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Trend clothier Roubi L’Roubi’s artwork-crammed London Penthouse

Trend clothier Roubi L’Roubi’s artwork-crammed London Penthouse

On a exceptionally English iciness morning—of the obscenely grey and damp ­kind—the bleakness swiftly fades upon coming into the London duplex of Sudanese-born trend dressmaker Roubi L’Roubi and his associate, Belgian financier Pierre Lagrange. Moving into their double-peak drawing room, one is greeted by means of a crackling fire, richly ebonized floors and soaring bookshelves, and crimson damask partitions that furnish a sumptuous backdrop for a swirl of artworks by using state-of-the-art and ultra-modern masters. This is the couple’s most important exciting space once they host tremendous gatherings, with a DJ installed on the mezzanine and visitors buzzing round pieces via Max Ernst, Robert Motherwell, Philip Guston, Francis publisher 1st baron verulam, and others. “The Beaverbrook in reality used to be in a extra obtainable spot,” says L’Roubi. “every time we might have a social gathering, men and women would  leaning close it, and also you’d kind of ought to say, ‘Sorry, do you intellect?’”

It’s a special pleasure seeing museum-grade artworks in a private house, primarily once they’re displayed with the form of affable nonchalance validated by using putting a Mark Rothko subsequent to a Ping-Pong desk within the recreation area. Indeed, there’s a playful spirit that runs for the period of L’Roubi and Lagrange’s duplex, the place the unmistakable refinement and savoir faire are worn as a substitute calmly.

Occupying the top two floors of a great Arts and Crafts constructing built as a location for artists to live and work, the apartment simply combines three of the long-established areas, joined years ago by means of a previous proprietor. Given the ­heritage-listed constitution’s blanketed fame, Lagrange and L’Roubi had been confined as to the modifications they would make, although happily the whole thing used to be in just right . To supervise updates and outfit the rooms, they brought in London-founded clothier Veere Grenney, who had labored with Lagrange on a couple of prior residences, from an English nation estate to excursion properties on Mustique, and who is recognized for stylishly integrating latest artwork into historical settings.

“the one temporary they gave me,” Grenney remembers, “was glamour—in red and black,” a palette that started out with the damask that clads the drawing room walls. Lagrange and L’Roubi had selected the fabric on the Fortuny shop in Venice, in the course of a consult with to the city’s modern-day artwork Biennale, and Grenney ran with it. “For purchasers like Pierre and Roubi, who’re very creative, your job is fairly to do the historical past very well so they can then specific themselves,” the designer says. “when you have a apartment that’s led with the aid of artwork, the expressions are at all times bigger for the clients, and anything you do as a fashion designer is in no way going to be static.”
To be definite, this can be a residence in consistent motion. The ­artworks—which can be hung from chains affixed to discreet bronze bars that run alongside the top of the walls, a Grenney ­signature—had been rearranged a number of times given that the couple moved in three years in the past. Likewise the books and objets d’artwork that line the shelves, cupboards, and tabletops. “things are constantly changing around here, literally week through week,” says L’Roubi, whose own summary art work, products of a lifelong passion, additionally grace a quantity of partitions.

The furnishings have remained slightly extra regular (one exception being the substantial, curved vintage sofas brought to the drawing room). Within the eating field, an 18th-century desk refinished in black lacquer is paired with Arts and Crafts chairs upholstered in purple horsehair. Glowing from the silk-velvet partitions, also pink, is Chris Levine’s holographic portrait of Kate Moss. It’s a pop moment in a supremely dependent room—one who flawlessly encapsulates the wedding of ancient and new that makes this dwelling so compelling.

“I’m severe in my tastes,” L’Roubi says. “i admire Le Corbusier, Eileen grey, and Walter Gropius on the one end, and i like rococo and classical on the other. I’m now not so first-rate in the core, which is might be my problem, whilst Pierre is more at ease in mixing tons of extraordinary genres together. We each have very powerful features of view, and working and dwelling collectively, well, it’s like a board meeting when we’ve got a discussion about what couch we’re getting.”

The couple’s essential joint trade enterprise is Huntsman, the storied Savile Row company they received in 2013, installing L’Roubi as creative director. As soon as a favorite of Gregory percent and Katharine Hepburn, Huntsman has been in operation for greater than a hundred and sixty years, having begun as a tailor of equestrian clothing. L’Roubi himself has been using considering he was once younger, and he can probably be located atop a black Friesian named Wytze on the couple’s nation house in West Berkshire. For the reason that taking over Huntsman, L’Roubi has been tough at work reviving its rich heritage, diving into the archives for idea and reintroducing vintage materials and classic cuts.

Returning matters to their roots is a theme for the couple at residence as good. Their penthouse encompasses an rental as soon as owned by way of the early-20th-century English artist Glyn ­Philpot—excellent known for portray leading figures of his day—and his work aspects prominently in Lagrange and L’Roubi’s assortment. In a nook of the learn, one of Philpot’s images is displayed close an outline of L’Roubi through Robert Mulhern, sparking a speak between residents of the identical area, a century aside. “Philpot lived here after the primary World battle with a man who was reportedly his boyfriend,” L’Roubi says. “on the time, of direction, that wasn’t publicized, however I thought that used to be really innovative, so we love being right here for the reason that of this connection, too.”

Respecting the historical past and spirit of the house used to be key. “if you happen to’re fortunate ample to have some thing best architecturally, it’s primary that you simply keep on with what the situation is supposed to be,” Grenney says. “Like the whole thing in life, when you try to make a house something it’s not, the outcome are unsightly. When it’s accurately, it invariably works.”


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