St Giles

We chat to scentaholic Michael Donovan, champion of cult fragrance labels, about his own London perfume brand St Giles...

BY AMY BRADFORD

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Passions run high in the perfume world: spend half an hour talking to a serious scentaholic and you’re likely to encounter a level of knowledge and enthusiasm that might be considered geekish if it weren’t so chic. One such person is Michael Donovan (right), who, as founder of perfumery Roullier White and PR firm Profile, has championed an array of cult scent brands including Editions de Parfums Frédéric Malle, D.S. & Durga and Ideo Parfumeurs (all of which you have read about in DesignFizz's Looking Glass beauty section over the years). Now, Donovan has poured 20 years of love and expertise into his own perfume collection, St Giles (named after the London parish of St Giles where he was born), launched in December 2017.

Created with French master nose Bertrand Duchaufour, it consists of five scents, each designed to answer this thorny question: how does a fragrance make you feel? ‘Having listened to the difficulties that journalists face when writing about fragrance – and owning a perfumery myself – I realised that this important question is almost never addressed,’ Donovan explains. ‘It’s what we all really want to know. Perfume is not a shopping list of ingredients nor an ephemeral title hinting at desirability. We are all multi-faceted personalities and need an olfactory wardrobe that is multi-functional and fulfils the needs of our daily lives – a scent to make us feel empowered and successful, inspired, glamorous or stylish.’

Donovan’s elegance and wit come through in all five scents, which also exude originality – when you’ve smelled as many perfumes as he and Duchaufour have, you know how to bring something new to the party. ‘The Actress’, for instance, is an alluring narcotic floral based on oriental lily. Gorgeously creamy from the outset, it gradually reveals layers of sensual warmth in the form of jasmine, honeysuckle, sandalwood and musk. What makes it unique, though, is the addition of pear and vanilla-custard notes, which bring a truly addictive sweetness. If the Dance of the Seven Veils could be incarnated as a scent, this would be it.

At the other end of the scale is ‘The Writer’, a woody-leather accord with a cool, dark intensity. A tribute to great prose, it includes notes such as rosemary, rhubarb and clary sage that are reputed to stimulate the intellect (tests have shown that exposure to rosemary essential oil improves performance in memory tests by several percentage points). ‘It’s not aromatherapy, but I like the idea of being cleverer when I wear it,’ says Donovan.

The remaining scents take their place in your scent arsenal thus: ‘The Mechanic’ is, as Donovan says, the magnetic ‘sex scent’, a feverishly erotic blend of geranium, patchouli, leather and musk, with allusions to hot rubber and engine fuel. ‘The Tycoon’ is the ‘power scent’: a fizzy green chypre with dynamic citrus notes and a steely heart of black pepper, woody cypriol, tea and labdanum. Last but not least, ‘The Stylist’ is all about feeling well put-together, with a dash of eccentricity. The opening of sparkling aldehydes and bitter-orange bigarade is as clean and crisp as a tailored white shirt, but notes of mango, rum and creamy vanilla inject real flamboyance.

Donovan designed the Twenties-influenced grey glass flacons himself, as well as the black crystal stopper, which he had sandblasted for extra tactility ‘and to stop it from slipping out of your hands’ – too many expensive scents are spoiled by cheap bottle caps, he says. All in all, this is a very impressive debut – we counsel you to spritz it and see.
stgilesfinefragrance.com

'St Giles' eau de parfum, £130 each for 100ml; also available at Selfridges selfridges.com

Behind the scenes at Diptyque

We go behind the scenes at Diptyque, famous for its elegant scented candles, as the French label celebrates the 50th anniversary of its first fragrance

BY AMY BRADFORD

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In 2018, Diptyque celebrates the 50th anniversary of its debut fragrance, the ground-breaking 'L'Eau', launched in 1968. The first unisex scent, inspired by its heady revolutionary era, it drew on a Renaissance recipe of spices, clove and cinnamon. To mark the occasion, the French luxury label has launched two new perfumes: 'Fleur de Peau' (a seductive floral featuring iris, musk and ambrette seeds) and 'Tempo' (a woody mix of patchouli and violet leaf), nods both to the Sixties and that original feisty fragrance. What better time to go behind the scenes at this much-loved perfume and home fragrance brand, respected as much for its iconic designs as its artfully crafted scents?

Diptyque’s jumbo-sized scented candles, packaged in ceramic holders, are probably the most covetable of all its many products. An investment buy at €230 (or £200 in the UK), they weigh a hefty 1.5kg and burn for up to 150 hours. Recently, Diptyque has updated the colours of these candles to make them even more beautiful, with ‘Tubéreuse’ available in a glossy plum-coloured vessel and ‘Figuier’ in a vivid green. There’s also a new large version of the brand’s best-selling ‘34’ fragrance in matt and glossy white.

TOP: Diptyque's two new scents for 2018, 'Fleur de Peau' and 'Tempo', channelling the swinging Sixties; £115 for 75ml. ABOVE RIGHT: This year is the 50th anniversary of the brand's first fragrance, the genderless 'L'Eau', adorned with a signature illustrated label.

As with everything at Diptyque, the story behind the product is as interesting as the end result. We were lucky enough to travel to the South of France to see the ceramic candle vessels being made, at the factory of Virebent, a pottery that has been making porcelain and stoneware since 1924. Set in the picturesque Lot valley, on the outskirts of the historic town of Puy-l’Evêque, Virebent started off making industrial ceramics, but branched out into decorative pottery in the 1960s (it now makes porcelain lighting and tableware for cult French brand Tsé & Tsé Associées, among others; if you’re in Puy-l’Evêque, be sure to visit its excellent factory shop).

ABOVE: Diptyque recently updated the colours of its large scented candles, adding plum-hued 'Tubéreuse' and white '34 Boulevard Saint Germain' to the range. BELOW: Outsize scented candle 'Figuier' now comes in gorgeous green, or opt for investment buy 'Baies' in black. All are suitable for indoors or outside.

At the Virebent workshop, a small band of dedicated artisans lovingly craft the candle vessels by hand, pouring liquid stoneware into moulds and then leaving them to air dry once they have set (this process takes at least two days, even in warm, dry weather). After that, the vessels are spray-enamelled and taken off to the kiln to bake – any that don’t emerge with a perfectly rich, even depth of colour in their glaze are ground down and recycled as sand (Diptyque inspectors approve or reject every single one). As for the scented wax? That is poured at another factory altogether, which means each giant candle has been on its own long journey before it makes its way to the shop floor and, in turn, to you. If you buy one of these candles, you’re investing in not just one kind of French craftsmanship, but several. Why not splash out? Perhaps for your own special anniversary...
diptyqueparis.fr  diptyqueparis.co.uk  virebent.com  tse-tse.com

BELOW: A video celebrating the 50th anniversary of the brand's first perfume. We also liked these Diptyque Facebook videos sharing the artwork behind 2018 scents 'Fleur de Peau' (illustrated by Dimitri Rybaltchenko) and 'Tempo(illustrated by Safia Ouares); click fragrance names to see the films

Graham & Brown

Tempting damasks, prints with attitude and a new angle on trompe l’oeil. It’s time to dust off your decorator’s trestle – patterned walls are back as we turn our spotlight on Graham & Brown...

BY CLAIRE BINGHAM

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It isn’t entirely a coincidence that as our autumn wardrobes are going all seductive with richly textured fabrics, dark florals and a whole lot of bling, our homes are similarly morphing into something more spectacular. Velvet has surfaced as an important trend, as have jacquard brocades and romantic prints. So, it is perhaps no surprise that damask, despite its vaguely housewifey air, has unexpectedly begun to creep back into our homes. A velvet and damask cushion here, a silk-tasseled lampshade there... In fact, it was only after a recent trip to Graham & Brown, the British wallpaper powerhouse, that we were realised how fashionable the old Dame had become.

Damask, like a good velvet blazer, is opulent without being OTT. Often in silver and a pleasing ornamental design, it adds splendour to a room in an easy, normcore way. To be fair, we have long been admirers of damask – ever since the cool duo at Glasgow-born design studio Timorous Beasties added their subversive twist to the pattern – so it is with glad tidings we (tentatively) welcome it back.

ABOVE: 'Portuguese Tile' (middle print) is a sea of rich greens
ABOVE RIGHT: Trompe l'oeil reigns in 'Creased Up'
BELOW: 'Burlesque White' damask by Julien Macdonald

ABOVE: 'Paradox' wall mural by Kelly Hoppen and Dynamo

Graham & Brown has stacks of knockout looks for Autumn/Winter 2016. The UK wallpaper company’s wide-reaching style stems from the passion of Mr Graham and Mr Brown who founded the business in 1946. Never losing sight of its family-run values – today, two of their grandsons still lead the firm – an impressive 50% of its workforce has been with the company for over 25 years. Rolling out wallpaper from its Blackburn-based HQ to a global clientele, G&B also collaborates with luminaries, including Kelly Hoppen and Marcel Wanders, whose contemporary designs bring a little 21st-century sparkle to the mix.

ABOVE: 'Brian Eno Flower Mask' abstract prints; 'Fresco Palm' 

Of the designer cahoots, the new Brian Eno abstract print is one of our faves. There’s a cool new green 'Portuguese Tile' print, a fab gold spot and hidden away in the design studio, the Spring 2017 Kelly Hoppen designs are looking extremely swish. The company has also started doing murals which, at a starting price of £80 for a 3 x 2.5 metre piece, we think is really good value for a picture wall.  

BELOW FROM TOP: 'Dotty Gold'; 'Marbled Black and Grey'

Lose your fear. Try the heavily embossed, silver 'Metallic Tile' on the ceiling. Impress your floral-obsessed friends at dinner with the tropical 'Fresco Palm', or opt for opulence with the gloriously swirly 'Marbled Black and Grey'. Whether you go for graphic, glittery or a mash-up of damask and encaustic tiles, now's the time to get your wallpaper swag on...
grahamandbrown.com

Taxi Fabric

The Fizz goes for a ride in Mumbai and Delhi's incredible pattern-tastic taxis and rickshaws. All aboard!

BY DEE IVA

If you’ve caught a taxi in Mumbai or Delhi in the past year you might have noticed that the interiors have moved on from worn out plain leather, velveteen and traditional intricate illustrations. There’s now a whole new wave of Indian designers putting their stamp on India’s taxis, bringing a bright, fresh and contemporary vibe to your ride around town.

Based in Mumbai, Taxi Fabric was founded in 2015 by art director Sanket Avlani to form a platform for local designers to use symbols and stories from the city to create new designs for its fleet of taxis. Artful typography, Bollywood stars, Mumbai art deco architecture and heroic female figures are just some of the images that now adorn the interiors of both Mumbai and Delhi’s taxis. 

ABOVE: 'Bombay Deco' by Sarah Fotheringham and Maninder Singh of Safomasi is the result of a collaboration with Architectural Digest India and Taxi Fabric
ABOVE RIGHT: Taxi Fabric founder and curator Sanket Avlani

ABOVE FROM TOP: 'Pitter Patter' by Chithkala Ramesh references India's rainy season; Aniruddh Mehta's monochrome 'Auto Chaos' rickshaw designs; Under the influence of ultraviolet lighting with 'Nocturnal' by Aditi Dash

Each design is digitally printed on fabric and then applied to seating, doors and ceiling to create an immersive design experience. Whether you’re feeling the force of Chithkala Ramesh’s Indian monsoon,  or tripping out under Aditi Dash’s psychedelic UV installation, it’s one cab ride you won’t forget in a hurry. Unusually for a continent known for its searing colours, monochrome has also made its mark in striking geometric designs by Aniruddh Mehta, who used a mix of rhomboids, triangles, stripes and dots to create an optically stimulating architectural interior in one of Mumbai’s motorised rickshaws. To celebrate the fourth anniversary of Architectural Digest India, Mehta was one of four designers chosen by ADI to devise architecturally inspired interiors with Taxi Fabric.  

ABOVE FROM TOP: Inspirational female activists and freedom fighters are captured in 'Celebrating Women Leaders' by Kruttika Susarla; Taxi Fabric's first collection of textile designs for the home

Originally started as a Kickstarter campaign, Taxi Fabric is now branching out into textiles for the home, with colourful graphic fabrics suitable for upholstery and soft furnishings. Beautifully drawn, we're hoping to see them popping up around the globe in 2017. Keep your eyes peeled and watch this space…
taxifabric.org

Pictures: Architectural Digest India, Amey Kadam, Sanskar Sawant, Pulat Bhatnagar, Taxi Fabric

Creative CoOp

Promoting yourself isn't easy when you're a young designer with big ideas but strapped for cash. The Fizz meets Creative CoOp who are helping up-and-coming design and crafts talents make their mark...

BY DEE IVA

You can be an amazing designer with beautiful products that astound the eye or promise to enrich our lives, but in the 21st century you also need your work to be seen in the best possible light. In the age of social media the image is king and a great shot is a powerful marketing tool. Instagram, Facebook, Twitter et al are full of selfies and phone snaps, but there’s nothing like a professional picture to separate the wheat from the chaff. However, if you’re a start-up or in your first year of business a professional shoot can be beyond your means as the cost of a photographer, stylist, set builder and set is very expensive.

Step forward the London-based Creative CoOp, a philanthropic collective dedicated to providing young UK creative businesses with professionally shot, art directed and styled photographs for a nominal fee. The team consists of photographer Anders Gramer, stylist Melinda Ashton Turner and her husband, art director Grant Turner. Having worked for a raft of international magazines and retail brands, including The World Of Interiors, Homes and Gardens and ELLE Decoration, they decided to pool their respective talents and volunteer their services to help up-and-coming design talents get a foot on the ladder.

ABOVE RIGHT: A handcrafted leather bag by Ted Jefferis of TedWood gets the Creative CoOp treatment
BELOW: Textile designer Maxine Sutton's graphic lampshade and cushions; Minimal styling and Expressionist lighting bring drama to Young & Norgate's 'Animate' writing desk 

‘The idea came about during a conversation about the UK design industry and how there are so many talented up-and-coming designer-makers, crafts people and brands who struggle to be seen or heard above the noise of big established brands,’ says Ashton Turner. ‘We are talking about designers who in addition to their core training have to learn to market and publicise their products. Big brands have the financial means to employ or hire a team of people to take on these responsibilities. It was at this point we asked ourselves what we as a photographer, stylist and art director could do to level the playing field and help young, small brands be seen.’

Having worked together on numerous shoots over the years, she and Gramer decided to set up the Creative CoOp with her husband Grant to do exactly that. The CoOp was formed in 2013 and began to invite young brands to apply for their services.

ABOVE FROM LEFT: The Creative CoOp founders: Melinda Ashton Turner, Grant Turner, Anders Gramer

‘We had to be very clear about the criteria that applicants had to meet in order for us to work with them,’ says Ashton Turner. ‘In essence, the CoOp is aimed at brands and designer-makers who don’t have the financial means or support to create styled imagery or branding. We often have to ask in-depth questions about how a brand is structured to ensure we are offering our services to those who need us most.'

ABOVE: Simple and elegant bone china vessels by ceramicist Hannah MorrowDesinature's 'Lily' lampshade

For a flat fee of £200 those lucky enough to be selected receive a package that includes not only the photography, styling, design and art direction of the Creative CoOp but also studio hire, transport of products and props, set building, and materials like paint and wallpaper. The CoOp has a network of like-minded companies, such as Shoot Services and London Art Makers, which donate their services or materials for free in return for a credit and publicity on Creative CoOp’s social media channels. In addition, the final images are then given to Elizabeth Machin PR which compiles press releases ready to be sent out to members of the media.

The CoOp's first client was Margate-based textile designer Maxine Sutton who approached them after seeing a post on the Cockpit Arts blog. 'This is wonderful professional nurturing,' she says. 'Such a high level of expertise, providing this type of support at the start of your career or when relaunching, could make a real difference. The shoot was also a very enjoyable day – lovely people who are really good at what they do'. Sutton’s graphic textiles are now stocked by big retail brands including Liberty, Heal’s and Anthropologie and she has her own standalone store in UK coastal town Margate, itself a rising design hotspot.

BELOW: This overhead shot for British paper goods and homewares brand HAM brings the hand of the maker into focus

It’s an inspiring concept that makes a huge difference to emerging talents. Design graduates in particular can find it hard to make ends meet in their first few years in business, and marketing and publicity is something that many struggle with. What Creative CoOp offers would otherwise be out of reach for most young creatives as a day’s shoot can often amount to well over £1,000 before the first image has even been taken. Even more incredible is that none of the CoOp’s members make any money themselves from the business.

‘Individually we are lucky enough to make a living working in our respective fields for international publications and brands,’ says Ashton Turner. ‘We wanted to give back to the community we loved, so the simple answer was to volunteer our services.'

We think it's an admirable idea deserving of an award for services to the design industry. Ma'am, are you listening?
creativecoop.co.uk