Feston & Cavetto by Goodwin Ceramics x Vertone

Yesterday we launched something I’ve been working on for a while. Vertone’s first ceramic collections, Feston and Cavetto, are now available, created in collaboration with Matamata-based studio potter Larissa Goodwin-Wylie of Goodwin Ceramics.

I first came across Larissa’s beautiful ceramics on Instagram and was drawn to her focus on form and texture, as well as the versatility of her work. As we looked to grow Vertone beyond furniture into homewares, collaborating with a local maker felt like the right way to do it. Larissa’s path into clay began with a Bachelor of Visual Arts at AUT and postgraduate study at Elam School of Fine Arts, and she has also interned with renowned Auckland potter Kirsten Dryburgh. A two-year stint in rural Japan fuelled a move to her husband James’s hometown of Matamata, where they now live with their two young children. Through Goodwin Ceramics she creates functional and ornamental stoneware using wheel-throwing and hand-building techniques, fired in an electric kiln and finished with glazes she develops in her own studio.

It was important that the pieces reflected both Larissa’s aesthetic and Vertone’s. The resulting collections fuse the two through an architectural language, with classical references reinterpreted by hand in stoneware.

The Feston Collection

The Feston Collection is named for the feston, a motif rooted in classical architecture and decorative arts. Each piece has a signature notched rim, with soft, fluid indentations that curve gently downward, sculptural in their simplicity. The collection includes a vase, dish and jar.

The Cavetto Collection

The Cavetto Collection takes its name from the cavetto, a concave moulding originating in classical architecture and later adopted across decorative arts. That reference is echoed in the subtly carved body of each piece, while an angular handle introduces contrast, a deliberate tension between curve and line that gives the Cavetto its uniquely considered form. The collection includes a jug and cup.

Colour and Craft

Each piece is crafted in a dark red-brown clay and finished with a custom glaze developed in Larissa’s studio. The palette nods to mid-century design, where sage and buttery tones were paired with the rich warmth of terracotta and clay. The colour shifts with the light, and the glaze breaks naturally at the edges to reveal the deep red-brown of the clay beneath. Subtle variations are embraced rather than concealed, so no two pieces are exactly alike.

The pieces are designed for everyday use, or to stand alone as beautiful objects. They also work well together, and pieces from both collections can be styled together or separately across the home.

I’m so proud of how these have turned out, and I hope they end up in homes where they’re used, loved and cherished. I’ll be sharing more about Larissa’s process on the Vertone Journal soon, so keep an eye out for that.

Feston and Cavetto are available now at vertone.space.

Creative Direction: Michelle Halford
Photography: Kirsty Dawn

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A Decade of Collaboration with BoConcept

Ten years ago, I began what has become one of my most enduring and enjoyable brand collaborations. Over the past decade, BoConcept has been a constant in our home, evolving alongside us through different spaces and stages of life. The partnership has nurtured my love of styling spaces and creating a home that feels personal, harmonious and reflective of my style, with a mix of pieces, both old and new, collected over time. As I embark on a brand new collaboration with the team, it felt like the perfect moment to look back at the sofas that have helped shape our living spaces over the years, and the process behind each one.

Choosing the right sofa for your home is such a big decision. Often the hero piece of a living room, it can act as both an anchor and a starting point for curating the entire space. It also plays a practical role, helping to define zones and create separation between living and dining areas in open-plan layouts. There’s a lot to think about in terms of style, such as modular or chaise, curved or boxy, low-slung or structured. Fabric choice is just as important — light or dark, smooth or textural, and always with durability in mind. Our living room is our sanctuary, the place where we relax, gather with friends, and stretch out as a family, so comfort has always been non-negotiable. I've always prioritised a slow and mindful approach to finding the right piece. Working with the BoConcept team allows me to think carefully about how I want the space to function and feel, choosing timeless, quality designs that are built to last rather than following a passing trend.

The Carmo Sofa

It all started with the Carmo. Contemporary Danish design at its best, I was immediately drawn to its clean lines, modular style, and fine piping detail along the edges. Choosing the fabric was one of my favourite parts of the process, and after bringing samples home and living with them alongside our existing palette of ash wood flooring and natural accents, the Lux Felt fabric won out. Made from NZ wool and the most durable in the collection, it was an easy choice with two young kids in the house. I chose dark grey, and loved the depth and contrast it brought to our walls, which were white at the time, and Nordic-inspired space.

What I quickly came to enjoy most about the Carmo was its versatility. The modular design meant we could reconfigure it endlessly, and if you've followed TDC for a while, you'll know how often I took advantage of that. From a classic L-shape to a full modular configuration running the length of one wall, it worked beautifully in every arrangement, and provided a natural separation between the living space and kitchen and dining areas — a great feature for our open-plan layout. The BoConcept Home Creator 3D tool was invaluable during the planning process, and we ended up going bigger than we initially thought possible. It's a tool I'd recommend to anyone navigating a sofa decision.

The Carlton Sofa

When the time came for a change, I chose the Carlton, a sofa inspired by the atmosphere of elegant homes of the late 60s and early 70s. This time, I made the exciting decision to go with two separate sofas in two different fabrics: a 3-seater in the light silver Napoli fabric, a corduroy velvet developed exclusively for BoConcept with a soft greige undertone, and a 2.5-seater in light caramel Oxford leather. Understated yet warm, the two fabrics complemented each other beautifully, while providing a nice change from the dark grey of the Carmo.

I loved how effortlessly our existing pieces, including cushions, throws, and art, worked with the new sofas. And it gave me the perfect excuse to add the BoConcept Waza rug in silver (later moved to our downstairs living space), which I had been admiring for some time. 

The Amsterdam Sofa

The Amsterdam moved into our downstairs family living space as we transitioned the room from a kids' space into something a little more grown up, and it was the perfect piece to anchor that shift. Designed by Henrik Pedersen, it blends clean architectural lines with voluminous cushions and mid-century detailing, including bolster cushions and piped seams, that give it a timeless quality. We chose the Resting Module configuration, with an armrest on one side and an open end on the other, which worked perfectly for the space.

For fabric, I chose Dusty Green velvet — a stunning pairing with our dark wooden flooring, and a colour that added a gorgeous layer of warmth and tactility to the room. Down the track, I collaborated with artist Greer Clayton on a painting that picked up the colours of the Amsterdam sofa beautifully.

The Modena Sofa

The Modena arrived in our main living area alongside the Bermuda footstool, and it felt like a breath of fresh air. Refined and elegant, designer Morten Georgsen softened the contemporary lines with curved edges, pull-in stitch details, and a sloping backrest. I chose the Lazio bouclé fabric in white, and the Bermuda footstool in beige Lazio. We later added the Charlotte armchairs in Auckland bouclé, a luxurious heavyweight wool textile.

Alongside the sofa collaborations, I've enjoyed working with BoConcept on styling shoots over the years, bringing additional pieces into our home, and expanding our creative partnership.

Most recently I’ve switched the Amsterdam and Modena between our two living spaces, showing how simple changes can breathe new life into a space without buying anything new.

The reason I keep returning to BoConcept, year after year, is simple. Their sofas are genuinely beautiful, exceptionally comfortable, and designed to last. There’s always a design that speaks to what I am looking for at the time, and the team's expertise and service have made every collaboration a pleasure.

Watch This Space

A decade in, and there’s still more to come. I’m thrilled to be embarking on a brand new BoConcept collaboration, and I cannot wait to share it with you. Stay tuned.

This post was created in collaboration with BoConcept. I only work with products I love and all opinions are my own. For more information please visit my About Page.

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Pied-à-Terre by Smac Studio

There is a particular kind of home that feels entirely and unmistakably like its owner. Pied-à-Terre in Woollahra, Sydney, is one of those. Designed by Smac Studio for a well-travelled, retired lawyer with a love of deep greens, aubergine tones, and a lifetime of beautiful collected objects, the result is a home that is serene and considered, yet full of personality and warmth.

The house itself has a meaningful history. Designed in 2000 by the late architect Ercole Palazzetti – a close friend of the owner's – it carries clear Italian influences that feel present throughout. "It feels quite meaningful living in something that connects back to that friendship," says Gina, the owner. "I really wish I could show him what I've done with the space now."

Originally a dark, inward-facing 1990s build, the home presented both challenge and opportunity. Smac Studio principal Shona McElroy made a series of small but considered interventions to the layout that make a big difference to daily living and entertaining. Most significantly, this involved relocating the kitchen from a tucked-away U-shaped corner to a central island position that now faces the garden. The fireplace was repositioned too, better defining the dining and living zones.

"This house feels Parisian in a way I've always been drawn to," says McElroy. "It uses space cleverly and is a perfect reflection of the client. It really belongs to her."

The colour palette, defined by olive green and aubergine, was drawn directly from Gina's love of her garden and her travels. Olive green appears in the kitchen stone, living room cabinetry, ensuite, and the custom media room couch, while aubergine runs through the checkerboard entry floor, the guest bathroom, and powder room. The wall colour, a green-toned shade that Gina initially hesitated over when she saw the word "grey" in its name, turned out to reflect the tones of the stone beautifully.

At the heart of the home, the kitchen is anchored by a deep green leathered granite – a slab Gina spotted the moment she walked into the stone warehouse. "I took one look and said, 'That's it.'" The same stone appears on the splashback and fireplace mantle, giving the ground floor a warm and textural cohesion. A mirrored finish on the splashback bounces the garden's greenery back into the room, keeping Gina connected to the outside even while cooking.

Always strong on creating distinct landing areas that welcome and set the mood, Smac Studio created an entrance that sets the tone from the moment you arrive. Generously sized and layered with character, it features an aubergine and white checkerboard marble floor, a curvy wave rattan console, and a sunburst mirror – a pairing Gina admits she wouldn't have landed on alone. "That's one of the perks of working with an interior designer," she says. "They can see combinations you wouldn't try yourself."

The powder room, small but full of presence, became one of the project's most joyful moments. Just before painting was due to begin, Gina emailed McElroy to suggest wallpaper instead. William Morris was chosen, its aubergine tones tying back to the broader palette, paired with a checkerboard marble floor and a curvy white stone vanity. "It's definitely a luxury moment," says Gina. "Little but full of personality."

As a self-confessed maximalist with collections of bottles, teapots, shells, and photographs gathered from years of travel, Gina needed the design to help her declutter. Smac Studio responded by simplifying the joinery and purposely reducing shelving, ensuring only the most special pieces earn their place on display. "I find it really difficult, it's not in my nature," Gina admits. "But it's made a real difference."

Throughout the home, a number of pieces were sourced at auction, adding individuality to each room. A Christophe Delcourt coffee table and a mid-century bar cart from Melbourne – 1950s, with delicate feet, curved lines, and crystal glasses inherited from Gina's mother and uncle – elevate the living room with a sense of history. Three mirrors were won in a single night of online bidding, including the sunburst at the entrance, after Gina placed bids and went to bed assuming she'd be lucky to win one.

"The house feels like a little haven," says Gina. "It's calm but still full of personality. At first I worried that bringing in a designer might make it feel impersonal – but instead it feels entirely like me."

Credits

Interior Design: Smac Studio

Principal of Smac Studio: Shona McElroy

Styling: Jack Milenkovic

Photography: Dave Wheeler

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A Sydney home Revisited by Carter Williamson Architects

Good architecture leaves room for life to happen. Brise Soleil was designed by Sydney-based Carter Williamson in 2009 and revisited by the same practice more than fifteen years later, not to start over, but to evolve.

The home had been well lived in. Its voids still carried light through the plan. Its robust exterior still held firm against the street. What had shifted was life itself. The owners didn't want to leave. The question became how the house might change with them.

The insertion of a lift within the internal courtyard quietly reshaped the plan. What began as an accessibility intervention prompted a broader reconsideration of how the home was navigated and used. The kitchen moved. Pathways widened. Thresholds softened. The ground floor became more generous, more fluid, more attuned to ease — a reimagining of daily living without the erasure of what came before.

Yet the defining qualities of the original design remain. Light continues to fall through the voids, animating walls and floors throughout the day. What has changed is tone. Where the interiors were once restrained, warm timber joinery and a richer material palette now introduce tactility and depth, making the contrast between robust exterior and intimate interior more pronounced than ever.

The kitchen was redesigned to support accessibility without sacrificing conviviality. Bespoke cabinetry and carefully resolved joinery ensure that the rhythms of daily life continue seamlessly, maintaining its social heart.

Brise Soleil is not a reinvention. It is an evolution. A house that has matured alongside its occupants, and proof that architecture designed with care can absorb change without losing its identity.

Credits 

⁠Architecture and Interior Design: Carter Williamson Architects

Styling: Claire Delmar

Photography: Pablo Veiga⁠

Build: SFN Build

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