Gardens, the Chelsea Flower Show, and Remembering Stuart Rattle

I'm in Asia at the moment for a brief stopover en route to Europe. More and more I'm realising how fascinating this part of the world is. There are so many lush, green, untouched-by-time corners to south-east Asia, and I'm ashamed I've never taken the time to explore the region in depth before now. In a few weeks time I'll be back here again and hope to show you some more of the secret places I've found.

In the meantime, another lush, green space that's making media headlines this week is the Chelsea Flower Show, which is once again illustrating just how many of us love our gardens. It was the second-fastest-selling show in Chelsea's history, partly in response to Alan Titchmarsh, although a relatively unknown 27-year-old, Hugo Bugg (great name) became the youngest ever gold medal winner when he took out the coveted prize. I'm hoping to catch the last day of the show this Saturday, so will post pix. 

Of all the gardens, the small but glamorous Gucci garden (top two images) has been a clear favourite, showing that fashion and flowers really do go beautifully together. 

Gucci has even brought out a whimsical series of handbags to match. 

Fashion-focused gardens are very on-trend this year. The Fashion and Gardens Exhibition at the Garden Museum earlier this year was a huge success (perhaps not surprisingly considering it was curated by Nicola Shulman, sister of UK Vogue editor Alexandra). There's also a Vogue garden at the RHS Flower Show at Tatton Park, July 23–27.

Unable to afford the gorgeous new Ham Yard Hotel (Kit Kemp's latest venture), nor Number Sixteen, my usual favourite, I've opted to stay in the sweet Pelham Hotel in South Kensington, which is decorated in irresistibly pretty shades of pea green and peony pink. There are good specials on TabletHotels.com

While in London and Paris I can't wait to pick up some copies of this intriguing new magazine, Cabana, which everyone seems to be talking about. These covers were designed using vintage Pierre Frey fabrics. I love it when magazines do illustrated covers rather than the traditional (and somewhat cliched) model-in-a-frock ones.  

We're still working on the first issues of our new magazine but hope to include a lot of stories about illustrators – particularly garden illustrators. (I'm shooting a few stories for it in England and Paris this week.)

Speaking of gardens, it's incredibly sad to hear that Stuart Rattle's glorious country estate, Musk Farm, has gone up for sale. For those of you outside Australia, Stuart Rattle was one of our most-loved interior designers (an interview featuring him is here), and it was a shock to many of us when he was allegedly murdered by his partner last year. I won't elaborate as the details will undoubtedly come out in court in July, but if you have $1M (a surprisingly modest sum for such a beautiful place), the auction details are here.  Musk Farm is a testament to what can be achieved with a dusty country paddock, an old schoolhouse and a lot of horticultural love. No wonder the BBC decided to include the property in a documentary about outstanding international gardens. [Image is mine.}

Oh Stuart, we will miss you.

The Glamorous Age...

Have you noticed there are very few magnificent magazines anymore, particularly for women of 'The Glamorous Age'? (As my friend calls it.)

The Glamorous Age is the age between 35 and 70. It's the second part of our lives. The great, glamorous, dignified, wise, do-what-we-like-cos-we've-earned-it deuxième part of our lives. We get thirty-five years of this. And by god we're going to enjoy every minute. 

The Glamorous Age, you see, when we women start feeling confident. When we start dressing the way we want – and usually the way that suits us, whether we're wearing a sexy frock, a business-like suit, or simply dog-walking attire. 

It's when we start dating proper men. And I mean gentlemen, rather than those scruffy, slovenly, perpetually poor, drunken-ass ratbags we hung around with in our twenties, simply because they owned a Ducati, or knew how to kiss, or came from some obscure aristocratic English family. 

The Glamorous Age is the age when we finally make headway in our careers having worked our asses off for ten or fifteen long years. It's when we start to afford designer labels, and travel, and nice houses. With gardens we can potter around in, wearing Hunter wellies and planting hydrangeas. 

It's when we stop accepting nonsense and bulls**t from other people (terrible word but really, no other phrase for it), and when we start considering that we might just make it in life. And not just make it either, but really tie a bow around the whole thing and make a bloody great celebration of it. 

The Glamorous Age is when we realise we have an entire wardrobe of beautiful shoes – I mean spectacularly beautiful shoes, having learned where to buy them cheaply in the world – but we're just as happy to wear lovely casual ones, usually with lovely casual tops and pants to match. (A very French look.)

But The Glamorous Age is also when we've acquired pieces like a proper winter coat (Max Mara, if we can afford it), a proper 'opera coat', a proper Parisian trenchcoat, a beautifully designed handbag, proper luggage, proper lipsticks (Chanel, or YSL), proper fragrances, elegant leather gloves (some of us even have driving gloves: not me; but I want some), and sometimes even a spectacular collection of glorious chapeaux. 

The Glamorous Age is when we splash out on expensive bedlinen because it reminds us of the time we stayed in that five-star hotel in New York. And because clean, starched, ironed, high-thread-count white linen is SO much nicer to sleep on.

And The Glamorous Age is when we know how to garden, cook, keep house, wear slips under dresses that need them, write thank-you cards (or emails), place our cutlery on an empty plate the right way, be courteous to our neighbours and strangers, and generally live a life that is kind, gracious, and full of compassion and humour in equal measure.

According to the ABS, there are more of us in The Glamorous Age than any other demographic. We are the masses. The median. The generation with the biggest population. 

So why are there so few magazines catering to us?

Whatever happened to all those fabulous ones we used to have?

For vintage magazine covers (a sliver of sentimentality) try:

paperpursuits.com

www.vintagemagazinecompany.co.uk

www.condenaststore.com

http://designtaxi.com/news/353331/Vintage-Vogue-Magazine-Covers-From-The-Early-20th-Century

Vogue Living. Just Beautiful.

Isn't this beautiful? It's quite possibly the most beautiful cover of Vogue Living I've ever seen. If the frighteningly big 'Kitchens and Bathrooms' line wasn't there, it could be a magazine masterpiece.

It's the Sydney home of interior designer Cameron Kimber. This house was formerly a shoebox-sized, 1880 cottage tucked down a gritty, inner-city laneway. The original interior, according to Cameron, was "ugly, brown, plastic and hideous". A real 1970's mash-up.

Now look at it. Cameron has reconfigured the rooms and removed the dirty brown decor. Amazing what a switch of living spaces and a crisp, clean black and white palette can do.

Here are some more images, via Vogue Living and my archaic scanner. {Above 3 images via the lovely Bumble At Home blog. See link below}

    

Love the coco-cola coloured leather on the Louis XVI chairs. So modern. And the gilt frame. I do love a bit of Versailles-style gilt. Especially with black to temper it.

And the mahogany bureau that's been transformed with black lacquer. A huge expense, but look at the difference.

Love gingham and checks. They should have never gone out of interior design fashion. I suspect they're coming back in. (Just hoping out loud there.) On second thoughts, if they're in Cameron's house, they probably ARE back in interior design fashion.

Unfortunately, I can't go into detail on the furniture and changes Cameron has made as I'm a little behind deadline, but do look out for the Vogue Living on your newsstands. It's a beautiful issue this month.

Oh – Some more details of this interior can be found on the delightful Bumble At Home blog - here.

Behind The Scenes on Vogue Living

Confession. I love Vogue Living. I really do. It's the Sydney Opera House of interior design magazines: surprising, refined, a little edgy (I love the way it always curves off in unexpected but joyous directions) and distinctly Australian. It also has a cheeky spirit wrapped inside that taut, dignified body. You could almost say it's the Hugh Jackman of glossies, but let's clear the screen of magazine analogies now.

Many years ago I did a lot of writing for Vogue Living. Correction: I did a lot of secret writing for Vogue Living. Unfortunately, I had a full-time journalism job so I had to do it under a pseudonym that was as faux as the leopard print cushions in the rooms we shot. But I didn't care. It was my dream magazine. I was just grateful for the opportunity.

I remember going along to shoots with the best photographers and stylists of the day – including Earl Carter – and seeing how the pros made magic. It was like seeing what went on inside the top hat of interior design.

So it was interesting to receive Vogue Living's email launching its new Before + After 2102 issue. In this email, VL offered a little editorial tease by (very kindly) allowing a behind-the-scenes peek at at a photo shoot of a Sydney penthouse apartment.

I have to say VL: I love you, I really do, and it breaks my heart to say this, but it wasn't your best story. Or, as they say in fashion, "it wasn't your best angle". At the risk of upsetting those involved (my sincere apologies; I know how difficult it is doing these shoots), this is what I would have loved to have seen instead...

Here's the 'before' shot of that enviable harbour view.

Here's the after:

Are you thinking it's like 'Where's Wally?' too? Okay, it's apparent that a few outdoor chairs have been moved but apart from that, I can't see much of a difference at all. 

What I would have LOVED to have seen is the space BEFORE the VL crew came over: the sports socks and coffee cups scattered here and there, the old Sunday newspapers strewn on the coffee table, the empty wine glasses from the big night before (lipstick stains still attached), and the sexy evening dress thrown over the Egg chair after that great big AFL footballer/banker/visiting Hollywood movie star carried the owner off to bed! (Can't quite see if it's an Egg chair from here, but go with me on this.) 

THEN, I would have loved to have seen how they arranged the floral display (how they even chose the flowers for this space!), how they got the wine stains off the chair, and why they choose what they did for the table scape. 

That would have been a real 'before' and 'after', don't you think? 

And what I really, REALLY would have loved to have seen is how the photographer lit that seemingly dark room and then managed to shoot it with the sunny view outside (all very difficult to do). 

Here's the crew making the bed. Now this is nice. A lovely taupe linen throw, artfully folded and draped just so. But here's what I want to know: What was on the bed before? Was it the Ikea sheets? The hand-made crochet rug? The big hairy dog? Or the AFL footballer/banker/visiting Hollywood movie star?

And what about the artwork? I've worked on shoots where the crew has come in and taken everything away. I mean - Every. Single. Piece. And then replaced the lot with David Bromleys and interesting indigenous paintings.

Also, I like how they've removed their shoes. Very respectful. I notice things like that.

Here's a shot of the crew shooting and observing. This image doesn't tell me a lot. Who chose this for the spread? It shows the bridge and the placement of the apartment, but where are the pix of everybody frantically cleaning the place, styling the corners, moving the furniture? That's what I would have loved to see.

Ah, here we go. Now we're getting there. 

But what about the next shot to this sequence? The styling of the table? The polishing of glasses. The breaking of glasses... 

That would have been better...

Here's a pineapple. 

That banana looks a bit old and cruddy. Helen Redmond (VL editor) doesn't normally allow bad fruit through the Quality Control. (Once I heard her say: "I want six perfect potatoes!" And I just knew they had to be per-fect.) Where's the shot of someone checking the mouldy old banana and taking it away?

Here's the room where the pineapple went. I know what I'm thinking. What are you all thinking?

Okay, so it's a lovely kitchen. (I LOVE a monochrome cooking space.) But not sure about the pineapple people??? It looks like one of the free fruit bowls hotel managers sometimes leave in my room... 

I would have done a tower of chocolate aubergines. Or even an artful display of white ones? 

And why can't they put people in shots anymore? I just find these spaces so empty, stagnant and devoid of life when there's no human movement through them... I know it's a signature look of another interior design magazine (which we won't name here), but can't we show some human life? Even just a pair of shoes on the floor? Just to show somebody lives here?

Apart from that, it's beautiful.

Here's some people looking at a laptop screen, probably to check the images and composition as they go along. 

I know. I'm thinking the same thing. Where are the shots of someone on their hands and knees cleaning the floor? And wiping the table? And sweeping the leaves from that extraordinarily large Fig tree in the background?

Ah, HERE we go! Look at that! Piles of cushions! Now we're seeing the dirt. 

I want to see the BAGS of cushions being brought into the apartment, the TRUCK outside, the REAL styling going on. I want to see the staff laughing, and swearing with exhaustion, and talking about the bad date they had the night before, and why is that AFL footballer still in the penthouse bedroom...???

I'm not a big fan of big, iron-and-steel, bridge-y things in my photos. But that's just me. 

And I'm thinking this terrace needs some 'fluffing'. It needs Faux Fuschia in there to overcushion it. Even one would be nice. Or perhaps some funky lemon, lime and bitter glasses? Or perhaps the AFL footballer leaning over the balcony, sans his robe? (Oh! Did I say that out loud?)

But you know what? It's still a great story, despite my tongue-in-cheek remarks. I think there should be more 'before' and 'after' images like these in magazines. But REAL ones. 

Yes, we even want to see the cleaning lady! And could someone bring that AFL footballer back into shot, please?

{All images via Vogue Living. Buy the latest issue for more insights and loveliness.}

The Fabulous Art of Food Photography

Have you see the Sweet Paul blog and magazine? {sweetpaul.typepad.com and www.sweetpaulmag-digital.com/sweetpaulmag} It's easy to see why it was voted one of the best new online shelter magazines in a recent poll by Casa Sugar. In fact, the year before it WON the poll – even though it's technically a food magazine.

Full of sublime photography and gorgeous ideas for the home, including, of course, recipes, its key to success is that it's all photographed so beautifully. Look at the spread above, which was wittily named Before The Gardens Went Grey (as a tribute to Grey Gardens).

But now there's another fabulous chef/food stylist/photographer who's giving Mr Paul a run for his money. Béa from La Tartine Gourmande {www.latartinegourmande.com} 

A French expatriate now living in Boston with her Irish-American husband and daughter, Béa compiles the most exquisite recipes and then shoots them in a way that could almost be cinematic. Her signature look is colour, but even when she shoots monochromatic spreads, they're still full of life and energy.  It's not surprising she's been given a book deal. And the video the publishers organised to promote it is just beautiful! Even The New York Times loved it.

Go over and have a peek at www.latartinegourmandebook.com

At the moment, I'm putting together story ideas for a new online magazine that will be launched this year, only one that focuses more on lifestyle, destinations, inspirations and travel rather than predominantly food or interiors. I've started putting together some spreads for a Paris story – just photographs that I've done for various shoots over the past few years that I thought would add to the "flavour" of the piece (bad pun, sorry) – but then I realised my food photography isn't anywhere near as gorgeous as Béa's or Sweet Paul's! It takes a special kind of skill to shoot food, doesn't it?

(Chef's) hats off to those who do it well!

PS – Here's the way a professional does it! A lovely page from the portfolio of Australian photographer Sharyn Cairns.