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The happy coupling of a Danish design quartet and a palazzo in Puglia is one of the most pleasant interior stories that I have seen in a long time. Our cover story of this week takes us to Villa Colucci, recently presented after a long restoration of Rolf and Mette there, from the design company, and Barbara “Bibi” Husted Werner and its award -winning film director Martin Werner. Friends during the last eight years, couples decided that this joint company had bought the town in 2021. Personally, I cannot imagine any circumstance in which they trust the result of that plan, but among them the Hen-Wers have supervised a fabulous renewal.
Both couples enjoy color and were eager to preserve the oldest charms in the building, but have also made bold decisions in their choice of art and furniture. He manages to look spectacular and retain a simple barefoot beauty. As Martin says: “We didn’t want it to look perfect, we wanted him to feel lived.” Scarlett conlon enjoys a first view of the property while describing their “shared approach.”
It establishes the template for a problem in which we observe new ways of living luxuriously, especially in our property portfolio. If I coveted the checkered pool and the ceilings of Villa Colucci of Floral-Fresco, he had positively green eyes with the envy of seeing the restorations in the Hebrides. A notoriously challenging place to build, the West Scotland island region has a precipitously low population and an increasing supply of local talent. Now, a new generation of builders, interior designers and income hopes to reduce this trend. Charlotte Sinclair made the trip To the islands of Harris, Mull and Skye to meet the owners who work with indigenous materials and techniques to preserve and evolve some of the cabins and buildings. The results are a beautiful confluence of history, the convenience covered with the wood and the majestic views. I challenge you that you do not check the local lists.
The gallery owner Patrick Seguin has been investing in furniture of the twentieth century since 1989, the year he opened his homonym gallery in Paris. Throughout the intermediate decades, it has built one of the most authorized collections in the world, including, in particular, works by Jean Prouvé. Many of the pieces now decorate their apartment in Marais, where, he explains, they work in dialogue with art, design and architecture: “Our house is designed as a canvas for this interaction.” Although I am not an expert in any of these fields, the combination of a “crunchy” space of the seventeenth century, the sculptures of Alexander Calder and the standard Prouvé chairs create a quite delicious conversation. FOLLOWING OPEN YOUR HOUSE To have a blow, I am now intrigued to see what is hidden in the space of its warehouse in Nancy, not to mention the 185 acres in southern France, where it is “located” seven of the removable houses of Prouvé.
While I write, the final touches apply to the next Cartier exhibition at the V&A Museum, the first on the jewelry house that has been set up in the United Kingdom for almost three decades. Since their treasures are too numerous to list in their entirety, We ask Nick Foulkes to concentrate On the other hand, in the history of one of its most durable reasons, the panther, on which it offers a brilliant story. The spectators of the eyes of the very acute eyes of the Academy Awards earlier this month will have seen the Panthère languishing around the neck of the winner of Oscar Zoe Saldaña or committing to the hands of Timothée Chalamet. It is difficult to imagine that the lucky cat was first conceived in 1914: it is still coming more than a century later.
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