What do you need to make a classic Bloody Mary drink?
Thank you Claridge’s for the advice!
What do you need to make a classic Bloody Mary drink?
Thank you Claridge’s for the advice!
We are such great fans of what is known as the quintessential British luxury hotel, Claridge’s in London, loved by British regulars and international guests alike.
We asked Claridge’s to tell us some facts about the hotel and it’s history for us to share with you.
1. The hotel was bought by Mr and Mrs Claridge in 1854, receiving the ultimate accolade in 1860 when Queen Victoria visited Claridge’s to see her friend Empress Eugenie of France.
2. In 1929 Oswald Milne, a pioneer of the art deco movement, was invited to modernise the hotel. The entrance was transformed into an elegant lobby with the glamorous mirrors and ‘leaping deer’ lamps which remain today. Much of the original furniture, lighting and decoration from this time remains and it is this heritage which gives Claridge’s its reputation as a Mayfair art deco jewel.
3. During the Second World War Claridge’s became a haven for exiled royalty and heads of state. After the war, in 1947, just before the wedding of the then Princess Elizabeth, a harassed diplomat telephoned the hotel and asked to speak to the King. “Certainly sir,” was the response, “but which one?”
4. When American icon Katharine Hepburn stayed she was reminded that the dress code of the day was that ladies should not wear trousers in lobby, so she simple chose to use the staff entrance instead.
5. For over 100 years Claridge’s has been known for its famous Afternoon Tea. Today, Claridge’s serves a huge choice of over thirty different types of tea, and even has its own blend – CLaridge’s Royal.
A sneak peek at the illustrations featured in the TYPOFACES book – the product of a collaboration between Construct London and artist Paul Davis.
The drawings capture people who were at the TYPO London Speakers Dinner, hosted by Mulberry Brand Director Georgia Fendley last October, and a limited edition run of 100 copies of the book were given to those who attended.
Both Georgia and Mulberry creative director Emma Hill were captured in the book.
The second of our seasonal guest edits comes from Sasha Sarokin, Buying Manager at Net-a-Porter.
We’ve been watching the captivating video for Lana Del Rey’s single Blue Jeans, directed by Yoann Lemoine.
Jacqueline Cullen is a British contemporary jewellery designer who creates hand-crafted pieces out of rare jet: a prehistoric black fossil previously associated with Victorian mourning jewellery. We came across her beautiful work when Brand Director Georgia Fendley became Jacqueline’s mentor as part of the Crafted programme, which supports contemporary British craft.
Jacqueline spoke to us about her work, her inspirations and the skills of working with jet, as well as sharing some of her sketches, jewellery pieces and the gorgeous, refined packaging created by London-based design agency and long-time Mulberry collaborators Construct London.
“Jet is simply fossilised tree trunk (from an ancestor to the monkey tree) from approximately 180 million years ago. It first became commonly used as Victorian mourning jewellery: Queen Victoria wore it after Prince Albert died and this started a trend. However, the jet fell out of favour with designers and around 100 years ago it stopped being mined altogether. I use Whitby jet: it’s better quality than you can find abroad, but it’s not easy to come by! A contact of mine abseils down the cliffs in Whitby to access small old mines and caves which contain it. You certainly don’t come across it accidentally.
There are designers who still work with jet but this is mostly based on Victorian replica jewellery. I work with the jet in a very contemporary way: manipulating it into shapes and edges that interest me, and I’m often inspired by dramatic acts of nature – volcanic eruptions, erosion, the beauty in the imperfections of nature. Jet is not always easy to work with: it is extremely dusty, and I have to use specially-designed tools like diamond-tipped saws and water beds to control the levels of black dust produced. It is so interesting to work with though, no two pieces I create are ever the same: the texture of the jet means one piece may be more jagged or corrupted than the other. I can do approximations of the same design, but it is never a complete match – a piece of jewellery from me is unique to you.
As a jeweller, your bench peg is your best friend. It shows all the work that went into the production of a particular piece, you can see all the wear and tear – it’s a lovely craft story in itself. I know many people who keep theirs even when it can no longer be used, as it tells the story of all your creations.”
Packaging images courtesy of Construct
All other images courtesy of Jacqueline Cullen
If you need a little extra help with how to bake your cake for Mother’s Day (or any other time!) then look no further. The lovely (and delicious!) Peggy Porschen and their namesake creative director have given Mulberry followers this traditional and beautiful Victoria Sponge recipe – a complete exclusive as it is taken from their new book Boutique Baking, not out until May.
“Based on a classic Victoria Sponge, the key to this simply delicious cake’s success is using the best quality ingredients. The design is inspired by the era of the cake’s origin, decorated using a Victorian-style scroll and shell piping technique.”
Makes one 15cm (6in) round cake, serving 8–12 slices
For the sponge
200g unsalted butter, softened
200g caster sugar
Pinch of salt
Seeds of ½ vanilla pod
4 medium eggs
200g self-raising flour
For the buttercream filling
300g unsalted butter, softened
300g icing sugar, sifted
Pinch of salt
Seeds of ½ vanilla pod
Small amount of pink food paste colour
3 tbsp any good-quality raspberry jam
Three 15cm (6in) round sandwich tins
Cake leveller or large serrated knife
Flat disc to place on top of the turntable
(I use the loose base of a 30cm (12in) springform cake tin)
15cm (6in) round cake card
Metal side scraper
Two plastic piping bags
Medium star piping nozzle
Plain round 4mm (¼in) piping nozzle
Bake the sponges one day ahead of serving. Prepare the buttercream filling and assemble and decorate the cake on the day of serving.
Preheat the oven to 175°C/gas mark 4.
Prepare the sandwich tins by greasing and lining them with greaseproof paper.
To make the sponge
Place the butter, sugar, salt and vanilla seeds in a mixing bowl and cream together until pale and fluffy.
Beat the eggs lightly in another bowl and slowly add to the butter mixture while whisking quickly. If the mixture starts to separate or curdle, stop adding the egg and beat in 2–3 tablespoons of the flour. This will rebind the batter. Once all the egg has been added and combined with the butter mixture, sift in the flour and stir until the batter is just combined. This will ensure the sponges stay light and fluffy.
Divide the batter evenly between the sandwich tins. If you find it difficult to measure by eye, use your kitchen scales to weigh out the amount of sponge mixture for each tin.
Bake for 15–20 minutes, depending on your oven. If you are using deeper cake tins, the sponges will take longer to cook. The sponges are cooked when the sides are beginning to shrink away from the edges of the tins and the tops are golden brown and spring back to the touch. If in doubt, insert a clean knife or wooden skewer into the centre of each sponge; it should come out clean.
To make the buttercream filling
Place the butter, icing sugar, salt and vanilla seeds into a mixing bowl and cream together until very pale and fluffy.
Add a small amount of pink food colour to the mixture and stir through until combined and the buttercream is a pastel shade.
To assemble the cake
Trim and sandwich together the three sponge layers using one layer of buttercream filling and one layer of raspberry jam. With the remaining buttercream filling, cover or mask the top and sides of the cake.
Place the cake either on to a cake stand or on top of the turntable covered with a piece of greaseproof paper.
Place a star nozzle into a plastic piping bag and fill with a generous amount of the remaining buttercream. Place a round nozzle into another plastic piping bag and fill with a small amount of the remaining buttercream.
Divide the top of the cake into eight equal segments. Using the star nozzle, pipe a ring of C-scrolls around the circumference, revolving the turntable as necessary. Next, pipe a shell from the middle of each C-scroll towards the centre. Where all eight shells meet, pipe a rosette on top at the centre of the cake top. Using the round nozzle, pipe a small dot between each shell.
Using the star nozzle, pipe eight ‘fleur de lys’ evenly around the sides at the top edge, with a single upside-down shell underneath at the bottom edge. To finish, pipe a small dot between the ‘fleur de lys’ and shell. For full instructions on how to do this, see page 185. If the cake has been placed on greaseproof paper, chill until the piped dots are set before transferring to a cake stand.
Serve the cake at room temperature. This cake is best enjoyed within 3 days of baking, but it can last for up to 1 week.
Photography courtesy and copyright of Georgia Smith
After the Autumn Winter 2012 shows end, behind the scenes buyers, directors and editors get busy picking their favourite pieces ready for the new season. Roopal Patel, Fashion Director at MODA Operandi shares her choices with us.
“Mulberry just thought of everything that a girl needs for a Fall season! The coveted Del Rey handbag for starters. We love the mix of tie dye lace dresses paired with cargo coats. The embroidered sequin skirts with great knits. This collection has all the right essentials for Fall!”
Roopal’s key looks from the catwalk…
The multi-talented George Lewis (better known as Twin Shadow) was the resident DJ at our pool party in Los Angeles at the end of last year. He performed a cover of a great British song by great British artist Peter Gabriel.
Our Spring Summer 2012 campaign photographer, Tim Walker, and art director, Ronnie Cooke Newhouse, interview each other in a conversation celebrating the campaign, creativity and childhoods.
Ronnie: Shall we talk about this Mulberry campaign you shot? This being campaign number three for you?
Tim: Yes, the first was the one we did in Northumberland, and that was for Spring Summer 2011 and we filled the room with flowers and had a little piglet, then the second campaign we did in March 2011 and we had Shona (Heath) do the giant animals which was very good, those giant eggs and the big owl! Then we shot Spring Summer 2012 in October and the theme was Emma’s look at the seaside, so we went to the epitome of the English seaside – Brighton -and shot on the pier. That’s where we were! Shooting Spring Summer 2012 in October! It could have been a disaster, but Emma said she wouldn’t mind if it rained and yet luckily we had perfect weather.
Ronnie: Actually we thought we had an alternative for if it rained which didn’t work so we really didn’t have any option if it had poured down! We had the weirdest day, Indian summer, blue sky, fluffy clouds, and it seemed like no one in Brighton was working – everyone was out! It was strange, like a higher power smiled on us and said ‘we like your show Emma, we love the bags, clothes, shoes, so we’re going to give you a gift!’
Tim: Because of the way I shoot we had no lights, it was all daylight, so hair and makeup was at 6.30, by 7 we were on the beach watching the sun come up and then when it was going down in the early evening we were shooting still! Then it got cold and we all went home…
Ronnie: It was pretty magical. The girls, the two models [Frida Gustavsson and Lindsey Wixson] were great, really good together – like twins!
Tim: I have a question for you Ronnie, how old were you when you realised you were motivated by visual arts?
Ronnie: I think about three years old. I was drawn to painting and was basically very visually defined, in the way I thought, the way I remember things.
Tim: So for you, visual communication is a much more potent form of communication than the written form?
Ronnie: Yes, in a funny way I had to learn to communicate in all the different ways, as my level of development was advanced visually and then other methods caught up to that. I think it’s common for creative people, you decipher things, you learn things, you make sense of things, all visually first.
Tim: I was a doodler as a child, I communicated through sketches and would draw things to describe them. Doodles became photographs, I think like cartoons in a way – I see my photography as a form of cartoon – it was always in me to communicate that way. I couldn’t have done it in any other way. I think a lot of us that work visually, me, Emma, you, developed this way to communicate and understand visually when we were young, so still communicate like that now. Our childhoods are therefore important to how we think, maybe that’s the common denominator in all of us and why we all ‘get’ what we want from images, from campaigns.
Ronnie: We all seem to have rich memories from our childhood definitely. I’m always going back and wondering if the things I remember are simplistic and barely noticed by others but for me turned into seasons, campaigns, images or long term fascinations. It’s how each person perceives the situation I guess.