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I NTRODUCTION

But this stability was to change. Recognizing a rising fashion for informality in interior design, and encouraged by the more contemporary vision sought by Delbée, Manno partnered with Pamela (Churchill) Hayward to propose a reorganization of Jansen, Inc. Retaining the existing design studio and gallery, the new configuration centered on an independently operated American version of Jansen’s famous Paris boutique, as redefined by Cora Caetani. The New York endeavor duplicated the aristocratic Caetani look, with affordable and not-so-affordable decorative ornaments of varying styles from around the world. Partially owned and overseen by Hayward, the boutique was meant to increase Jansen’s visibility and profitability. In late summer 1963, Jansen, Inc., moved to new quarters at 42 East 57th Street that included a streetlevel retail space for the boutique, a second floor for the design studio, and a basement storage area. Patrons now entered an eclectic bazaar offering inexpensive lacquerware ashtrays, elaborate gilt-bronze console tables, Louis XVI–style bouillotte lamps, and contemporary Lucite picture frames. The formerly exclusive Jansen now became accessible to a mainstream audience, and the boutique proved a great success. All concerned— Hayward, Manno, and Jansen, S.A.—shared in the profits. Not everyone was impressed with the arrangement. Established clients of Jansen, Inc., “did not like having to pass through the boutique to reach the designers,” remembered Kouwenhoven. “The organization of the space did not encourage business, as it compromised the cachet of Jansen as one of the world’s great design houses.”62 The popularity of the New York boutique, however, led to the creation of similar boutiques in Milan, Rome, São Paulo, and Buenos Aires.63 Presumably established as franchises that could offer some independent design

TROMPE-L’OEIL ARTIST PIERRE-MARIE RUDELLE WORKING ON PANELS COMMISSIONED BY FIRST LADY JACQUELINE KENNEDY

services, these shops or galleries resurrected of Jansen’s global identity without great investment by the rue Royale headquarters. Brigitte Boudin de Laage de Meux and her husband opened the last of these independent boutiques in Geneva, Switzerland, in 1972. This redirection for Jansen was no doubt encouraged by changes in the decorating world. The design aesthetic of the mid-1960s reflected the energy and spontaneity of a new generation of decorators and designers, as well as a change in how people lived. Under Delbée’s leadership, the Paris office further adjusted to such changes, even entering into commercial design for hotels and restaurants, such as Le Maschere, a dining room at the Grand Hotel in Rome. Designers who fluidly melded many styles soon rose in the ranks. Cuban-born Carlos Ortiz-Cabrera, for example, combined materials such as informal rattan, paisley-printed cottons, and plastics

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Jansen: Decoration (excerpt)  

Jansen showcases 30 of the company's most alluring commissions, including rooms for the Duke and Duchess of Windsor, the Shah and Shahbanou...

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