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WOW!house 2026 + Design Centre Chelsea Harbour London

Heaven’s in the Detail

Chelsea is synonymous with a great school (Chelsea Academy), a fab hotel (Chelsea Harbour Hotel) and of course an international design hub (Design Centre Chelsea Harbour). The latter plays host to WOW!house once again this year. This portmanteau with a sandwiched exclamation mark is back with aplomb. Despite being only five years old, WOW!house is already a firm fixture of The Season, betwixt the Chelsea Flower Show (more Chelsea) and Royal Ascot.

“London is leading the design world,” fashion powerhouse Dame Mary Martin believes, “and Chelsea is the microcosm of the creative Capital. Studios like The Bomb Factory Art Foundation on Lots Road near Chelsea Academy are exploding with originality. The terrace of the Chelsea Harbour Hotel is one of my favourite places for enjoying a cocktail in between shows.” Her eponymous brand Mary Martin London is now one of the hottest names in international haute couture.

Following the Ralph Lauren pre party (where blue and white are the new black) Darren Price, Director of Adam Architecture, introduces the reconfigured Size Group Façade: “I enjoyed talking to you last year about the original design. I wanted to play with the architecture and remodel it just as one might evolve a design in the real world. The central portico has been expanded either side to create a loggia. This provides a three dimensional experience for visitors.” His oeuvre ranges from restoring country houses to delivering complex interior packages with many projects involving Listed Buildings.

“I took the principles of early Georgian architecture,” Darren says, “and fast forwarded to the Regency period of Soane. I have not created a historical artefact: this structure demonstrates that classical design can be appropriate for contemporary settings.” He also designed the standalone Hector Finch Garden Folly which complements The Size Group Façade but takes on an apropos whimsical air with a tented roof. Darren concludes, “This folly was conceived as a moment of theatre and discovery!”

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Enass Mahmoud, Founder and Creative Director of Studio Enass, designed the interior of the Hector Finch Garden Folly. She advises, “It’s a room evoking the escapism of an island getaway. At the heart of my work is storytelling. Here, I am the client envisioning a tranquil yet indulgent retreat designed for intimate joyful moments.” A shellwork frieze and scallop shell light pendent are breezy touches reflecting faraway places against the grounded richness of the gemstone red silk wallcovering.

Through the loggia lies Francis Sultana’s impressive Entrance Hall which leads into Róisín Lafferty’s immersive Shepel Library and onto the luxurious Lalique Home Bar designed by Chara Ghandi, Founder and Director of Elicyon. Chara gives a tour of this intimate 20 square metre space: “The bar is a collaboration with our sponsor Lalique. There are Lalique pieces dating from 1926 to 2026 incorporated into the interior. We have designed hidden compartments in the timber wall panelling which open to reveal more Lalique. It’s at once serene and spirited.” Even the stools have tiny pieces from the French crystal house embedded in their fabric covering.

She says, “This is a room that celebrates the pleasure of unveiling. It’s a journey for the curious. Luxury here is about precision, comfort and atmosphere rather than spectacle. We wanted the space to feel intimate and indulgent. The design presents Lalique through a crisp contemporary lens. “Rebecca Larn, Creative Director of Elicyon, adds, “Hosting is back at the forefront!” And Frederick Fischer, Managing Director of Lalique observes, “Crystal brings light, depth and surprise to any interior. The bar is a perfect setting for Lalique to shine in a modern context.”

Enass Mahmoud, Founder and Creative Director of Studio Enass, designed the interior of the Garden Folly. She advises, “It’s a room evoking the escapism of an island getaway. At the heart of my work is storytelling. Here, I am the client envisioning a tranquil yet indulgent retreat designed for intimate joyful moments.” A shellwork frieze and scallop shell light pendent are breezy touches reflecting faraway places against the grounded richness of the gemstone red silk wallcovering.

It’s Martin Kemp Design’s first show at the Design Centre Chelsea Harbour. The Parlour has plenty of wow factor! Founder and Managing Director Martin explains, “This room was conceived as a response to the immediacy of contemporary life – it rejects the idea of a single focal point. Instead, The Parlour unfolds as a sequence of layered moments. Many of the pieces in this circular space are from Avenue, a new furniture brand by Martin Kemp Design.” He was formerly Creative Director of the ultra luxury developer Candy and Candy. His current clientele is equally high end and international, from Monaco to Mumbai to Mayfair.

Whether George Smith’s “human sized dog bed” for the Russell Sage Studio or the dog bed in Misia for Casamance Group Bedroom Suite by Henri Fitzwilliam-Lay or the 55 lacquered “wall boxes” of the Benjamin Moore Minhwa Salon by Young Huh, this year’s WOW!house – all 600 square metres – is about lavish attention to detail. And what’s next for Darren Price’s Size Group Façade? Perhaps Vanbrughian vermiculated voussoirs for WOW!house 2027? As last seen at The Drama of Architecture exhibition on the distinguished wine merchant turned playwright turned architect held at Sir John Soane’s Museum, Holborn.

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Masterpiece Art Fair London Preview 2016 + London Art Week

Here Come The Men in Red Coats 

Ferrari 250 GTO 1963 Masterpiece Fair 2016 © Lavender's Blue Stuart Blakley

“Almost 75 percent of Kensington and Chelsea is covered by conservation areas,” Rock Feilding-Mellen duly told us over dinner at Clarke’s Restaurant on Kensington Church Street. He’s Deputy Leader of the Borough. “We’re very very proud of our built environment and the legacy we have inherited. The Royal Borough is held in high esteem here and around the world.” Sir Christopher Wren’s Royal Hospital Chelsea is one of the jewels in the prestigious Borough’s tiara. It’s fast becoming as renowned for an annual temporary replica in its grounds as the original 17th century quadrangular forerunner.

Another year, another masterpiece. Another year, another Masterpiece. Only in its seventh year, whatever did we do before this gaping lacuna in the social calendar was filled? Mind you, the Victorians managed just one Great Exhibition. It’s time to mingle with the well addressed sort of people who live in a house with no number (we’ll allow Number One London or at a push One Kensington Gardens as exceptions). Hey big spenders: there are no pockets in shrouds. Superprimers at play. From the Occident to the Orient, Venice to Little Venice, Dalston Cumbria to Dalston Dalston, the Gael to the Pale, Sally Gap to Sally Park or Sallynoggin, Masterpiece is like living between inverted commas. Among this year’s prestigious sponsors are Sir John Soane’s Museum and The Wallace Collection. That familiar conundrum: Scott’s or Le Caprice? Best doing both. Home of tofu foam Sinabro would approve. It’s not like we’ve hit the skids ourselves, as they say. The choice of champagne is even less of a dilemma: it’s Claridge’s favourite Perrier-Jouët on (gold) tap.

The Bantry House Siena Marble Tables, each spanning two metres, take pride of place at Ronald Phillips. This princely pair was purchased by the 2nd Earl of Bantry in the 1820s for the tapestry crammed entrance hall of his West Cork country house. The black marble supporting columns retain the original paint used to simulate the Siena marble tops. Thomas Lange of Ronald Phillips describes Siena marble as “the Rolls Royce of marbles”. Dating from George III times, they are priced £100,000 plus. Another Anglo Irish masterpiece is The Hamilton Tray. Commissioned by the 1st Marquess of Abercorn, this priceless piece of silver dates from 1791.

Symmetry and the art of the perpendicular abound in the Masterpiece salons (displays being much too modest a term). Lady Rosemary “I hate furniture on the slant” Spencer-Churchill would approve. Tinged with temporality, touched by ephemerality, the rooms are nonetheless paragons of authenticity. Exhibitors’ choice of wall covering is all defining. At Wallace Chan, velvety black is not so much a negation as a celebration of the totality of all colours. The kaleidoscopic crystallinity of a heist’s worth of gems is a welcome foil to the solidity of the backdrop. Jewellery designer and artist Wallace tells us, “I am always very curious. I like to study the sky and the earth. I seek to capture the emotions of the universe in my works.” Pre-Raphaelite stained glass windows by Henry Holiday cast an atmospheric rainbow over Sinai and Sons. Such a whirl of interiors – Min Hogg would approve. Purveyors of Exquisite Mind Bombs, Quiet Storm, add to the glamour. An exchange of fabulosity with Linda Oliver occurs. Moving on…

Countess Litta Detail @ Stair Sainty Masterpiece Fair 2016 © Lavender's Blue Stuart Blakley

This year’s theme of women is encapsulated by a masterpiece painted by a female of a female courtesy of Stair Sainty Gallery. “Why Vigée Le Brun is regarded as one of the finest and most gifted of all c18th female portrait artists” the gallery succinctly tweeted. Stair Sainty do though deservedly devote 3,290 words on their website to Louise Elisabeth Vigée Le Brun’s oil portrait of Yekaterina Vassilievna Skavronskaia (Countess Litta to you), a member of the Russian Court. A favourite of nobility and royalty, Madame Lebrun was tasked with softening the French Queen Marie Antoinette’s image through a series of family portraits. Despite the artist’s outstanding talent, this PR attempt was about as successful as Edina Monsoon recruiting Kate Moss (incidentally the model pops up in Chris Levine’s laser tryptych She’s Light priced £25,000) as a client in Absolutely Fabulous: The Movie. The premiere clashes with the Masterpiece Preview but we’ll stick to one red carpet at a time…

The late great Zaha Hadid, a regular visitor up to last year at Masterpiece, is now the subject of a commemorative salon. Interior designer Francis Sultana has curated an exhibition revealing Zaha wasn’t just the world’s greatest female architect – she was a dab hand at painting, jewellery and crockery design. Undisputed queen of Suprematism, curvature is her signature whatever the scale. Francis remarks, “Zaha never really believed in straight lines as such.” Across the boulevard, a moving arrangement by the Factum Foundation centred round a life-size crucifix is a reminder amidst this earthly wealth and glamour of the importance of faith and preservation. “Art is intention, not materials,” believes Adam Lowe of the Factum Foundation.

Montaged onto a bright blue sky, it’s time the red and white multidimensional Masterpiece marquee was designated as a listed building. Seasonal of course. Talking of the (changing) Season, whatever next? Proms in Peckham? Disney at Montalto? We’ll settle for tomorrow afternoon’s London Art Week Preview, a jolly round the galleries of St James’s with The Wallace Collection’s architect John O’Connell.