DRIFT Volume 26

Drift /drift/

noun

1. the act of driving something along

2. the flow or the velocity of the current of a river or ocean stream verb

1. to become driven or carried along, as by a current of water, wind, or air

2. to move or float smoothly and effortlessly

THE PINNACLE OF LUXURY LIFESTYLE IN CORNWALL

On the cover

Bluey at sea, Mousehole, Cornwall, featuring one of the Something New from Repetition sculptures, 2022, in plywood and steel by Kleiner Shames. Photo by Andy Lawrence. As featured from page 107. kleinershames.com

CEO

Ben Pratchett – 01326 574842 ben.pratchett@enginehousemedia.co.uk

Managing Director

Richard McEvoy – 07771 868880 richard.mcevoy@enginehousemedia.co.uk

Client Director

Jonathan Perkins – 07587 072706 jonathan.perkins@enginehousemedia.co.uk

Editor

Hannah Tapping hannah.tapping@enginehousemedia.co.uk

Content Manager

Rosie Cattrell rosie.cattrell@levenmediagroup.co.uk

Creative Designers

Spencer Hawes Jamie Crocker

Digital Content Creative

Rebecca Hawkey

Operations Manager

Miguel Belert miguel.belert@enginehousemedia.co.uk

Finance & HR Manager

Charlotte Forster charlotte.forster@enginehousemedia.co.uk

Credit Control

Tracy Dart – 01326 574842 tracy.dart@enginehousemedia.co.uk

PROUD TO BE PART OF

Drift is published by:

Engine House Media LTD Holbrook, The Moors, Porthleven, Cornwall TR13 9JX www.enginehousemedia.co.uk www.levenmediagroup.co.uk

ISSN 2632-9891

© All rights reserved. Material may not be re-produced without the permission of Engine House Media Ltd. While Drift will take every care to help readers with reports on properties and features, neither Engine House Media Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Engine House Media Ltd strongly advises viewing any property prior to purchasing or considerations over any financial decisions. Engine House Media reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. Engine House Media Ltd cannot take responsibility for loss or damage of supplied materials. The opinions expressed or advice given in the publication are the views of the individual authors and do not necessarily represent the views or policies of

Engine House Media Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of this magazine.

Engine House Media Ltd is a multi-platform media business with a passion for everything Cornish. Visit www.enginehousemedia. co.uk to find out more. Our mission is to create READ-WATCHEXPERIENCE media opportunities marrying together consumers with the fabulous businesses across Cornwall. Our publishing and marketing teams are specialists in creating print and online communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and magazine experience we develop effective communications that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.

Foreword

Our environment is defined by the interaction between the physical world and the life we find within it. Atmosphere, climate, natural resources, ecosystems, flora, fauna, animals and, of course, humans combine with the non-living elements of water, mountains, landscape, plants and trees, creating nature. Nature is the very thing that keeps us alive, providing us with the air we breathe, the food we eat, and the water we drink. Our interaction with it can be intentional or incidental, but at every step should be respectful. Anna Pardoe practises small-scale, sustainable foraging, picking by hand and leaving plenty for the birds (35); while Sati Design’s responsibility to people and planet extends to social and environmental consciousness (51). Gemma Teague (76) is thankful for her environment as it is the ocean which informs the designs and

colours of Atlantic Blankets, adopting an ethos of conscious crafting. Anthony Mullally’s relationship with the environment goes beyond the ordinary (85); his breathwork and cold water immersion workshops and retreats help others rebuild lost connections with the natural world while raising the resilience required to live in a modern society. Rather than looking inwards for his subject matter, artist Kleiner Shames (107), looks out to the world surrounding him, to the shifting environment of structures and vistas, exploring how people interact with it and the traces they leave. Nature lies at the core of all, reminding us that there is constant creation, destruction and regeneration all around and it is this very ‘nature of things’ that defines life. DRIFT brings together those who live by it, honour it and embrace its most powerful elements.

Our contributors

Join our team

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We invite you to continue your lifestyle voyage online. Find inspiring stories and uncover more luxury content on Instagram @driftcornwall. Join our exclusive e-journal community at drift-cornwall.co.uk to receive recipes, reviews and insider knowledge of some of Cornwall’s most-loved luxury destinations.

Call Richard McEvoy on 07771 868880 or email richard.mcevoy@enginehousemedia.co.uk

Visit drift-cornwall.co.uk to read more about our writers

drift-cornwall.co.uk driftcornwall

Martin Holman

Rosie Cattrell

Hannah Tapping

Bethany Allen

Rebecca Hawkey

Dan Warden

Four beautifully appointed energy efficient new homes designed by award winning architects nestled in the beautiful Cornish Village of St. Agnes.

Each of the 4 large luxury four bedroom homes have been carefully designed to complement the stunning local mining heritage and breath-taking scenery with a balanced use of local materials externally and space to wind down and relax internally. Situated in a private cul-de-sac in the village of St Agnes the development seamlessly integrates a modern property design with the peaceful rural Cornish landscape and provides a great base for all that Cornwall has to offer.

The beautiful town of St Agnes lies on the north Cornish Coast approximately 2.1 miles from the family resort of Perranporth and within 9 miles of the City of Truro. Up until the 1920’s St Agnes was the modern day centre of mining for copper, tin and arsenic. There are beautiful cliff top walks which take you along the coastal path where you can see the mining heritage of days gone by. This compact little village supports lovely independent shops along with award winning restaurants and pubs. It truly is a Cornish hidden gem.

At a glance

Making sustainable living beautiful

Artisan homeware handcrafted in Cornwall. www.tomraffield.com

SKIN DEEP More than

WORDS BY HANNAH TAPPING

Jessica Koomen’s creative nature was observable at a young age. Growing up with dyslexia, she struggled to keep up with her peers at school. Though her studies challenged her confidence, she found joy in creative endeavors and, later on, freedom while practicing and teaching yoga. Using photography, she finally found a medium in which she could express herself with and tell stories through the lens rather than with words. Now, as a professional photographer she helps brands to tell their own story in the same way.

As a passionate advocate for the planet, Jessica studied for a Masters in Sustainable Design and continues to learn from integral leaders in sustainable living. She’s motivated to reduce her environmental impact and lives a predominantly plasticfree and sustainable lifestyle. Jessica is committed to living every day from the heart and there’s nothing she’d rather do than share her love for photography, yoga and conscious living,

As a child, Jessica discovered a family archive of books and letters by the famous Vogue photographer Sir Norman Parkinson, who had spent some of his childhood at the family farm during the First World War. She was inspired by the way he captured the strength and personality of the women he photographed. “I remember for years being unhappy with how I looked,” says Jessica, “like a lot of young women do. I lacked confidence in what I looked like and where

I was going in life. Without realising it, I was comparing myself to others and what you see on social media and in magazines. I wanted to be something that fundamentally I was not.”

“Yoga and meditation helped me to start to reconnect and embrace who I was; my curves, lines and imperfections. Through yoga I could dive in to my inner world and find peace with myself. It gave me the space to release emotions and process things. The different yogic practices I was doing allowed me to feel, to cry and to be – whether it was chanting a mantra, meditating, practicing asanas or doing a pranayama (breathwork). I realised I was not alone. We all go through a journey of self-acceptance and this led me to want to empower other women by using photography to show real women’s bodies, because that is what they are. Not airbrushed and perfect like the images we see in magazines. We are all perfectly imperfect.” Having spent time in Australia, Jessica co-founded The Yoga Social with Erin Tetarenko running events and retreats in Byron Bay. The Yoga Social’s purpose is to offer mindful and memorable experiences that inspire positive change, with events coming to Cornwall soon. Jessica also works with seasonal farm-to-fork restaurants and sustainable businesses and lives full-time in Cornwall.

jessicakoomen.co.uk jesskoomen theyoga.social

Capturing the perfect in the imperfect; Jessica Koomen’s photographic voice is informed by the body in its purest form.

LEFT

Salutation, Zig & Ko.

INSET

Jessica Koomen

ABOVE & RIGHT

The Yoga Social Mindful and meaningful experiences to nurture community

ABOVE & LEFT

Zig & Ko. Bespoke yoga mats created from natural materials to support holistic wellness and promote sustainable living

ABOVE Gaia Retreat and Spa Balasana – child’s pose (top) Adho Mukha Svanasana – downward-facing dog (above)

jessicakoomen.co.uk jesskoomen theyoga.social

CreatingUTOPIA

WORDS BY ROSIE CATTRELL

We’ve always been creatures of comfort. Whether it’s collecting memories along the way to gather around us in fond recollection, or finding ourselves drawn to colours and textures that bring us joy, there are many ways in which to find home within the walls that we surround ourselves with. But to truly make a house a dream home is an art that requires a keen eye, a skilful touch and a depth of knowledge that may not come naturally to us all. Aptly named to mean ‘beautiful room’ in multiple languages, this is where Beau Sala comes in.

After 30 years of combined experience at the forefront of a leading interior design practice, in 2020 Stacey and Guy Sibley made the choice to

realise a dream they’d shared for 16 years and move down to Cornwall to begin their new business together; Beau Sala. With 29 years’ experience in the industry, Stacey has won numerous awards, not to mention being featured in the Andrew Martin Review of the top 100 interior designers globally no less than four times. Combined with Guy’s experience in business management and property, and his skills in a myriad of trades within the industry, the pair make for the perfect business partners.

In conversation with Stacey, she gives me a glimpse behind the scenes of Beau Sala, and I wondered exactly what a husband-and-wife team working together in collaboration might look like: “As with any other professional partnership there

With a helping hand and an expert eye, it’s never been easier to find our own reflection in the interiors of our dream homes.

INSET

Stacey and Guy Sibley

ABOVE

Finding ways to make your home unique

are certainly ups and downs, but there are distinct advantages too,” says Stacey. “We can be much more open and frank with each other than would otherwise be possible, we both respect and understand each other very well. Guy and I have very different roles at Beau Sala and our skill sets balance one another really nicely.”

As the Creative Director, Stacey leads all the design aspects of the business, sourcing and making sure they’re on top of new developments in the interior design industry. “I’m also responsible for the marketing side of things,” Stacey continues. “Guy runs all business operations and logistics, he’s the technical one and is a great problem solver. He takes the lead in working with trades and main contractors before we get to the fluffy stuff! When we meet new clients, we both like to engage with them, as it makes sense to bring all of our combined experience and expertise to the table.”

Experience is certainly something that this team has in spades, with a seemingly unending list of achievements under their belt; historic landmarks in Edinburgh; listed conversions in Knightsbridge; beachfront villas in the Algarve and Cornish fisherman’s cottages in Cornwall to name just a few.

“Having worked with every type of property, from city penthouses to rural cottages alike,” says Stacey, “we can adapt to any style our clients require and always strive to deliver cohesion and quality to any style of scheme. In Cornwall, where you are frequently working on second homes or holiday rentals, you have to be pragmatic about finishes.”

With a finger on the pulse of the interior design world as new trends and collections come to light, Stacey is always ahead of the game when it comes to fresh inspiration: “It pays to be open minded, always taking in your surroundings – nature is a big part of what inspires me and we’ve always liked to travel and collect ideas along the way. We have to be aware of new collections all of the time, so we make the effort to attend trade shows such as Maison&Objet in Paris as well as keeping our library up to date. Ultimately, I think any successful designer is driven by passion and a desire to see people enjoying something that you have created.”

With the client firmly at the centre of focus for Beau Sala, Stacey and Guy have an uncanny, chameleon-like ability to get to the heart of exactly what it is that will make your house a dream home, and reflect this onto

INSET Cosy neutrals

TOP

Clean edges and original touches

ABOVE A space for serenity

the resulting interiors, meaning each project is entirely unique, naturally. “Collaboration is key, without doubt,” Stacey explains. “As interior designers, we are here to fulfil our clients’ dreams, which are likely very different from our own, and we understand that. Rather than imposing a particular style, we take the time to work side by side with our clients. Similarly, the advantages of having a designer working alongside your contractors from the start are often undervalued. Having a collaborative team from the outset can mitigate so many issues throughout a project.”

Having recently finished an amazing complete renovation project in north Cornwall, Stacey reflects on their experience with a property that dated back to 1590: “The entire house was taken back to stone and reconstructed with modern materials to allow our clients to live in comfort there for many years to come. We worked from the outset alongside the main contractors G Climo and Sons on an 18-month build that delivered plenty of surprises and challenges.

“Our brief was to transform the old, cold and dark interior into a classic cottage for the clients to enjoy in their retirement. The house had been built in stages over a 400-year period so it had plenty of quirky features that we had to work with and factor into our designs. Guy worked closely with Clifford Joinery to produce the specifications and drawings for the whole house; he loves to design furniture and joinery, there’s a special satisfaction in seeing it all develop from a drawing to built reality. On such a lengthy

renovation it was quite surreal when we finally got to the end of the build stage and laid the carpets, it was the first time in nearly two years that the house felt like a home and not a building site!

“The scheme was really timeless; we incorporated modern twists, mixing metals and woods with organic-inspired bespoke lighting, inspired by the abundant trees and withy in the gardens. We used fabrics that reflected the outdoors such as Romo’s Embroidered Wisteria and created light yet cosy spaces in the once dark, aged building. The furniture layouts were challenging, and our client was keen for us to use local makers and materials wherever possible. Tom Heywood Bespoke from Newlyn built us a stunning oval dining table from a single slab of Cornish oak, it’s fantastic to be able to conceive something unique when you can’t find the right pieces ‘off the shelf’ as it were. Our clients were absent for the latter stages, so we got to have a proper reveal, which is always a bit nerve wracking but they were delighted with everything!”

Holding up a mirror to your wildest interior dreams, Beau Sala possesses the understanding and experience to reflect exactly what it is that will make your house feel like a home unique to you, and with the tools to bring it to reality close at hand you can trust that Stacey and Guy will take the time to share their expertise with you in understanding what your utopia looks like.

Edible ALCHEMY

WORDS BY HANNAH TAPPING

Home to the Parnall Group, Trelonk Farm is something of an enigma. An agricultural outpost on the Roseland peninsula, its mission is to improve health and wellbeing through sustainable practices. Farming rich, nutrient-dense oil seed crops such as borage, sunflowers, calendula, camelina, roses and mustard as well as having a licence from the Home Office to cultivate Industrial Hemp Fibre, cultivation occurs via precision farming, using agri-tech monitoring and techniques designed to have a light earth touch. Trelonk Wellbeing was launched in 2020, producing concentrated pure essential oils from the farm crops with the intention of improving body and mind, a deeper delve into which can be found in DRIFT 16. What I didn’t realise was that

at a similar time, additional alchemy was happening on the farm; and this time it was edible.

Anna Pardoe, Director of Wild Cornwall and Chief Wilder, was able to fill me in on how this luxury, Cornish food product and gift set sister company came about: “It all happened quite organically really. We began making gift hampers, with all of the products developed by myself. We then added more products to the range and now, along with our online shop, we sell to retail outlets throughout Cornwall, which is proving hugely successful.” Wild Cornwall’s USP put in place by Anna at the outset, and the guidelines that new chef Sonia creates recipes by, are that ingredients need to be foraged, seasonal or grown on-site.

PREVIOUS

Inspecting the borage fields at Trelonk

Farmed and foraged on the Roseland, Wild Cornwall’s handmade, small-batch products are as good for the environment as they are for the soul.

INSET Anna Pardoe

TOP

Pouring pressed oil (left) and harvesting sunflower seeds (right)

ABOVE Foraging gorse (left) and wild garlic (right)

ABOVE Calendula and borage in full bloom

Trelonk Farm extends to some 150 acres, which is largely given over to seed oil crops, meaning in the height of the growing season there are flowers as far as the eye can see and as it is a working farm, Anna and her team have access to a host of hedgerows for foraging. Having gained funding from a Countryside Stewardship grant, the farm also has areas of wildland which provides some of the more unusual ingredients. Having always worked in food and cooking, Anna was able to combine her experience with her passion for foraging to launch Wild Cornwall.

“I think the very first product was our Rambler’s sweet chilli sauce and, as with all of our products, the recipe was inspired by what was available on the farm,” explains Anna. “As my starting point, I’ll look at an ingredient that we haven’t done much with already and then ask myself what application could that take? For example, I might think we don’t do anything with rosehips… maybe a rose hip curd could work. Do we have a curd? No, so I need to make a curd, what can I use to make it? You can see how my thought processes work!”

As ingredients are so seasonal, scaling up is one of the big challenges that Wild Cornwall faces in the future. Anna is currently looking

at the feasibility of creating a network of other farms (ideally organic, as that’s Wild Cornwall’s long-term goal) where she can work with teams of people, whether they’re on their books or own separate farms, so that they can access ingredients, both foraged and grown that they otherwise wouldn’t be able to to. “If we can get lots of people working with us on a really small scale, doing it really sustainably, picking by hand and leaving plenty for the birds then we could end up with an amazing network of people within local areas helping with the supply chain and keeping up production capacity. That’s really the dream.”

I’m eager to know if Anna has a favourite ingredient to use? “Well, I do have a least favourite,” she exclaims. “Hawthorn berries are such a pain, they’re 90% stone, but we use them in products like our Hawthorn ketchup so it is really worth it! But, I guess I like to use ingredients that people are less familiar with, such as mushrooms. The third sister company at Trelonk, Phytom Life Sciences undertakes nutraceutical plant research and grows all sorts of unusual products. It’s a bit like a science campus – they’re doing research all the time – and one of the really cool areas that they’re just branching into is mushrooms. We’re talking about a

Anna with wild arsemart

TOP

Rose Sweet Chilli Sauce (left) Reparative Hand Lotion and Soap (right) made with bergamot, rosemary, and geranium

ABOVE

Lemon Verbena and Violet Gin Liqueur (left) and a Cocktail Hedgerow Royal made with Rosemary Vodka Liqueur and Crème da Mure (right)

project together, where they can be growing their own specialised mushrooms for scientific research, and I can use them for Wild Cornwall products. Mushrooms have amazing properties, but there are dangers and risks to foraging wild mushrooms and they’re difficult to forage at scale due to damage to the ecosystem.”

Wild Cornwall is home to a café, alongside a test kitchen and the super-sterile main kitchen where all of the products are cooked up, bottled and labelled in small batches. “In England, I think we have a bit of a terror about foraged wild food, so I’m always very conscious with our foraging to make sure that we are doing it properly,” says Anna.

With products in almost 50 independent shops across Cornwall and Devon, including National Trust outlets, as well as Jarrolds in London, Wild Cornwall brings a unique taste of Cornwall to many a discerning palette. Some of the products are Taste of the West award winners, such as ‘champion in class’ for the Rose and Strawberry Red

Wine Vinegar, gold for the Blackberry Balsamic Vinegar and silver for the Sweet Basil Sunflower Oil. Alongside condiment and chutney favourites, the Wild Cornwall range now includes gin liqueurs and body soaps, scrubs and rubs.

“I think the future lies in growing things that nature wanted to grow in the first place,” concludes Anna. “So, we’re looking towards planting crops that just naturally want to be here, like sea buckthorn bushes. They will essentially be wild plants, but we want to cultivate them so that we can harvest them without stressing the land.” The range is diverse and Anna tries to be guided by the plant rather than the product although sometimes she falls down a veritable selfconfessed rabbit hole of ideas – it’s a little reminiscent of Willy Wonka’s Chocolate Factory for plants! “I totally agree,” says Anna, “in my ideal world we would have wild garlic growing out of window ledges and hogweed coming through the ceiling!” wildcornwall.net

Simplicity OF STYLE

WORDS BY HANNAH TAPPING

Head Chef Charlotte Vincent brings her unique take on modern British dishes, which are influenced by Scandinavian and French cuisines, to the tables of Restaurant Meudon.

Crispy Oysters with Seaweed Mayonnaise and Beef Tartare

SERVES 4

INGREDIENTS:

For the oysters: Oysters (native)

500g plain flour

30g baking powder

500ml soda water 500ml ale or beer 1ltr sunflower oil

For the mayonnaise: Good quality mayonnaise Seaweed salad (dried) Dijon mustard Cornish rock salt 1 lemon

For the beef tartare: 300g beef fillet (really fresh) 1 teaspoon of Dijon mustard 1 teaspoon of Tabasco Salt and pepper 20g chopped chives 1 shallot 1 dessert spoon soy sauce 1 dessert spoon sesame oil

METHOD

Gently steam the oysters. Pop them open and reserve them in the deepest part of the shell. Combine all the dry goods in a bowl and then mix in the wet ingredients, whisking well. Season and allow to sit for an hour. Roll the oysters in some reserved flour and set aside.

Mix the mayonnaise with the blended seaweed, mustard, rock salt and lemon and stick blend.

Once the batter has rested, dip each oyster in the beer batter and gently fry. Drain on a cloth and place in the shell, top with a good dollop of seaweed mustard.

For the beef tartare, finely chop the shallot and then cut the beef very small. Mix the mustard with the chives, soy sauce and sesame oil and then add seasoning to taste. Combine the beef, shallots and mustard dressing and serve alongside or under the oyster shell.

Scallops, Apples and Buttermilk

SERVES 2

INGREDIENTS:

6 Cornish scallops in shell or out of shell (king)

300g buttermilk

Juice of 1 lime

2 Granny Smith apples, peeled and sliced to the desired size

METHOD

Remove the scallops from their shells, clean off the roe and trim before sitting them on a cloth ready for frying. Gently heat the dashi with 150ml of water, cool, heat again with 150ml of white wine, cool one more time, add the buttermilk and set aside for serving.

Bring some salted water to the boil in a pan. Have a cloth at the ready. Blanch the flat leaf parsley in the hot water for a minute, remove and drain on the cloth. Once drained, blitz in a blender with the rapeseed oil until smooth and pass through a sieve. Transfer to a bottle to use when plating.

2 cucumbers

Micro herbs

Dashi powder

Flat leaf parsley

Cold-pressed rapeseed oil

Peel the cucumbers, using the peeler to make ribbons and roll each one ready for serving. Do the same with the apple but cut it into desired shapes for serving.

Place a non-stick pan on the heat and add lemon juice to the buttermilk mixture, taste (it should be acidic and smooth with salty undertones).

Fry the scallops, the biggest side down first until the right colour is reached (golden brown hues). Flip and fry the other side then add 100g of butter and a squeeze of lime to finish.

Assemble on the plate. Season, taste, and season again if required.

SERVES

Chocolate Mascarpone Parfait

4

INGREDIENTS:

For the parfait:

330g chocolate (good quality)

150g castor sugar 90g egg yolk

290g double cream (UHT) 320g cold double cream 40g gelatine or vegetarian gelling agent

METHOD

For the parfait:

150g mascarpone 1 teaspoon vanilla paste Silicone moulds of your choice

First, bloom the gelatine in water. Then make a crème anglaise by gently heating the sugar, cream (UHT) and vanilla paste in a pan. Place the chocolate and bloomed gelatine in a tall jug. When the custard reaches 84°C whisk in the egg yolk, then pass through a sieve to remove any lumps. Pour immediately over the chocolate and stick blend until smooth. Add the mascarpone and blend again.

Whip the cold double cream to soft peaks and then fold into the chocolate mixture. Place into the desired moulds and leave to set in the freezer for 8-12 hours.

For the mirror glaze: 330g dark chocolate 150g glucose syrup 150g gelatine 190g nappage 235g condensed milk 80g sugar 190ml water

For the mirror glaze:

Bring the glucose syrup, sugar, and water to the boil, remove from the heat and allow to sit for a while. Bloom the gelatine. In a tall jug, place the chocolate, condensed milk and nappage. Pour over the chocolate and stick blend before adding the gelatine and blending again. When the glaze has cooled to 45°C pour over the frozen dessert and serve.

MEDITATION The Artof

WORDS BY BETHANY ALLEN

Although it has taken longer for meditation to come to the UK’s shores, we now understand how beneficial it is. In the mad rush of modern society, there is a lot to be said for creating a relaxing and peaceful space within our homes, sitting still, and focusing on nothing but our breathing.

For those who have tried meditating for sustained periods, you may know that the entire experience can go drastically awry due to a slight niggle in your back, or pressure on your ankles on the hard floor.

As an avid meditator, founder of Sati Design, Claire Thorp knows how important it is to sit in comfort. That is why Sati was born, to ensure that every time you meditate, you are perfectly comfortable and at peace in the knowledge that the cushion you are sitting on is sustainably made.

As Claire and I enjoy our mugs of tea together and her story unfolds, I realise how much thought has gone into Sati. Ever curious, I want to learn how the story started and quiz Claire on the moment when she decided to help support those who meditate with her considerate cushions. Claire smiles with bright, caring eyes and tells me: “It seems apt that the concept of creating Sati came to me when I was meditating. Whilst sitting and breathing it is unavoidable that thoughts will pass through our minds like yachts gliding across the ocean. Most of the time, our goal is to notice these thoughts and let them pass without engaging with them, but when I had the idea to create meditation cushions that are comfortable and decorative, it was like I hit a download button. I had visions of what the website would look like and all the other products that we could sell. After

We learn how to bring awareness into our homes with Sati Design’s beautiful array of meditation cushions.

Samana scarf in ecru PREVIOUS Indira round cushion

TOP

A natural dye bath made of pink seed husks

ABOVE

All of the dyeing is done by hand

I finished meditating, I got out my notebook and wrote everything down – it was a real eureka moment.”

Sati means awareness in Pali, the ancient Indian language present when the Buddha lived. Claire has ensured that her designs encapsulate their namesake throughout the production process. It all begins in the sun-baked earth of India, where the small village of Bagru, located just outside Jaipur, still operates according to traditional fabric printing techniques. Whilst on a meditation retreat a few years ago, Claire tied in a visit to Bagru and knew that it was the right choice for the production of her designs. The thought of investing in the factoryfabric industry just didn’t sit right with Sati’s purpose, these would be mass produced and made with harmful chemicals, it wasn’t how Claire wanted Sati’s journey to begin. “My approach with Sati, is to remain aware on as

many levels as possible,” Claire explains, “I didn’t want to find a factory that practiced chemical dyeing – which is the way that most fabric is produced. I wanted the processes to be low impact and to embody, and be respectful, of nature.” And so, the small village of Bagru was sought out, a place where skilled fabric designers still employ the use of completely natural dyes and inks made from the rinds of pomegranates and other organic ingredients. “Nature produces the most incredible colours,” Claire tells me, “I was blown away when I started learning about natural dyeing, to discover just how vivid or subtle the palette is that nature produces, it’s stunning.” A beautiful concept, for Sati to mean awareness and for the fabrics to be environmentally aware too.

Claire works closely with her production team in India, creating Scandi-inspired designs, which are then carved onto blocks

ABOVE Zubeda at work – one of the local artisans who hand stitch the cushions

TOP Eye pillow in Amala print ABOVE Burnt pink round floor cushion

of wood ready to be pressed into thick, unbleached cotton. “On the whole, we use mud to print with,” Claire reveals with a spark of humour in her eyes, “It’s combined with gluten and lime but essentially, it’s just mud! We let it dry in the sun and then dip the fabric into the dye bath of whatever colour we’re using, for instance, we will make up a bath of pomegranate rinds with water and this ends up creating yellow. When it comes out of the bath, it’s back in the sun to dry again and the next step is to wash the fabric. This is when the mud will come off after completing it’s job of protecting the raw cotton beneath, and leaving the pattern printed in its absence.” Her enthusiasm is contagious and I am reminded again of how thoughtful Sati’s cushions are. “I love the imperfections that come with handmade practices,” Claire tells me: “The prints are very simple, almost like mark making, this means that imperfections naturally arise within the patterns, because every time you stamp a block onto the cotton, a different permeation of ink arises,

ABOVE

The

consequently every cushion is unique.” The fact that they are made using the power of the earth and sun seems fitting for a cushion that goes on to be used in the practice of meditation and awareness, reminding us to be aware of nature and to make choices to protect it. Once the fabric is finished, it gets shipped to the UK and on to Claire’s small barn studio, where it’s stuffed with the husks of spelt and finally sold into our homes.

As well as being environmentally conscious, Sati is also socially conscious. When Claire first visited Bagru, the local artisans taught her the block printing process. Instead of taking this knowledge with her when she left, Claire decided to keep production in Bagru, regardless of the logistical difficulties that arose from communicating production requirements to a very small rural village team with limited resources. “I fell in love with the colour palette the team created and I wanted to maintain the business opportunity with them, to keep the market going in India.

wooden printing blocks are carved by hand

TOP Block printing in action ABOVE Yoga bag in burnt pink

HAND-CARVED ALCHEMY

Awarded best hand-crafted tile company for a third year by the Southern Enterprise Awards (SME), Mel’s unique combination of ancient techniques, philosophy and poetry result in tiles that are inlaid with unique coloured clay and inspiring words.

Every tile is bespoke and hand-carved, perfect to personalise any kitchen, bathroom or fireplace. Each one takes a minimum of two weeks to complete and is created to stand the test of time.

MEL CHAMBERS, OF ALCHEMY TILES is one of the last artisans in the UK to use ancient 13th century techniques to create multi-awardwinning, handcrafted tiles in a modern-day context.

As well as maintaining business with our suppliers, we also donate 10% of every sale to a local charity called I India, which supports street children and women located in and near Jaipur.” Claire’s conscientious decision to support the community that provides Sati’s beautiful fabric gives new meaning to the concept of a circular economy. Keeping a chain of support going, from the rural printing team, to the local people and finally to us as we are supported by the cushions.

There are lots of meditation cushions on the market, but Sati is unique in its natural and sustainable approach. The cushions are a symbol of self-care because you are sitting on a piece of art, rather than a simple pillow. “I wanted to feel inspired to sit and for my cushion to be a feature in my house, as well as enabling me to sit for longer thanks to having the correct posture,” Claire explains. “It’s important to have a specially-designed meditation cushion if you are interested in meditating often, to alleviate pain as much as possible. A lot of people will use pillows from around their home, but the problem with these is that they don’t provide your body with the support it needs. In order for your spine to be in the correct position, you need a firm cushion that helps to tilt your pelvis forward to ensure your spine is straight. In comparison, a normal sofa or bed cushion is very soft and has the opposite effect by causing your spine to curve, this causes any pain to be more pronounced.

“We have different styles to help support different postures,” Claire elaborates, “If your hips aren’t very open, the higher design is good, our round cushions for example.

Alternatively, if you do have flexibility in your hips then the rectangle design is a better option. We also have floor cushions that you can put underneath the round or rectangle designs, to help protect your nobbly bits.”

The intention for Sati, is to fuse comfort and functionality with aesthetics and design. The prints are inspired by Scandinavian minimalism and each cushion is unique thanks to the natural block printing process. As a result, each customer has a unique product, and understands that this is due to the care and attention that goes into it. By using natural dyes and harnessing the natural elements, Sati is creating fabrics from mud and sunshine and bringing them back to the UK, so that people can be connected to the earth and to the world around them through meditation. It all ties into the heart of what Sati is, to be aware of the world and the impact that we have on it. Sati has an ever-growing collection and now incorporates beautiful billowing scarves, lavender and flax seed eye pillows for use in yoga, or just to relax after a long day, hand-carved wooden incense holders and yoga mat bags. The future is bright for this conscientious Cornish company, and we are very much looking forward to seeing what other rays of sunshine will be brought from the heat of central India to our more boisterous ocean coastline.

To receive a 10% DRIFT discount on all Sati Design products, use code DRIFTAWAY10. Valid until the end of January 2023.

satidesign.com

Architectural HIDEOUTS

WORDS BY HANNAH TAPPING

Cornish for hideout, Kudhva was born from a 45-acre acre disused and abandoned quarry, overlooking the sea on the north Cornish coast. With a 999 year leasehold and a peppercorn rent of a daffodil a year to be sent to Highgrove House, even the inauguration of this ‘campsite with a difference’ is something of a fairytale. In conversation with founder Louise Middleton, I was intrigued as to how this impenetrable piece of land, whose only access was a single, permissive pathway, came to be tamed and turned into the most visually arresting and design-led coastal camping hideout.

“The land came first. I wasn’t really sure what I was going to do, but knew I needed to make some money from it and to future-proof it, with a view to being able to live there part time or in some kind of way in years to come. The open-cast slate quarry on the site hadn’t been used since 1870 with its legacy being a deep cave cut into the land that’s home to Kudhva’s 40-foot waterfall. It is also home to a habitat mosaic of five different habitats, making it ecologically diverse and representing the whole of Cornwall’s landscapes in one site,” explains Louise. The habitats include two water sources, a quarter

Kudhva

Taking in the view from a Kudhva

An architect-designed, off-grid retreat that challenges all who visit with its bold and visionary concept of staying in the wilds.

ABOVE

Kudhva’s communal kitchen

TOP The Danish Cabin

ABOVE Louise Middleton (left) and the road to Kudvha (right)

TOP Floating in the reservoir

of an acre reservoir and the waterfall; bare rock and stone which is covered in lichen and low lying plants; a willow woodland; traditional heathland which is home to orchids, cottongrass and molinia; and finally a deciduous woodland with oak and ash trees and carpets of bluebells in spring.

Louise co-designed the original Kudhva with architect Ben Huggins of New British Design, choosing him because he had a similar, very fun way of working to herself: “We printed out a massive topographical map of the very diverse site. We then walked around Kudhva with a ladder, cutting pathways as we went and climbing up to find the best position for the raised structures; being able to undertake a project that’s that creative is very rare.”

“The slate quarry can feel a little ominous depending on the time of year and so we felt that by having accommodation up high, there would be a feeling of safety and enjoyment from being elevated. I realised in the first year that people’s experiences were not only mimicking the landscape and the value systems, but that they also came from the design aspects.”

The seven-metre high Kudhva were intentionally designed to be striking pieces of architecture in their own right. The flat planes made from larch were designed to reflect the slate piles and, with both the material palette and the material structure, a sense of style was important. Each Kudhva has an area with a sofa at the bottom that looks out through a large triangular window to the landscape beyond and a sleeping platform above. There are no curtains in the hope that visitors will link up with their circadian rhythms, sleeping and waking to the natural dark and light: “Many of our guests wake up quite early, but will then go back to sleep again. They’ll then come in to breakfast, pronouncing that they’ve had the best sleep ever! I hear that time and time again.”

With such an original project, it was important that Kudhva didn’t just tick the boxes in terms of natural authenticity but that the experience was also a luxurious one. Louise terms it as ‘raw luxe’, combining both ends of the spectrum in terms of experience. There’s no electricity in the Kudhva themselves, instead you’ll find a beautiful soy candle with Kudhva’s own special scent.

Old Lanwar nic k Cottages

Family is at the heart of Old Lanwarnick. We are a family run business, and we firmly believe that every guest should be given the opportunity to make holiday memories in a way that suits them.

The Danish Cabin, designed for outdoor living

TOP Bunks in the Danish Cabin

TOP RIGHT Kudhva living space

The interiors are stripped back, but what is provided is carefully curated from the luxury towels and bed linen to an abundance of fresh flowers and some of Louise’s favourite architecture, agricultural, and environmental books.

The four Kudhva, the Danish cabin which sleeps six, the tree tents and the four clifftop tipis are served by an inviting reception building where guests will find toilets and showers stocked with natural bath and body products from Cornish company land&water. In fact, wherever possible Louise sources locally, from all the fresh produce to the Yallah coffee that is served, in order to maintain a circular economic value system. Electric points are available for charging and there is a communal cooking area with gas rings and fridges. Guests are welcome to bring their own or they can order a sumptuous Kudhva breakfast hamper. The same attention to detail is given to the service offered by Kudhva staff – each one is mentored by Louise to ensure that guest satisfaction is of the highest order. Mabel heads up the front of house, working there while studying for a horticulture degree at Eden.

The site is vast and there are views and a connection with water at every turn. From reception you can see through the willow grove to the sea or soak in the hot tub for restorative warmth. There is only one bumpy road into Kudhva and it is as much a metaphorical journey to the site as it is physical. “It’s like entering an ultra-world,” says Louise. “Its elevated location and the fact that you are almost totally off-grid affects our guests in a very deep way. They find themselves starting to read books and maps. They don’t look at their phones, not even being bothered to charge them, and tend to revert to using the basic senses. In our communal spaces you’ll find people having off-grid conversations where they’re looking people directly in the eye.”

It’s just a short walk from the Kudhva to the closest beach which is Trebarwith Strand and there is endless coastal path in both directions for adventurers and wanderers alike. Cold water enthusiasts can immerse in the on-site reservoir or join one of the regular workshops with breathwork and cold water specialist Anthony Mullally. A series of events is held throughout the year named Curated

TOP Cliff top tipis

ABOVE

Views across the verdant woodland

Kudhva; think communal feasts with guest chefs, exhibitions in the engine house, music nights, wellbeing workshops and more. All are welcome to the events and to explore the site, whether you are staying at Kudhva or just visiting for the day.

There are many strings to both Kudhva’s and Louise’s bow. Four lucky couples a year are married at Kudhva where they have full and private use of the site. Kudhva products are also available to buy, selected for their link

to the elements, alongside a sensual organic limited edition scent, Golden Lixx, a perfume designed by Louise herself.

Kudhva is more than a place to camp, rather it’s the most unique of landscape hotels. It challenges perception in every way as guests are forced to live hand in hand with nature. Their reward is a special place that has a lasting effect on all those who visit.

kudhva.com

The sun sets behind the engine house

ABOVE

VICTORIAN luxury

Set just back from the stunning coastline of St Austell Bay and Charlestown, Penarwyn House is a striking specimen of Victorian architecture. Built in circa 1895, the property is truly breathtaking, from the pristine and perfectly finished interiors to the enchantingly unique structure itself.

The entrance driveway opens to reveal a broad courtyard, where Penarwyn House takes pride of place, making a lasting first impression that only improves as you enter into the broad hallway and through to the fabulous sitting room. The whole property is a showcase of interior design, cleverly displaying the size and flexibility of the accommodation at its best. Each room has its own individual styling, which combine as a whole to provide a truly exceptional and unique home.

The kitchen is very spacious, perfect for the keen chef; with a lovely dining room opposite that opens to the garden. A fabulous study and a garden room lie beyond, not to mention the cellar which seems made for wine. Upstairs the bedrooms are just as impressive, each with a very luxurious feel, and in addition to the main accommodation there is a separate staircase leading to three beautiful self-contained apartments.

An impeccably presented Victorian residence set in beautifully secluded grounds.

This versatile family accommodation is configured over three floors, offering quirky cottage features and contemporary coastal living. You are welcomed to the ground floor by an entrance hall with decorative tessellated tiled flooring which leads in to a hand-crafted bespoke fitted kitchen, replete with Rayburn stove, topped off with granite work surfaces. The kitchen/diner is flooded with an array of colour from two handcrafted stained-glass windows both created by a local Cornish stained glass glazier. To complete the ground floor accommodation there is a sitting room with a feature open fireplace flanked by a handmade wooden surround.

There are four bedrooms (one en suite) in total, ranged over two floors, offering views to Porth beach and beyond.

Lee Searle

Woven OCEAN the by

WORDS BY HANNAH TAPPING

Aluxurious blanket is an investment for life and with many of us now used to outdoor dining and socialising, the blanket has come of age. Whether to add to the social fabric of your home or as a wearable blanket to envelop you in warmth and comfort against the elements, blankets blur the lines between form and function. Atlantic Blankets’ collection of wool, cotton and fleece blankets are woven with respect for, and inspired by, the environment.

Director Gemma Teague was a full-time marketer however, as with many full-time professional working women, the arrival of a young family changed perspectives and priorities: “I was working running my own marketing business but not really enjoying it.

I’m a great believer in fate and when my great aunt, who was very much a businesswoman whose whole life was career focused, left me a small amount of money, I knew that I needed to use it for something that would resonate with who she was, and make her proud.”

So, with a small pot of money and a latenight Twitter scroll that revealed the Atlantic Blanket Company was for sale, the seed was sown for Gemma: “It might sound silly, but when I was younger, I used to play shops and loved the idea of selling things. Even when I was running my own marketing business, my office was opposite the post office and I would look on in envy at people taking in bags of parcels for products they had sold online.”

Designed in Cornwall and traditionally made in the British Isles, Atlantic Blankets are consciously crafted and inspired by the coast.

LEFT Grey Swell, Recycled Cotton INSET Gemma and Alistair

Megan Hemsworth

With Gemma’s partner Alistair having a background in spatial design and interior architecture, a blanket company felt like a good fit: “Before I knew it, we had bought the company. Although, in reality it was really just the name we took and, even then we made it on our own, shortening it to Atlantic Blankets.”

While there was an existing supply chain, Gemma was keen to work on new partnerships: “When we took on the business originally, we were very much a reseller of blankets, whereas we’ve now built up the business so that we’re working directly with the mills and makers and the partnerships we have with them allow us to create all our own designs and to have products made specifically for us.” The company grew organically, as did Gemma’s young family, and the time came where she felt able to focus on building the online presence and product range. “Alistair came on board with the business full time in 2017, which had always been our dream. He had always been the one with the ‘safe’ job as we had babies and a mortgage to pay but then he got made redundant and he was very much like “it’s happening, we have to

do this” and actually, when I look back, I’m just so grateful he was made redundant.”

Gemma and Alistair work well as a team, both designing the blankets and complementing each other perfectly. Due to Alistair’s background, his designs are very much structural, with lots of straight lines and stripes and a palette of neutral greys, whereas Gemma’s designs are more fluid and incorporate wider colour spectrums. Gemma decided very early on that they wanted the blankets to be British-made, reflecting Britain’s weaving heritage. They first chose a family-run mill for its excellent and consistent quality and the second when they were looking to add a collection of sustainable blankets made from recycled yarns to the brand. They have now worked with their two main suppliers for over five years building up strong relationships and a tested supply chain.

Collections were initially theme based, but next year’s will see a big focus on limited editions designed on customer feedback and trend, as well as reflecting the company’s inherent connection to the ocean, as Gemma

INSET

Grey Stripe, Recycled Cotton

Megan Hemsworth

Seakind Stripe, Recycled Cotton

Seakind Dots, Recycled Cotton

Megan Hemsworth

Megan Hemsworth

Megan Hemsworth

Lee Searle

Megan Hemsworth

explains: “There’s an element that has been inspired by the ocean and the coastline in everything we do. The overriding thing in all of our products is that there has to be a connection to the sea, and a conscious effort to protect it. A massive part of what we’re trying to work on at the moment is the sustainability aspect of the business, really delving into our carbon footprint as well as supporting charities and community projects.”

All cotton blankets are made using 100% recycled cotton while wool in its very nature is extremely durable and highly sustainable. Consequently, animal welfare is also a priority with organic and recycled, non-mulesed wool only being sourced from certified farms in the UK (or New Zealand, if we’ve had a particularly harsh winter). “In an ideal world, we’d use nothing but natural fibres. In reality, recycled wool and cotton contain a small amount of viscose and acrylic; it’s key to the integrity of the materials, helping maintain form and durability,” adds Gemma. “So, in our blankets, the synthetic blend comes from recycled t-shirts. Our ambition, though, is to use marine waste instead. The technology exists but, unfortunately right now, it’s not easily sourced in the UK. The moment it is,

we’ll incorporate it into our production and take another small step toward the longterm stability of our oceans.”

While foreign imports might cost less than an Atlantic Blanket, these often poorlymade products are produced through unethical practice and toxic processes. Gemma believes that throw-away fashion and the negative impact of consumerism has caused priceless skills and mills to be threatened, which is why Atlantic Blankets stands firm on its stance. The result is slowly woven, beautiful and durable blankets built to last.

As well as selling online and supplying boutique shops across Cornwall, the wider UK and the States, Atlantic Blankets has shops in Perrranporth and St Ives. The Perranporth shop can be found on the walkway to the beach and while quite small is beautifully designed, showcasing the full range on floor to ceiling shelves, creating a kaleidoscope of colour. Two chance meetings with Ron Johns, owner of the St Ives and Falmouth Bookseller and avid buyer of Atlantic Blankets, persuaded Gemma that they should also have a retail presence in St Ives. Again, fate came into play, and a fallen-through sale saw Atlantic

Atlantic Blankets, St Ives

Megan Hemsworth

Blankets seize the moment and open in Market Place in a tranquil space that beautifully showcases the blankets. “We often find that visitors will buy a blanket in our St Ives shop, fall in love with it so much during their stay that they stop off in Perranporth on their way home to buy another!”

Gemma has Cornwall and the sea in her soul, growing up in Truro: “It’s odd but I don’t remember the sea being an important part of my life when I was growing up, I think I just took it for granted. It wasn’t until I moved away and then went travelling that I suddenly realised how beautiful Cornwall is. I remember surfing for the first time in Byron Bay in Australia, and just thinking, why have I never done this at home before? The sea has become much more important to me and is how I balance work and life. Surfing is a massive powerful part of my life and I have a really close friendship group, who all share the same love for the sea; it’s where we connect, have fun and catch up for a giggle. I do get stressed but if I go and look at the sea, I can feel instantly calmer.”

It was for moments of calm and thoughts of wellbeing that led Gemma to launching their Hug in Box during lockdown, which has since become a key seller and includes the blanket of your choice, and a locally made candle and bar of chocolate: “During COVID times, we were sending a lot of blankets with heart-breaking messages, either condolences or very much just wanting to give a hug to someone. When you can’t physically be with someone, a blanket offers an alternative embrace of comfort and protection. It made me think that although a blanket is a really simple piece of fabric, it actually holds a far deeper meaning.”

Living and working by the ocean, Gemma and Alistair have witnessed first-hand the destruction caused by human industry. Not happy with sitting back and letting this happen, their ambition was for a timeless collection of lifetime-lasting blankets that help in part to protect the ocean but would also encourage others to nurture their connection with it atlanticblankets.com

INSET

A Hug in a Box

Remy Whiting

Natural materials are central to Atlantic Blankets’ sustainability

Lee Searle

Megan Hemsworth

The air BREATHE we

WORDS BY HANNAH TAPPING

I’m no stranger to breathing. I’ve done it since the day I was born, 24 hours a day, seven days a week, 365 days a year. I’ve had 50 glorious years of gas exchange that has brought oxygen to every cell in my body, ridding it of deadly carbon dioxide. It is essential to life and an involuntary skill that we are all equipped with. So, when I found out that there are workshops you can attend that will teach you to breathe, I have to say I was a little sceptical – surely, it’s just a simple case of breathing in and breathing out? I was even more sceptical when I was introduced to Anthony Mullally, an ex-international professional rugby league prop who stands 6’5” in his socks; not the kind of person I would have placed to be taking a Resilience Breathwork workshop in a yoga studio, in one of Cornwall’s most prestigious hotels. It is this very stereotyping that is at the heart of Anthony’s philosophy and my pile of preconceptions was to be swiftly toppled as wide-eyed and open-mouthed (something I

would learn was not good for me!) I began a journey of discovery into the breath.

Our base for the morning is the Scarlet hotel and, while sipping hot mugs of herbal tea, we look out across the natural reed pool to the breakers of Mawgan Porth beach beyond. The classes are an intimate gathering of just eight people, both men and women. We are from all walks of life and our ages span some 40 years. Stories are shared as we introduce ourselves. Not surprisingly, the common thread from the mats and our reasons for being there is one of stress and anxiety. Worklife balance is mentioned frequently; some have suffered traumatic events that have left them with PTSD; others are present in search of renewed focus as they have lost their way. The process of sharing is cathartic and, as we settle once more, Anthony introduces himself.

Softly, spoken with a gentle northern lilt, Anthony explains more of his own journey from elite athlete to breathwork coach. He

INSET

The reed-filtered natural pool at the Scarlet

INSET Anthony Mullally

Discovering the science behind breathwork and how, combined with cold water immersion, it can raise our resilience in the modern world.

John Hersey

Putting fire and warmth back in the body

ABOVE

Demonstrating the breathwork

explains that after years of playing professional rugby for many yeras, he found himself no longer identifying with the sport. Turning his focus inward he began introspective practices and realised that his new passion was to work with people to help them rebuild a lost connection to the natural world, their purpose, and one another. Having trained in breathwork himself towards the end of his rugby career, he realised how much it could improve performance. He also found the practice had myriad wellbeing benefits and so, using his experience in elite sport, combined with training as an advanced Oxygen Advantage breathwork coach, Anthony now shares his knowledge through a series of workshops and retreats, focusing on meditation, addressing toxic traits associated with masculinity and the power of vulnerability.

We begin by gaining a deeper understanding of why nose breathing is so important. The nose is one of the most important organs in the human body, not least because it filters out germs, toxins and bacteria from the air we breathe in; mouths are designed for eating, noses for breathing. Our ancient ancestors would only have breathed their mouths in times of stress, when the fight-orflight response was activated and they were in need of greater volumes of air. Once the stressor was gone, they would revert to nose breathing. Today we have the same reflex but the reversion to nose breathing is no longer inherent, especially in busy modern lives.

Our practice starts with some gentle nose breaths, bringing our attention to the sensation of the air passing in and out, focusing on how it feels. Not unlike the yoga breathing of Pranayama, we are encouraged to breathe into our bellies before drawing the breath up into the chest. Next comes some breath hold work and as the morning continues, we become more adept at the practice with Anthony guiding us through some exercises that increase our confidence and help us to better manage the sensation of air hunger. The workshop is designed to prepare us for the cold-water immersion to follow. I’m a cold-water convert and love the feeling of being surrounded by icy water but not all of the group share my passion. Some are clearly apprehensive, but Anthony assures the group that what we have learned during our morning workshop will give us the resilience to be able to deal with the cold. The setting is nothing short of spectacular as we

INSET

Barrel sauna at the Scarlet

ABOVE

Rebuilding lost connections with the natural world

John Hersey

ABOVE

The practice of abdominal nasal breathing

John Hersey

step out from Scarlet’s spa to the terrace. The freshwater reed pool is glassy in its stillness; steam gently rises from the cliff top hot tubs and barrel sauna; the winter sun burns bright against a cloudless sky; and the sound and smell of the sea surges up from the beach below. Our senses are overloaded.

It has been a cold night and the reed pool is 8°C, some 5°C colder than the sea below. Our select group is swathed in fluffy robes as we await our immersion, some with eager anticipation, others with nervous trepidation. Anthony leads the group into the pool, reminding us that the cold-water shock will make us want to gasp involuntarily and that as soon as we are able, we should bring our focus to our breath, breathing gently in and out through the nose. The group follows and the cold is intense as we walk down the steps into the water. The urge to gasp and mouth breathe is strong and it takes all my will to inhale and exhale through my nose, but as I manage to regulate my breathing and fully immerse my shoulders, I feel a wave of calm. I turn my face to the sun and Anthony counts us down from two minutes, all the while encouraging a lightness of breath. As we raise our faces to the sun, it feels as if we have entered an alternative icy nirvana.

The beauty of holding these workshops at Scarlet, and sister hotel Bedruthan, is that hot tubs and saunas await to warm our souls. Covered in goosebumps, but invigorated by the cold, we welcome the warm cocoon. Here we talk of our experience and Anthony

explains: “Your goal going forward should be to regularly check in with your breath, building functional breathing habits and using the breath as an anchor to bring you into the moment. Whether it be the stressor of the cold or the stresses of a situation, you can’t control what happens to you, but you can control how you respond. Your breath gives you the best chance to respond to life’s uncertainty with an element of calm and control.” We repeat the cold immersion once more, followed by the dry heat of the sauna. At each repetition my mind becomes clearer and my senses alert, something akin to a natural high.

The day ends with more hot mugs of herbal tea and a time for reflection. It is clear that it has had a profound effect on each of us. As a group we are visibly more relaxed and at ease with both ourselves and each other. We have discovered the benefits of breathwork, now equipped with the ability to ‘down regulate’ and activate our body’s relaxation response, bringing the nervous system back to a state of balance. We finish with a restorative lunch, thankful for what we have learned and the food laid before us.

Anthony Mullally will be running mixed gender Resilience Workshops throughout 2023, both at the Scarlet and Bedruthan hotels, with additional plans for an exclusive series of Men’s Mental Health Retreats.

scarlethotel.co.uk bedruthen.com anthonymullally.com

WORDS BY LOTTIE LEWIS

Agronomist Seth Pascoe first discovered seaberries whilst trekking in the Himalaya Mountain range in Nepal. Along with his friend Kiran, they had taken on the challenge of hiking to Mount Everest base camp.

As they ventured upwards, they both began displaying the symptoms of altitude sickness; breathlessness, grinding headaches, dizziness and nosebleeds. That night the Sherpa gave them a glass of bright, almost neon-orange juice. The Sherpa told them that he drank the juice for his general wellbeing and that it would help them cope with the altitude sickness. The next morning the pair woke up feeling considerably better and an idea was born. Seaberries are the fruit of the

sea buckthorn. Found across the northern hemisphere, the plant can be traced back to 300BC, with references to the many health benefits and medicinal properties found throughout history by philosophers, conquerors, religious leaders and authors. “After coming back from the Himalaya,” says Seth, “I started eagerly researching sea buckthorn. The more I learnt about the amazing health properties of the fruit, the more convinced I became that we had to try and bring it to people’s attention.” Seth found sea buckthorn growing wild out on the Cornish coastline, showing that the plant could thrive just as well in Cornwall as it does in the Himalaya. It was the proof he needed, and so he began planting in earnest, establishing Cornwall’s first sea buckthorn orchard.

The magical properties of a tiny orange berry bring a unique vitamin boost to Cornwall.

INSET Seth Pascoe

The tangy, citrus-like taste of seaberries is often compared to mango, passionfruit and apricot. Considered a functional food, when they are consumed as part of a normal diet they demonstrate physiological benefits, and can reduce the risk of chronic diseases over and above their basic nutritional function. A resilient and versatile shrub, sea buckthorn can endure extreme temperatures, and grows in all manner of soils. However, soil health was also an important part of Seth’s plan. He firmly believes that to grow nutrientdense, healthy crops, you need to start from the ground up, quite literally.

From the beginning, one of his main management principles was to strive to improve the soil health of his farm. To make his plants healthy, and less susceptible to pests and diseases, the Cornish

Seaberry Company orchards are managed using regenerative-agriculture principles. Encouraging biodiversity and looking after the environment are also key priorities. Over 10% of the entire farm is dedicated to a wildflower meadow. Aside from the 2000+ productive sea buckthorn trees, they plant native tree species in hedgerows and field corners each year.

Habitat creation for species such as birds, bees, bats and hedgehogs are ongoing projects. You’ll even find a mob of “four-legged, self-propelled wooly grass cutters”, also known as Seth’s flock of heritage breed Shropshire sheep. Roaming around the orchard, they quietly graze in amongst the trees, keeping the grass trimmed and cycling nutrients into the soil, subsequently improving soil health and fertility.

ABOVE

Seaberries growing in the Himalaya

natural

TOP Seth at the Cornish seaberry orchards

TOP

The bright berries are packed with vitamin C

ABOVE

Partnering with Tia Tamblyn (tiatamblyn.com) for an episode of her @breakfast_and_beyond podcast

John Hersey

The Cornish Seaberry Company’s main product is aptly named, VitaminSEA, a bright orange, healthy and delicious juice. Seth explains: “Pure seaberry juice is just that little bit too tart for most people’s taste buds. When we developed VitaminSEA, our priority was not only to deliver all of the healthy benefits from seaberries, but to do so in a tasty and 100% natural way.”

Packaged into 250ml cans, each portion provides 76% of your daily vitamin C, plus lots of other health benefits too. Each of the small neon one gramme, orange berries are crammed with vitamin C, E and A. Being high in antioxidants and containing omega oils, they help our immune system to function correctly, hydrate and heal our bodies, and support our digestive functions and respiratory systems. Alongside VitaminSEA juice, you’ll also find Seth’s

seaberries used by the Driftwood Spars Brewery in their Seaberry Saison, Gathered Botanical’s Seaberry Jelly Jam, Colwith Farm Distillery’s Seaberry Vodka, Ma Natural bath oils and Apple Natural snacks.

With the new year ahead, the Cornish Seaberry Company plans to just keep on doing what they’re doing: growing healthy and nutrient dense fruits that are good for the planet and people. Moving forwards from appearing on BBC programs such as Countryfile and Rick Stein’s Cornwall, Seth plans to continue raising the profile of seaberries: “We still get lots of people asking us what seaberries are, so clearly there’s much more work to be done in getting this amazing fruit out there.”

cornishseaberry.co.uk

An air HISTORY of

WORDS BY REBECCA HAWKEY | IMAGES BY ROSS TAYLOR

In the 75 years since its conception, RNAS Culdrose (HMS Seahawk) still holds the title as the largest military helicopter base in Great Britain, well and truly putting Helston on the map as a naval town. I moved to the area when I was seven, straight into the affectionately known ‘navy estate’, a collection of homes that were built to provide accommodation for serving men, women and their families. I was exposed to navy life at a young age, and my own respect for the forces began in 2002 when we attended the annual Culdrose Air Show, a day where friends and family get to explore the base and see an extensive variety of military aircraft on display. As is custom for Cornish events that require outdoor attendance, this particular day was swept with a bank of low cloud and drizzle thanks to a southerly wind. My family and I were walking home when we happened to line up perfectly with the runway, just in time to

see a Panavia Tornado GR take to the skies, afterburners on full. Her low-level fly-by was mere metres above, low enough to pull my heart from my chest and rattle my ribcage. My little nine-year-old self was hooked.

It’s hard to visit Helston or the surrounding areas and not be reminded of the operations going on just a short distance away. Situated on 750 acres of agricultural land and home to over 3,000 personnel, nine squadrons and three runways, this air station is home to skilled aviators, engineers and flight deck crews, all training to protect UK coastal waters and foreign territories, and to provide humanitarian aid and disaster relief. It is one of the biggest single-site employers in Cornwall, contributing massively to the local economy. Culdrose was home to the Sea King Mk7 Airborne Surveillance and Control helicopter, until its retirement, which is when the Merlin took over in this capacity,

Non-profit organisation Navy Wings dedicate their time and expertise to restore and preserve Britain’s great naval aviation heritage.

alongside its role as Airborne Submarine Hunter. Several times a day you’ll hear the thrum of them flying overhead, which continues on into dusk as pilots, observers and aircrewmen do essential night drills. It’s easy to become desensitised to such happenings, but on the odd occasion you’ll be treated to a flyby of a different sort.

RNAS Culdrose recently played host to the Seafire MkXVII SX336. The Seafire was a high-performance carrier-based fighter aircraft, which first entered combat in 1942 and continued to provide air cover for the Allied invasion of Sicily through to the end of the Korean War in the 50s. This particular aircraft entered service with the Royal Navy in 1946 at RNAS Bramcote in Warwickshire, and is thought to have served with 833NAS, Royal Navy Volunteer Reserve until 1953 when she was transferred to RNAS Stretton to be held in storage. Luckily for us, US Navy pilot Tim Manna found her in 1978 and thought her worthy enough to rebuild and restore. She conducted her first postrestoration flight in 2006, 53 years after she last took to the skies. She flies with the markings of 767 Naval Air Squadron based at RNAS Yeovilton with 105 on the rear fuselage, and the RNAS Yeovilton code VL on her tail.

In the summer of 2022, she flew down to RNAS Culdrose under the ownership of Navy Wings, a non-profit organisation committed to the preservation of the nation’s

historic naval aircraft, which acquired the Seafire from Tim Manna in 2021. On the tarmac that day was Royal Navy Aircraft Engineer Ross Taylor, who also happens to be a genius behind the lens.

Ross effortlessly captures the exquisite craftsmanship that has gone into this restoration. With the Seafire being more than the sum of its parts, he hones in on features that one might overlook, features that are equally as impressive in their own right as she is as a whole, making the craft a true masterclass in British engineering. On this blue-sky day, the sun radiating off its dark sea-grey exterior as she took to the sky, the unmistakable British military roundel of blue, white and red on her wings, the Seafire looked perfectly at home whilst giving spectators a glimpse into what so commonly soared overhead nigh on 80 years ago.

The Fly Navy Heritage Trust is the charity behind Navy Wings, which works to preserve Britain’s great naval aviation heritage. Nowadays, those who understand the exploits of the Fleet Air Arm and the history of Royal Navy aviation are few and far between, with the exception, of course, of those who have a vested interest. Navy Wings are striving to change that. Through the restoration and demonstration of some iconic aircraft the team are determined to remind the general public of the efficiency and effectiveness of aviation in the Royal

TOP

ABOVE Ready to fly

The iconic roundel on the fuselage

Navy, not just from days gone by, but what is still a successful deterrent when defending from the skies in modern warfare.

It’s been 20 years since my encounter with the Tornado fly-by and I am still enamoured with such remarkable feats of engineering. It’s not just the time, commitment and precision that is necessary to build such aircraft that continues to amaze me, but the meticulous, steadfast focus required to pilot them. Navy Wings understand this, and are dedicated to their mission, to remind us of the impressive evolution of military aviation, as well as the men and women who have given years of their life in service. Navy Wings regularly host events in order to raise the substantial amount of money needed to keep their operation ticking over, as they rely solely on public funding. Through these events they are also able to inspire and educate the public about the heroism, innovation and inspiring achievements of the Fleet Air Arm of the Royal Navy over

the years. An unprecedented amount of work goes into keeping this collection of naval aircraft in the air, a collection that is comprised not just of the Seafire, but the Swordfish Mk I and II, a Sea Fury FB. 11 and a Chipmunk T.10 to name just a few. You can explore their full collection on their website.

Having lived in Cornwall for as long as I have, and in a naval town at that, I am surrounded by family and friends that serve. The pride our community bears for those in the forces is absolute. Bonds are formed through the shared experience of having loved ones work away for months at a time, all for King and country. The story that Navy Wings are telling is one forged long before my time and one that will continue until my time is passed. It is one we should all try to understand and respect – steeped in history, achievement and sacrifice.

navywings.org.uk

Coughing into life

From

WOODFORD ARCHITECTURE INTERIOR DESIGN

15 North Street, Ashburton, Devon, TQ13 7QH Tel: 01364 654888 www.woodfordarchitecture.com

Woodford Architecture and Interiors were the winners of the 2020-2021 international property award for the best residential property in the United Kingdom.

our studios, we work on projects across the South West and the UK, as well as overseas.

Cleared TAKE-OFF for

WORDS BY MARTIN HOLMAN

Andy Lawrence

Colour, line, shape and surface appear on the verge of reorganising themselves in Shames’ boldly abstract compositions. The artist, however, keeps these forceful ingredients in a tense equilibrium. But his audience senses that, given their chance, the elements might bolt for the edges of the panels and canvas he works on and return in an altered state, as another image. Rather than look inwards for his subject matter, Shames looks out towards the world that surrounds him and observes people interacting with their environment and the traces they leave behind. He does not feel confined to conventional places for showing or making his work. His paintings appear on gallery walls and on buildings, and even on the hull of a boat. He also makes freestanding objects and, inside or out, public or private, the setting determines how this artist wants the world to engage with him.

One inspiration is music. The rhythms and tempos, tones and improvisations of many styles fascinate Shames, contributing to the kinetic spirit that fires his painter’s vision. “I listen to a lot of music. I try to listen to new stuff every time I’m in my studio working.” It has a bearing on how he paints: “I guess in my mind my paintings are complex musical fusions,” he says, “composed of a bunch of different genres and rhythms.” Equally inspirational is the fusion of skateboarding and graffiti, the subcultures that were the training ground for his visual awareness. “Around the age of 11,” he recalls, “I was regularly skating in Oxford with an older crew of skateboarders. I’d seen graffiti around the city and didn’t really understand how one person could create such large illegal and legal paintings. One day we all went to shelter from the rain at a friend’s house and I saw his sketchbook. Then it all clicked – he

The work of the artist known as Kleiner Shames seems always to be on the move.

PREVIOUS Rich X Bluey, Sunrise Skate Session, August 2022, with Bluey sculpture, 2022, plywood and steel, by Kleiner Shames

INSET Kleiner Shames painting sculptures

Andy Lawrence

TOP May Queen launch, Penryn, May 2019, spray-painted hull designed by Kleiner Shames

ABOVE

Wall work with spray paint by Kleiner Shames, Cornwall 2019

Andy Lawrence Kleiner Shames

TOP LEFT Kleiner Shames at work, Bristol, 2013

ABOVE

Bread Street Mural, Penzance, 2022, in collaboration with Troze Contemporary Art

TOP RIGHT Cowley Road Mural, Oxford, by Kleiner Shames, 2013

Paul Green

Kleiner Shames

Martin Holman

was responsible for them! I went home that evening, mind blown, and started drawing abstract letter forms.”

The legacy of those first experiments continues to inform the silhouetted contours that constitute the basis of Shames’s artistic vocabulary more than 20 years later. Indeed, letter-like forms are evident in one of his most public works. Since 2019, the roadside elevation of a twostorey building on Bread Street, Penzance, has been the site of temporary murals. The first vibrant version gave way to the second this year (and the third is imminent). The composition itself seems to spring out from a pale-coloured central shape. Comprising two arcs that flex into a pale-coloured form ending with a step-like right angle, it cues the curves and angles that surround it.

On the right are slender upright areas of tones of blue and red, including one that resembles the letter L. Such similarities are coincidental for the arrangement in interconnecting planes symbolises nothing more than the artist’s desire to invent a common theme of lines, colours and levels.

On the left the oscillating verticals look like the contours of vases or stair bannisters. But they are neither of those associations and have no representational meaning.

Apparent, too, is how Shames uses colour to suggest a shallow space. On Bread Street, the effect is entirely optical because the flatness of the wall is selfevident. Nonetheless, the sensation exists

of translucent coloured planes piled one above another, in red, black, brown or ochre hues that show through from beneath to modulate the tones of the layer above.

Edges echo other outlines like shadows, concocting the impression of an imagined space nestling within the real surface, or of shapes projecting beyond the wall and into the open street like a three-dimensional sculpture.

“Apparently I’d made things from a young age,” he says. “My grandmother was a painter. She’d paint these compositions of random objects and I’d do the same. Also, I liked making things out of wood in my grandad’s workshop.” Consciously or otherwise, this background with handling paint and objects has filtered into his adult work. The two connect in images assembled from differently-shaped wooden pieces held in place by a frame to construct a picture of interrelating contours, colours and textures. The temptation to reassemble the parts is considerable – but to attempt it risks upsetting the fine line between keeping a balance and creating chaos.

The relationship between image and language in Shames’ work is unusual. The vestiges of typography continue to generate the initial building blocks in his images; from that point he riffs into other outlines as if experimenting with a new script that communicates sensation, like movement or mood. “I have a kind of process when I

paint. I don’t plan them, but start with some shapes and a colour, get painting and then things evolve. There is always a battle with painting. I’m learning to let the painting tell me what to do and always try to remember that feeling of when I started painting, remember it’s just a painting and not to take things so seriously.”

Language means connection between people; music is the same. Shames has found a way of integrating the abstract power of communication into his work. He also uses script in his professional life that parallels how he paints. As a screen printer, he reproduces his own and other people’s designs in a methodical way, separating colours and overlaying effects. As a signwriter, he is called upon to impersonate printed lettering on vehicles and shopfronts. An old trade, it is highly visual and iconic in its features – and there is no room for personal flourishes. Instead, it communicates a brand or service. Likewise, his paintings betray no sign of being worked. Instead, bands and blocks of colour feel detached from the hand, as if they were machine-made and anonymous.

Whether working on a wall or on canvas or wood, Shames paints with enamels rather than oil, acrylic or emulsion. He thins the medium to a consistency that almost slides off chisel-headed brushes like a skin. It is possible to imagine the hand of this painter gliding across a paint surface in search of the same smooth move he might attempt

with a boardslide in skateboarding. In fact, painting becomes a little performative, even if the audience is not around to acknowledge the skill until the performance is over and the result is ready to view.

Shames honed his skills in Oxford, London and Bristol. He arrived in Cornwall five years ago with a developed style of his own. His career has not emerged through immersion in contemporary art but from his on-the-job attitude to the demands of street art, which evolve by building on repetition, speedy decisions and technical development. “I left school at 18 and have been super lucky to have pretty much pursued creative things since,” he says, reflecting on certain traits that have slipped from the street experience into work he now reserves for gallery exhibitions (he showed at Cor Gallery, Falmouth, in the spring) and public commissions. One is the taut and continuous arrangement of diversified elements; another is the homogenous flow of pigment first discovered with spray paint; and the third is an appreciation of scale.

He cut his design teeth on containing wide and tall expanses of wall within the false symmetry of compositions built around bold, blocky interconnecting forms. Reliance on a few interlacing colours and a repertoire of basic shapes set up the perceptible visual energy that is establishing itself as his personal hallmark. A painting like Perculate (2019) allows shapes to dance tight, interconnecting

TOP

Kleiner Shames with ‘Something New from Repetition’ series sculptures (from left): Blanche, Dom, Big Bluey, Wavy B, all plywood and steel, 2022, by Kleiner Shames

ABOVE Bluey at sea, Mousehole, Cornwall

Andy Lawrence

Andy Lawrence

TOP LEFT

Lampy Logs, 2018, enamel on wood panel, 91.5 x 122cm

ABOVE

Combinate by Kleiner Shames, 2022, enamel on panel, 122 x 152cm

TOP RIGHT

Perculate, 2019, enamel on canvas. 122 x 152cm.

moves within confines. Images do not spill out of the canvas but stay within the perimeter, sometimes reinforced by broken boundaries.

Enamel, of course, is an outdoor paint: durable and lasting, and good against scuffing, the material keeps faith with this artist’s inside/ outside aesthetic. It is equally relevant to painting on metal as it is on wood or canvas – or the hull of the ferry boat that regularly crosses between Falmouth and St Mawes. Because, in 2019, Shames was commissioned to apply a fresh look to the vessel May Queen to mark the 80th birthday of the craft at the outset of the Second World War as well as the 75th anniversary of the D-Day landings. Shames came up with a characteristic pattern of stripes, broken lines, curves and kinks that was also modelled on the abstract marine camouflage devised for so-called “dazzle ships” in both world wars by leading modernist artists. Except that Shames’ eye-catching work has the wittily opposite effect – the ferry is unmissable at sea.

As well as suggesting three dimensions in his paintings, Shames makes free-standing objects. Four monochrome sculptures in wood and steel at his recent show at Jupiter Gallery in Newlyn fleshed out the distinctive vestigial letter shapes that populate his paintings and graphics. A tall turquoise triangle with a kink and curve sat tall on

the gallery floor, the height of any visitor, with a broad-based white wedge nearby, a black variant on the blue wedge and a chunky C-shaped bracket in uniform red. Not only did the forms correspond with the artwork on the wall, their scuffed surfaces revealed their parallel lives in the real world. Taken to remote locations in Penwith, they were photographed at sea, on the beach or in use as skateboarding ramps. Thus, all aspects of Shames’ activity were brought together in one location, underlining the intuitive sense that the impulse behind his work is the excitement of the airborne skateboarder’s body in disciplined motion.

Kleiner Shames is a name only, a fabrication whose history is exclusively composed of work. In effect, this alias stands for an artist without an autobiography. “Growing up painting graffiti there are clear reasons why you use a pseudonym. I have used a few different names, in a way to experiment with different ideas. In a world where a lot of people are screaming their own names to gain attention, I’ve always felt content cracking on creating things under a name I was given around 10 years old.” Now that he is becoming a fixture of the south-western gallery scene, would he consider returning to his real name? “I doubt it,” he replies. “In fact, I have a few ideas for more characters!”

kleinershames.com

INSET

Study 5, 2017, wooden assemblage. 89 x 89cm

Garment RACONTEURS

WORDS AND IMAGES BY REBECCA HAWKEY

The entrance itself is unassuming, a little white gable end shop located at the top of Helston’s high street, with three female mannequins in the window dressed for an era not of today. If you walk past the entrance however, and gaze up, you will come face to face with a striking mural of Lady Eve herself, a masterpiece created by Jordan at Spraysaint, and that pays homage to Helston’s heritage and a sneak peak of what you can find in store.

I have lived in Helston for a number of years, I’ve seen shops come and go, I’ve seen the high street remain somewhat the same over the course of 20 years, so I thought I knew what to expect after all this time. This mural was a pleasant surprise when it

seemingly arose out of nowhere not so long ago, a change in the norm, something elegant, vibrant and really quite captivating. When the opportunity presented itself to dig a little deeper into this venture, I just couldn’t say no.

I open the door to the shop entrance and step inside, instantly enveloped into an emporium I was drawn to explore, filled with tales dying to be told. Behind the long wooden counter, repurposed from its previous owners, I find Bee and Jan, themselves dressed in highend vintage looking right at home, a statement to their craft. The array of garments, trinkets, bags and brooches that are on display were calling to be tried on and tested, but I focus my attention long enough to discuss the fascinating backstories of Bee and Jan.

PREVIOUS

The lucky new owner of the American Lilli Ann coat, Sandra

Jan wrapping up some treasures

A vast collection of vintage clothing is not all as it seems, as I explore the stories beneath the surface.

Bee’s history is rooted in fashion and textile design, having worked at the Theatre Royal in Plymouth for the wardrobe department, along with many years in retail, a time teaching art in a primary school and experience as a window dresser for Monsoon. An impressive résumé and years spent honing her craft not just in clothing but in the fabric used. Bee and Jan’s love of mid-century fabrics has continued to this day, as both hand-make all of their own textile products that you can find instore, which includes lampshades, pillowcases and bags to name just a few. If it’s creative, no doubt Bee has tried her hand at it, and the same goes for Jan, whose love of vintage goes back a little further, having been a wearer and collector of vintage clothing since the age of 12. Jan had amassed quite a collection which was eventually sold on when her children were born. She never lost her passion however, channelling her admiration of vintage and eye for design through work as a bridal dress maker, managing several fashion retail chains, working in a primary school and eventually setting up her first vintage store in Hayle a few years ago; her first experience as a businesswoman and the perfect stepping stone to building The Lady Eve Vintage.

Bee and Jan first met at a craft fair at the Tolman Centre in Constantine, both forming a strong friendship over their desire to

create a space where vintage fashion and the sharing of stories could co-exist, as the two really do go hand-in-hand. Like a magpie I was instantly drawn to the brooches, a collection so intricate in their design, worn by women for centuries as a fashion statement, a utilitarian accessory and a symbol of class and wealth. My great-grandmother had one forged with delicate silver stems topped with crimson red rose petals which she left to me when she passed, an heirloom that Bee and Jan suggested I dig out and wear, for they stand by the idea that regardless of era, trend or popularity, if it makes you feel good and it means something to you then you should wear it with pride.

It wasn’t just the collection of brooches, scarves and pins that could have kept me there all day, but the stories behind some of their more high-end vintage finds, that Bee and Jan were kind enough to share with me. The first being the tale of an elderly Australian woman, who now lives not far from the shop itself, Lillias. Bee and Jan made a house call to see the collection Lillias had amassed over the years, and whilst they worked, they were told this story which began in the 60’s when, as a young journalistic reporter residing in South Africa, Lillias was asked by her employer to interview the captain of a docked cruise liner. Lillias reluctantly makes her way aboard when suddenly she trips and falls, only to be caught by the captain

INSET

The vast collection of brooches

TOP, MIDDLE

ABOVE RIGHT

The beautiful gown owned by Lillias

MIDDLE

Their collection of handmade textile products

TOP & MIDDLE Bee and Jan always with a smile

himself. They ended up dining together, falling in love, getting married and spending a lifetime together exploring the open seas on cruise liners. Lillias, as the captain’s wife, wore this gown that Jan shows me, rich in greens and blues that was fitted with a central column and overlayed with a sheer fabric that covered just the one shoulder and flowed, like the ocean, to the floor, walking alongside her husband on an evening aboard the ship. Lillias’s husband passed away not six months prior to Bee and Jan being gifted this treasure and the story that it holds, due to Lillias reflecting on which items she wished to hold on to. At The Lady Eve Vintage they don’t just collect beautiful designs but heart-warming stories.

Following this, Bee and Jan emerged with an iconic 1950’s American Lilli Ann eyelash wool pleated swing coat with silk velvet trim. I was shocked, as for a coat it was immensely heavy due to the yardage of weighted fabric used, both to hold and to wear. I was lucky enough to try it on and instantly felt like I was born in the wrong era. Bee and Jan are exceptionally generous with their time and expertise, house calls being a regular occurrence for larger collections of vintage items that people are looking to let go of, which is how they came upon this piece. An expensive, unique treasure that had been forgotten, only to be revived and rehomed the same day I visited the store.

As someone who finds humans, and the stories we collect, fascinating, it is no wonder that I could have spent hours, if not days, listening to the history that comes with the items of clothing carried with us. Items that sometimes last a lifetime, and see us through joy, grief, new arrivals, new jobs, lost jobs, new homes, new lives. Bee and Jan are historians, researchers, collectors of vintage attire and anecdotes alike. They believe that the garments they sell on should be kept, worn and treasured for years to come, not for such masterpieces to be thrown away when the next new trend comes knocking. It is no secret that the harmful industry of fast-fashion should not be allowed to continue, so surely re-homing clothes that are well-made, longlasting and beautiful is the most sustainably obvious choice?

Bee and Jan at The Lady Eve Vintage make an impressive team, a combination of skill, creativity, business acumen, passion, kindness and a love for times of olde that I have not come across before. They do not live in the past, but rather they respect it, understand it and learn from it, ensuring its place in our future is not forgotten. I for one will be returning to explore this treasure trove, and the antiquities it holds.

theladyevevintage.com theladyevevintage

Another Lillias gown with fine detail

INSET

Eventide

WORDS BY JUSTIN KEIGHT

Iwas a little unsure and slightly nervous with how to open this ‘last word’.

A jovial tale about the one that got away or the sad one about the suicide of another father in Cornwall? This time of year is supposed to bring joy to all, where merry memories are made and mulled wine is sipped by adults standing around an open fireplace that proudly displays the festive stocking, whilst the shrieks and squeals of excitement can be overheard from the children playing in the other rooms. But for some, these memories seem unattainable.

I lost my best friend during the first lockdown in April 2020 to an ongoing struggle with his own mental health. Seeing it before your very eyes changes your perspective on everything. I had to do something. As a business owner of an outdoor experience proposition in Cornwall, I am a sea fishing guide within the business, where I teach people how to fish, catch and cook their supper. I wanted to make a difference to the people in Cornwall who are struggling with mental health and that is how I arrived as the founder of

Tight Lines. A Cornwall-based non-profit Community Interest Company, providing mental health support to adults in Cornwall, using the wonderful world of fishing as the vehicle. Utilising my angling knowledge, I help people learn new life skills and seek to create a community where friendships are forged and many fishing yarns are shared.

Embracing a hobby or interest is vital for wellbeing, especially with angling as it allows us to learn something new, build up a skill set, set goals and find a sense of achievement. The benefits too are bountiful. The smell of the sea, the soothing sounds of the waves and the reward of catching something for the table are all positives for the mind. Fishing is fantastic. I just have to share it. Next time I’ll tell you about the one that got away. He was this big!

Tight Line’s inaugural meeting will take place on Monday 16th January at 7:30pm at Wendron Football Club, all are welcome. tight-lines.org cornwall-adventures.com

INSET

Justin Keight

B E S P O K E

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