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INTERVIEWS


• ONE SHOT COFFEE: Crafting History Through Interior Design • An Interview with Book Cover Designer Coralie Bickford-Smith


One Shot Coffee: Crafting History Through Interior Design

The barista side of the bar was elevated 4 inches off the floor to create a stage for the performance of masterful coffee creation.

How do you design a cafĂŠ and coffee house with a sense of history in a neighborhood that has little of its own? This was the conundrum faced by One Shot Coffee owner Melissa Baruno when she decided to relocate and expand her ever-popular coffee bar into a space two doors down from its original location in Philadelphia's Northern Liberties neighborhood. A veteran of the coffee business, Baruno wanted a space that reflected the artistic bent of the community and felt like it had been there for generations. To do this, she enlisted the help of longtime customer, loyal friend and designer, Chris Sheffield ofSL Design. Chris lived in the neighborhood and had been patronizing One Shot for years. He was also a talented hospitality designer with projects in New York, Chicago, Las Vegas, and Florida, who had yet to design a space in his hometown of Philadelphia.


Together, Baruno and Sheffield worked to create the environment Baruno had imagined. They visited neighborhood coffeehouses in Brooklyn for inspiration, and spent hours discussing the aesthetic and functional details involved in creating a successful coffee-driven business. Baruno knew that Sheffield shared her vision for the space and was personally invested in the outcome. She trusted him to design a place that looked like it had evolved over time, and one that would continue to evolve, seamlessly. The Project: To design a new space for a popular and expanding Northern Liberties coffee bar that "looks like it's always been there." Create a space that's comfortable, with a handcrafted edge. The Collaborators: Owner Melissa Baruno and loyal customer/ friend/ designer Chris Sheffield of SL Design. The Space: A narrow two-story row home at 217 W. George Street, two doors down from its original location. The Inspiration: The many neighborhood coffee houses of Brooklyn. Specifically, a desire to craft a space that speaks to the neighborhood and its residents. The Color Palette: Based on layers of peeling paint found on a scrap of salvaged wood. (If you look closely at the front of the bar, you may be able to pick out the piece that inspired it all!) The Materials: A combination of salvaged, vintage and DIY-inspired elements. The Details: 1. The Coffee Bar: The coffee bar itself was designed to have a slightly European feel. Stools were placed at the end of the bar closest to the door, allowing customers to casually sit, read the paper and enjoy their coffee before moving on with their day. The barista side of the bar was elevated 4" off the floor to create a stage for the performance of masterful coffee creation. 2. The Menu: An oversized roll of kraft paper rests atop a strip of salvaged subway tiles, and acts as the medium for the expanded cafĂŠ menu. The crafty quality of the materials encourages employee and customer interaction, resulting in an ever-changing display of artistic expression. 3. The Millwork: The bar top and wall cabinetry were handcrafted by Workerman Gallery of Manayunk. The cabinet was designed to be highly functional, as well as beautiful. The top portion of the piece was originally built to hold plates; however, this idea was later discarded, and those cubbies now contain record albums specially selected by staff and friends. 4. Storage: Functionality was a driving force in the design of the coffee bar area. Storage needs were thoroughly evaluated, and aesthetic solutions were sought wherever possible. One such example can be found in the numerous little drawers created to hold tea within the custom-designed wall cabinet. 5. The Ceiling: The ceiling of the first floor is clad in salvaged tin tiles that were purposely selected according to their patina. These tiles were then thoughtfully applied in a truly random pattern by local general contractor Buckminster Green, "one of the few contractors," Sheffield claims, who "really gets


the concept of recycle/ reuse and sustainability in practice."sustainability in practice." 6. The Kitchen: Another example of creative reuse can be found in the kitchen enclosure which was once the bookkeeping office for a local lumber company. The pass-thru window at the front was originally intended to be used by customers for food pick-up; the success of the expanded cafĂŠ menu has since necessitated a different type of service model. 7. Handmade Details: One of SL Design's hallmarks is to incorporate one personally handmade piece into each of their designs. For this project, they took the frame of a light fixture bought on clearance at Pottery Barn, and hand -wove it with twine and bits of string to create a one-of-a-kind handcrafted luminaire. 8. Upstairs: The majority of the seating for One Shot Coffee can be found on the second floor. Here, walls are clad in salvaged wood pallet pieces and plaster has been chipped away to reveal the brick structure underneath. At the near end of the floor there's a communal table, a display wall for student art and a ceiling of diagonally-run reclaimed wood planks. 9. The Living Room: At the far end of the floor, there's the "living room," complete with vintage leather sofas, plaid armchairs, DIY plumber's pipe bookshelves, $5 clamp lamps and retro TV trays. Like any good living room, this is the heart of the upstairs. It's here that you'll find a hint of Baruno's own personality - in the motorcycle murals placed behind the shelves and the actual bike on display nearby. 10. The Restrooms: Good design does not check itself at the restroom door at One Shot; expect to see the same care and attention given to the rest of the interior reflected here. Salvaged doors, vintage light fixtures and print wallpaper add welcome charm to these not-forgotten spaces throughout the cafĂŠ. I first fell in love with this project online, but if you have the chance, you should visit it in person. The images are gorgeous, but as I found when I met with Chris, nothing compares to experiencing this incredibly thoughtful interior yourself. And while you're there, try the raspberry mocha - it's delicious! For more images and information on this project, visit SL Design | One Shot Coffee. Images: M. Scott Whitson Photography


An Interview with Book Cover Designer Coralie Bickford-Smith

Coralie loved the Eva Zeisel dish used for the cover of Love in a Dish so much that she found it and had it shipped to her from America.

I've mentioned before what a huge booklover I am. I love everything about them: how they look on my shelves, the way they feel in my hand and the richness and wonder contained inside each and every one. That said, it should come as no surprise that I also adore good book design. Those that share this obsession know what I'm talking about... And they probably also know the name (or at the very least, the work) of Coralie Bickford-Smith, senior book cover designer for publishing darling Penguin Books. Her Clothbound Classics have become classics in their own right, gracingAnthropologie's retail shelves and appearing in magazines and blogs the world over. And her deco-inspired F. Scott Fitzgerald books are on the wish-lists of bookworms and design-istas everywhere. This month, a new set of BickfordSmith- designed books will be released: Great Food, a collection of the most evocative food writing of the last 400 years. Once again, the designer has created book covers as engaging as the content itself. Recently, I interviewed Coralie to learn more about the collection, her design process and her personal inspiration (I'm happy to report that she's as delightful as her cover designs!). Your work for Penguin Books has been embraced by impassioned book lovers everywhere. Why


do you think your cover designs have struck such a strong chord with the book-buying public? Because I am working with literature which is already so well loved, it holds huge appeal. To cover such a collection of classics is an honor. I am amazed that my own vision for the covers has pleased so many lovers of that literature. I try not only to entice a new audience to the title, but not to alienate the diehard fan, either. I also try not to be too literal in my interpretation, and instead look for intriguing details within the text to illustrate symbolic meanings found within the story. I love the minute detail in pattern, all the way through to the materials used for binding. Every little detail has to be right and well produced. I have always seen the book as a beautiful object and like to refer back to the lush way that books were bound in the Victorian era. I see books, not as disposable, but as something that enhances the pleasure of reading. I work with some of the finest literature ever produced; my job is to echo the inside on the outside. According to Penguin, this new collection "brings together the sharpest, funniest, most delicious food writing from the past four hundred years." Do you like to cook? I have two talents in the kitchen: a perfectly fluffy poached egg and hot pepper tofu. Penelope Vogler is the mastermind and the chef behind the conception of the series and I have learned so much from both her enthusiasm and by reading her books. She has a wonderful Great Food blog and is also part of a food club. Where did the design inspiration for these newest covers come from? When this series was briefed the word 'ceramics' was included. So, the first thing I did was explore the many book shops of Charing Cross Road and research cookery books. There, I often ended up in the craft sections where I found a few old books on the history of ceramics. In the back of the books were drawings of assorted ceramic shapes that were popular in certain eras of ceramic design. Each ceramic shape depicted on a cover is historically relevant to the book. Not only is it from the period in which it was written, but it represents which kitchen implements were used in which recipes. The pattern behind the shape is also from a certain ceramic piece of the relevant period. The typography ties it all together, by echoing the ceramic mark found on the back of the ceramics of that period. I commissioned lettering artist, Stephen Raw, who I have worked with before on the Books for Boysseries. Together, Samantha Johnson, our in house picture editor, and I started researching. We read, talked and investigated ceramics from the relevant periods and eventually got a series style going. The first cover to come together wasPleasures of the Table - featuring a Sèvres hot chocolate cup with a Sèvres pattern and typography influenced by the Sèvres ceramic mark. (I hope I have put a bit in for everyone that was watching and helping these covers evolve.) It was a hard but rewarding process. You've mentioned previously that when working on fiction titles, you like to read the books themselves for inspiration. Was that the case with this series as well? Was there any cooking involved (on yours, or anyone else's part?) Yes, I read them all. It was like studying the history of food writing. It was fascinating because it was an


area of literature I had not really immersed myself in before. My favorite was Alice B. Toklas' Murder in the Kitchen. She and Gertrude Stein had such adventures on the road with 'Lady Godiva,' who lead them to new restaurants along the way. The way Toklas wrote about how and when she came to make a certain recipe added a sense of place that was so interesting. Design-wise my favorite is Love in a Dish, I even found the bowl featured on the cover and had it sent over from America. I now have a whole new collection starting, although I have always collected Tams Pottery. I love their bright colored spotty plates. Penelope Vogler has been cooking up a storm and is documenting it all on her food blog. With the Clothbound Classics, each cover design was organized on a grid to ensure that the books would stand as a cohesive collection. What organizing principles did you employ across this collection of books to achieve the same effect? I have been such a strict grid person in the past, but this time I wanted to have a set of rules that were more fluid. It's all about shape and pattern. I was very worried that these rules would make designing the covers more difficult, but I soon found them leading to a richly varied and visually exciting series. My previous 'two color' tendencies where slowly eradicated through many discussions with Jim Stoddart, the Art Director of Penguin Press. Every series you've designed has been unique, (Great Food, Clothbound Classics, F. Scott Fitzgerald, Gothic Horror, etc.). Is there a particular collection that resonates most with you personally? I always think, this time I can do something new. But each time you work with such different literature, and it soon becomes apparent that it has its own personality that needs to be expressed. For me, the Cloth Classics were special. They hit a moment in time when the book had become disposable once read. The reaction to them was so surprising. It was like I had suddenly created something that not only I loved but that was loved outside of me. It was very gratifying. I also think there's a broadening appreciation of the book as a designed object. There's the gift market, and people are using books as an element in interior design. Then there's the e-book factor. If it's cheaper and more convenient to read a novel on your phone - and many classics are available for free that way - then books have to justify their presence and expense by accentuating the qualities of the physical object. Materials such as foil and cloth are ideal for that because they have a tactile quality that can't be replicated digitally. I've read that you are often inspired by interior design. Can you expand upon that a little? I am very inspired by interior design. William Morris has always influenced me - the way he cared a great deal for not just design, but the production values. I thought, if these books sit on a shelf for a long time, they have to be something special. These are objects that are (hopefully) crafted so that, if you choose to live with them, they will stand the test of time. Everything has a reason. Spines on a shelf are not just for seeking attention in a retail environment, but also for sitting beautifully on the bookshelf at home. Orla Kiely, David Hicks, and Florence Broadhurst are a few of the designers that I adore and inspire me. For many of us, books and bookshelves play an important role in our home dĂŠcor. As a designer,


do you often imagine how your books would look in someone's home? Not really. I start by imagining the love someone would have for that particular piece of literature. Or I imagine Tim Burton creating his own imaginary worlds and wonder, what kind of bookshelf would inspire that? I try to design book covers that create a riotous mix of color and wonder. Ones that would line up on my bookshelf and make me dream about literature and echo different worlds, emotions and imaginary realities. Literature is a feast of imagination. I wanted to make my bookshelf a celebration of that. I never thought that my own world would mirror so many other people's love of literature. When I see pictures of book covers I have worked on in people's homes, I feel very proud that something I had a hand in has a life I never knew about. How would you describe your décor style? Has your work influenced this style at all? (Or viceversa?) My work came about before I ever had a space to call my own. So, the expression I've found in my work is much freer than my home décor. At home, my objects need to breathe, but my bookshelves are where all the action happens - a huge splurge of color. I love white walls and minimal fuss. Every piece of art or decoration has a story behind it. I like to surround myself with meaningful memories and things that make me smile. I have art that inspired me as a child and objects with personalities that take on their own existence within my own. I have never been the sort of person to go out and buy things for the sake of it. Every item has to have a story or a function. To go out and buy lots of new things without reasons feels wasteful and exuberant. What are 5 of your favorite items at home right now? 1. A blue glass owl money box from an antique shop in Lewes. 2. The sock rabbit I bought for a friend's child from a charity supporting abused women. It never made it to the child... 3. The green art deco reading chair I've upholstered in a pattern called safari swirl. 4. My Jo Gordon scarf. I love her use of color. 5. A side table from Catch Weasel called The Paperhound. I seem to have a thing for things with eyes! To view the complete collection, visit Great Food | Coralie Bickford-Smith. More great interviews with Coralie: • Fast Company • Design Sponge • The Casual Optimist Images: 1-4. Coralie Bickford-Smith 5. Coralie Bickford-Smith, Jo Gordon, Catch Weasel


long FEATURES


• AMERICAN STYLE THROUGH THE DECADES: The Forties • CINEMA STYLE: 20 Unforgettable American Movie Interiors


American Style Through the Decades: The Forties AMERICAN ST YLE

(A) Elizabeth Taylor at her dressing table of satin, ruffles and roses, in coordinated, feminine colors; (B) A blue bedroom featured in House Beautiful magazine’s “Bride’s House – 1940”; (C) A glamorous Hollywood-style bedroom with tailored bedspread and floating dressing table (via Retro Renovation); (D) 1948 Armstrong ad showcases an ultra-functional kitchen and home office layout


The 1940s were a tumultuous time. It is impossible to understand those years outside of the context of WWII. The war not only defined the decade but from a design perspective, split it virtually in half. During the first half of the decade, new design was halted, as supply shortages and rationing demanded that all available resources -- material and otherwise -- be directed towards the war effort... Socially, the decade featured a similar split. From 1940-45, the world rearranged itself: many Europeans immigrated to America to avoid the atrocities being carried out in their home countries, and American women left the home to fill the employment void created by the men now serving in the armed forces. From 1940-1945, life and design were in a 1930s holding pattern, a breath-holding state that would not end until the war did. The post-war forties can best be described as a period of recovery and ramping up. Factories that had once manufactured war necessities retooled for the industries of the future. Women returned to the home, and recent European immigrants began to make their mark in the worlds of art, architecture and culture. A housing shortage and a baby boom were created, and single-family homes in the suburbs became the American ideal. Magazines such as House Beautiful, Sunset, and Better Homes and Gardens established themselves as bibles for modern domestic living. In Los Angeles, The First Postwar House, was designed and built as an example of the perfect suburban home. Function and economy of scale were valued, and suburbanites embraced open-flow floor plans and indoor/outdoor living. New appliances such as refrigerators, freezers and dishwashers place renewed emphasis on kitchen layout and efficiency. Architecturally, Cape Cod, Colonial, and Ranch style "kit homes" from manufactures such as Sears, Liberty, Aladdin and Gordon Van Tine saw a jump in popularity, as build-it-yourself homes became a viable and affordable option for middle-class families yearning to leave the cities and the farms in and on which they grew up. Design-wise, Art Deco and Jazz influences were tempered by traditionalism and an emerging taste for modernism. According to Pam Kueber, of Retro Renovation, interiors during this period can be defined according to 8 general characteristics: 1. Innocent - Many interiors exhibit a real sweetness. Most of the country is not affluent and therefore shuns material excess. 2. Sentimental - After years of sacrifice during the war, Americans are thankful for what they do have. Family and loved ones are to be cherished. 3. Sunny - An optimistic and grateful nation places more value on non-material pursuits. Money is tight


and interiors are simpler. 4. Sanitary - In an era in which polio is still a threat, white represents cleanliness and is often used in kitchens. 5. Patriotic - Red, white and blue becomes a popular color scheme as a newly -powerful nation pulls together to create a brighter future. Colors in general are richer, and more jewel-toned than they will be in the fifties. 6. Traditional - Wood furniture is heavily represented, especially European-influenced dark wood styles and the blond wood styles popularized by Heywood Wakefield. 7. Hollywood Glamour - The forties were a golden age for movies, and Americans sought to re-create the glamour of the silver screen in their own homes. Bedrooms and living rooms tended to be formal and very pulled-together. 8. Streamline-Deco-Jazz Age - Stylistic holdovers from the twenties and thirties, touches of these styles are most prevalent in the first half of the decade. Key elements of Forties design: • Linoleum! • A strong, jewel-toned color palette • Wall-to-wall carpet • Tufted stools, chairs and sofas • Abstract artwork • Blond wood furniture • Large scale floral, striped and plaid wallpapers • Chintz draperies • Colonial furniture • Floral slipcovers • Ruffled and scalloped edges • Built-in furniture and banquettes • Wood paneling • Small print hooked rugs • Knotty pine • Bamboo furniture • Pennsylvania Dutch/ folkloric details • Space saving kitchen amenities • High contrast bathroom tile • Glass block • Chenille bath rugs Radio was American culture's lifeblood in the 1940's, and televisions would not become household fixtures until the end of the decade. Likewise, color photography would not become commonplace until the 1960's. As a result, most of the records that we have of interiors from this period are either black and white photographs and films or color renderings and advertisements (as shown).


First row: 1.(A) Elizabeth Taylor at her color-coordinated dressing table of satin, ruffles and roses; (B) A blue bedroom featured in House Beautiful magazine's "Bride's House - 1940"; (C) A glamorous Hollywoodstyle bedroom with tailored bedspread and floating dressing table; (D) A 1948 Armstrong ad showcases an ultra-functional kitchen and home office layout. 2. 1945 Armstrong ad features an amazingly organized "working pantry" that hides away when not in use. 3. This Dorothy Draper design was featured in House Beautiful in 1942 and highlights a floral slipcovered living room set with wall-to-wall carpet. 4. A modern color scheme of peachy yellow, rust, steel blue and gray. Note the sliding glass doors that stack at the end of the tub, and the scale that folds up into the wall. 5. A classic combination: eggplant, gray and yellow with inlaid linoleum floors. Second Row: 1. The cover of the October 1949 issue of Better Homes and Gardens features a living space with a pass-thru window of plywood paneling designed to create contrast and save on plaster costs. 2. An American Gas Association ad showcases a built-in breakfast booth and convenient fold-down countertop. 3. From Armstrong, an exuberantly decadent bathroom of gold tile and black linoleum. Note how the builtin dressing table is used as a screen for the tub. 4. This restrained palette was inspired by the reproduction Cezanne above the sofa. 5. Another Dorothy Draper design. This one features gray walls (how timely!) and kelly green seating. Third Row: 1. Sweet wallpaper and a scalloped valance set the stage for this purple and green bedroom with twin beds (!) 2. A more traditional, comfortable look featuring antique furniture, Dutch flowers and folkloric birds. 3. The epitome of 1940's bathroom design, this bathroom has it all: pink, swans, scallops and black linoleum. 4. A classic combination of red, yellow and green, featuring linoleum floors and countertops. Note the desk tucked away in the corner. 5. Scallops anyone? A key element of 1940's design gets the patriotic treatment in this fanciful red, white and blue kitchen. Fourth Row: 1. An over-the-top confection of pink and green. Patio chairs make an indoor appearance and the entire room is abloom. 2. The March 1942 issue of Better Homes and Gardens features a look popular in the early forties: wood paneling, antique furniture and a hooked rug. 3. A good representation of the forties color palette (from Church's Toilet Seat Company!). 4. A handy color guide from Kroehler furniture company pairs living room suite colors with wall colors, rug colors and drapery patterns for coordinated perfection (complete with wrinkled cellophane wrapper).


5. A snapshot of forties design. Highlights include a three-legged, award-winning dressing chair by Oscar Stonorov and Willo von Moltke, a Paul Frankl sofa and pair of lounge chairs, a dining table by Tommi Parzinger, a surrealist lamp by Heifetz Co., a Deco drop-front desk with side cabinets, a Grosfeld House slipper chair, a flip-top console table by Johan Tapp featured in Volume XI, Number 4 ofArchitectural Digest, and saffron lounge chair from Heywood Wakefield. Images: 1. A. House Beautiful B. House Beautiful C. Retro Renovation D. American Home Magazine via Mid Century Home Style 2. Armstrong via Mid Century Home Style 3. House Beautiful4. Briggs Plumbing via Mid Century Home Style 5. American Home Magazine via Mid Century Home Style 6. Better Homes and Gardens via Galimauphry 7. American Gas Association via Mid Century Style Home 8. Armstrong via Mid Century Home Style 9. How to b uild Color Schemes viaGalimauphry 10. House Beautiful 11. American Home Magazine via Retro Renovation 12. Armstrong via Mid Century Style Home 13. Armstrong via Mid Century Home Style 14. Ladies Home Journal via Mid Century Home Style 15. Armstrong via Mid Century Home Style 16. Armstrong viaMid Century Home Style 17. Better Homes and Gardens via Galimauphry 18.Church Plumbing viaRetro Renovation 19. Kroehler via Retro Renovation and Cul-De-Sac Shack 20. 1st Dibs


Cinema Style: 20 Unforgettable American Movie Interiors

Breakfast at Tiffany’s (1961) Art Direction: Roland Anderson, Hal Pereira, Set Decoration: Sam Comer, Ray Moyer


I love movies, all kinds of movies: historical, thought-provoking, independent, and even simply entertaining, films. But I especially love movies with great design! Some of these are fantastic, Oscarnominated movies; some are quirky all-time favorites; and some are most significant for their style contribution. Each makes its own unique contribution to the American cinematic canon... First Row: • Breakfast at Tiffany's (1961) According to biographer Donald Spoto, "Hepburn as Holly, carrying an oversized cigarette holder, is considered one of the most iconic images of 20th century American cinema." With that in mind, it's not surprising that the film itself oozes style, from Hepburn's infamous little black dress to her oversized sunglasses and form her bathtub sofa to her "go-lightly" lifestyle. Today, it's as notable for its depiction of the "lush" life of Manhattan's social set as it is for its ill-conceived casting of Mickey Rooney as Holly's Japanese landlord. • Something's Gotta Give (2003) It goes without saying that the interiors of the oft-pictured Hamptons house in this film are amazing. Yet, for me, the greatest contribution this film has made to movie history has to do with the manner in which it engaged its sophisticated, aging baby boomer audience. I can still hear my mom and her best friend's hysterical laughter as they watched this movie for the first time together. Now, these were actors and issues they could relate to! • Pillow Talk (1959) A Kodachrome confection of a film, Pillow Talk's Oscar-nominated interiors are almost enough to distract you from the not-so-subtle innuendos now synonymous with the "sex comedies" of the early Sixties. It was released in 1959, when the film censors were beginning to loosen their grip on morality in art and "good girl" Doris Day was on her way to becoming every girl's modern heroine. As is the case with many films made during this time, gender politics provide a loaded subtext. • A Single Man (2009) Some films are stylish. Some films have style. In this film, style plays such a large role it has its own trailer. After all, the director is legendary fashion designer Tom Ford and the production design is by the geniuses behind Mad Men. Add a stunning John Lautner house as the backdrop, and mediocrity never had a chance. In fact, there's so much style in this film, you might almost miss the superb acting of its carefully-chosen cast. Which would be a shame, because that's where the elegance of this piece really shines through. • Gone with the Wind (1939) A no-holds-barred, sweeping Hollywood epic that in many ways set the bar for stylish sagas to come. The line "Frankly, my dear, I don't give a damn" has been voted the most memorable line in cinema history, and the AFI has ranked the film #2 on their list of greatest romances of all time. Hattie McDaniel also became the first black American to win an Academy Award for her role in the film. And, while the film has since been maligned for its portrayal of the slave experience, there's no denying the impact, good or bad, that it has had on America's collective awareness of the Civil War.


Second Row: • Auntie Mame (1958) Based on the book and play by the same name, Auntie Mame (the film) evokes the grab-life-with-both-hands mentality espoused by its lead character, the mercurial, bohemian Mame Dennis. She's a woman who's ahead of her time, poised on the precipice between the propriety of the Fifties and the free love of the Sixties. The stylistic gymnastics of her home alone are worth every viewing minute. • It's Complicated (2009) One of the most recently coveted houses on film comes from a designing director, Nancy Meyers, and the creative team behind Something's Gotta Give. Like that film, this movie's stellar cast speaks to the baby boomer generation, though not quite as successfully. The real star in this film is the protagonist's location, lifestyle and home décor. Her 1920's Spanish-style home, nestled in the Santa Barbara hills, stirs the imagination and invites one to escape to the idylls of indoor/outdoor living, a place where John Krasinski is your charming son-in-law to-be, chocolate croissants are whipped up on the fly and charcoal claw foot tubs are the norm. With all that, who cares if it's complicated?? • Chinatown (1974) As a neo-noir depiction of the great water battle of Los Angeles, Chinatown hits all the right marks. Screenplay? Check. Acting? Check. Set design? Check. As a director, Roman Polanski may have a checkered past, but here he gets everything right. Chinatown's grittiness and style pays homage to forties noir films while serving as inspiration for a whole new generation of noir. (It doesn't hurt the film's authenticity to have John Huston, director of the Maltese Falcon, playing a seemingly benign villain, either). Without water, Los Angeles wouldn't exist. Without this film, there would be a hole in the fabric of stylish cinema. • The Graduate (1967) What makes this movie so much more than a comedic drama is the way in which it engaged an entire generation of dissatisfied young adults who were, like the titular hero, adrift in a pool of uncertainty. The time was 1967, and American youth were torn between adhering to a status quo promoted by the corporate establishment and their anger and disillusionment at the escalating conflict in Vietnam. The film features tons of stylish interiors (the enclosed patio with bar springs instantly to mind), but it's the stunning visual snapshots employed by avant-garde director, Mike Nichols, that make it so memorable. • You've Got Mail (1998) The Upper West Side is as much a character in this film as Kathleen Kelly and Joe Fox. And Meg Ryan's home left all of us believing that we, too, could live very comfortably in a New York studio apartment. As inviting as these interiors are though, this is ultimately a movie that perfectly captures the early excitement of email technology and the duality of our online and real world existences. Third Row: • Rosemary's Baby (1968) Actresses such as Tuesday Weld and Sharon Tate were originally considered for the role of Rosemary, but it is Mia Farrow's waif-like naiveté that makes this movie so chilling. An adorable pixie haircut, cheery shift dresses and the storied Dakota building turn what could have been just another horror flick into a stylishly haunting classic.


• North By Northwest (1959) Of this film, Time Out London said, "Fifty years on, you could say that Hitchcock's sleek, wry, paranoid thriller caught the zeitgeist perfectly: Cold War shadiness, secret agents of power, urbane modernism, the ant-like bustle of city life, and a hint of dread behind the sharp suits of affluence." This is a film swimming in style, from Grant's well-cut suits to Eva Marie Saint's Bergdorf Goodman wardrobe to the Frank Lloyd Wright-inspired Vandamm house perched atop Mount Rushmore. Aspirational to the end, every inch of this film was created to underscore the idea that wealth is irrelevant in the face of danger. • The Fountainhead (1949) One would be hard-pressed to find a work that so completely represents the idea of the modern architect. Based on the book by the same name, The Fountainhead captures the early resistance to modernism in America, delving into issues of individuality and conformism within the field of architecture, and highlighting an archetype of the future: the starchitect. Its ideas, that the individual is "of supreme value," "the fountainhead of creativity," and that "selfishness, properly understood, is a virtue," have resonated with generations of young people and have inspired the careers of numerous architects. • Down with Love (2003) An homage to the previously mentioned Doris Day and Rock Hudson sexcomedies, Down with Love is most celebrated for its style and cotton-candy depiction of an era just before the sexual revolution. Its set designs are "deliberately fake" and meant to look not like early-sixties New York but, rather, a Hollywood version of early-sixties New York. Color and scale are exaggerated, with the intent to make design a larger-than-life character in the film. The result is an entertaining comedic romp with loads of saturated style. • Edward Scissorhands (1990) A fairy tale that is by turns funny, dark, touching and wistful, Edward Scissorhands was conceived by Tim Burton, and represents the director's sense of alienation growing up in suburban Southern California. Color and form play significant roles in this imaginative film, in which tract homes are dressed in faded pastels and loneliness is cast as a darkened Gothic castle. Lively topiaries and ice sculptures lend magic to a world of almost stifling sameness. Suburbia hasn't been seen in the same light since. Forth Row: • The Best of Everything (1959) Little more than a glorified soap opera, The Best of Everything is most notable for its depiction of mid-century life and style. With its typing pool, corner offices and corporate ladder firmly in place, the life of the single career girl is explored and exposed. It's a small film with a large impact, ultimately inspiring popular successors such as Mad Men and Sex and the City. • Sex and the City 2 (2010) Without a doubt the worst installment of the Sex and the City franchise, this film escapes pure rottenness only because of its décor. As Carrie says in the movie, "I've been cheating on fashion with furniture" - and it shows. Tremendous effort was made to design a space that would reflect the combined residence of Mr. & Mrs. Big: the scale, the fabrics, colors and accessories were all chosen to represent the individuals that inhabit the space. There's even been an update to Carrie's iconic studio apartment, proof that, like it or not, time has indeed marched on.


• The Parent Trap (1961) One of the most memorable children's films ever made, The Parent Trap especially struck a chord with children of divorced parents. The idea that a child could somehow repair her broken home was appealing to those in a similar situation, and many were captivated by the determined twins' hijinks and shenanigans. Style-wise, the film wooed viewers with Mitch's magnificent ranch house and the glorious indoor/outdoor lifestyle for which California is famous. • The Royal Tenenbaums (2001) Inspired by J. D. Salinger's Glass family stories and Orson Welles' film The Magnificent Ambersons, The Royal Tenenbaums is American cinema at its quirky best. The lives of the sibling prodigies provide fodder for decor rife with eccentricity and whimsy, and have resulted in some of the most remarkable interiors of recent memory. Zebra wallpaper? Ballrooms? Darkrooms? Libraries? Tents? These are things design dreams are made of! (Director Wes Anderson even had his brother Eric sketch out his ideas, so he wouldn't forget them once it came time to design the sets). • 2001: A Space Odyssey (1968) A science-fiction film of epic proportions, 2001: A Space Odyssey would go on to influence filmmaking giants such as Steven Spielberg and George Lucas, not to mention numerous special effects technicians. Its themes cover human evolution, technology, artificial intelligence, extraterrestrial life and surrealism: an extreme scope that even extends to the parameters of design. Note the Djinn chairs that litter the lounge of Space Station Five and the way in which old and new collide in the Renaissance Room to startling effect. One need only look as far as the Hudson Hotel bar or "Safehouse" in Tron Legacy to see that the legacy of this space odyssey lives on... There are so many well-designed American films out there! Which one is your favorite? Which films are not on the list, but should be? Images: 1.(A) IMDb(B)Shine (C&D) PolaroidCupcake (E&F) The Well Appointed House 2.(A,B,C)Cote de Texas (D) Design Savvy Interiors (E)Martineau Vermillion (F) Architectural Digest 3.Hooked on Houses 4.(A,C,E&F) IMDb (B,D) Hooked on Houses 5. Hooked on Houses 6.(A-E) Hooked on Houses (F) Elle Decor 7. (A,D &G) Cote de Texas (B) Cinema Style (C) Elle Décor (E,F) Traditional Home 8.(A,B & C) Design Sponge (D) IMDb (E) Designs on Film 9.(A) Designs on Film (B,C & F)DVD Beaver (D,E) IMDb 10. Hooked on Houses 11.(A,D,E & F) Polaroid Cupcake (B,C) IMDb 12.Hooked on Houses 13.(A,B,C & E) Cinema Style (D,F & G) Apartment 48 14. (A) IMDb (B,C,F,G,H)Hooked on Houses (D,E) B.E.L.T. 15. Design Sponge 16. B.E.L.T. 17.(A,D & F) Elle Décor (B,C & E)SDSA 18. Hooked on Houses 19. Polaroid Cupcake 20. Palantir


short FEATURES


• JAMES MONT: Bad Boy of American Design • ART ILLUSTRATED: Mark Khaisman's Tapeworks • Escaping Aboard the Orient Express • DESIGNER SPOTLIGHT: Do You Know India Mahdavi?


James Mont: Bad Boy of American Design

Chinoiserie bar from the 1963 James Mont design of Ellis Orowitz's Miami penthouse. Via 1st Dibs

It's not often that you hear the words, "murderous," "scandalous" and "nefarious" thrown around in the refined world of interior design, but when it comes to charismatic mid-century designer James Mont, those are exactly the words that apply... The Man James Mont was a man shroud in mystery, one whose life details were often sketchy, at best. Presumably, he was born Demetrios Pecintoglu in Istanbul in 1904. His father may have been a noteworthy painter in Turkey, and he himself may have studied art and architecture in France and Spain.


By all accounts, he moved with his family to the United States in the early 1920's. His entry in to the world of design came when he was working at a Brooklyn electrical supply shop, selling lamps he had designed himself. It was there, that his showmanship supposedly caught the attention of a local mafia capo named Frankie Yale. Yale commissioned him to refurnish his house and, before long, Mont became the preferred decorator of Mafiosi, counting Frank Costello and "Lucky" Luciano as clients and friends. James soon charmed his way into the lives of many show business figures, including Bob Hope (who would later become the best man at his wedding), Irving Berlin and Lana Turner (who would later herself become entangled with the mob). Mont's shady business connections would prove to be much less scandalous than the damage his vicious temper would create, however. In 1937, he married twenty-five year old Korean-American actress Helen Kim. Twenty-nine days after they were married, Kim was found dead in their apartment. Though her death was ruled a suicide, it was always speculated that Mont's temper may have played a role in her demise. In 1940, James was convicted of assault when he attacked lampshade designer Dorothy Burns at his apartment and put her in the hospital for two weeks. This time, he would pay the consequences of his actions: he was sentenced to 5-10 years in Sing Sing. Unfortunately, Ms. Burns was so humiliated by the attack that she hung herself before the trial was over. His Designs It's amazing, given the scandalous nature of James Mont's life, that his designs would become so sought after and highly regarded. Even today, it's almost impossible to search for Deco, Regency and Mid Century furnishings without coming across the work of the man and his imitators. His bold, exotic, often Chinese-inspired pieces stand out in decadent relief against a field of restrained modernism. Mont's early designs included home bars that could fold down to a mere six inches (and away from Prohibition-enforcing eyes) and tables and desks with secret (gun-toting) drawers, but it would the Chinese motifs and labor-intensive finishes that he developed later on that would really set his style apart... First Row: • Chinoiserie bar from the 1963 James Mont design of Ellis Orowitz's Miami penthouse. • A pair of lacquered lamps designed to look like spinning tops, mounted on springs that create movement both up and down and side to side. • An example of Mont's cerusing technique. The oak is first bleached, then sandblasted and rubbed with chalky pigments to create the appearance of silk moiré. • A pair of 1950's side chairs in James' signature silver leaf and snowy velvet. • A 3-piece Asian style screen made of red lacquer and smoked mirror - another favorite of Mont's. Second Row: • A pair of pagoda style lamps finished in silver leaf and adorned with ceramic figurines.


• Black lacquered occasional tables with contrasting cerused legs and a triangular shelf. • A beautifully carved bamboo cabinet detailed in gold leaf. Chinese-inspired pieces like this one were being designed at the peak of America's fascination with pre-Communist China. Mont, who was born in Constantinople, claimed "I am an Oriental," and maintained that "the delicate touch of Oriental spice...is just as necessary in furniture design as it is in fine cooking." • This pair of white lacquer end tables showcases the designer's affinity for the medium, applied and polished by hand, in fourteen separate coats. • Mont was known for applying layers of color beneath his gold leaf and burnishing it until it was almost transparent. In the case of these two Chinoiserie dressers, crimson and black can be seen peeking through, creating a warm glow. Third Row: • Can't you just imagine mobsters lounging on this one?? A 1950's sofa of glam velvet, tufted, sculpted and generously proportioned. • Mont moves into modern. These sculptural walnut frames echo some of his earlier upholstered styles, but the clean lines of this piece position it neatly in the mid-century cannon. • Ever the lady's man: a pair of lady's and gentleman's chairs upholstered in vintage Chinese red mohair. • A pickled wooden side table that converts into a set of library stairs. Similar to a piece designed for Broadway columnist Louis Sobol in the 1940's, except that Sobol's extended to 10' and this one maxes out at 52". • Chinese design through a modernist's eye: a pair of 1950's table lamps in lacquered oak with parchment shades. Perhaps in the end, Roger Pigent of Malmaison Antiques in New York said it best, "Such a dangerous man, but oh, what taste." MORE JAMES MONT DESIGNS: Images: 1st Dibs

Currently Available James Mont pieces on First Dibs


Art Illustrated: Mark Khaisman's Tapeworks

Chair - $40,700 in 1991, 2007, packaging tape on Plexiglas, 48x36

While most of us use packing tape on boxes, artist Mark Khaisman uses it as a paint brush, painstakingly layering two-inch swaths of translucent brown tape across fields of Plexiglas, producing images both familiar and provocative. If tape is his paintbrush, then light is his blending medium; he considers his works to be "conversations with light." Khaisman lives and works in Philadelphia. I had the opportunity to see his work at a gallery here a couple of years ago and I was immediately captivated by his ability to create luminous, thought-provoking pieces of art with such a commonplace medium (if I could, I would have taken one of them home with me).


Born in Kiev, Khaisman studied Art and Architecture at the Moscow Architectural Institute. While he ultimately found architecture to be too rigid a discipline, his work reflects an affinity for structure constructing even as it deconstructs, each image reduced to its most essential, pixelated elements. Khaisman is drawn to creating universal, archetypal images. His work is by turns graphic, compelling and mundane. His subjects run a wide gamut, from classical statuettes to elegant Louis XIV armchairs, and from film noir, to the Three Stooges. Sometimes there's a sense of action interrupted: something has just happened, or is just about to happen. Other times, there's a frame missing from the story, and we're left to fill in the blanks for ourselves. 1. Chair: $40,700 in 1991, 2007, packaging tape on Plexiglas, 48X36 (Gallery 5, image 6). 2. Portraits in Red: Duke Gallery, Wallingford Art Center, Philadelphia, 2009. (Gallery 1). 3. Frame_20: "I have you right where I wanted you," 2008, packing tape on backlit acrylic panel, 36x48. (Gallery 3, image 4). 4. Series Heads: Introduction Show, Moore College, Philadelphia, 2006. (Gallery 5). 5.The Stooge Study_3: 2010, packing tape on backlit acrylic panel, 36x48 in. (Gallery 7, image 6). If the light box originals are priced beyond your reach, check out the limited edition 24"x30" prints available through the artist's website. (I think I may have to treat myself to one!) Images: Mark Khaisman


Escaping Aboard the Orient Express

I'm not sure that there's any idea that captures the romance of travel more completely for me than that of the Orient Express. Just the words "Orient Express" bring to mind a golden age - a time when people dressed to travel and crossing a continent by train was the epitome of luxury. There was a sense of mystery to such journeys, the feeling that anything could, and would happen along the way... HISTORY


The first crossing of the Orient Express held none of the glamour that we would later come to associate with the train. In fact, it didn't even have toilets. But it was a revolution in travel, and one that quickly gathered steam as a luxurious endeavor. The Orient Express first set off in 1883, traveling from Paris to Vienna. Six years later, the route was modified to include Bulgaria. And later that same year, the famous Paris to Istanbul route was created. This is the route that lives most in my imagination and has embedded itself in my wander-lusting heart. It's an event that occurred on this route (an Istanbul-departing train, stuck deep in snow for six days in Turkey) that inspired Agatha Christie's Murder on the Orient Express, a work that will be forever tied to the mythology of the train itself. Throughout the twenties and thirties, the Orient Express was the travel mode of choice for nobility and glitterati alike -- royalty, actors and authors, to say nothing of the notorious -- spies, criminals, and other questionable characters -- all aboard to sample the elegant dining, gracious service and outright extravagance that couldn't be found anywhere else. It was a melting pot of the famous and the infamous, and a rolling reinforcement of its own mystique. As it had been with the First World War, service was interrupted with the Second World War - and occasionally over the years following - due to political unrest along its route. Over time, routes were added, renamed and modified until, finally, in 1976, the Orient Express, as we envision it stopped running altogether. TODAY Thankfully for the romantics among us, the Orient-Express has been resurrected as a private venture and is once again providing a unique aspirational travel experience. In 1977, James B. Sherwood bought two of the original railcars at a Sotheby's auction in Monte Carlo and spent the following five years acquiring and completely restoring 35 vintage carriage cars to their original 20's and 30's grandeur. Five years later, the storied train was reborn as the Venice Simplon-Orient Express, and began running regular luxury service from London to Venice. Today, the Venice Simplon-Orient-Express includes many of the line's original stops, including Prague, Budapest, Krakow and Dresden. And in 2013, the Venice Simplon-Orient-Express will break new ground, with its first regular service from Venice to Stockholm, via Copenhagen. Oh, and for those of us that still long for the exotic possibility of a luxury voyage from Paris to Istanbul? Once a year, the Venice Simplon-Orient-Express revisits that route too... MORE ON THE ORIENT EXPRESS:

• A YouTube video depicting the modern mystique of the Orient-Express • A Journey Like No Other by Prêt à Voyager • Art of Travel - Venice Simplon Express (Images: 1-2 & 4. Le Projet D'Amour, 3, 5-8. Art of Travel, 9. AllPosters.com,10. Venice Simplon-Orient-Express )


Designer Spotlight: Do You Know India Mahdavi?

Coburg Bar, London 2008

To me, India Mahdavi's name is a reflection of the designer herself: exotic, feminine, dramatic. It's a name that evokes a chic, global sensibility and one that completely captures the essence of her designs... India comes by her international world-view honestly. Born of Persian and Egyptian English parents, the designer was named after the country in which she was conceived, during her parent's honeymoon. As a child, she lived the first year and a half of her life in Iran, followed by a globe-trotting path that lead her


from Cambridge, Massachusetts to Germany and New York before landing in Paris, where she resides today. Her education, just as varied, began in architecture at the École des Beaux Arts in Paris, followed by a stint in New York, where she studied industrial design and graphic design at the School of Visual Arts and, after that, furniture design at Parsons. As an international interiors, furniture and objects designer, India's work is influenced by memories of her nomadic life. Each of her projects, be it a bar, restaurant, hotel, private residence or a piece of furniture, carries in it elements that are modern yet familiar. Her style is by turns playful, sexy and chic, and she's not afraid to let her femininity come through in her work. India grew up wanting to be a filmmaker; therefore, it's not surprising that her interiors have a dramatic, almost theatrical quality to them. In her mind, a space is a three-dimensional story waiting to be told. She admires the work of Stanley Kubrick and Federico Fellini and, when asked by Index Magazine who her heroes were, she laughingly replied, "James Bond... He's sexy, and it always puts me in a good mood when I see him." Kind of like Mahdavi's own work, don't you think? First Row: 1. Coburg Bar, London 2008 2. Jean-François Piège, Paris 2010 3. Germain, Paris 2009 4. Monte Carlo Beach, Monaco 2009 5. Barclay Prime, Philadelphia 2004 Second Row: 1. The Peacock, Rowsley, Derbyshire (UK) 2004 2. Maison Thoumieux, Paris 2011 3. Condesa DF, Mexico City 2004 4. On Rivington, New York 2005 5. Private residence, New York 2003 Third Row: 1. Bishop - ceramic table/stool 2. Diamonds - bookshelf 3. (Left to right) Kiss me, Luciole, Karaba - lamps 4. Bluffer - sofa 5. Dot - stool More about India Mahdavi from the AT archives and around the web: • Condesa DF Hotel Interiors by India Mahdavi • Germain: Eye-Popping Interior by India Mahdavi • Interview with India Mahdavi, pt. 1 & Interview with India Mahdavi, pt. 2 • India Mahdavi, 2002 • Design Lessons from the Condesa DF Mexico City


ROUNDUPS


• FURNITURE FOCUS: Green, Glorious Green! • INSPIRATION GALLERY: Beautifully Tiled Spaces • SKY’S THE LIMIT: Gift Guides for the Design Lover - Part 2


Furniture Focus: Green, Glorious Green!

Left to Right: Statuette, Hive Modern $5816, Peacock Chair, Hive Modern $7174, Wassily Lounge Chair, The Conran Shop $1717

Ah, the verdant pleasure a dash of green brings to an environment! Indoors or out, this nature-loving hue seems to calm, soothe and relax our jangled nerves through the sheer power of its presence. And the shades! Moss, mint, avocado, grass, chartreuse or lime; each has its own special ability to inspire memories, excitement or the imagination. The eminently quotable Diana Vreeland once went so far as to suggest decorating an entire room in


nothing but green! Whether you go bold or go bashful, there's no denying the impact even a speck of this leafy hue can add to a room. Try it for yourself and see. There's a reason Mother Nature has chosen to drape herself in this luscious shade: nothing brings a space to life quite like green. First two rows1. Left to Right: Statuette, Hive Modern $5816, Peacock Chair, Hive Modern $7174,Wassily Lounge Chair, The Conran Shop $1717 2. Dutch Wax Ottoman - Green Diamonds, Anthropologie $198 3. Tudor Garden Bench, Anthropologie $599.95 4. High Back Lounge Armchair with Original Textile by Hans Wegner, 1st dibs $2250 5. Atelier Chesterfield - Bottle Green, Anthropologie $5998 6. Polder Sofa, Hive Modern $8505 7. Cooper's Small Colored Stool, Wisteria $159 8. Aldo Tura Bar Cart, 1st dibs. Contact dealer for price. 9. AKA Chair, Design Within Reach $575 10. Slim 30x10 29h Half Round Console Table, Room and Board $239 2nd two rows11. Modernist Desk in Lacquer and Glass by Jacques Dumond, 1st dibs. Contact dealer for price. 12. Bertoia Side Chair, Design Within Reach $500 13. Alcove Highback Sofa, Hive Modern $7710 14. Green Lacquered Octagonal Table, 1st dibs $2250 15. LĂ„CKĂ–, Ikea $29.99 16. Sofa Bed- Green, Target $179.99 17. Green A-16 Bentwood Chair, The Conran Shop $150 18. Green Cube Accent Table, World Market $129.99">Green Cube Accent Table, World Market $129.99 19. Credenza Medium, Room and Board $588 20. Backyard Green Stacking Chair, Crate and Barrel $28.01 Images: as linked above


Inspiration Gallery: Beautifully Tiled Spaces

Although it's often thought of as cold and hard, when used well, tile has the ability to warm up a space


like few other materials can. Here are just a few inspiring ways tile can be used to create dramatic, engaging and delightful spaces: First Row: 1. This hexagonal tile floor by designer Paola Navone acts as a dining area rug, fading to worn wooden planks at the edges. From vogesparis. 2. The irregular placement of pigmented herringbone tiles creates a "coloring book" effect in this bathroom from Studio Too Good Designs. 3. A patchwork of brightly colored tiles provides a quilted backsplash for saturated blue cabinets in designer Ana Teresa Bello's kitchen in Rio. Image by Andre Nazareth, via casa.abril. 4. A wall of black subway tiles creates a dynamic focal point when used sparingly as in this long narrow powder room by architect Borja Pure. As seen on Ministry of Deco. 5. A hallway of honeycomb floor tiles mirrors a similar pattern on the ceiling at the The House Hotel Galatasaray, Istanbul, as seen on NOTCOT. Second Row: 6. Bold glamour is created with tiles that completely cover the walls and floor in a continuous graphic pattern in this bathroom by Shaun Clarkson and Paul Brewster. World of Interiors via twelve chairs. 7. In an excellent use of space, a mosaic tile backsplash becomes the focal point of this home bar, and keeps this area from looking like an afterthought. Via Houzz. 8. Monochromatic print tiles make quite a statement when used to define an entryway, as seen on My Scandinavian Home. 9. These clustered hexagonal tiles from Claesson Koivisto Rune create a leafy effect when used en masse on a bathroom floor. From Covet Garden. 10. A wall of weathered blue and white tiles act as the perfect backdrop to warm brass fixtures in this kitchen at Villa Stenhuset. From The Essence of the Good Life. Third Row: 11. A zigzag mosaic of turquoise-hued tiles acts as a dynamic counterpoint to simple white cabinets in this lively kitchen by Jute Home. 12. The original 1890 cement tile flooring in George Koukourakis' island residence is, in a word, spellbinding. As seen on Yatzer. 13. A maze of blue and yellow patterned tiles make the painting above the bathtub pop in this quirky, eclectic bathroom. From My First Little Place. 14. Ann Sacks reimagines subway tiles in antiqued mirror, as seen on the wall of this wet bar from Design Magnifique. 15. The black and white pattern of this tiled floor by Casa Dolce Casa is echoed by the square lines of two white sinks simply perched atop a black countertop in this bold bathroom. (Images: as linked above)


Sky's the Limit: Gift Guides for the Design Lover - Part 2

For The Glamour Puss: Norman Mailer, Bert Stern: Marilyn Monroe - Art Edition B, Taschen $2500 and Bob Willoughby, Audrey Hepburn. Photographs 1953-1966, Taschen $1000


If you read Part 1 of this post, you know that while I may be generous of heart (hopefully), I am not, in fact, generous of means. That doesn't mean that I don't enjoy some wonderful window shopping, though... The design lover in me salivates at the thought of owning these lovely objects, while the realist in me knows it will never happen. But that doesn't mean I can't live vicariously, right? So, why not join me? Let's dream a little dream (when we're done, you might want to wipe up all that drool on your keyboard, though)... For The Glamour Puss: 1. Norman Mailer, Bert Stern: Marilyn Monroe - Art Edition B, Taschen $2500 andBob Willoughby, Audrey Hepburn. Photographs 1953-1966, Taschen $1000 2. DIANE von FURSTENBERG "Powerstone" Round Tray - 11.75", Bloomingdale's $70 3. Fleece Flounce Throw, Anthropologie $798 and Natural Goma Knit Throw, Barneys $1975 4. Hand Bottle Opener, Kelly Wearstler, $595 5. Zebras Umbrella - Black, DIGS $190 6. Lampert Sofa in Brussels Charcoal, Jonathan Adler $3495 7. Midas Collection, Design Within Reach $45-$70 8. Designer Compendium, Barneys $1150 9. KitchenAid Professional 620 Stand Mixer - Copper, Williams-Sonoma $899.95 10. Gold Leather Dictionary, Jayson Home $185 For The High/Low Techie: 1. Ultrasone Edition 10, Ultrasone $2749 2. Libratone Lounge Speaker - Slate Grey, Design Within Reach $1299.95 3. Lytro Camera, LYTRO $399-$499 4. Barky Turntable, Anthropologie $1298 5. Zone Air Purifier - Red, YLiving $254.15 6. Voice One Loudspeaker - Set of Two, Anthropologie $498 7. El Casco Pencil Sharpener, Barneys $495 and El Casco Stapler, Barneys $335


8. Geneva Sound System Large Walnut, Design Within Reach $1199 9. Vestige Mens Bike, Schwinn $1470 10. Dyson Hot Fan Heater - Blue, Dyson $399.99 For The Purist: 1. Ovopur Water Filter, Anthropologie $699 2. El Casco Tape Dispenser, Barneys $195 3. Ando - Art Edition, Taschen $3000 4. Design House Stockholm STEP Ladder by Karl Malmvall, huset $295 5. Wine Carafe, Barneys $89 6. Camp Wall Clock, Paloranta $146 7. Hadid, Complete Works 1979-2009, Taschen $150 8. Bubbled Table Lamp, Anthropologie $798 9. Zikmu Wireless Speaker System - Black, Design Within Reach $1600 10. La Stanza dello Scirocco Basket, MoMA $150 Images: as linked above, except (The High/Low Techie) 1. Gradient Magazine 5. Humanscale


product DESCRIPTIONS


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laissez faire boots Walnut-stained crinkly leather slips into an easygoing slouch, thanks to a ring of elastic cleverly hidden at the top.

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mermaid's purse necklace Rose quartz and freshwater pearls are caught in a shimmering gold vermeil net.

crochet collar A touch of old-fashioned je ne sais quoi. Handmade of cotton-lurex by Hayden-Harnett.

doorway necklace A gateway to the past. An antique brass keyhole, framed in a flourish of swirls, awaits its perfect mate.

arabesque drops An artful scroll drawn from a continuous length of handspun filigreed gold vermeil, punctuated with a peridot oval.

wings of song earrings Topaz flowers bloom on feathers of brass. Brass posts. 0.75"l. France.

sea relic ring A fossilized coral cabochon awash in a liquid band of hammered 22k gold vermeil.

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editorial PORTFOLIO