Modern Ambition

The Art Gallery of New South Wales’ Sydney Modern campus is the biggest cultural project to arrive in the Harbour City since the Opera House. As it opens this December, we explore what it’s set to deliver as a new global art icon.

By Noelle Faulkner 23/12/2022

It’s hard to imagine much more of a dream job than this,” chimes Art Gallery of New South Wales’ director, Dr Michael Brand.

“It’s a beautiful piece of architecture and it just keeps getting better and better the more art we put in it.”

Robb Report has caught Brand between site tours in the busy lead-up to the opening of the ambitious and long-awaited AGNSW Sydney Modern campus. The positive feedback from benefactors and guests, as the site starts to come to life, has put him in a good mood.

And with good reason: the $344 million project ($244m in government funding, $100m from private donors) is indeed a dream gig. More than a decade in the making, and five years since being greenlit by the government, Sydney Modern is the most important cultural development to happen to the Harbour City since the Opera House opened in 1973.

The building has been given a 6-star Green Star Rating. Above Art Gallery of NSW director Dr Michael Brand.

It will not only inject more life into Woolloomooloo and the Royal Botanic Garden/Domain precinct but enhance Sydney’s cultural offering—cementing the state gallery’s place among the international art community.

“When you build a new art museum building, because of the costs and the importance, you have an opportunity to make a significant piece of architecture. And we wanted to do that,” says Brand.

“But for me, good architecture in the city also means public space and landscape. And so we wanted this building to be a beautiful transition between backwards and forwards, art, architecture and landscape.”

Created by globally renowned Pritzker Prize-winning architects, SANAA (led by Kazuyo Sejima and Ryue Nishizawa), the building proves to be a masterpiece.

A doubling of the existing gallery’s space, the new wing offers a height of 5.5 metres (up from 3.6 metres) with almost 50 percent more real estate on the walls and floors. Below the main building is a new exhibition space known as the Tank— a subterranean, decommissioned World War II fuel-storage facility that has been repurposed and reshaped into a unique and moody venue.

The Tank space is a decommissioned World War II fuel-storage facility. Below right Irrational by Kathrin Longhurst.

It will debut with work by award-winning ArgentinePeruvian artist Adrián Villar Rojas, best known for his large-scale and site-specific sculptural installations. Creating a more flexible space that considers new and emerging art forms is vital to ensuring AGNSW is a world-class gallery of the present and the future, says Brand.

“Not all art has to be big, but there is a lot of big art around. And if you have the space, you can do some really ambitious installations for exhibitions. It just gives us the flexibility to be part of that international network of art and exhibitions moving around the world.”

Trickling down the rockside to Woolloomooloo from Art Gallery Road’s ground level, glass frontages maximise natural light and through their transparency, bring more buzz to the local precinct. The contrast with the existing gallery building’s colonial, opaque image is stark, but managed via public space.

“I love our existing building, with its beautiful sandstone façade. But if you’ve never been to an art museum before, you don’t know what goes on inside.” Being a public art museum drove SANAA’s desire to make the art even more, well, public—that is, art visible from the street.

“People can see other people in there, they can see families, younger people, older people, people in wheelchairs, people there with friends. I think it’s a really important thing that we demystify it a bit for the broader audience.”

The use of green space also introduces two public plazas, rooftop areas, 24- hour accessible art garden and a new commission by Wiradyuri and Kamilaroi artist Jonathan Jones, bíal gwiyúŋo (the fire is not yet lighted), which connects the two buildings and invites reflections on First Nation history.

Furthermore, the design and its minimal impact on the waterfront location and wider environment has seen it already achieve the highest environmental standard—a 6-star Green Star rating by The Green Building Council of Australia.

One question that has framed the new building regards what it offers against Sydney’s most recent large-scale art gallery—the harbourside Museum of Contemporary Art (MCA). It’s about context, apparently.

The art set to be delivered by Sydney Modern/AGNSW is exhibited within a historical context. That is, art by the world’s oldest culture now sets the tone. Visitors are greeted at the front door by the Yiribana Gallery of Aboriginal and Torres Strait Islander art, which was moved from a lower floor in the existing gallery to the new building’s central entranceway.

It sees more than 160 new works, commissions and acquisitions, and communicates the importance of community and country to gallery visitors as soon as they step through the door.

“Some works in the new Yiribana Gallery consider notions of care and guidance through familial relationships,” explains the gallery’s senior curator of Aboriginal and Torres Strait Islander art, Cara Pinchbeck.

“While others offer philosophies for living and profile the intricacies of cultural inheritance or examine the ongoing complexities of history and resilience.” Alongside gems from AGNSW’s 150-year-old collection, a handful of new commissions representing Australia, the Asia-Pacific region and beyond, will debut, including works by Lorraine Connelly-Northey, Karla Dickens, Simryn Gill, Yayoi Kusama, Richard Lewer, Lisa Reihana and Francis Upritchard.

Few however, are arguably as unique and intriguing as Lee Mingwei’s meditative Spirit House. Pushing forward the notion of what it means to experience art in a gallery setting, Spirit House is an intimate, completive space that can only be experienced by one visitor at a time. Hidden away from the main pavilions and solely illuminated by sunlight that falls from an oculus above, the space houses a bronze Buddha.

On occasion, it can be found holding a wrapped riverstone, which visitors are invited to take with them as a grounding guide for their own spiritual journey. Mingwei’s intention is that once the stone has served its purpose, visitors return to the gallery to pay gratitude and leave the stone for another to take.

Set in motion by a profoundly spiritual moment the Taiwanese–American artist had with a Buddha from the AGNSW’s collection while visiting over a decade ago, the experimental installation is unlike anything Sydney has before seen— so special and so unique that it directly informed SANAA’s design.

“Everyone there is so brave,” Mingwei offers of Brand and his team.

“I think Michael really, really opened up a completely different way of how a person can relate to museums, because at least for the past decade, the discourse has been around asking what the role of a museum is, because they were established in colonial times.” The time for changing art’s landscape is now.

“How does [a major art institution] relate to us in a contemporary society, where we talk postcolonial mission and the world? I don’t know if it’s good or bad, but it’s an interesting point of departure and discourse for people to re-examine and reinvent the role of the museum in our lives” Sydney Modern will undoubtedly bolster Sydney’s reputation as a truly global creative city. To quantify the impact, the NSW government estimates that the gallery’s opening will inject more than $1 billion into the economy over the next two decades. While AGNSW says that it will increase (and hopefully diversify) gallery visitation by more than two million people a year. From a cityplanning perspective, the new build will eventually forge a cultural oasis away from, but close enough to the CBD.

“As Australia’s global city, Sydney has an incredible reputation as a destination for cultural tourists,” says Benjamin Franklin, NSW minister for tourism, Aboriginal affairs, the arts and regional youth.

“Arts and culture is central to our identity as a state, and intrinsic to how we interpret the world and our place in it.” Franklin further notes that this year alone, the NSW Government spent $1.4 billion on arts and creativerelated infrastructure.

“Not only do we have the best artists and creative organisations in the country, but from our regional arts centres to the Sydney Opera House, we also have the best theatres, concert halls, galleries and museums. The Art Gallery of NSW now joins the myriad assets that enhance NSW’s reputation as a creative powerhouse, and a desirable place to live, work and visit.” Mingwei has previously exhibited at some of the world’s most prestigious art institutions—New York’s The Metropolitan Museum of Art; London’s Tate Modern, Tokyo’s Mori Art Museum and Centre Pompidou, Paris, among others. He agrees that the new AGNSW campus and all it will bring is a once-in-a-generation opportunity for the city and all comers to forge a new relationship to art.

“Sydney Modern is going to be, and will be, so different from everything else because of the local heritage and the Aboriginal DNA within that institution. And there is nowhere in the world doing that.”

He sees it, in fact, as a newfound global role model. “I think Sydney Modern will definitely have its own special place in the world.”

artgallery.nsw.gov.au

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Wake Up To World Martini Day 19 June

Cocktail legend Dale de Groff talks Grey Goose, World Martini Day and getting wet.

By Belinda Aucott-christie 18/06/2024

Dale de Groff knows his way around a bar. Back when late nights and heavy drinking were a badge of honour, he presided over one of New York City’s most legendary venues, The Rainbow Room, and is credited with reviving the classic cocktail across Northern America.

To promote World Martini Day on June 19 he’s teamed up with vodka company Grey Goose, for which he has served as a brand ambassador since 1997, to make a winning case for the classic Martini everywhere. He is even lending a hand at the opening of Le Martini bar at Crown Melbourne. 

We asked de Groff about his time serving stars like Michale Douglas, Robert Redford and Clint Eastwood and, of course, how he likes his martini.

Dale for the uninitiated, please describe the Rainbow Room.

In the 1980s Rainbow Room was situated high atop 30 Rockefeller Plaza in New York. Back then, it was just the pinnacle of glamour.

It has stunning views of the city from way up on the 65th floor. Being situated in the same building as NBC Entertainment, still pretty synonymous with late night TV,  it was and still is the home of Saturday Night Live. You can imagine the kinds of people we’d be getting in each week—from celebrities, musicians, even governors, you name it. 

Robb Report ANZ: What was one of your favourite memories from that time?

Dale de Groff: In ‘88 we held the 30th anniversary Grammys afterparty at the Rainbow Room which I’ll never forget. The event took place over multiple floors, but in the bar itself, the three tiers that go up from the dance floor were taken over by the who’s who of the time. I remember roping off a zone just for music legends like Frank Sinatra, Bob Dylan, and Madonna—who was no stranger to the bar during those times. Not bad for a Wednesday night.

RR: What role do cocktails play in making a good venue truly great?

DD: A venue’s popularity ultimately comes down to the bartender or team behind the bar. How they interact with people, size them up as they walk through the door, talk to them over that three feet of mahogany, I mean, it’s everything.

RR: What’s the trick to becoming a great bartender, one who can easily impress guests, friends and family?

DD: Knowledge behind the craft. Let’s face it, understanding how to create a really high degree of deliciousness is required, but getting deep into how beverages are made is a massive skill in drink making. The research and innovation behind it is just mind-blowing.

RR:What three cocktails should every sophisticate know how to make?

DD: Well, a martini obviously! I personally like mine 50/50—equal parts vodka and vermouth. I used to drink my martinis for the power, but now I prefer a wet martini. Then I think a classic spritz is a must—always effervescent, lower in alcohol, really it’s the preprandial libation. Then thirdly, it’s gotta be an Old Fashioned.

RR: How do you make a solid martini at home?

DD: If I’m making a classic martini at home, I’m adding Grey Goose, vermouth and bitters to a mixing glass with ice, stirring then straining into a chilled glass. Garnished with lemon twist of course.

Le Martini, the world’s first standalone Grey Goose bar, is now open and will welcome guests in time for World Martini Day on 19 June. You can follow:  @LeMartiniBar 

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The 10 Best Omakase in Sydney

Sydney’s best Japanese chef’s-table dining experiences.

By Belinda Aucott-christie 06/06/2024

In Japan, where food is a cultural art form, omakase stands for traditional Japanese foods made with seasonal ingredients. A good omakase meal, prepared with purity and mindfulness, can make an unforgettable imprint on the culinary memory. Yet in a land defined by seasonal traditions, omakase is a relatively new concept.

Omakase originated in Japan in the 1970s as affluent Japanese began to dine more regularly at first-rate sushi counters. Bowing to the expertise of the sushi master, omakase loosely translates to “I’ll leave it to you.” In a setting where money is no object, letting the chef decide was designed as a chic way to take the awkwardness out of ordering.

In Australia where there’s an abundance of fresh seafood, omakase menus have experienced a recent rise in popularity. Today omakase is any series of small dishes served directly by the chef to the diner. Each part of the meal is presented on beautiful ceramics and lacquer wear, with a great —and somewhat— intimidating reverence for elegant details. It’s a chance to see a chef’s knife skills up close and get a feel for their cooking style.

Omakase menus are based on whatever is freshest at the market and can be influenced by the chef’s mood, expertise, and response to the guest. They can be slowly paced like a ceremony—hushed and reverential—but they can also be rowdy, humorous, and personal.
Here we give you 10 of the best to try in Sydney.

Yoshi’s Omakase at Nobu Crown Sydney

Crown Sydney, Level 2/1 Barangaroo Ave, Barangaroo. Open: 12–3 pm, 5:30–9:30 pm Phone: 02 8871 7188 Reservations: F&B-SYD-Nobu@crownresorts.com.au; $380 per head (including matched wine and sake). Crownsydney.com.au

Sushi Oe

16/450 Miller St, Cammeray; Tue – Sat. SMS only 0451 9709 84 E: jizakana16@gmail.com Phone: 0426 233 984 $230 per head. jizakana.com.au

Kisuke with Yusuke Morita

50 Llankelly Place, Potts Point; Tuesday – Saturday: 17:30 – 10.45 (closed Sunday/ Monday) $185-200 per head Kisukepottspoint.com

Haco 

102/21 Alberta St, Sydney. Lunch, Friday to Saturday 12 -2:00 pm Dinner, Tuesday to Saturday 5:45 pm – 8:1 5pm (closed Sunday & Mondays) P: 0408 866 285                                     E: haco@hacosydney.com.au; $150 – $210 Hacosydney.com.au

Kuon

Shop 04 2/58 Little Hay St, Sydney, Lunch: Fri-Sun 12:30 pm. Dinner  Tue-Sun 5:15 pm or 7:45 pm sittings.  Reservation via SMS at 0488 688 252; $220 per head @kuon.omakase

Sokyo 

The Darling, Level G, 80 Pyrmont St, Pyrmont. Open dinner Monday to Thursday from 5:45 pm P: 1800 700 700 $300 per head Sokyo.com.au

Kuro

368 Kent St, Sydney; Open Tue – Wed – Thur: 6 pm Fri & Sat: 5:30 pm P: 02 9262 1580, reservations@kurosydney.com $220 per head. Kurosydney.com;

Choji Omakase

Level 2, 228 Victoria Ave, Chatswood —upstairs from Choji Yakiniku. Every Monday to Wednesday at 6.30 pm. One seating per day only. $295 per head. Chojiomakase.com.au

Gold Class Daruma

The Grace Hotel, Level 1/77 York St, Sydney; 12–2:30 pm, 5:30–9.00 pm Phone: (02) 9262 1190 M: 0424 553 611 booking@goldclassdaruma.com.au·$120 – $150 per head Goldclassdaruma.com.au

Besuto

Besuto Omakase, Sydney Place precinct, 3 Underwood Street, Circular Quay. Omakase is available to book for dinner – Tuesday to Saturday. 5:30 pm & 8pm sittings. From $250. Besuto.com.au

Frequently Asked Questions

Why is no soy and wasabi offered during my omakase meal?
Even though sushi and sashimi are being served, the chef is serving each piece of sushi so quickly and directly that the chef is applying the wasabi and soy to the sushi themselves. Watch as they brush the top of the fish with soy and dab a tiny amount of wasabi on the rice, under the fish. You should not need to add extra, and in fact, it can be insulting to the chef to add more. Bathing the bottom of the rice of your sushi in soy sauce is considered bad manners, as it is seen as detracting from the flavour of the fish.

Nobu, Sydney

Can an omakase experience accommodate my dietary needs?
Although there is often little variation once the chef has set the daily menu, some customisation is possible. Advise the restaurant when you book and remind them of allergies or aversions again as you sit down. They will let you know when you book if your allergy is possible for the chef. Japanese menus feature a lot of seafood and dashi so accommodating a no seafood request can be genuinely tricky.

What are the golden rules for chopstick etiquette?
Use your chopstick holder in between eating, rather than putting chopsticks on your plate. Don’t use your chopsticks to gesticulate or point; if offering food to someone to try, never pass food directly from your chopsticks to theirs. Rather place the food onto a small plate and let them pick it up.
Never touch communal or shared food with your chopsticks. The longer, slightly larger chopsticks are like sharing cutlery, never put these in your mouth.

Without a menu, how can I know what I am eating during omakase?
Omakase is often a no-menu situation, and you are expected to try new things. Attending an omakase experience with an open, trusting mind yields the best results.
There are Wagyu and tempura omakase that reflect the chef’s personal predilections and training, but in a standard luxury omakase, the format will include a lot of freshly caught seafood and will usually kick off with a delicate appetiser. This will be followed by a sashimi and sushi course, a savoury egg custard (chawanmushi) with meat and seafood, a cooked or blow-torched market fish, a soup course, and dessert.

Can I talk to the chef during omakase? What is the protocol?
Guests at an omakase experience are welcome to ask questions of the chef; in fact, interacting with the chef is part of the experience. It is considered polite to ask questions or inquire about the food so they can explain.

What is best to pair with omakase  in terms of drinks?
In general, wine and sake are a perfect match for omakase. Aged fish and vinegar have strong umami flavours so depending on which course you enjoy, different wine and sake will pair well. Dry chilled sake is a great choice. Amazing sakes are imported into Australia, so trust the restaurant to advise you and take you on a sake journey at the same time.  If you don’t like sake, drinking chardonnay, a crisp young riesling, or even a dry complex Riesling is also totally acceptable. All three styles help bring out the flavour of the fish. Champagne can also be good. Try a blanc de blancs— 100% chardonnay —for a great way to start the meal. As you progress, remember that sake is good for dishes with a strong taste, such as uni and eel.

Nobu, Sydney

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Can Italy’s Lake Garda Finally Compete With Como—or Will It Become a Victim of Its Own Success?

Crowded, cacophonous Lake Como is overflowing, filling its nearby villages and lakes with new luxury hotels and savvy, in-the-know travellers.

By Jake Emen 17/06/2024

The sun is shining down and your wooden Riva Aquarama boat is slicing through the lake. The crowd is beautiful, well-tanned and they like their spritzes. Sound like Lake Como? Almost. You’re about 150 kilometres southeast on the larger, yet less frequented, Lake Garda.

As the popularity of Lake Como has grown thanks to non-stop celebrity endorsements filtered down via social media, an in-crowd is discovering that Garda offers the same glitzy perks of its neighbour with far fewer headaches.

“Giorgio Clooney is to Como what Tom Hanks is to Garda,” says Katie Parla, author of “Food of the Italian Islands” and a tour leader across Italy. “Sure, Como is beautiful and charming, but Garda is equally talented, and some would say, more versatile and well-rounded.”

Grand Hotel Fasano, which turned 135th anniversary, is welcoming a new crowd.
Grand Hotel Fasano,

Long the preferred destination for Italians and other continental families, the secret of Garda has now well and truly been leaked. Investment is pouring in at Ferrari speeds.

On the hotel front, historic, legendary properties such as Grand Hotel Fasano (from USD$470)—which celebrated its 135th anniversary in 2023— are joined by a flock of newcomers. There is the new family-owned spa hotel Cape of Senses, a Small Luxury Hotels of the World member (from USD$628). Conti Thun (from USD$225) debuted as an on-vineyard wine resort last year. And this spring, Borgo Tre (from USD$640) opened a small collection of luxury apartment suites in a converted 18th-century farmhouse. (If you haven’t noticed already, a stay here is still considerably cheaper than say, Lake Como’s Passalacqua at USD$2,660 a night).

The region’s established properties are doing their best to stay ahead of the new arrivals, too. The mountain-top wellness haven Lefay Resort & Spa (from USD$460) is famous for encouraging its guests to wear their plush robes across the grounds from morning to night, as the saunter from treatment to treatment. It’s just unveiled a new, elevated room category dubbed Sky Suites that will speak to Como expats. These top-floor units are 1,500 square feet and come with a terrace hot tub, a private in-suite sauna and, of course, unimpeded views of the lake, mountains, and valleys beyond.

Lefay Resort & Spa is drawing wellness activists to the region.
Lefay Resorts

But change like this always comes at a cost. Locals and long-time visitors worry that the region’s newfound popularity puts it in danger of losing its distinctive atmosfera. Ironically, even the new guard hotels are concerned.

“We don’t want that, we’re not a mass tourism product,” says Cape of Senses general manager Alina Deutsch of any attempt to clone Como at Garda. “What is luxury today? It’s what people are missing from their lives, and that’s space and time.”

“Locals, like me, really hope that our beautiful destination will remain as authentic as it is now, even if international tourism is booming and new luxury properties are going to continue opening in the next couple of years,” added Alice Lancini, Grand Hotel Fasano’s sales and marketing manager.

But the scene in Lake Garda’s is already shifting. Lancini says that in the last three to four years, U.S. travellers have made the lake hotel the brand’s second strongest market after Germany. “Lake Garda is becoming more popular in the States as it’s much cheaper than Como, less crowded—still, for now—and it’s a completely different experience than Lake Como.”

Parla adds that the 50 kilometre-long Lake Garda has a natural protection from “becoming a Disneyland” overnight: its massive size makes it feel more like a sea than a lake at times.

“Como the town, Bellagio, and all the fancy hotels are beyond overcrowded and have become the playground of influencers generating their FOMO-inducing content,” she says. “I don’t see a way to enjoy the lake if you stick to those two towns, which most do…Lake Garda is so much bigger.”

Its other protection? Garda isn’t a first stop for first timers. After all, would you tell someone to skip the Eiffel Tower on their first trip to Paris, or forgo the Golden Gate Bridge in San Francisco? Icons are icons and that includes Lake Como.

The new family-owned spa hotel Cape of Senses just opened on Lake Garda.
Cape of Senses

“Lake Como is for romance and honeymoons, and lounging around on a boat and never leaving the confines of a luxury hotel,” adds Parla, noting that other lakes and villages attract a more active, creative and adventurous crowd.

So will Garda ever become Como? Lancini thinks it’s likely, and that’s why you should get there sooner rather than later. “Lake Garda is going to boom as a destination in the next three to five years,” she says. “Now is the time to take advantage and come to this beautiful destination before it becomes too crowded.”

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Kyoto Has the Most Michelin Restaurants per Capita: Report

There are 100 Michelin-starred spots in the Japanese city, serving some 1.5 million people.

By Tori Latham 17/06/2024

The residents of Kyoto, Japan, are positively swimming among Michelin-starred restaurants.

The Japanese city is home to the highest density of eateries ranked by the French tire company, including five three-starred restaurants, according to a new report from website Chef’s Pencil. With 100 Michelin-ranked spots and a population of almost 1.5 million, Kyoto has one restaurant for every 14,637 people.

Coming in a close second is—unsurprisingly—Paris: The city’s 122 Michelin-starred restaurants serve 2.1 million residents, resulting in one spot for every 17,235 people. (Paris also has the second-highest absolute number of Michelin-starred restaurants, behind Tokyo.) Third place may come as a shock: Washington, D.C., has ranked highly, with 25 restaurants for 690,000 residents, or one for every 27,582 people.

Of course, there are some caveats for the Chef’s Pencil report. The website looked only at cities with 500,000 or more residents. And the restaurants had to be located within the city limits, rather than the larger metropolitan area. The Michelin Guide itself often includes eateries in a broader region, so this list may be slightly more abbreviated than the official selection.

To address some of that disparity, Chef’s Pencil has also released a ranking of Michelin density in midsize cities, those with 100,000 to 500,000 residents. At the top of that list is Nara, Japan, which has 23 starred restaurants for a population of just 367,000 (one restaurant for every 15,972 residents). That’s followed by Maastricht, Netherlands (six Michelin-starred restaurants and 120,000 residents, or one restaurant for every 20,038 people), and Geneva, Switzerland (eight starred eateries and a population of 204,000, or one spot for every 25,494 residents).

And while France is the country with the most Michelin-starred establishments, Switzerland actually has the most starred spots per capita. The country’s 134 Michelin-starred restaurants serve a population of almost 9 million, or one for every 66,872 residents. The much smaller Luxembourg, with just 672,500 residents, comes in second for this metric: With 10 Michelin-starred restaurants, there’s one for every 67,250 people.

While many people travel to the areas with the most Michelin-starred restaurants, they may be better served by going to the areas where they’re the densest. Neither Kyoto nor D.C. may be called its respective country’s culinary capital, but both are teeming with Michelin-ranked spots relative to their size.

 

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Tyler, the Creator’s Golf le Fleur Teamed Up With Parachute for a New Bedding Collection

Available from today, the new line includes sheets, duvet covers, and even plush slippers.

By Rachel Cormack 17/06/2024

Tyler, the Creator is bringing his signature golfer style from the streets to the sheets.

The two-time Grammy-winning artist’s luxury brand Golf le Fleur has teamed up with U.S. outfit Parachute on a new line of bedding and accessories. The collaboration may not seem as natural a fit as, say, Tyler’s collab with Pharrell and Louis Vuitton or Globe-Trotter, but it did come about quite naturally. Apparently, the rapper walked into the Parachute headquarters in California unannounced and then spent hours with company founder Ariel Kaye. The two talked about dream bedding and the new collection started to form.

The limited-edition Parachute for le Fleur range is fun, whimsical, and a little unpredictable, just like Tyler’s own highly distinctive fashion. The curated pieces showcase an unexpected palette of pastels and le Fleur’s signature camo print, making more of a statement than the boring white sheet. Parachute says the designs are made of “the softest linen you’ll ever touch.” Crafted in Portugal from the finest European flax, the buttery material is also garment-washed for a perfectly lived-in feel from the first night. Linen is fit for both warm or cool sleepers, with an insulating quality that keeps you cool in the summer and warm in the winter. The light and airy material is also naturally eco-friendly, antimicrobial, and durable.

The duvet set in Geneva Blue with sheets and pillowcases in Blonde.
Jessica Schramm

Starting at USD$69, the linen bedding is available in the elegant hues Geneva Blue, Jade, and Blonde. The Blonde is adorned with a subtle leopard print, too. The sheets, sham sets, duvet covers, and pillowcases come in a range of sizes, from standard to king.

The Shearling Slippers.
Jessica Schramm

The line also includes statement pieces such as a striking spherical pillow (USD$109) made from 100 percent shearling wool and a cozy throw woven from baby alpaca wool for extra fluffy softness (USD$299). The star of the collab has to be the plush slippers (USD$109), though. Made from 100 percent shearling, the wool clogs are “like fluffy clouds for your feet,” according to Parachute. Available in multiple sizes, the unisex kicks feature sturdy foam soles and are comfortable enough for all-day wear.

You can shop the collection now on the Parachute website.

 

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