Catherine Milner interviews Dara Huang, architect, interior designer and founder of Design Haus Liberty, and Dara Maison.  How important is telling a story through objects when creating an interior? For me, creating an interior is crafting a story. Each piece, whether it's a subtle design narrative or a sweeping journey through space and time, contributes to the overall tale of the home. It's about curating an environment that not only looks beautiful but also feels deeply personal and evocative. Is the idea of home changing? Absolutely. Home is no longer just a showcase; it's a sanctuary meant to support our lifestyles and foster connections. I believe in creating spaces that seamlessly blend form and function, where every corner invites warmth and joy. It's about making sure that beauty enhances everyday life without compromising on comfort or usability. Are new kinds of rooms being created in the home – what are they and what do they need to look good? I've noticed a rising trend towards multi-functional spaces in modern homes. These spaces need to be versatile yet aesthetically pleasing. The key is in selecting furniture and decor that seamlessly adapt to different needs while maintaining a cohesive and inviting atmosphere. You have a keen interest in nature and like plants in an interior. How have you noticed other people responding to our new 'Green times' in the kinds of look they want? Is there a changing aesthetic? Adding elements of nature, such as plants, has become increasingly popular. People are drawn to the vitality and serenity that greenery brings into a space. What's exciting is the diversity of plants available—each offering unique shades, textures, and heights that can be tailored to enhance any design aesthetic. It's about creating environments that feel alive and connected to the natural world, enriching the overall ambiance of the home. How popular is antique art and furniture in the homes you are furnishing, and are there any particular trends you have noticed? Antique art and furniture continue to hold a special allure, honoring the craftsmanship and history behind each piece. I often integrate these timeless treasures with modern elements to create intriguing juxtapositions that add depth and character to interiors. It's about celebrating the past while embracing contemporary design sensibilities, resulting in spaces that feel both rooted in tradition and refreshingly current. What has been the most popular item of art or design you have sold at Dara Maison? One of our standout pieces has been the sage green sofa—it's been incredibly well-received by our clients. People are captivated by its rich texture, inviting dimensions, and the way its color effortlessly complements various interior styles. It's gratifying to see how a single piece of furniture can transform a room, adding personality and charm. What is the most exciting part of your job? The most thrilling aspect of my work is the creative journey itself. Every project presents a new canvas to express ideas and turn visions into reality. I live for the opportunity to collaborate with clients and artisans, harnessing their expertise to craft spaces that not only meet practical needs but also inspire and uplift. It's about creating homes that resonate on a deeply personal level, where beauty and functionality converge seamlessly. Below: Dara Huang 

If you visited the 2024 iteration of The Treasure House Fair, chances are you came across Catherine Milner. Formerly the Arts Correspondent of the Sunday Telegraph, Catherine took guests on guided tours of the event, where she shared the rich stories behind the exhibits and explored the Fair’s hidden gems - which may otherwise have been missed. Read on to discover more… Above: Catherine showing a group of Royal Hospital Chelsea Pensioners around the Fair Catherine was brought up abroad, and after studying Fine Art at Edinburgh University, became the Arts Correspondent of the Sunday Telegraph. After having her children, she left the Sunday Telegraph and began writing for the Financial Times, Guardian and other papers. For the last eight years, Catherine has been the Creative Director of Messums art gallery, curating shows of ceramics, paintings and sculpture. How did you become involved with The Treasure House Fair, and what did your role entail during the event? I was asked by Thomas Woodham-Smith, Director of The Treasure House, to show collectors around the Fair over a series of guided tours. What were your personal highlights from the Fair? Hiroshi Senju's Waterfall paintings, presented by Sundaram Tagore Gallery. And what objects did you feel resonated most with guests during your tours? Jewellery both antique and modern; Japanese ceramics; Andy Warhol’s drawings, Grayson Perry’s new map. Why should people attend future editions of The Treasure House Fair? Because of the beauty, the culture, and the conversation. If you had to do another job, what would it be? Painting. Other than a phone and keys, what's the one item you always have on you? An intaglio of a running deer. How do you relax when you're not working? Walking. What's your favourite-ever piece of art, either that you own or wished you owned? A landscape by John Nash. Below: Catherine in action at the Fair.

By Simon de Burton, journalist and contributor to GQ and the Financial Times.  “A few hours of sleep were sufficient, and then we were ready to begin all over again – and at the moorings, always a Riva ready to welcome us...” So said Gigi Rizzi, the 1960's playboy and one-summer-lover of Brigitte Bardot for whom a Riva speedboat with a hull of richly-varnished mahogany was as much a gentleman's essential as a beautiful blonde, a Ferrari coupe and a waterside home with a well-stocked wardrobe and  private jetty. Riva’s roots go right back to 1842 when a young Pietro Riva began repairing and building yachts at Sarnico on Lake Iseo, northern Italy. But it was his great grandson, the legendary Carlo Riva, who had the vision to create a range of wooden-hulled boats that went on to become the epitome of the jet-set era that Rizzi was a part of. Carlo was inspired by the products of the American Chris-Craft company – for which he was an agent – and used Chris-Craft and Chrysler engines in Rivas before developing the firm’s own ‘Crusader’ power units that prevailed from 1967 to 1996. The arrival of glass fibre as a boat-building material seemed to sound the death knell for the viability of wooden Rivas and, although Carlo introduced the plastic-hulled Rudy in 1969, the future looked bleak and he sold the business in 1970. A succession of owners followed until Riva was bought and revived by the Ferretti Group in 2000, right on the cusp of a boom in all things ‘vintage’ that was driven by a wealthy, middle-aged demographic who were out to buy the now-classic cars, watches, motorcycles and boats that they could only dream of in their youth. Under Ferretti’s ownership, the contemporary Riva brand successfully combines the best of modern materials with aesthetic touches from historic models to evoke the style of a classic wooden boat without the drawbacks of the real thing, which can be easily damaged, difficult to repair and demanding to maintain – and, above all, fiendishly tricky to build in the first place. For true aficionados of those elegant craft of the past, however, only wood is any good when it comes to owning a launch with real soul – and that, combined with the world’s ever-increasing number of billionaires, has sent the value of original, all-wooden Rivas rocketing. In 2012 a 1962 Super Ariston called ‘Dracula III’ that had belonged to the legendary German playboy Gunther Sachs sold for a triple-estimate £385,250 at Sotheby’s. A Tritone, meanwhile – commissioned in 1958 by a Milanese textile tycoon as a gift to Prince Rainier III of Monaco – soared to more than Euros 400,000 10 years ago when it crossed the block at an auction in the principality (helped, no doubt, by the many images showing the Prince and his young wife, Grace Kelly, having fun in the boat ‘in period’). And in 2011, U.S. auction house Mecum set a saleroom record for a classic Riva when it sold an Aquarama for $975,000. Completed in 1996, it was the last new, wooden-hulled Riva to have been sold to the public and was delivered to the founding family of the giant Sony Corporation on December 23, 1998. One of six ‘end of an era’ commemorative editions produced, it had clocked-up fewer than 20 hours of use in 12 years before the original owners consigned it to auction – their most ambitious voyage having been a return trip across Lake Garda for lunch. But anyone with greater maritime ambitions should take a look at the exceptional Riva Aquarama Special that will be available to buy at this year’s Treasure House Fair. Above: 1986 Riva Aquarama   A 1986 model powered by twin, 350 horsepower Crusader engines, it spent part of its life in Singapore before returning to the Riva shipyard in Sarnico which is now home to Riva Classiche, the specialist service with an international reputation for maintaining, preserving and rebuilding original wooden Rivas. Having been restored to near perfection by the yard, this particular Aquarama has appeared in numerous photo shoots and on hours of video footage as a star exhibit in Riva Classiche’s museum collection. Now on offer at an asking price of €800,000, it is offered in turnkey condition and ready to go. It really is a case of ‘just add water’…