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Bi-annual magazine featuring great interiors and great conversations! Order Issue Eleven now at the link below:
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Rose Uniacke’s current life slots comfortably into the orderly squares of London; she lives a short walk from Pimlico Road. But she came to the city in her late teens from Oxford, where her father was a physician and her mother nurtured an interest in antiques that led her to open her own shop in the 1990s. What Rose remembers most vividly from childhood is making—crafts, clothes, decorations, furniture, rooms—and practicing the piano for hours every day. After studying philosophy, she tried an internship with a furniture restorer and soon took to gilding and decorative paintwork. From there, she fell into dealing antiques.
Today Uniacke considers herself a maker above all, and it’s easy to see why. At any moment she’s got a carousel of pieces in process: a bronze table, a tea cupboard, a new piece of cutlery. “I’ve just developed a library chair,” she tells writer Sarah Medford, pulling up a drawing. “It’s a sort of mix of ideas or shapes within that framework of the traditional library chair. I was looking at exactly how high I wanted the arm, then I tried to get the curve on the back exactly as I wanted. It’s precision of detail—different from just expressing myself through the more contemporary things I design.”
Meet British gallerist and designer @roseuniacke on London’s Pimlico Road with photography @ajacobs3 and words by @samedford in print in our Issue Eleven.
10 Nov 2026
Thistledown Farm in Roxbury, Connecticut, the country home of fashion designer Wes Gordon and his husband, glassblower Paul Arnhold, is a study in restraint and domestic solitude. “As is the case with these old American homes, they’re almost time capsules of different eras,” Gordon shares.
Before Gordon and Arnhold acquired the property fifteen years ago, it belonged to the Woolworth family for three generations (and was “lovingly taken care of,” he notes). Frasier McCann, the grandson of Frank Winfield Woolworth, used the land as a 1000-acre gentleman’s farm known as Golden Harvest Farm, where he raised and bred elite herds of Golden Guernsey cattle and Dartmoor ponies. It was subdivided in the mid-1980s; his son, Franklin, preserved the remaining fifty-acre section for raising miniature horses and christened it Thistledown Farm.
“Neither of us really set out to be caretakers,” Gordon says, “but many of the original animals from when it was a working hobby farm still remain,” including the black-and-white sectioned cows and some Morgans, both of which continue to be bred on-site. They also have chickens. Babydoll sheep. Goats. And a beautiful white miniature pony for their two young children (ages three and five). “The wonderful people who took care of the farm for the prior owners are still working with us,” he adds. “There’s really a sense of history to the house.”
Step into the Connecticut home of @wesgordon and @paularnhold with photography by @cobeyarner and words by @erinecunningham in print in our Issue Eleven.
09 Nov 2026
Within the space of three years, Nina Charles went from lying to her business school to installing a four-metre tree in the middle of Paris’s Grand Palais as a specialist in floral arrangements for events. “I don’t know how to explain it, but it was really just my inner voice…. I was very determined.” The New Caledonian native cites the wild, natural landscapes of her home as formative. “I was always attracted by nature because I lived on an island surrounded by flowers and plants.”
Charles had six months to fill before going to business school in Canada. “I thought maybe it’s nice to go to Sydney, Australia, to improve my English,” she says. “My mother has a very good friend there who is a florist, Saskia Havekes of Grandiflora.” Charles asked Havekes if she could work for her for a little while. “She was very enthusiastic about the idea. I went with her to large events and also to the market to select flowers”.
As she completed her degree, Charles says a city remained in her mind: Paris. “I was a French island girl, and the only big city of reference that I had was Paris… But it was also so far away, and I think I’d only ever been there about twice despite being French.” Her mother had also moved to Paris to study architecture when she was Charles’s age. Once arriving in Paris, Charles convinced her school to let her do her final internship with a florist. “They did not understand at all why I wanted to go into this field, so I said that I was going to analyse the business data of this florist. Of course, I never did, it was just a way in.”
Her mother told her something she never knew: her grandmother was actually an events florist in Paris in the 1950s and ’60s. “I met her and knew her when I was a child, but we never talked about it… I guess I could tell that I had this somewhere inside of me.”
@ninachrls wears a dress and boots by @chloe.
Discover our full ‘Paris Now’ portfolio with words by @siobhan.oleary and photography by @cobeyarner in print in our Issue Eleven.
08 Nov 2026
Is this the home of an eccentric nomad? A well-travelled naturalist or alchemist? A glamorous Peter Beard type flexing his spoils? asks writer Chris Cotonou upon entering the apartment of Jacopo Venturini, former CEO of Valentino. “When people visit and they don’t know who I am and what I do, they cannot guess correctly… I like that,” Venturini, says. The apartment, where he has lived for ten years, is intentionally structured for surprises. Unfolding through a 59- foot corridor, each room tells its own story yet they are tied together thematically – the wild being the most obvious thread with variations between plants, animals, cultural and even anthropological artefacts. “It pleases me to create an entertaining space. I never think about the furniture; it always starts with the atmosphere I want for a room”, he explains.
Venturini’s home is in a four-storey 1920s building, a surviving artefact from the Italian Belle Époque, near the Arco Della Pace. It was once a dreary sales office in the centre of Milan, a city that is infamously unflattering by consequence of heavy bombing in the Second World War; then later rebuilt into a patchwork concrete jungle. “The contrast with Milan was important when we first began decorating,” Venturini insists (his family have lived in the city for generations). “I instinctively introduced nature – these rooms allow me a sense of peace from the outside.”
Picutred: A pair of 1940s Giuseppe Pagano rattan and wood chairs, made for Bocconi University, with leopard-skin soprarizzo velvet cushions, from Alberto Bevilacqua in Venice, sit in front of a Liberty hand-painted Italian leather screen. Between them are a Wiener Werkstätte lamp and a brass and wood table, on which sits a collection of European botanical teaching flowers.
Step into the Milanese home of Jacopo Venturini with photos by @matteoverzini and words by @chriscotonou in print in our Issue Eleven.
07 Nov 2026
Swedish fashion house Toteme recently introduced its inaugural menswear collection, marking a new chapter for the brand after twelve years of establishing its understated minimal identity. The collection translates Toteme’s established minimalist aesthetic into a distinctly masculine wardrobe.
For Neptune, model Lander Dalton embodies the lived-in attitude of the collection through the lens of Phoenix Johnson and styled by Julian Fetterman. Shot in New York City, the story explores the collection’s sophisticated yet understated character, drawing on references to Swedish heritage, including a jacket lined with a historic map of Stockholm and outerwear inspired by Scandinavian military clothing.
Discover the inaugural menswear collection by @toteme photographed by @phojoh in print in our new Issue Eleven.
Talent: Lander Dalton @landerdalton at @thesocietynyc
Photographer: Phoenix Johnson @phojoh
Stylist: Julian Fetterman @julianfetterman
Casting: Ricky Michiels @rickymichiels
Grooming: Levi Monarch @levimonarch at @frankreps
06 Nov 2026
“My house looks like an art thrift store or something—it’s crazy,” the German-born artist Roger Herman says on a recent morning to writer Laura Regensdorf, his sunny voice beaming in from the Solano Canyon neighborhood of Los Angeles. He’s just come back from walking his Jack Russell mix, Willy, and is taking an abbreviated inventory: works by Raymond Pettibon and Nick Lowe, ceramics by friends like Ruby Neri. Double- height wood shelving holds his own expressive vessels, which he glazes in a crayon-bright palette and fires in the downstairs “dungeon space,” he says. As for the bulk of his collection, it’s a living chronicle of the city’s evolving creative scene. There are entries from colleagues and students who cycled through the University of California, Los Angeles, during his three decades teaching art there. Other pieces are linked to Black Dragon Society, the influential Chinatown gallery he cofounded in the late 1990s, where then little-known artists like Jonas Woods showed their work.
These days, having retired the hour-long commute to UCLA, time is his own—the artist breezes between the studios at home as the mood strikes. The 5,000-square-foot house, built in 1985 and clad in plywood sheeting, was one of the architect Frederick Fisher’s first commissions after leaving Frank Gehry’s firm. The two met at a party, and soon Herman floated his pitch: “Can you help me build a house? I need it really big and really cheap.” Clerestory windows and a skylight went into the ground-level studio; plywood covered the floors. In 2003, he tapped Fisher to add a second building—another evolution in the way Herman and his wife, the photographer Eika Aoshima, have settled in.
Step into the Silverlake home and atelier of @rogerhermanart in print in our Issue Eleven and discover our Los Angeles talent portfolio created in collaboration with @cartier highlighting ten of the city’s most exciting artists, designers and architects. With photography by @davidwilliambaum and words by @lauraregensdorf.
05 Nov 2026
One tiptoes into the elegant offices of François-Joseph Graf with all the curiosity in the world writes Elsa Cau. Who does not know, by reputation, the formidable François-Joseph Graf, with his emperor’s first name, his sharp tongue and his contempt for so many futile and profound things that it would be impossible to enumerate them here? Who, in the world of decoration or art, has not heard of his excessive tempers, but also of his absolute – and still unequalled today – sense of detail and his fierce defense of an exceptional artisanal (and French) savoir-faire?
From the beautiful entrance resembling an antechamber, with its recognizable décor of moiré fabrics and eclectic pieces, we patiently await the king of décor, like the courtier holding his letters in his hand. The atmosphere hums with the right kind of tension: around us, people are busy, scurrying about, hurrying around the master. And yet, the mood seems cheerful. Armed with these first fragments of observation, we discover at the same time François-Joseph Graf and his office, a large room with a ceiling height fit for a king, central to this succession of salons on the piano nobile of a hôtel particulier in the eighth arrondissement of Paris.
The man has a sense of staging. While, at first glance, one takes in an almost overwhelming décor, cluttered with various furniture and art books, references to the Grand Siècle as well as to late-nineteenth-century Orientalism, an abundance of motifs and silks, all crowned by a large abstract ceiling of his own creation, François-Joseph Graf observes us, discreetly seated in the corner of the room. Rest assured: this is the only moment when he takes a step back. A long conversation then begins, which will continue in three acts, much like the operas he loves so much.
Read the full conversation between renowned French interior designer @francois_joseph_graf_officiel and writer @elsacau with photos of his Paris office by @matteoverzini in print in our Issue Eleven.
04 Nov 2026
When Laura Sartori Rimini and Roberto Peregalli met at Renzo Mongiardino’s studio, the old master was already nearing eighty. The partnership to come between his two protégés seemed almost inevitable. “We thought we had our own taste. Renzo was more flamboyant, more theatrical than we were. We immediately began talking, for instance, about using salvaged materials,” Laura Sartori Rimini recalls. “The idea that years, that life itself, had already left a patina upon the material was essential to us.” She goes on to describe the peculiar complementarity of the pair. She is the more pragmatic one, more receptive to a client’s demands, forever in pursuit of the ideal solution; curious, too, and an inveterate traveler. He is a creature of habit, Milanese to the core, and obsessed with Proust, whom he casually admits to having read in French six or seven times—yes, all of it. She loves nature, flowers and insects; he is a city mouse. He adores restaurants that she detests. In the early 1990s, Laura Sartori Rimini is a young mother. Her son is only a few months old. “I had no idea what I was getting myself into, but it reassured me not to be taking the plunge alone,” she says, laughing. “It was destiny! After thirty-five intense, eventful years—with all the advantages and disadvantages that come with being a woman in partnership with a man— we are still here.”
The rest followed. Clients they prefer not to name, though they are more than willing to pay tribute to them. Laura Sartori Rimini offers one qualification: “There is the place, obviously, but everything begins with the client. That is where the psychological dimension of a project comes in. The first meetings are really only about getting to know one another. It’s like setting off on a long journey together: we have to sense that we are approaching it in the same spirit, that we are on the same wavelength. We are also there to reassure them. This idea of the home as a refuge is essential to our relationships.”
Step into the Milanese offices of Studio Peregalli Sartori with photos by @francoishalard and words by @elsacau in print in our Issue Eleven.
03 Nov 2026
@doriangrinspan has always been drawn to creative exchange. At 19, during his sophomore year at Yale, where he had moved from Paris to study history, that instinct led him to start a magazine. “I called myself editor-in-chief and barely even had a finished PDF of the first issue.”
He named it Out of Order and shaped it largely around his own interests. Its pages featured emerging talent alongside established cultural figures across fashion, art and cinema – Rick Owens, Ryan McGinley and Luca Guadagnino among them. “I have always had a genuine interest in getting to know people and their work so a lot of what I would publish would be conversations that interested me”.
In the 15 years since, Out of Order has evolved beyond its origins as a physical publication into a creative agency producing work for brands and moving into film production. “The industry has changed so dramatically in the past decade, we adapted to the type of work we could provide”. Among his recent projects was executive producer on Ish, a drama exploring the realities of racism through the friendship of two boys from minority communities. The film went on to win the People’s Choice Award at last year’s Venice Film Festival.
Across these different media, collaboration has remained at the core of Grinspan’s work. It is an approach that has been central to his latest project: the takeover of an 18th-century farmhouse in upstate New York, which he purchased in 2021 and recently opened to guests as Maison Monna. “It was really just a beautiful property, it felt ripe for something. I fell in love with it the moment I saw it.”
Set on a 70-acre plot, the house, in the hamlet of Old Chatham in New York’s Hudson Valley, dates to 1796 and is surrounded by lush gardens and a pond. Grinspan initially imagined it as a second home but soon began to envision the house as another kind of creative platform – one that, much like the magazine and his subsequent projects, could bring artists and designers into its orbit. “It’s about giving them a platform for their work and the opportunity to create something new.”
Step into @monna.maison with @gabridellisanti and photos by @phojoh in print in Issue 11.
02 Nov 2026
In September, @hermes presented its new home collection at a historic neo-Georgian gem perched on the edge of a ravine in Toronto. Charlotte Macaux Perelman and Alexis Fabry, the artistic directors of the Hermès home universe, felt the house’s Arts and Crafts interiors naturally complemented the rich materiality of the pieces, including cashmere and linen throws, a hand-hammered metal jug, a sculptural vase in a horsehair-and-leather sleeve, and a figure-of-eight table in Carrara Venato and Verde Alpi marble marquetry by Edward Barber and Jay Osgerby. Hermès’ signature savoir-faire and the striking tactility of the objects and furniture made this grand, sprawling manse feel intimate and lived-in.
Macaux Perelman and Fabry draw on different disciplines in their joint practice. Macaux Perelman is an architect who worked with Philippe Starck and André Balazs before founding her own practice, Studio CMP. Fabry is a curator and expert in Latin American photography, co-founded the publishing house Toluca Editions with Olivier Andreotti. Twelve years into their tenure at Hermès, the pair work instinctively, guided by a simple ethos: make beautiful, functional things that have a reason to exist, however long they take to get right.
“What was important for us was to take over a place with a lot of rich architecture. We chose Toronto because we decided to come here, to this type of home and architecture. It’s something we like, and we like objects that relate to the architecture as well. There are a lot of objects in the collection, but what was most important overall was the place, the location. What really matters to us is the relationship between the space and our objects, and how we relate to the architecture, and especially to this house, which is very Arts and Crafts in style. We like the style, and we like how it interacts with our production.”
Step into @hermes Toronto pit stop with writer @josh_greenblatt and photographer @garesai in print in our Issue 11.
30 Oct 2026
Every morning, Charlotte de Tonnac and Hugo Sauzay walk from their home in the first arrondissement of Paris to their office in the Marais. After more than two decades in the city, the sights haven’t lost their impact. “I find it sumptuous,” says Hugo. “The Pont des Arts, the Seine, the light, and how the sky changes – all of it is sublime.”
De Tonnac and Sauzay came to Paris as many do to study. The French couple, and duo behind the interior architecture firm @festenarchitecture, both had childhoods far removed from that of a young Parisian. “I grew up in a very small village, surrounded by forests. I had a very late relationship with the city… While it wasn’t so far from my home, it was quite complicated to access,” says Hugo. Charlotte grew up in many places, from small cities in France to Detroit. Now, both have called Paris home for more than twenty years.
In that time, they have built one of France’s most recognised interior design studios. Their projects include the Hôtel du Couvent in Nice, recently ranked on the World’s 50 Best Hotels list recognising the quality and boldness of its interior design.
Having never worked under another interior architect, “we had to create our own style,” says Hugo. “Our culture is a fusion of Charlotte and I, and our clients helped us structure our thoughts, and our ideas.”
At the heart of Festen’s style is the way they read old buildings. “What interests us is all the layers of the past and creating an interpretation of them” says Charlotte. In Paris, a city where the old occupies more space than the new, this mindset is intrinsically linked to the city. “We work on existing places, but we always devise our projects for the 21st century,” Hugo says.
Now, Festen is quietly releasing its first furniture collection. It grew from pieces originally designed for their projects, after clients began asking where they could buy a sofa they had seen in a hotel, for example. The collection was released under the radar with no fanfare. “We’ll see how it’s received,” Hugo says. “We’re very proud of it.”
Discover our full 'Paris Now' portfolio with words by @siobhan.oleary and photography by @cobeyarner in print in our Issue 11.
29 Oct 2026
Few rooms are as “Joanna Plant” as her living area: a pair of cosy connected spaces on the first floor. Both are layered with rich textures and wrapped in Joanna’s own wallpaper, which she created for @degournay – a delicate floral, hand-painted design inspired by Indian chintzes. (“My heart is in India. I really respond to people, the craft, the colours, the smells, the beauty…”) But it has an edge, too: “I wanted it to look like we might have peeled a layer of wallpaper off, and it was underneath,” she says, as we examine its patina, which gives the impression of gentle decay. There it is, we agree, that subversion. “Every single panel is different,” she continues. “There’s no repeat pattern. I still can’t believe I live with it. It’s so beautiful.”
Joanna’s home is full of beautiful things, such as her treasured collection of textiles. Ascending the stairs to the top floor, we stop to admire an antique bed hanging, displayed on the wall like art. “It’s one of four that used to hang around a four-poster bed,” she says, revealing she sold the other three. “It’s so delicate it can’t be in the sunlight at all.” Pink hued, embroidered curtains frame Joanna’s walk-in wardrobe, which she’s had since her twenties. “At the time, they were the most expensive thing I’d ever bought,” she says. In her bedroom sits a Howard chair in its original cloth, one others would likely reupholster, with its visible holes and tears. “The cat has scratched it to death, but it’s hanging in there,” she insists. “I won’t change it. It would change its personality.”
One of her most recent ventures wasn’t a decorating project. She spent two years working on a book, ‘A Decorator’s Reflections on Making a Home’, published by Rizzoli this autumn.
Read the full story about British interior designer @joannaplantinteriors with photography by @ellaastrom_ and words by @billiebrand in print in our Issue Eleven.
Pre-order now through the link in bio.
29 Oct 2026
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