of the River Seine.

Galignani, the first English bookshop to be established on the European Continent, is nearby. “It’s the Hatchards of Paris,” says Directrice Générale Danielle Cillien Sabtier referring to London’s finest bookshop. “The concept is a space for encounters and cultural exchanges.” The bookshop is on Rue de Rivoli set behind an arched stone colonnade. So Haussmann, so Parisian. In the 19th century, William Thackeray was a regular customer. Last century, Ernest Hemingway enjoyed its reading room. This century, Karl Lagerfeld is a fan. Mr Thackeray called Galignani, “The exile’s best friend.” Is it Rare Champagne-o’clock again? To repeat, possibly the best excuse ever to visit Paris, France.

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