creative expression
ON THE COVER:
“Getting In Shape,” page 56 photograph by Gieves Anderson
34
UNLIMITED LIMITATIONS
A couple bought a historic house in Water Mill, working to preserve its look on the outside while transforming the insides for life today. by David Masello photographs by Andrew Frasz
44
CREATIVE INTELLIGENCE
Jaime Lopez and Coco Myers explore the workspaces of artists living and working on the East End. by Coco Myers and Jaime Lopez
50
MIX AND MATCH
Designer Peter Dunham, along with Hudson | Grace, rethink entertaining with new tabletop designs. by Clinton Smith photographs by Trevor Parker
56
GETTING IN SHAPE
A designer embraces amorphous forms to give a strong definition to the many rooms of a new Sagaponack house. by David Masello photographs by Gieves Anderson, styling by Matthew Gleason
70
LIGHTING THE WAY
A new modern East Hampton home needed a landscape that responded to its architecture while also honoring the land and its special evening occupants who live there. by David Masello photographs by John Musnicki
AT THE INTERSECTION OF
DESIGN & ARCHITECTURE
ARCHITECTURE & INTERIOR DESIGN
The Good Life
Summer is the best time to relax in the Hamptons because it combines the charm of coastal living with an atmosphere of leisure, luxury, and natural beauty. Even with bumper-to-bumper traffic on Route 27, here are gentle reminders of why this season stands out:
PERFECT WEATHER
The Hamptons bask in warm sunshine, salty breezes, and long golden evenings during summer. It’s ideal for beach lounging, poolside afternoons, and alfresco dinners under the stars.
SLOWER PACE OF LIFE
Many people escape the city to unwind here. The vibe is laid-back and restorative, with time stretching out in lazy, lovely ways—morning walks, midday naps, and sunset cocktails.
BEAUTIFUL BEACHES
Miles of soft sand and clean ocean surf—from Main Beach in East Hampton to Cooper’s Beach in Southampton— offer the quintessential backdrop for swimming, reading, or doing absolutely nothing.
NATURE IN FULL BLOOM
Gardens burst with hydrangeas, lavender, and wild roses. Farm stands are overflowing. The natural beauty of the area— fields, dunes, and sky—makes every moment feel like a breath of fresh air.
OUTDOOR LIVING
Summer invites barefoot living—meals on porches, grilling in the yard, morning yoga on the lawn. The architecture and lifestyle here are designed to flow seamlessly between indoors and out.
CULTURAL & SOCIAL SCENE
While peaceful, the Hamptons also offer rich cultural and social experiences in summer—from art openings and author readings to outdoor concerts and charity galas—all set in scenic, unhurried settings.
A SENSE OF ESCAPE
Just a couple of hours from New York City, the Hamptons feel like a world away. The contrast sharpens its appeal— serenity and sophistication wrapped in salty air. No passport required.
Clinton Smith Editor in Chief csmith@candg.com
@MrClintSmith on Instagram
perfection
& out inside
Design Without Borders
What was once a seasonal shift has become a seamless, year-round design circuit. Increasingly, the same architects, interior designers, builders, and landscape professionals are working across both Palm Beach and the Hamptons—bringing with them a shared aesthetic shaped by light, landscape, and the lifestyle of their clients. ■ Homeowners are commissioning the same trusted teams to design residences in both locales, knowing their vision will be translated to each environment. Designers are curating palettes and materials that echo across regions— think natural woods, layered neutrals, durable linens, and open-air living spaces that flow effortlessly indoors and out. ■ Builders and custom fabricators are equally fluent in both climates, crafting homes that balance elegance with performance— accounting for salt air, hurricanes, humidity, and sustainability without compromising on style. Even showrooms and galleries are syncing product launches and openings across the East Coast, recognizing that their audience is living, entertaining, and investing in both places. ■ Palm Beach and the Hamptons are no longer “either/ or” destinations. They are complementary expressions of elevated coastal living—two chapters of the same story, told through design without borders. ■ With that in mind, we’re thrilled to announce the addition of a Fall issue of Palm Beach Cottages & Gardens. The response to our Winter and Spring relaunch was so strong that we’ve added this additional issue for 2025—and the momentum continues to build. ■ We’re once again offering the same special advertising opportunity that was so popular last year: Book your upcoming issues by the new deadline of August 1st and enjoy exclusive preferred rates. ■ Let me know if you’d like to reserve space or have questions about the fall editorial lineup—we’re happy to share what’s in store.
Marianne Howatson CEO/Publication Director mhowatson@candg.com
AUGUST 1, 2025
CHIEF EXECUTIVE OFFICER & PUBLICATION DIRECTOR MARIANNE HOWATSON
EDITOR IN CHIEF CLINTON SMITH
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CONTRIBUTING PHOTOGRAPHERS TRIA GIOVAN, RICHARD LEWIN, TIM LEE, ANASTASSIOS MENTIS, PETER MURDOCK, ISABEL PARRA, ERIC STRIFFLER, DOUG YOUNG
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SHOPTALK
DESIGN DISCOVERIES FROM THE HAMPTONS + BEYOND
Il Buco Vita’s Marea collection reflects the ebbing and flowing movement of the sea. Hand thrown terracotta and a hand glazed application results in varying swirls and patterns that echo the undulating patterns of the tide. ilbucovita.com
BLUE AND WHITE FOREVER
EVERYONE’S FAVORITE COLOR COMBINATION GETS A SUMMER UPDATE.
Pickleball Cocktail Napkins (Set of 4) by Chefanie. tuckernuck.com
The Treccia robe is embroidered on a sublimely soft cotton terry base and finished with matching bias-tape edges applied by hand. pratesi.com
Blue
TUCKERNUCK
PRATESI
The Wicker Placemat in Blue is woven by hand in Eastern Europe. blackberryfarmshop.com
JOHN DERIAN
Butterfly Mug in collaboration with Astier de Villatte. johnderian.com
KRAVET X BROWN JORDAN
A new Kravet fabric for Brown Jordan includes Bloom Marine. brownjordan. com
ORACLE OIL
Oracle is a premium Greek extra virgin olive oil made from 100% organic Koroneiki olives. viacoquina.com
CURREY & COMPANY
The St. Barts Blue Chandelier is composed of wrought iron, abaca rope and wood beads. curreyandcompany.com
ELIZABETH LAKE
Delft Sea Creature Cocktail Napkins in collaboration with Augusta Hoffman. elizabethlake.com
Scales Blue Blend Mosaic Glass Tiles. artistictile.com
ARTISTIC TILE
Simply Chic
Crafting Timeless Whimsy on the North Fork.
The essence of Sasha Samuel Jewelry is deeply rooted in the picturesque landscape of Greenport. More than a brand, it’s a testament to the enchanting blend of 1920s glamour, North Fork beaches, and an unwavering touch of whimsy. Each exquisite piece is a journey through ethereal romance, designed to be truly timeless.
Samuel’s creations showcase her deep connection to her surroundings and historical influences. She incorporates lustrous pearls, delicate shells, and unique beach stones, seamlessly mingling them with diamonds. Every detail, down to the signature heart-shaped and freshwater pearl clasps, speaks to her distinctive design. “It’s a small, personal detail—even if no one else sees it, the person wearing it knows it’s there,” she shares.
Samuel’s captivating designs have graced Vogue and Elle, sparkling on screen in hits like Sex and the City, and adorning stars such as Sarah Jessica Parker and Beyoncé. This widespread acclaim stems from a passion cultivated early: Samuel’s journey began in a local bead shop, refined through fine arts studies, and profoundly shaped by her role as a stylist and buyer at New York Vintage. There, under Shannon Hoey’s mentorship, her vintage-leaning designs caught the eye of Sex and the City stylists, igniting her brand’s remarkable growth.
Having grown up spending summers in Orient, Samuel’s move to Greenport during the pandemic marked a full-circle return to her roots. After a pause to focus on her growing family, she began connecting with local boutiques, shifting from large retailers like Anthropologie. “After 15 years in the city, and now being back by the beach,” she shares, “it’s come full circle—returning to natural materials and the original coastal influence but with a focus on timeless pieces made to be treasured.” Her creative process is as enchanting as her designs. For her pearl pieces, she uses “wire-wrapping. Everything is handmade from gold wire, freshwater pearls, and heart chain,” a process she finds “very calming.” Her environment fuels her, allowing her to “work on the fly.” “When not in the studio, I work on the beach or just beachcomb when I can steal away moments. I always have shells or stones tucked into my pockets or in the bottom of bags.”
So Charming With a nod to vintage puka shells, Sasha Samuels crafts colorful creations made with branch coral that can be worn as a necklace, wrapped as a bracelet, or used as an anklet. Branch coral necklaces are hand-strung, giving the pieces a natural, organic appearance.
Easy Elegance (clockwise from above) Tools of the trade for Samuel’s wirewrapping technique include gold wire, freshwater pearls, and a heart chain cut to link each pearl to the next, using round and flatnose pliers and wire cutters. A collection of jewelry hanging in the gift shop at Croteaux Vineyard in Southold includes the Morgan necklace, made with keshi pearls, the Marlo necklace featuring turquoise knotted on silk, and the Ursa Minor necklace, which features a cast moon from a 1920s dress buckle. When not in her Greenport studio, Sasha Samuel often works on location and finds the stringing technique “calming.”
Samuel’s collections often tell a story, as seen in the one for Croteaux Vineyard, inspired by the film Amélie. This collection features pieces such as the Morgan necklace with keshi pearls, the Marlo necklace with turquoise, and the Ursa Minor necklace, which showcases a cast moon from a 1920s dress buckle.
Her Ava hoops cleverly repurpose shells from vintage Hawaiian leis, a nod to their “romance and whimsy.” Even her Mortimer earrings showcase shells that transform from rough brown to pearly white. She also ventures into playful directions, like branch coral pieces, a “wink to puka shells,” which can double as necklaces, bracelets, or anklets. Beyond the delicate, Sasha crafts lockets, a birthstone line, and a men’s line (which started from a collaboration with the Bellport-based ready-to-wear brand, The Salting), all designed to evoke “an endless summer.”
Local North Fork businesses are “a massive inspiration.” Samuel finds it “an exciting challenge to create a different shopping experience for each of them,” tailoring her jewelry to each space. You can find her work at local North Fork favorites like Lumber + Salt, Croteaux, and The Shoals, as well as The Parrish Art Museum and Warm in Amagansett. Her designs also reach across the country to boutiques such as W.port in Atlanta.
A strong advocate for sustainability, Samuel ensures all her gold is recycled and domestically sourced, with all production based in the U.S. It’s here, amidst the charm of the North Fork, that she continues to weave dreams into tangible, wearable art, creating pieces that capture the imagination and stand the test of time. — Doug Young
HAMPTON DESIGNER SHOWHOUSE
PRESENTED BY HC&G (HAMPTONS COTTAGES & GARDENS)
Nestled on five secluded acres in Bridgehampton, the 2025 Hampton Designer Showhouse is a breathtaking new estate crafted by renowned custom home builder Town & Country. Designed to harmonize with its natural surroundings, the home’s sleek, contemporary exterior seamlessly blends elegance with tranquility, offering an ultimate retreat of peace and privacy.
Spanning over 9,000 square feet of light-filled living space, this extraordinary residence has been transformed by more than 20 A-list designers, along with design chairs Mikel Welch and Libby Langdon and Advisory Board Members of Hampton Designer Showhouse Foundation, Jamie Drake, Alexa Hampton, Tony Manning, Barbara Page Glatt, Greg McKenzie, Brian Brady and Scott Sanders.
OPEN HOUSE TOURS THROUGH AUGUST 31
Height of Summer
Tips for the garden—and beyond.
WHAT TO GROW NOW
To ease watering duties this summer, consider introducing drought tolerant native grasses. Not only are these showstoppers good for the planet (and your schedule), they thrive in full sun, typically resist pests, and require less H20 and maintenance than most other perennials. Grasses also add structure, movement, height, texture, and seasonal color, providing backbone to beds and borders while supporting pollinators and creating habitat for beneficial insects and birds. Here, five standouts ideal for East End gardens. Despite their
Drought Tolerant Grasses
prairie associations, switchgrass (Panicum virgatum) and little bluestem (Schizachyrium scoparium) are true eastern natives that handle dry spells well and provide textural contrast—think arching stems and bluegreen blades that shift to coppery gold by fall. For added flair, hairawn muhly (Muhlenbergia capillaris) creates a latesummer haze of soft pink seed plumes that bob in the breeze. What to boost vertical interest? Consider yellow Indian grass (Sorgastrum nutans), a host plant for several butterfly species, whose showy deep-orange
to purple autumn foliage can reach seven feet. And for partshade or edge planting, graceful northern sea oats (Chasmanthium latifolium) offers billowy form and shimmery, buff-to-bronze seed pods. Can’t find these grasses locally? Arthur’s Point Farm (arthurspointfarm. com) in Ghent, NY, offers a fine selection of climateresistant natives online and ships bareroot plants. Visit USDA.gov and search “native grasses” to explore more options suited to Zone 7 gardens.
— Monica Michael
Willis
GET YOUR GLOW ON
(Le Prunier, $78)
Handcrafted using a proprietary blend of organic plum varietals grown on a family farm in Northern California, Le Prunier’s clean Plum Beauty Oil is a luxurious, naturally scented miracle worker that rich in antioxidants, polyphenols, and moisturizing Omega fatty acids. Try it after a day at the beach. You’ll be hooked. Promise. $78; leprunier.com.
Summer afternoon, summer afternoon; to me those have always been the two most beautiful words in the English language.
– HENRY JAMES
Good Garden Gear
Chic enough to wear to lunch on Main Street, Gardenheir’s waterproof Italian garden clogs feature cushiony, suede-lined cork insoles and chunky, slipresistant treads. Available in 11 colors, from caramel to navy to oxblood; $78, gardenheir.com.
LA DOLCE VITA
“As any Italian will tell you, “Delicious food doesn’t have to be complicated,” says Cathy Whims, the chef and owner of the iconic Italian restaurant Nostrana in Portland, Oregon.
In her debut cookbook Italian Summer Kitchen ($28; Countryman Press), the six-time James Beard nominee shows how it’s done, with charming illustrations and more than 80 authentic no-fuss recipes that don’t require a lot of money, time, or fancy equipment, just a commitment to finding the best seasonal ingredients available. “Otherwise,” asks Whims, “What’s the point?” So shop your vegetable garden or the local farmstand, then whip up Whims’ Fresh Tomato, Peach, and Basil Salad, Eggplant Caponata, or Basil, Hazelnut, and Ricotta Pesto. For a lovely al fresco supper, start with a Negroni Sbagliato, Whims’ lighter version of the classic made with Prosecco instead of gin, then serve up crusty Italian bread and a crisp green salad with Zucchini Parmigiana, Pappa al Pomodoro, or Chicken with Tomatoes and Red Peppers. Finish with a summery Fruit Crisp with Almond Cream, made the Italian way, with the freshest fruit of the day. — M.M.W.
Bears Club Drive, Jupiter
Glorious Green Acres DEEDS DON’TS
The Inside Scoop on East End Real
Verdant, beautifully designed gardens are a hallmark of the Hamptons. And the current crop of luxury East End listings includes several remarkable residences with glorious acreage, arboreal backyards, and exceptional green spaces that include open meadows, expansive lawns, native perennials, and beautiful shade trees—not to mention loads of opportunities to wield a spade and trowel or just enjoy nature. Some of our favorites include a historic family home in East Hampton with terraced gardens and leafy, 100-year-old trees; an Amagansett estate with pollinator-friendly meadow beds; and a charming, country-style farmhouse in East Quogue that comes with five acres of organic farmland—and so many possibilities.
EAST HAMPTON ELEGANCE
Bordering a 50-acre nature preserve in East Hampton, the Playhouse estate was built in 1916 by F. Burrall Hoffman Jr., the famed architect best known for designing Vizcaya, industrialist John Deering’s Miami mansion. Available
for the first time since 1958, the five-bedroom, five-bath Tudor Revival was built for the daughter of philanthropists Lorenzo and Mary Woodhouse, who largely funded the East Hampton Library and established Guild Hall. The home’s remarkable 70-foot-long Elizabethan-styled salon has a 40-foot vaulted ceiling and once featured a performance stage, which is reportedly how the home got its name. Other architectural highlights include the living room’s three-story leaded-glass wall and a copper-clad glass conservatory added in 2020 to seamlessly connect the interior to the nearly three acres of private, leafy greenness just beyond the door. A horticultural wonderland, the estate grounds include perennials, mature specimen trees, a formal fountain, and a private pool area framed by rhododendrons. Should your tire of puttering in your own horticultural wonderland, the Village is within walking distance and it’s a short jaunt to nearby Main or Egypt beaches. Leslie Reingold (917-3625375) and Cindy Shea (631-680-3079) of Sotheby’s International Realty share the 64 Huntting Lane listing, priced at $17.5 million.
Estate | BY MONICA MICHAEL WILLIS
VERDANT IN AMAGANSETT
Accessed via an allée of sculpted hornbeam trees, this garden-centric estate is set on two-plus acres adjacent to the Peconic Land Trust’s 90-acre Deborah Ann Light Preserve in Amagansett. Built in 1998, the five-bedroom, five-bath family residence was designed by James D’Auria and has been featured in Elle Décor and Town & Country. Listed at just under $11 million, the 4,800-square-foot property features a striking
two-story living room that overlooks a series of outdoor garden rooms and stone terraces. Surrounded by fruit trees, blowsy hydrangeas, and soft turf, the pool area exudes a refined European vibe, thanks in part to a towering privacy hedge of arborvitae pruned to resemble Tuscan cypress trees. Perfect for entertaining, the open-plan chef’s kitchen/dining area includes a five-seat island, wood-burning fireplace, and two sets of custom glass doors that access a
covered patio with a cozy seating area and hearth. Eight pollinator-friendly meadow beds composed of flowering perennials, culinary herbs, and billowy grasses beautify the far edge of the garden. The gardens also encompass multiple shady dining spots, a half basketball court, an enclosed outdoor shower, and a roomy spa off the patio. Natascha Tillmans of Sotheby’s International Realty holds the 360 Town Lane listing; (917) 836-0002.
EAST QUOGUE CHARM
Still a bit under the radar, laid-back East Quogue offers space and charm for nature lovers looking for a green acre dream home, according to Palmer Gaget of Douglas Elliman Real Estate. “I’ve said it before, but East Quogue is the up-and-coming Brooklyn of the Hamptons. It’s cool, cheaper than other places, and only 80 miles from the city so you’ll spend less time in traffic,” says Gaget. One EQ option: Recently
BIG DEAL
listed Genesis Farm, the longtime family home of British fashion and rock-and-roll photographer Richard Imrie—whose work includes iconic portraits of Jane Birkin, Rod Stewart, and David Bowie as Ziggy Stardust—and his wife, Pippa, who cofounded the lifestyle brand Imrie. The rustic compound, listed at $4.9 million, includes a fully renovated, 3,666-square-foot farmhouse with four bedrooms and baths, exposed beams, reclaimed wide-plank floors, and a no-fuss layout,
plus five-acres of organically maintained ag land that can be farmed, transformed into a dream garden, or used for horses. The property also includes a barn with finished loft, a gunite pool, a two-stall horse stable, and a Southampton beach pass. Contact Palmer Gaget for more on 140 and 144 Damascus Road; (631) 288-6244.
For a cool $79.5 million, nature lovers can have the best of both worlds—a prestigious Lily Pond Lane estate with commanding ocean views, as well as a parklike front garden with winding paths and a lovely reflecting pond. Set atop a soaring dune on the Atlantic, the classically elegant three-story family residence was built in 1916 for industrialist William H. Woodin, who served as Treasury Secretary under FDR. Part of East Hampton’s prestigious original Summer Colony, the 2.85-acre property, known as Dune House, spans 8,400 square feet and features 11 bedrooms, 10 baths, and sunny, spacious common areas, all with ocean views. Outside, the property offers unmatched privacy and a rare sense of scale: On the Atlantic, find sprawling terraces, rolling lawns, twin seaside pavilions, and mature coastal trees and shrubs. In front, a second 1.85-acre parcel—which is off-ocean and can be developed—boasts stone paths, a shingled garden hideaway, mature specimen trees, banks of ferns and perennials, and a large reflecting pond. To tour Dune House, contact Ed Petrie of Compass; (516) 885-9365.
A COUPLE BOUGHT A HISTORIC HOUSE IN WATER MILL, WORKING TO PRESERVE ITS ORIGINAL LOOK ON THE OUTSIDE WHILE TRANSFORMING THE INSIDE FOR LIFE TODAY.
WRITTEN BY DAVID MASELLO PHOTOGRAPHS BY ANDREW FRASZ
UNLIMITED
LIMITATIONS
There is a special kind of homeowner who prefers restrictions on what can or can’t be done to an existing house. For such buyers, the less that is allowed, the more room there is for creativity.
When interior designer Anthony Squatrito and his partner, Paul Horn, came upon a lovely, but weathered, 1790 house in Water Mill, they were taken not only with the historic nature of it, but also by the fact that its identity in town fell under
the aegis of the Peconic Land Trust. The nonprofit Trust, established in 1983, continues to protect and conserve some 14,000 acres of land on the East End, notably working farms and existing houses on such properties. While Squatrito and Horn were allowed to do whatever they wished inside the four-bedroom house, they were not allowed to alter much of anything on the exterior.
“We thought this was a good thing for us,” says Squatrito, who runs his namesake design firm from New York and the Hamptons. “The house was in
rough condition when we bought it and it was a very appealing prospect for us to fully restore it.” Horn, meanwhile, is more than a banker by trade, he is, as Squatrito calls his partner, “a builder by passion. When I say that Paul did all the restorations himself—changing windows, replacing flooring, opening up the ceiling in the kitchen—I mean Paul really did do all that by himself.”
In taking on the project to restore the house and bring its interiors into the present day, the couple remained cognizant of the original 18th-century
covering by Morris & Co. complements a custom console from Demiurge New York in the mudroom. In the living room, vintage armchairs are covered in a Morris & Co. fabric. (this page) An antique painting from Granary Gallery is displayed above the fireplace in the living room, and the vintage bench is from Wyeth NYC. (opposite) Vintage chairs surround a table from Ruby Beets in the kitchen. See Resources
We like being a part of the long legacy of this house and property.
—ANTHONY SQUATRITO
builder, Timothy Halsey, a ye-olde ancestor of the region, whose name figures today into streets, businesses, and other entities in the town and beyond (the Trust was established by a Halsey). The couple was also proud to learn that the most recent owners of the house had been another gay couple who had lived there in the 1960s. Squatrito and Horn purchased the house from the estate of those late
owners, and the executors of the estate, upon seeing the work that Squatrito and Horn had done, said, to them, “The previous owners would be so happy and proud to see how you have restored their former house.” Squatrito recounts, adding, “We like being a part of the long legacy of this house and property.”
Among the most dramatic interior changes occurred in the kitchen. As in all the rooms, the
original ceiling beams were encased in the plastered ceilings. Squatrito and Horn lowered the ceilings just enough to expose the dark beams. The couple retained most of the pumpkin-pine floors, with their 16-inch planks now agleam. By exposing the full ceiling pitch in the kitchen, the room, among the largest in the residence, is ablaze with natural light and warmth.
Pattern Play (left) In the den, an antique dresser is paired with a custom rug from Crosby Street Studios. (right)
A wall covering by Morris & Co. envelops a hallway.
Squatrito admits to a penchant for William Morris fabrics, notably those depicting scrolling flowers and vines amid citrusy fruits. He reupholstered a pair of armchairs in the living room with a green and yellow pattern, while papering the upstairs hallway in an especially bountiful and cheerful Morris pattern. “When we bought the house, it was so much darker than it is now,” he says, “and by using that paper upstairs, it serves as a strong way to hold together the very center of the house. The pattern grounds the whole house.” The walls of a mudroom area also are filled with William Morris vines that appear to grow from floor to ceiling.
Other strong Squatrito design moments are found in the artworks that hang throughout—
mostly portraits of anonymous men. A depiction of a contemplative World War I sailor hangs above the kitchen fireplace, one of five working units in the house. Other new and vintage figures appear on mantles and sideboards. In keeping with the house’s East End locale, additional rooms, such as the den, which is defined by a vibrant geometrically patterned rug, are adorned with moody seascapes.
After working for years on the staff of other firms, Squatrito has established his own thriving design business. “When you’re on your own, and especially when you’re designing your own home, it’s very, very satisfying,” he says. “It’s not so hard to make the rooms of a house beautiful. What’s more difficult is to create a home that feels peaceful, memorable, calming. Our house is all that.” ✹
CREATIVE INTELLIGENCE
IN LIGHT, SAND, AND SEA: HAMPTONS ARTISTS AND THEIR STUDIOS (VENDOME PRESS), PHOTOGRAPHER JAIME LOPEZ AND JOURNALIST AND CURATOR COCO MYERS EXPLORE THE WORKSPACES OF 50 ARTISTS LIVING AND WORKING ON THE EAST END. HERE ARE THE STORIES OF THREE OF THEM.
APRIL GORNIK
“We came out here in 1985 and found an affordable house in Sag Harbor that could accommodate two studios with a little renovation. It was an old farmhouse and we loved it. Then, in the late nineties, Eric wanted to build a house and found property in North Haven. At first, I was reluctant because I’d started gardening and had literally packed our little property with flowering perennials and herbs. But I loved the idea of more space. Once we built our dream house, we realized that we didn’t want to go back to the city, period. I absolutely love living at the edge of somewhere—the bays, the inlets, the ocean—although I find the ocean inscrutable and frightening.”
April’s luminous landscapes are inspired by both the imagined and the real. Though her work is emotional and interiorized, there are recognizable places in the paintings. “I work from photos all the time, which I sometimes collage together—a piece of land from the North Fork and a sky from Rome. I used to think I had to make up everything or it wouldn’t count, wouldn’t really be creative. Now my computer is my favorite sketch tool.” In all her paintings, Gornik incorporates light. “As a dealer once said, light is the protagonist in my work. And there are so many spots of bliss out here that I find transporting, like the marshes near the sea. Any kind of double-reflective situation like that feels transcendent to me. And I love to paint the ocean and its amazing fractal chaos. I love still and I love chaotic.”
“Painting is such an immensely complicated thing to do. Between inspiration, preparation, adjustments that happen in sketching it out on a big canvas, starting to feel the weight and balance of the piece while underpainting it, then building it up in layers, and working with the tiny but important dimensionality of the surface. All that involves imagination, memory, a battle with intent, and a truce with what the painting seems to want to become. And then there’s the joke that the universe usually makes when you get near completion of a painting and realize that the part you felt proudest of is now the part that has to go.”
QUENTIN CURRY
Born in Johnstown, Pennsylvania, Curry spent his formative years in the Appalachian Mountains. “This instilled in me a love for the wild and a fascination with the counterculture movements of the eighties. After a turbulent time in school, I found solace and inspiration in skateboarding, snowboarding, and the emerging punk music scene. These experiences laid the groundwork for my future artistic endeavors, providing a backdrop of rebellion and personal expression that continues to inform my work to this day.”
“I moved to the Hamptons in 2009, seeking an escape from the urban hustle and financial uncertainties of New York City, and turned my attention to eastern Long Island. Eventually, I stumbled upon a unique place in Sagaponack. The property, with a house and studio, was previously owned by David Porter. It felt like something you’d find in Vermont, though it was just one mile from the ocean. I was struck by the sense of wildness and seclusion it offered. I finally convinced the owners to sell me the property and embarked on a years-long renovation. The environment here has allowed me to reconnect with the natural world. Whether I’m surfing or painting or walking or sculpting or riding, it all is reflected in the works I make.”
Curry trained at Bard College and the San Francisco Art Institute. “I’ve always toggled between abstraction and figuration and the small thoughts in between. My early works, created with stone dust and oil paint, and characterized by textured, semi-abstract landscapes, laid the foundation for my later exploration of more freehand and primal approaches to painting.” His surf paintings, with their bold colors and expressive brushwork, evoke the sensation of riding the waves with paint. Curry’s sculptures offer a tactile exploration of materiality. “By repurposing man-made building materials into rock-like structures, I blur the line between natural and artificial, ancient and modern.”
IDOLINE DUKE
“I grew up out here as a summer kid, spending entire, idyllic days by the ocean, biking to Main Beach for saltwater taffy and painting rocks and shells on rainy days. I come from a family of artists, so any creative pursuit was always encouraged. I studied art history and art in college and went on to study landscape design in London, with the idea of starting my own garden-design company in East Hampton. After ten years running the business, the stress and ticks finally got to me, so a move to Vermont and a turn back to visual art seemed the obvious next step.” In 2018, she and her family returned and settled in Springs.
“The art community here feels incredibly vibrant and supportive. I’m so lucky that I’ve fallen in with this eclectic, curious, ambitious, talented, kooky bunch that brings so much energy and creative spirit to my life. My studio faces Accabonac Harbor, which has been an inspiration for so many artists before me.” Duke often paints large-scale watercolors, which require her to work on a horizontal surface. She lays oversize paper on a Ping-Pong table. “Getting it to lie flat is like wrestling an alligator.”
Duke’s main medium is watercolor. “It makes sense since I’m in love with the water and have always spent time in or near it—surfing, swimming, oystering, walking, or just staring. But I’m also forever playing with whatever natural or found material I get my hands on—charred driftwood, old shingles, rocks, clay, odd stuff from random dumpsters. I love creating objects that defy their common perceptions: wood painted to look like rock, feathers wrapped in barbed wire, limpet shells stacked and gracefully curled. This endless play keeps me connected to nature and is a great counterpoint to my two-dimensional watercolor and ink paintings.”
MIX AND MATCH
AT THE MADOO CONSERVANCY,
DESIGNER PETER DUNHAM RETHINKS ENTERTAINING
WITH
NEW TABLETOP DESIGNS.
BY CLINTON SMITH
PHOTOGRAPHS BY TREVOR PARKER
Peter Dunham is no stranger to pattern, color, and texture. His eponymous textile and wallpaper line can be found at his Peter Dunham Home & Garden showroom in New York City, as well as through trade showrooms across the country. Now, some of his most beloved prints have been translated for the tabletop—in everything from dishware to napkins—with Hudson | Grace.
“One of my favorite ways to spend time is to entertain my friends at home, casually but thoughtfully,” says Dunham. “I have always wanted to expand my collection into tabletop, accessories and more categories, but realistically my business is not set up for it. Of course I know and love Hudson | Grace—I think of the brand as an entertaining authority. At the same time, Hudson | Grace was looking to dabble in pattern. Through a mutual connection, we were intro -
duced. From our first Zoom, it was a no-brainer. They had the same artisanal approach and small batch production values that I do, a high taste level, and commitment to quality that I felt comfortable with, and an amazing platform for selling in store and online.”
For Monelle Totah, Hudson | Grace’s co-founder, the diversity of the collection allows buyers to have a one-of-a-kind tablescape.
“The ideas are endless. When we first started layering, we were quite pragmatic about it,” says Totah. “Peter came along and tossed a pink paisley napkin with a blue and green tablecloth and a pink appetizer plate. It’s super fun and there are no wrong decisions.”
The versatility is something that excited Dunham as well.
“I have always sewn napkins or tablecloths from my fabrics,” he says, “but this is so much better! I can actually throw it all in the washing machine! I think of
Light & Bright
(opposite) A Kashmir salad plate rests atop a Fez dinner plate.
(left) Dunham and Totah at the Madoo Conservancy. See Resources
the motifs and colors from my collection as timeless and versatile, so I’m not surprised they translate seamlessly to other categories. Kashmir Paisley works so well for a plate. The biggest difference has been the new possibilities in production. I’m used to yardage and wallpaper which can feel limiting in layout—it has to work in repeat and join and is actually quite technical. For this project, we can play with scale and borders and dazzle in the way the painters interpret the paisley on each plate.”
And once the collection came to life, Totah was a convert, of sorts.
“To be honest, I am not a ‘print person’ at all but have always admired Peter’s fabrics from afar,” says Totah. “When we were introduced by a mutual friend, the connection was instantaneous. I admire his talent and sense of color. When we do a collaboration, it has to feel right, and this one did from the beginning. And guess what, I am a ‘print person’ now!” hudsongrace.com, peterdunham.com ✹
Art of the Edit (opposite and above) A Pink Shari floral printed tablecloth provides a vibrant backdrop for the eclectic mix of designs. See Resources
GETTING IN SHAPE
A DESIGNER EMBRACES AMORPHOUS FORMS TO GIVE A STRONG DEFINITION TO THE MANY
ROOMS OF
A
NEW SAGAPONACK HOUSE.
BY DAVID MASELLO | PHOTOGRAPHS BY GIEVES ANDERSON |
Natural Curves (previous spread left to right) A mirror from Bert Furnari hangs above a bench from Jeff Lincoln in the entry. A custom sofa, ottoman, and armchair from NY Custom Furnishings are covered in a Holly Hunt fabric in the family room. (this spread) In the great room, a Calacatta slab from Opustone covers the walls of the bar. The sofa is custom from Todd Merrill. See Resources
ew designers are willing to admit that they like things they may not like. “If something is new to me and I don’t like it at first, I’m suddenly more interested in it,” says interior designer Michelle Gerson. As a former fashion designer, and now highly prolific interior designer, Gerson is used to encountering and, then, embracing unfamiliar shapes and textures. She remains open to ideas—a dynamic that, perhaps, is the key definition of a true designer.
For instance, the homeowner-wife of this nine-bedroom spec-built house in Sagaponack, wanted lots of furniture everywhere, since she entertains often and wants her husband and four children to have many gathering options inside and outside the home. “I don’t usually put so much furniture in a room, especially the living room” says Gerson, “but the homeowner who is so smart, has such great taste and a great eye, taught me something—that you can have a lot of seating areas in a room and have it work perfectly. My favorite kind of client is one like this—who sometimes gets you out of your comfort zone and has you look at something, or consider an idea, that may not at first seem right.”
“WE LIKE FOR ROOMS OF A HOUSE TO HAVE A CONVERSATION AMONG THEMSELVES, WHERE THEY CAN ALL SPEAK TOGETHER IN THE SAME LANGUAGE.”
—MICHELLE GERSON
Be Seated A chandelier from The Future Perfect hangs above a table from Fair in the kitchen dining area.
In responding to the client’s directive for a living room with lots of seating, Gerson fashioned a novel two-sided, tufted sofa that elegantly wraps in on itself, with sitters able to look out into the expansive room or focus on a stylish bar area. Gerson explains that the house’s original plan featured a fireplace where there is now the bar. She reconfigured the room to create a bar defined by a recessed arched marble wall, ribbed-glass cabinets, and fluted lacquer cabinetry. “When you walk into the house,
the first element you see is this bar, and it screams that this is a home for entertaining people and welcoming them,” says Gerson.
So, too, did Gerson make a strong first-impression at the foyer. There, she positioned a boldly articulated ceramic bench by River Baladez beneath an amorphously shaped mirror by Bert Funari that is encased by a mauve frame. “I love creating ‘a little moment’ when you walk into the front door of a home,”
Home Cooking (above) In the kitchen, Richmond bar stools from 1stDibs are covered in a fabric from Innovations. (right) In the dining room, the wallcovering is hand painted from Aqualille. Chairs from Artistic Frame surround a custom table by Aronson Woodworks.
Gerson emphasizes. “The foyer is the first thing you see and it should be something that’s a feast for the eyes. The same goes for a powder room. Both spaces should have a ‘Wow’ factor.”
The home is filled with such “Wow” factors, accomplished, in part, by Gerson’s penchant for organic, amorphous forms.
A wall of the husband’s office/den features three sculptural mirrors by Tomas Graeff that assume the presence of artworks, while also serving to visually animate the room. A John Procario molded-wood lighting source appears to swoosh, ribbon-like, over the dining table, while many of the custom-
Sweet And Chic (this spread) In a bedroom, a bed covering from Lagoon Linens complements a custom wallcovering from Moth Paper. (below) A mirror by Dartom Construction LLC hangs above a vanity from Artistic Tile in a powder room. The wallcovering is from MJ Atelier and the pendants are from Hollis + Morris.
Top Of The Line (this spread) A
from
designed furnishings embody curvaceous, rounded forms. In the family room, a sinuous Bieke Casteleyn table, its surface a troweled concrete, works its way through the space, the whole of which is emboldened by an Alex Katz portrait. “We like for rooms of a house to have a conversation among themselves, where they can all speak together in the same language,” says Gerson.
Gerson has a unique take, too, on the primary suite. With a husband and a wife, there is often the issue of how feminine or masculine to make the room. Gerson skewed feminine, with her use of pale greens, lavenders, and other “dusty” colors. “I think a primary bedroom should be feminine. Real men don’t feel uncomfortable with feminine energy present,” Gerson says with both humor and conviction. “Women, for the most part, give up so much to make their family’s home a livable place. At the end of the day, she should be able to lay down in a place that feels meant for her.”
But Gerson is an expert, too at exercising restraint. She knows when to push a theme and when to limit it. “The client understood the importance of having special pieces throughout, but she also knew that to have too many can make a room like a showroom. She was comfortable with our mixing high and low. We made a little magic together.” ✹
chandelier
Suite NY hangs above a bed covered in a fabric from Lagoon Linens in the primary bedroom. A custom sofa from NY Custom Furnishings is covered in a fabric from Opuzen, and the wall covering is from Phillip Jeffries.
Summer Breeze (this spread)
Around the pool area, the sofa, coffee tables, and single chaise lounges are from Gandiablasco. Umbrellas from Dedon and Tucci complement a dining table and chairs rom Kettal.
Lighting way the
A NEW MODERN EAST HAMPTON HOME NEEDED A LANDSCAPE THAT RESPONDED TO ITS ARCHITECTURE WHILE ALSO HONORING THE LAND AND ITS SPECIAL EVENING OCCUPANTS WHO LIVE THERE.
WRITTEN BY DAVID MASELLO | PHOTOGRAPHS
BY JOHN MUSNICKI
Garden Delights (this spread) The open-air covered terrace features a double sided fireplace. The sofa and armchairs are designed by Paola Lenti. A sculptural clay vessel was hand crafted in Belgium by Atelier Vierkant. See Resources
(
In Full Flower (left) The upper terrace offers expansive northern views of the extended property. Annabelle Hydrangea and Flowering Kousa Dogwoods flank the hand chiseled mix New York Bluestone retaining walls.
right) The formal entry to the home is installed with terraced retaining walls and monolithic stone steps using a New York Bluestone.
Although the homeowner of this East Hampton property knew that trees would be moved and replanted, and that the land would be reshaped into gardens and lawns, there was one natural phenomenon she insisted not be changed: the fireflies. Every summer evening, her family’s yard and the adjacent natural preserve near Georgica Pond, fills with countless glowing lights emitted by the insects.
“The client homeowner was very open to all our ideas,” says Roxine Brown, the Bridgehampton-based landscape designer who transformed the two-acre site. “She was completely fine with my bringing to her—and carrying out—all my own ideas. But the one simple, little, natural thing she insisted on was that we make sure that whatever we did that we didn’t interfere with her being able to watch the fireflies at night.”
In reshaping the site, where there had once been an unremarkable 1970s-era house that was replaced with a chic, thoroughly Modern residence built by Wirth & Company, Brown has kept the site bright with those evening orbs in flight. Part of her agenda for the land was to honor the new house but soften its rectilinearity with organic natural shapes. “The client and I decided to create a landscape that was warm and very romantic in feeling.” Another directive from the client was that her young son be able to practice playing soccer. Brown responded by creating a tennis court–sized level field of lawn where the boy could dribble the ball and play with friends. “Both of these directives from her were so simple and satisfying to achieve.”
More challenging was the building of a ceremonial staircase to the front door, leading directly from the driveway. Using a
variety of New York Bluestone, noted for its hues of browns, interspersed with grays and blues, Brown designed a handsome, processional series of steps and broad landings. The distance from the car parking area to the front door measures some seventy feet, so Brown was intent on making that walk “an experience.”
Within those stone walls that encase planting areas. Brown positioned River Birches, hellebores, ferns, and hydrangeas. “As you progress to the front door,” Brown outlines, “you pass through an allée of Japanese dogwoods. “I took the Modernstyle home away from its strict lines with these beautiful organic definitions.”
Given Brown’s admitted love for old, existing specimen trees, she also uprooted a Japanese Red Maple, crepe myrtles, and holly trees. “We balled and burlapped them and moved them to safer locations on the property,” she says, “while grading the land and accounting for better drainage.”
Easy Being Green (clockwise from opposite top left) The openair covered terrace provides a space for entertaining. A river birch at the front entrance.
Adjacent to the open-air covered terrace, armchairs by Sutherland face sweeping views of the property. The cutting garden features Dahlias, Cosmos, and Angelonia.
Apart from the ocean, a defining feature of the Hamptons landscape is its privet hedges—and Brown introduced examples throughout the property. She has kept them clipped to a height of seven feet, just a foot taller than the fencing that surrounds much of the property. “They’re just high enough, too, so that no views from the house into the yard and gardens are blocked.”
Certain expanses of the hedges act, too, as natural walls on the land, working not only as defining edges, but also as visual guides about how to best navigate the land.
Elsewhere, rounded boxwoods are set within a serpentine garden area, defined by graveled pathways. Each boxwood is carefully set to indicate a different turning point on the route. Allées of crepe myrtles—some ten mature species—run perpendicular to the specific garden area. The homeowner also requested a kitchen garden, and Brown accommodated by planting one for herbs and another as a cutting garden, abloom now with dahlias, cosmos, salvia, gauras, and even some strawberry plants.
Brown, whose company, Harmonia, Inc., has been designing Hamptons gardens for 23 years, admits that this represented her biggest commission yet. “The client allowed me to manage everything on the exterior of the house,” she emphasizes, “and being entrusted to do the job the way we were allowed gave me the leeway to bring in all my ideas. She made me feel confident that I could handle a project of this size.”
And now, every summer evening, the fireflies signal their joy at being able to fly through the new outdoor spaces. ✹
Surrounded By Nature (left) Oakleaf Hydrangea and Pennisetum Alopecuroides frame the gardens on the west side of the house. (this spread) A red Japanese Maple was repurposed from the original property and positioned in the new landscape as a feature piece.
Transforming Taittinger
Baroness Sheri de Borchgrave explores the next chapter of a storied Champagne house.
In a triumphant moment in June, Vitalie Taittinger, President of Taittinger, one of the few grandes marques Champagne houses that’s still family owned, cut the ribbon on a dining destination in Reims where Champagne is the real star of the show. At her new interactive restaurant, Polychrome, food plays a supporting role to Taittinger’s ten distinct cuvées.
“Polychrome has been in my head for years and it’s surreal to see it come to life,” Vitalie announced, looking effortlessly chic at a preview lunch for visiting press. “We at Taittinger are best known for our precise blending. I wanted to give diners all the ingredients to create their own custom experience, just as a Champagne blender creates a cuvée.”
Diners add their own accents to dishes through a selection of condiments, working to create the optimal match for the perfect Champagne. The concept will remain constant but to add a new burst of creativity, a new chef will be appointed every year.
Opening chef Charles Coulombeau—a winner of the Taittinger Signature Culinary Prize in 2020—spent more than a year testing out recipes. “It was a delicate balance,” he said, “working to create delicious food that wouldn’t overpower the wine.” The visuals were a priority too. Coulombeau plans to change his color palette with the seasons.
Our lunch featured a beautiful procession of monochrome plates—a white-on-white composition of cauliflower and brill, a greentoned roast duck encrusted in pistachios. We added our own accents from an offbeat array of ingredients that included kumquat miso, smoked yogurt, and Earl Gray mustard. We were told to have fun with our food.
And the cuvées kept on coming. To start there were tulip glasses of Prestige Rosé, fragrant with wild raspberry, cherry and blackcurrant, and Prelude Grands Crus, with notes of elderflower and white peach. A cheese course brought Brut Millésimé 2016, an energetic blend of pinot noir and chardonnay perfumed with hawthorn, honeysuckle, citrus and peach. At dessert—a choice of Floating Island or Pavlova—there was sweet “sec” Nocturne, in rosé and blanc varieties (both with 17.5 grams of dosage).
Château de la Marquetterie, the birthplace of the new Champagne house. Founder Pierre-Charles Taittinger purchased the 200-year-old château in 1932. (below) Vitalie Taittinger, President of Champagne Taittinger, walks in the vineyard.
Vitalie’s brother Clovis, managing director and head of international development for the house, charmed the dining room, regaling us with stories of the famed chalk caves just beneath us, descending six stories underground. Alexandre Ponnavoy, who is the Cellar Master and has been with Taittinger for the last twenty years, talked us through the Champagnes as we sipped.
The chef, we learned, offers customized three and four course menus, designed around specific Champagnes. For the ultimate splurge he’ll match every course to Taittinger’s top-of-the-line Comtes de Champagne, the most prestigious cuvées (starting at 260 euros a bottle and up).
You might also opt for a vertical of Taittinger’s Brut Millésimé—the “DNA” of the house. Ponnavoy suggests starting with the 2016 as an aperitif (“young, fresh and fruity”), moving on to the 2012 (“elegant and perfectly balanced”) with the starter course, and then the pinot-dominant 2006 (“structured and energetic”) with meat, before finishing with 2003 (“a solar vintage with ripe fruit”) with cheese. Advance notice is needed to arrange this spectacular vintage Champagne lunch.
Polychrome’s floor-to-ceiling windows overlook a beautiful park. The restaurant is part of a striking complex, designed by Reims-based architect Giovanni Pace, that also includes tasting rooms and exhibition spaces showcasing collectible bottles and contemporary works of art (from the likes of Rauschenberg, Lichtenstein, and Arman).
Vitalie took over Taittinger from her father a few years ago, continuing a long-running tradition of women-run Champagne houses (including, historically, Veuve Clicquot, Bollinger, and Pommery, among others). With its 712 acres of
proprietary vineyards, including Grand Cru sites in the Côte des Blancs and Montagne de Reims, the Taittinger estate is one of the largest in the Champagne district. They were the first house to release a Blanc de Blancs (in 1952) and are today known as one of the most important chardonnay-driven Champagne producers.
Taittinger’s new restaurant opening is part of a big new push in the Champagne region to attract more visitors. It’s an easy day trip from Paris, after all, just a 45-minute train ride. Taittinger offers a particularly rich visitor experience that includes a tour of its historic caves, a UNESCO World Heritage site first excavated in the 4th century (and in the 13th century transformed into the wine cellar of the Abbey Saint-Nicaise). Today the vast network of tunnels houses some 25 million bottles of Taittinger Champagne, waiting to be riddled and disgorged for the world. After the tour, a perfect day on the property would continue with a Champagne tasting, before heading to Polychrome for a beautiful, offbeat and delicious lunch.
(clockwise from top) Comtes de Champagne, Taittinger’s prestige cuvée; the Gallo-Roman chalk pits 18 meters underground on the Cellar Tour; Polychrome restaurant with windows overlooking a garden and park; vegetable dish from chef Charles Coulombeau.
Highlights Include: September 24 - 25, 2025
Engaging discussions and insights from industry leaders
Topics from decorating tips to design trends
Book signings, pop-up events, and more Events spread across various venues in Greenwich, CT
Brian Sawyer
Clinton Smith
Brittany Bromley
Christopher Peacock
Douglas Wright
Patrick Mele
Elizabeth LawrenceErick J. EspinozaJames DoyleJanice Parker
Bennett Leifer
Bunny Williams
DJ Carey
Michael Diaz-Griffith
Katie Ridder
Cindy Rinfret
Elizabeth Bolognino
Victoria Hagan Ray Booth
Alex Papachristidis
David Masello
David Kleinberg
David Harber
Deborah Berke
Jesse Carrier & Mara Miller
A Celebration of Art in the Garden
HC&G Editor-In-Chief Clinton Smith welcomed guests to A Celebration of Art in the Garden, presented by David Harber and Landscape Details.
Designer Melanie Roy of Melanie Roy Design, broker Jenny Landey of Sotheby’s International Realty and Lara Stein. David Harber’s sculpture Flo. Designer Ramona Asfora of Florense with architect Michael Lomont of Stelle Lomont Rouhani Architects. (fourth row from left) Mary Jo Danella, CEO of Danella Jim Danella, artist David Harber and landscape architect Michael Derrig of Landscape Details. Designer Brooke Abrams of Brooke Abrams Design with broker Brad Abrams of Compass.
David Harber’s sculpture Quiver. Broker Erica Smitheman of Douglas Elliman with owner/principal designer of LGC Interior Design Lori Miller. David Harber’s sculpture Geminus. (second row from left) Guests strolled through the Landscape Details gardens, admiring a collection of sculptures by David Harber. Margaret Somerstein with husband Chris Lukas. Jason Stalvey of STALVEY, Jakgrid Lerdgidkjon, Bruce Bromberg and Blue Carreon Home founder Blue Carreon.
ROB RICH
(first row from left to right)
(third row from left)
Photo by Read
DESIGNSTOPS
MUST-HAVES FOR THE DESIGN-OBSESSED
SHOPPER
BEVOLO GAS & ELECTRIC LIGHTS
Framed in copper and accented with a hand-spun copper top, the portable Cupola Pool House Lantern brings warmth to a multitude of spaces. 504.522.9485 / bevolo.com / @bevolo
RESOURCES
MADE IN THE HAMPTONS
Pages 20–22: Sasha Samuel Jewelry, sashasamuel.com.
UNLIMITED LIMITATIONS
Pages 34–43: Interior design, Anthony Squatrito, 646-722-0400, anthonysquatrito.com. Landscape design, Kim Hren, Groundworks
Landscaping, 631-324-7373, groundworkslandscaping.com.
Additional credits not on page:
Page 34: Roman shade fabric, Rogers & Goffigon. Page 35: Rocking chair, Comerford Collection. Artwork, Granary Gallery. Page 41: Rug, Crosby Street Studios. Ceiling fixture, Roman Thomas.
MIX AND MATCH
Pages 50–55: Peter Dunham, peterdunham.com
GETTING IN SHAPE
Pages 56–69: Interior design, Michelle Gerson Interiors, 917273-6330, michellegerson.com. Landscape design, LaGuardia
Design Group, 631-726-1403.
Additional credits not on page: Pages 58–59: Armchair, Atelier de Troupe. Armchair fabric, Studio
Items pictured but not listed here are from private collections or have no additional details.
Twenty Seven. Bar Hardware, Ferguson Home. Pages 60–61: Chairs, Suite NY. Page 62: Pendants, Brightbound. Pages 64–65: Bed frame, Oeuf. Table and chairs, RH. Pages 66–67: Armchair, Artistic Frame. Armchair fabric, Kravet. Coffee table, Philia. Window fabric, Otis Textiles.
LIGHTING THE WAY
Pages 70–77: Landscape design, Roxine Brown, Harmonia Inc., 631537-9672, harmoniainc.com. Builder, Wirth & Company, 631-926-8773, wirthandco.com.
SOURCE LIST
(T) = Sources available through architects, interior designers, and design professionals.
Architects & Designers Building (A&D), 150 E. 58th St., NYC, 212-644-2766, adbuilding.com.
Decoration & Design Building (D&D), 979 Third Ave., NYC, 212-759-5408, ddbuilding.com.
Fine Arts Building (FAB), 232 E. 59th St., NYC.
Interior Arts Building (IAB), 306 E. 61st St., NYC, interiorartsbuilding.com.
New York Design Center (NYDC), 200 Lexington Ave., NYC, 212-6799500, nydc.com.
Artistic Frame, artisticframe.com
Artistic Tile, artistictile.com
Atelier de Troupe, atelierdetroupe. com
Brightbound, brightbound.com
Chelsea Textiles, chelseatextiles.com
Claremont (T), D&D, claremontfurnishing.com
Comerford Collection, comerfordcollection.com
Crosby Street Studios, crosbystreetstudios.com
Dartom Construction LLC, dartomny.com
Dedon, dedon.de
Demiurge New York, demiurgenewyork.com Fair, fair-design.com
Ferguson Home, build.com
Gandiablasco, gandiablasco.com
Granary Gallery, granarygallery.com
Hive Collective, hivepalmbeach.com
Hollis + Morris, hollisandmorris.com
Holly Hunt (T), D&D, hollyhunt.com
Ida’s Eye, 518-727-7682
Jeff Lincoln, jefflincolninteriorsnewyork.com
Kettal, kettal.com
Kravet (T), D&D, kravet.com
Lagoon Linens, lagoonlinens.com
Loaves & Fishes, loavesandfishes.us
MJ Atelier, mjatelier.com
RESOURCES
Morris & Co., wmorrisandco.com
(see also Sanderson)
Moth Paper, mothpaper.com
NY Custom Furnishings, nycustomfurnishings.com
Oeuf, oeufnyc.com
Opustone, opustone.com
Otis Textiles, otistextiles.com
Philia, galerie-philia.com
RH, rh.com
Rogers & Goffigon, rogersandgoffigon.com
Roman Thomas, romanthomas.com
Ruby Beets, rubybeets.com
Sanderson (T), D&D, sanderson. sandersondesigngroup.com
Studio Twenty Seven, studiotwentyseven.com
Suite NY, suiteny.com
Thayers Outdoor Living, thayershardware.com
The Future Perfect, thefutureperfect. com
Todd Merrill, toddmerrillstudio.com
Tucci, tuuci.com
Visual Comfort, visualcomfort.com
Wyeth NYC, wyeth.nyc
FINALLY
CLASSIC REMIX
One of the most iconic patterns in decorating has a new chapter. Colefax and Fowler’s beloved Bowood design is now being printed on sisal as a wallcovering. Although subtle, the added texture gives new life and dimension to a forever favorite. cowtan.com
photo by durston saylor
by Lesley
Photo
Unruh