{"product_id":"world-of-interiors-june-2026","title":"World Of Interiors June 2026","description":"\u003cp\u003eOrdinarily our June issue would house our art and antiques special, but this year we’ve decided to move that to the November edition. And yet we can’t quite cut loose from the world of art. It is a big word, and so, to narrow it down a sliver, many of the stories on the following pages are underpinned by a love for, or the creation of,\u003cspan\u003e \u003c\/span\u003eart; a shared pursuit of discovery that takes many forms, often through an intense preoccupation with material. This is something my mind turned to recently when I was asked to select three of my favourite paintings from the National Gallery collection for a talk. One of my choices was Sassoferrato’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Virgin in Prayer\u003c\/em\u003e, which I have long loved for its celebration of colour; an exceptional tricolour of pink, white and blue in which the Virgin’s draped mantle is rendered in vivid ultramarine – ‘a colour illustrious, beautiful and most perfect, beyond all other colours’, wrote Cennino Cennini in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIl Libro dell’Arte\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 1390. While there were other\u003cspan\u003e \u003c\/span\u003eblue\u003cspan\u003e \u003c\/span\u003epigments available to Medieval and Renaissance artists, none surpassed ultramarine in brilliance and density, or indeed scarcity, for the lapis lazuli from which it was made was found in the Badakhshan mountains in what is now Afghanistan. It is rich with spiritual associations, and so, it turns out, are several of the stories in this issue.\u003c\/p\u003e\n\u003cp\u003eKarl Kolbitz writes powerfully about the multitude of ways materials carried meaning during Medieval times. ‘Marble radiated the aura of relic and miracle. Cloud-like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003enuvolato\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esuggested moments of transformation, while vivid mineral veining lent itself to expressing deific creativity at work.’ Just as the deep blue of Sassoferrato’s Virgin was a sign of her divinity, ‘porphyry and Rosso Levanto’, says Kolbitz, ‘were particularly associated with Christ’s martyrdom’.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSidival Fila\u003cspan\u003e is a man of the cloth in every sense: a Franciscan friar and a textile artist, who uses antique or worn-out fabric to create his minimal works; ‘he describes them as “ontological” – more like poems, or meditations on time and redemption’, writes \u003c\/span\u003eMarella Caracciolo Chia\u003cspan\u003e, who visits his studio in a Roman monastery. Sidival’s work feels connected both by material and intent to that of \u003c\/span\u003eIsabella Ducrot\u003cspan\u003e, whose apartment in the same city we featured in November 2022 and who happens to be the artist behind many of the pieces in Carolina Vincenti’s home.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAtelier 3, located in a suburb of Paris, was founded in 1972 and has, Seb Emina writes, ‘produced more than 800 tapestries, many of which involve translating the work of major artists – among them Jean-Michel Basquiat, Man Ray, Bernard Cathelin – into the language of warp and weft’. In the years since they established the studio, Frédérique Bachellerie and Péter Schönwald have experimented with a growing range of materials, incorporating paper, steel thread, ribbons and even fragments of plastic into their work. Similarly concerned with textiles is Meg Andrews, whose east London house is filled with rare historic garments and costumes assiduously collected by the historian and dealer over many decades.\u003c\/p\u003e\n\u003cp\u003eSo much in this issue is concerned with the ways we try to pause or hold time. It’s an innately human impulse to capture something before it drifts away, but even that has its pitfalls.\u003cspan\u003e \u003c\/span\u003eAlice Kemp-Habib\u003cspan\u003e \u003c\/span\u003etouches on this in\u003cspan\u003e \u003c\/span\u003eRoom for Debate, in which she rails against the rate at which we are losing pubs and clubs, the very spaces where connections are made, fun is had and style forged. And yet many of these have recently been immortalised in galleries and museums in a series of retrospectives. ‘Worth-while pursuits,’ says Alice, ‘but, as the closures rack up, I can’t help but feel we’re archiving Rome while it burns.’ Rather than look back and theorise, why not participate in and protect? There are plenty who would argue that a night on the dancefloor is as redemptive and spiritual as it gets.\u003c\/p\u003e","brand":"World Of Interiors","offers":[{"title":"Default Title","offer_id":56870158270842,"sku":null,"price":6.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6778\/8068\/files\/8AFC163B-B5E1-4A68-A1C6-D9F32B860711.jpg?v=1778251564","url":"https:\/\/raremags.co.uk\/products\/world-of-interiors-june-2026","provider":"Rare Mags","version":"1.0","type":"link"}