January February 2023

ON THE COVER: Inside the FLOWER Showhouse, Suzanne Kasler’s French-inspired salon o ers a multipurpose

that has every entertaining need covered with its array of seating areas on one end and a sophisticated kitchen on the other. Photographed by Emily Followill.

PHOTO BY HECTOR SANCHEZ

IN BLOOM

17

Decorate: Mood Every beautiful room starts with an inspiration. Take a peek at some of those early influences for the FLOWER Showhouse.

22

Decorate: Flowers Holly Bryan’s enchanting mix of flowers and foliage captures the soft sophistication of designer Tammy Connor’s secret garden-inspired bedroom in the FLOWER showhouse.

26

Architect: Q&A Atlanta-based architect Peter Block discusses the Regency design of the FLOWER showhouse and what makes this 19th-century style relevant for 21st-century living.

28

Landscape Architect: Q&A Atlanta landscape architect John Howard shares the inspirations that have shaped his work, as well as the thought process behind the elegant surroundings of the showhouse.

IN EVERY ISSUE

Watering Can 12 What’s Online? 30 Sources 123

PHOTOS: (CLOCKWISE FROM TOP LEFT) BY EMILY FOLLOWILL; BY DAVID HILLEGAS (2)

Watering can

WHEN I FIRST GLIMPSED the rendering of our FLOWER Showhouse, wrought by the eminent Atlanta architect Peter Block, I had to pinch myself. It struck me as a dream realized—a vision of elegance with beautiful proportions, tailored and restrained, as only the Regency period could produce. I could hardly imagine a more perfect jewel box to house the treasures of great interior design. Then I learned that the gardens were being conceived by the esteemed Atlanta landscape architect John Howard. Top this o with the project being realized by luxury home builders Young & Meathe, and I knew this house was destined to be “a thing of beauty” and a “joy forever.”

Next, we called on the wisdom, taste,

—JOHN KEATS, “ENDYMION, BOOK 1”

and experience of Charlotte Moss and Suzanne Kasler to fill the roles of Honorary Chair and Design Chair respectively. I felt certain that a host of talented professionals and marquee companies would want to play—and they did, from highly acclaimed interior and floral designers to iconic

brands within the design industry.

Atlanta, as a grande dame of Southern cities so rich with talent, is the perfect location for FLOWER’s inaugural multi-designer showhouse. From my first foray to ADAC as a neophyte in the design business to my most recent visit to this house, with loads of FLOWER business in between, I have found that this city holds a special place in my heart. To be a part of this e ort while helping support the spectacular Atlanta Ballet in the process is just about the greatest honor and opportunity of my career thus far.

I hope you enjoy this look inside— and behind the scenes—of our FLOWER Showhouse. We are excited to share it with you.

Please send your comments, triumphs, challenges & questions to: wateringcan@fl owermag.com

OR: Letters to the Editor

Flower magazine I P.O. Box 530645 I Birmingham, AL 35253

Get the Flower email newsletter! Sign up at fl owermag.com/news

Love and SDG, Margot Shaw EDITOR-IN-CHIEF

A thing of beauty is a joy forever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.

Honorary Chair Charlotte Moss

Design Chair Suzanne Kasler

VOLUME 17, ISSUE 1

Margot Shaw FOUNDER/EDITOR-IN-CHIEF

Julie Gillis MANAGING EDITOR

Nicole Gerrity Haas ART DIRECTOR

DIGITAL

Jason Burnett DIGITAL GENERAL MANAGER

EDITOR-AT-LARGE

Karen Carroll

CONTRIBUTING EDITORS

Missie Neville Crawford

Alice Welsh Doyle

James Farmer

Kirk Reed Forrester

Amanda Smith Fowler

Marion Laffey Fox Elaine Griffin Tara Guérard

Sallie Lewis

Frances MacDougall

Robert Martin

Tovah Martin

Cathy Still McGowin

Charlotte Moss

Ellen S. Padgett

Matthew Robbins Margaret Zainey Roux

Frances Schultz Lydia Somerville Sybil Sylvester

For editorial inquiries: editorial@flowermag.com

Julie Durkee PUBLISHER

Jennel O’Brien ASSOCIATE PUBLISHER, SALES & MARKETING Marlee Ledbetter MARKETING COORDINATOR

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For change of address and subscription inquiries: 877.400.3074 or CustomerService@FlowerMag.info

ADVISORY BOARD

Paula Crockard

Winn Crockard

Gavin Duke Gay Estes

Katie Baker Lasker

Mary Evelyn McKee Michael Mundy

Ben Page

Angèle Parlange

Renny Reynolds Scott Shepherd Remco van Vliet Evie Vare Louise Wrinkle

Decorate: Inspiration • Decorate: Flowers

Architect: Q&A • Landscape Architect: Q&A

in Bloom

Behind the Design

EVERY BEAUTIFUL ROOM STARTS WITH AN INSPIRATION. HERE’S A PEEK AT SOME OF THOSE EARLY INFLUENCES FOR THE FLOWER SHOWHOUSE.

Produced and styled by Missie Neville Crawford, Maren Edwards, and Sutton Ward Photography by David Hillegas

Holly Bryan of Holly Bryan Design

HOLLY BRYAN’S ENCHANTING MIX OF FLOWERS AND FOLIAGE CAPTURES THE SOFT SOPHISTICATION OF DESIGNER TAMMY CONNOR’S SECRET GARDEN-INSPIRED BEDROOM IN THE FLOWER SHOWHOUSE.

Produced by Margaret Zainey Roux • Photography by Robert Peterson

Plato was well known for his philosophy that art imitates life, while Aristotle believed that life imitates art. When asked which of these two ancient doctrines she subscribes to, Holly Bryan didn’t have to think twice before replying “both.”

The Atlanta-based floral design phenom backed up her answer with a masterpiece of her own making—a bountiful, fresh arrangement inspired by an abstract floral painting by Ashley Cunningham. The piece, Ordinary House Plant 2, is one of three original works by various artists featured in a

secret garden-inspired bedroom designed by Tammy Connor Interior Design for the Atlanta Showhouse.

“I was captivated by the rich contrasts in the painting,” Holly says. “I love the dramatic juxtapositions of the light and bright hues, along with the heavy brushstrokes coupled with simple botanical drawings. For my arrangement, I took a similar approach and chose flowers and foliage with distinct shapes, textures, and colors that, despite their di erences, come together harmoniously and organically like blossoms in a real-life garden.”

FROM FAR LEFT TO RIGHT: The painting by Ashley Cunningham served as Holly’s inspiration for her floral design. She also pulled colors from other elements in Tammy Connor’s bedroom design, including the linen floral print (Penny Morrison “Jaipur Berry”), the graphic pillow (Katie Leede “Mughal Gardens” in Melon), and the polka dot fabric (Lisa Fine Textiles “Tika” in Blush).

MATERIALS

Coated chicken wire

Plastic liner

Waterproof floral tape

Leucothoe Nandina

Lamb’s ears

Banksia

Calycina Lisianthus Cappuccino Beige Rose

Rex begonia Cymbidium orchid

Asparagus fern

STEP 1 Mold chicken wire to fit the plastic liner, and secure it inside by making an X across the top using floral tape. Place the liner inside the bowl, and fill with water 1 inch from the top.

STEP 2 Create a base layer by inserting long branches of Leucothoe followed by Nandina. Loosely add in Lamb’s ears to fill in any holes.

STEP 3 Insert Banksia at three di erent heights, and round out the arrangement with Calycina. Add Lisianthus to evenly disperse color and texture. Clip roses at varying heights, and strip the stems of all leaves, including those near the blossom. Create small clusters of roses, and gently insert them at varying angles and heights.

STEP 4 Cut the stems of the Rex begonia, and insert the blooms at varying heights and angles. Split the Cymbidium orchid in two. Insert one stem vertically toward the top of the arrangement and the other to the side.

STEP 5 Rotate the arrangement to check all sides. Lightly fill in any holes with sprigs of asparagus fern to complete the final layer of color and texture.

“I chose flowers and foliage that come together organically like blossoms in a real-life garden.”

—FLORAL DESIGNER HOLLY BRYAN

From the Ground Up

ATLANTA-BASED ARCHITECT PETER BLOCK DISCUSSES THE REGENCY DESIGN OF THE FLOWER SHOWHOUSE AND WHAT MAKES THIS 19TH-CENTURY STYLE RELEVANT FOR 21ST-CENTURY LIVING.

By Karen Carroll • Photography by Brian Bieder

Flower: We’ve admired your houses in Atlanta and beyond for a long time, and we’re excited that our readers will experience your architecture through the FLOWER Showhouse. How would you characterize your overall design philosophy?

Peter Block: Whatever the design of a house may be, make sure it has style. I’ll mix different ideas and elements, but the end goal is for it to feel and look good, period. I liken it to a woman wearing jeans, a white T-shirt, and a Chanel

jacket. She has great style, but she’s not wearing a pure outfit. That’s often the perspective I come from architecturally.

How do you begin conceptualizing your designs?

Everything starts with a conversation about the clients’ needs and what we want to happen. Then I work on a layout while thinking through things such as the lifestyle flow, internal and external vistas, and where the light originates. From there, the architectural style

PORTRAIT COURTESY OF PETER BLOCK

develops, whether it’s European or American, traditional or contemporary. I consider myself fluent in all architectural languages. In the case of the showhouse, the style is Regency, so we’re obviously speaking English.

While we consider ourselves to be somewhat fluent in English, we’d appreciate a little “Regency 101.” What are some of the hallmarks of the style that are articulated in the Showhouse?

The literal definition is the time period between 1811-1820, when George IV was Prince Regent. However, it extends well beyond that stylistically. John Nash and Sir John Soane were prominent English architects of the era, and I drew inspiration from both of them. Regency style has all the classic principles of Georgian architecture simplified and pared down—largely a function of people wanting things a little cleaner, less fussy, and more deliberate. Some of the key elements include straightforward blocks of mass with a curved and columned portico on the front and a rectangular porch on the back to extend the house out into the landscape. Exteriors are often white stuccoed brick, which allows the form to stand out. Most of the homes have black doors, long windows, and tall ceilings. Interestingly, there is a well-established tradition of the style here in Atlanta, as the renowned architect Philip Trammell Shutze designed a number of Regency houses in the 1930s.

What particularly inspires you about Sir John Soane’s Museum and perhaps made its way into the Showhouse? I was especially inspired by how Soane brought light into the spaces. For the Showhouse, we designed a skylight at the peak of the roof, and that’s straight from Soane’s book, even if the detailing is different. It brings light into the middle portion of the house. We also employed tall windows and doors to bring light deep into the rooms. And we laid out almost every space with windows on at least two sides to make sure the light is balanced.

What makes Regency still desirable for the way we live today?

It’s very pliable. Regency can bend classical if you want it to, or it can be purely modern if you prefer that. By changing things up with the décor, you can completely alter the way it feels. If you had a really formal Georgian house, you wouldn’t have all those options.

You mention the “Johns” as influences. Did any specific historic buildings serve as references?

I took many trips to London to drill down the style. I walked up and down the streets around Regent’s Park, which was the brainchild of Nash. One of the most informative experiences I had was a dinner with a group of design professionals at Sir John Soane’s Museum at Lincoln’s Inn Fields. I’ve been there numerous times, but this opportunity allowed me to avoid bumper-to-bumper crowds, enjoy a meal with friends, and “live” in the house and museum for a few hours. I could really immerse myself in the nuances of the house and take lots of photographs of the details.

Are there any challenges to consider with this style? It’s a matter of editing, and the bones have to be so strong and clear that it can tolerate that editing. With some more exuberant architectural styles, you can cover up a lot of “sins,” if you will, with all kinds of trim and different layers. That’s not as easy to do with Regency. I’m reminded of a quote from Frank Lloyd Wright: “A doctor can bury his mistakes, but an architect can only advise his clients to plant vines.” Fortunately, we didn’t create those kinds of mistakes. But with any house style, you need things that are at human scale so people feel comfortable, at room scale so the space feels good, at house scale so each room feels right within the house, and at community scale so the house sits appropriately in the neighborhood. And that whole sequencing can be tricky with Regency. Since it doesn’t have as many elements to play with, you have to be spot on.

We think you got it just right. Thank you. Given that the spaces are designed to be flexible, it’s been fun to see all the varied interpretations these all-star designers bring to their rooms!

“Regency can bend classical if you want it to, or it can be purely modern if you prefer that.”

—ARCHITECT PETER BLOCK

Flower: When chatting with design professionals, we always want a little backstory. Did you grow up gardening or in a design-centric home?”

John Howard: I grew up in Atlanta in a mid-century house with modest gardens. I loved to work outside, plant things, and build things. I always had an interest in architecture and did drafting for architects and engineers during my high school and college years. I also liked to draw and do graphic design, and I was supported by my family in all my artistic endeavors.

The Great Outdoors

ATLANTA LANDSCAPE ARCHITECT JOHN HOWARD SHARES THE INSPIRATIONS THAT HAVE SHAPED HIS WORK, AS WELL AS THE THOUGHT PROCESS BEHIND THE ELEGANT SURROUNDINGS OF THE SHOWHOUSE.

By Margot Shaw • Photography by Brian Bieder

What was your first indication that you would design landscapes?

I discovered landscape architecture when I was in high school, which combined many of my interests including architecture, horticulture, and being outside. It was an obvious choice to study landscape architecture in college. Fortunately, the University of Georgia has one of the top programs in the country.

What would you describe as your defining project—the one where you said, “Okay, I can do this”?

There was not one defining project but, rather, a series of progressive projects that each seemed like the next step along the way. Design came naturally, and each

design challenge was exciting. Today, my favorite projects are always the ones in which I’m currently engaged.

Where have you been most inspired by landscapes?

I have been most inspired by my travels abroad. The landscapes and gardens of Europe have had an immense impact on my personal style and perspective. Travel continues to be my biggest teacher, so it’s a part of my schedule every year. Just this year, I have spent time in the South of France, Belgium, England, Ireland, and Italy. The English country manor gardens are some of my favorites, and Hidcote Manor Garden and Bourton House Garden in the Cotswolds rate at the top.

PORTRAIT COURTESY OF JOHN HOWARD

Russell Page, the famous English garden designer from the 20th century, was a big influence as my personal garden design style emerged. But I am currently inspired by many of my contemporaries who are producing amazing work today around the world, including Fernando Caruncho, Paul Bangay, and Luciano Giubbilei, to name a few.

The showhouse, with its English Regency style, seems like the perfect pairing for your work. How did you feel about the project?

I have always appreciated the organized nature of the Regency style and the simplicity of detail typically seen. I’m a minimalist at heart, so this style appeals to my

OPPOSITE PAGE: The poolside parterre garden is planted with a carpet of white violas and cardoons (also called artichoke thistle) in the center. And framing the pool are four hornbeam trees, known in English folklore as ”ladders between worlds.”

LEFT: As a focal point for the pool area, John used this oversized Italian olive jar and top dry cast by Longshadow. The design references jars seen in many Renaissance gardens.

aesthetic. I always design with the architecture of the dwelling as the basis of the garden layout and details. Creating garden rooms with lawns, hedges, and green architectural forms is what I love to do, and it certainly was the right approach with this beautiful home.

Of course, a showhouse is a different animal from your typical client-driven projects. How did you create without a “client”? Was it easier or more challenging?

Since we didn’t know who would be living in this home, we designed a landscape that would appeal to a family or an empty-nester couple. The plan is flexible with garden room spaces laid out that have potential for future evolution. The four-quadrant parterre across from the pool has a footprint that could accommodate a future pool pavilion. More elaborate gardens also could be developed in a number of the spaces. It wasn’t necessarily easier, just a different process of imagining future scenarios for use.

Finally, what do you think constitutes a successful garden/landscape?

I think the most successful landscapes are the ones that are simple yet beautifully inspiring, and the most successful gardens are the ones that are loved and nurtured. You can always tell by the level of attention and maintenance that they receive.

“The landscapes and gardens of Europe have had an immense impact on my personal style and perspective.”

—LANDSCAPE ARCHITECT JOHN HOWARD

Are there one or two design heroes of yours who have really influenced your aesthetic and philosophy?

What’s Online?

Lights! Camera! Showhouse!

The FLOWER magazine team documented the Atlanta Showhouse rooms and furnishings, shooting hours of video footage of the home and designer interviews to bring each space to life. Now we are sharing this extraordinary house with the rest of world. Look for our video introduction to the showhouse with highlights from editor-in-chief Margot Shaw, honorary showhouse chair Charlotte Moss, and design chair Suzanne Kasler. Then be sure to watch our video tour of the house for an in-depth look at each room narrated by its interior designer on the FLOWER magazine YouTube channel and at flowermag.com/showhouse.

More Flowers

These pages are filled with gorgeous flowers from the floral design teams who created arrangements for the house, but there’s even more online. We’ve captured scores of fantastic florals from Atlanta Planters; Canaan Marshall Designs; East Pine Designs; Garden Party Designs; Gloriosa Design; Holly Bryan Design; Kappi Naftel; Kirk Whitfield; Lush Life Home & Garden; Mary Pinson; Michal Evans Flora & Event Design; Miss Milly’s Event Rentals, Florals, & Design; Parties to Die For; Robert Long Flora & Event Design; and Wildflower Designs. Also, learn more about the roof garden at the showhouse and the incredible European hornbeams in the landscape. See more at flowermag.com/showhouseflorals.

Parties to Die For

DESIGNERS’ GUIDE TO ATLANTA

There’s a reason we chose Atlanta as the location for our FLOWER Showhouse—it has not only become an epicenter for the design world but also a favorite destination for travelers across the country and the world. To get the inside scoop on what to see, where to shop, and what to eat in this booming metropolis, we turned to the showhouse interior designers who call “The ATL” home. Discover these hotspots at flowermag.com/atl.

FROM TOP LEFT) BY EMILY FOLLOWILL; BY JASON GETZ/GETZ IMAGES; BY EMILY FOLLOWILL (2)

Kappi Naftel

WELCOME TO THE FLOWER

SHOWHOUSE

Located on a verdant, winding street in Atlanta’s Buckhead neighborhood, this Regency-style house, with its stately yet understated bones and interiors designed for 21st-century living, conveys a mature sensibility that belies its status as the new kid on the block.

Text by KAREN CARROLL

Styling by AMANDA SMITH FOWLER

Photography by EMILY FOLLOWILL & DAVID HILLEGAS

Additional Photography by BRIAN BIEDER & HECTOR SANCHEZ

Let’s begin with sheer numbers. Take a dream team of architect, builder, and landscape architect; add 21 top-tier interior design firms who come bearing 35 wallpapers and too-many-to-tally fabrics, furnishings, and objects from vendors and artisans with chicness factored to the nth degree; and finally, round it all off with 15 wildly artistic floral designers. Total all the figures and they equal one showstopping FLOWER Showhouse. While our approach to the math may not follow the conventional textbook method, this Regency-style house, nestled atop a gently sloping lot in Atlanta’s Buckhead community, also proves to be anything but formulaic.

“Showhouses are like a decorating collage,” says Honorary Chair Charlotte Moss. “They bring people with different viewpoints, personalities, and styles to the table—and here, we also have the unifying element of flowers. I can’t think of a designer who doesn’t love what botanicals bring to their interiors, whether fresh from the garden or interpreted in a fabric or painting.”

When FLOWER Editor-in-Chief Margot Shaw first pored over the renderings and floor plans for this house, she was immediately drawn to the integrity and sensitivity of Peter Block’s architectural design. “The home announces itself graciously,” she says. “It’s sizable but without pretense. It also harkens back to a historic period I love and is in keeping with the classical nature of many of Atlanta’s great houses.”

The opportunity to work within the architecturally significant house enticed decorating professionals from across the country, including some, such as Design Chair Suzanne Kasler, with offices little more than a stone’s throw away from the Showhouse’s backyard. “Each designer has their own inspiration with an amazing level of customization and craftsmanship,” says Suzanne. “And even though we didn’t collectively plan for each room to relate to the next, they all visually work well together.”

We invite you to come inside the FLOWER Showhouse for a closer look. As you page through the exquisitely executed rooms and peek behind the curtains and into the thoughtful minds of those who created them, we hope you’ll be mesmerized down to every last detail. Indeed, we’re counting on it.

MICHELLE NUSSBAUMER

HALL

Michelle Nussbaumer’s Point of View

GLOBAL INFLUENCES

Michelle encased the room with wallpaper she designed for Paul Montgomery. “It’s inspired by Villa Ephrussi de Rothschild in Cap Ferrat, which has the most extraordinary series of gardens. This wallpaper is a patchwork of the gardens’ flowers from around the world.” The Clarence House fabric on the custom console and lampshades brings in a dash of mod while echoing the color of the rug from The Rug Company. The chandelier is from Visual Comfort & Co.

DESIGN DETAIL

The hardware Michelle designed with Modern Matter is based on one of her personal pieces of lapis lazuli jewelry.

POWDER POWER

“My spaces represent a lot of my favorite places and things. The powder room wallpaper is based on a Venetian palazzo, and the printed velvet depicts my grandmother’s crazy quilt that I still own.” Turquoise foo dogs stand guard atop brackets.

“I believe in living life and decorating in technicolor, served up with a worldly dish of pattern.”

SUZANNE KASLER

“I’m always inspired by Paris and everything French. I call this large space the salon because with the kitchen on one end and multiple conversation groups on the other, it allows a lot of activities to happen at the same time.”

Suzanne

Kasler’s Point of View

TAKE A CLOSER LOOK

“I found the vintage Fortuny panels at High Point, and they ultimately inspired the room’s palette. We put burlap on my Loire chairs for Hickory Chair and then ran the panels down the middle.”

TAKE A PAGE FROM THE DESIGNER’S BOOK

“Trims on upholstery and curtains are that extra element you don’t always notice immediately when you walk into a room, but they make such impact.”

ON SEAMLESSLY INTEGRATING THE KITCHEN

“I have a collection for La Cornue, and the stove in my new color—Graphite— looks like jewelry in the room.” A sculptural plaster light fixture found in Paris hangs over the marble island by Temmer (preceding pages) and provides artistic balance to the Kimo Minton painting over the mantel. “We also painted all the iron doors and windows white because I wanted the eye to see through to the garden without getting stopped by the naturally dark metal.”

TRICKS OF THE TRADE

“The Phillip Jeffries geometric wallpaper on the ceiling pulls the entire space together. The salon is so open and seemed to be ‘falling’ into the hall, so I added interior curtains to define the room.” Suzanne’s workroom made the striped curtains from the two main fabrics she used elsewhere. The Sir John Soane mantel from Chesneys reflects the Regency architecture.

“I always look at the architecture envelope first; then I determine how the room will flow and how furnishings and objects should interact.”

BARRY DIXON LIBRARY

DESIGN KEITH ROBINSON OF GLORIOSA DESIGN

FLORAL

Barry Dixon’s Point of View

TAKE A PAGE FROM THE DESIGNER’S BOOK

“Bring classic elements forward in a modern way.” Rather than drapery treatments for a pair of oval windows, Barry designed metal mesh screens that diffuse light and punctuate the busts atop see-through pedestals.

ON THE SHELF

Barry enlisted library expert Kinsey Marable to curate a booklover’s dream collection that ranges from history and architecture to gardening and children’s classics. Objects interspersed throughout shelves provide subtle clues to the subjects close at hand.

HOW BARRY BRINGS THE BOTANICAL

“We explored the masculine side of floral inspiration with a larger scale and a woodsy palette.” Barry designed the dahlia cowhide rug by Kyle Bunting and used fabrics by Vervain, Stroheim, and TylerGraphic.

“Inspiration is everywhere—it lurks in foreign ports of call and waits patiently in our own backyard.”

ALEXA HAMPTON

DINING ROOM

FLORAL DESIGN

ROBERT LONG FLORA & EVENT DESIGN

“I consider animal patterns a neutral, even with all of their vivacity and individuality. This hand-painted wallpaper I designed doesn’t have a single line or striation that is the same, but it’s still interpreted as a repeating motif.”

Alexa Hampton’s Point of View

TABLE TALK

The china, glassware, and silver are from Replacements. “I love to bring color on the table, and I particularly like pairing purple with green. I also often use white chairs around a dark wood table or vice versa.”

GOING WILD

“Really fabulous green rooms like those by Givenchy, who always lurks in the back of my mind, and the ones in Denise Hale’s house in San Francisco, which my father decorated years ago, remain pivotal in my imagination. I think of this as my green room, even though it’s technically not. Gracie’s tiger pattern beautifully combines with accents of emerald and classical elements such as my Chesneys mantel.”

BACK STORY

“Bill Blass once told me how important the back of a bride’s dress is because that’s what people see most as she goes up the aisle and stands during the ceremony. I’ve always drawn the parallel to dining room chairs—you’ve got to bring it so they don’t seem lonely when they’re not being used. I put the ‘moneymaker’ pattern on the back of my Theodore Alexander chairs, where I also didn’t have to consider the practicalities of wear and tear.”

“I gotta have more cowbell .”

MELANIE MILLNER

CATERING KITCHEN AND BUTLER’S PANTRY

FLORAL DESIGN KAPPI NAFTEL

“This is the workhorse kitchen, and I wanted to keep it understated but elegant at the same time.”

Melanie Millner’s Point of View

MAIN COURSE

The design began with a gray plaster pastellone finish from Domingue that covers the Kingdom Woodworks cabinetry, ceiling, walls, and hood. “It’s super durable but has such texture and depth, along with an ethereal glow.” With the exception of a Viking range, the appliances have integrated fronts. Melanie kept all cabinet panels simple with streamlined custom hardware in unlacquered brass. Accents of red, as well as movement in the stone countertops and backsplash, give the room pops of energy.

ART MATTERS

On the back wall, Melanie hung a trio of mixed media works by Dane Carder. The indoor/outdoor rug by Stark is stylish yet easy to clean when the pasta sauce inevitably splatters.

WORTH A CLOSER LOOK

“As you move from the dining room to the butler’s pantry, you glimpse this fabulous gold wallpaper lining the display case. It needed that bit of glamour to connect.”

“A room should have the soul of those who inhabit it.”

BUNNY WILLIAMS

WORTH A CLOSER LOOK

“A place to pot plants and arrange flowers is a necessity for me because they give life to a room. But this space also serves as a laundry, and if you don’t garden, you can always bathe your dogs in the sink. The beautiful pewter countertops from Francois & Co. wear well, and I love the lacquered blue cabinetry.”

Bunny Williams’ Point of View

A TAPESTRY OF DETAIL

“The tapestry wallpaper I designed for Lee Jofa instantly gives the feeling of walking into a garden.” Concentric circles in Bunny’s chandelier for Currey & Company reiterate the form of the rose window. The faux bois demilune and gold mirror are from her collection for Ballard Designs.

GRACEFUL ADDITION

With space at a premium in the powder room, the designer floated a serpentine vanity in the corner and carried through the progression of blues in a smaller-scaled pattern from Thibaut.

“Something old, something new, and different textures make a room more interesting.”

CATHY KINCAID

PRIMARY BEDROOM

“I’ve always loved Marella Agnelli’s pink-and-white bedroom in Morocco. I tend to think of a bedroom as more of a woman’s domain, where you’re allowed to take a softer, more feminine approach. But surprisingly, men love it, too.”

Cathy Kincaid’s Point of View

DESIGN DETAIL

Exquisitely intricate embroidery by Namay Samay edges bed hangings and curtains.

IF WALLS COULD TALK

“When I traveled to India several years ago, I visited the Baby Taj (I’timad-ud-Daulah) in Agra, which took my breath away. I worked with de Gournay to capture some of the details in the wallpaper.”

PRETTY IN PINK

“Different levels of light are important in making a romantic bedroom, and reading lights inside the bed help those like me with failing eyesight.” The custom lampshades throughout the room are a signature of Cathy’s work. “I’ll often line them with a pale pink. It makes women prettier, men more handsome, and the room glow.”

HAVE A SEAT

Cathy created an intimate seating area in front of the Chesneys mantel, layering pattern and texture with wicker chairs and inlaid furniture. “Antique textiles on pillows, the panel sewn on the ottoman, and the vintage rug give the room some history.”

“We all have things we’re naturally drawn to, but I never want to have a ‘look.’ I love putting time and thought into finding special pieces and creating the kinds of details that not only make a room unique, but also true to the person who lives in it.”

JULIE DODSON

PRIMARY BATH, HER DRESSING ROOM, AND ADJOINING EAST GALLERY

FLORAL DESIGN PARTIES TO DIE FOR

TAKE A SEAT

Julie incorporated window seats, elegant chairs, and occasional tables from Universal Furniture to ensure the owner will spend leisurely time with a cup of tea or browse the morning news before planning her outfit of the day. “Another key component of the space is the three-way mirror (preceding pages) so that when she’s finished dressing, she can look from every angle.” The wallpaper on the ceiling creates movement, as does the floor covering from The Rug Company.

Julie Dodson’s Point of View

WAKE-UP CALL

“The hall from the garage will be a regular entry point for the homeowners, so I didn’t want the space to feel like it had been left behind. The Fromental wallpaper gives it glamour. It’s the spot to make coffee or keep water in the refrigerator so you don’t have to run to the kitchen at 2:00 a.m.” In a curved niche outside the closet (preceding page), Julie paper-backed a geometric black fabric and edged it with pink grosgrain trim and nailheads.”

BATHING BEAUTY

“In the primary bath, the dark flooring with white marble insets that

designed with Temmer has a masculine moodiness, but everything surrounding it has a feminine vibe. I love creating that yin and yang.”

we

“Classic elements mixed with just the right amount of edge and a dash of whimsy create the most inspiring spaces.”

DON EASTERLING & NINA LONG GENTLEMAN’S DRESSING ROOM AND ADJOINING POWDER ROOM

“It’s not easy to upstage Marianne Faithfull, Desmond Guinness, and Mick Jagger—or a Slim Aarons photograph for that matter—but this fabulous scenic wallpaper more than holds its own.”

FLORAL DESIGN SUZANNE GRAVES OF GARDEN PARTY DESIGNS

SPONSORS

WAGNER

Don Easterling and Nina Long’s Point of View

“Design isn’t about perfection, nor does it always have to be so serious. We believe all rooms need patina and a little whimsy thrown in to take off the edge.”

HANDS ON

STAR TURN

Preceding pages: “We love that this Fromental wallpaper, with its birds of prey and ochre and brown tones, is bolder and more masculine than a lot of chinoiserie designs.” The duo designed cabinetry lacquered in a rich burnt caramel color and created an arch to highlight an inlaid chest.

The dressing room has a stateliness that suggests a valet from Downton Abbey could appear at any moment, but the man of the house has everything needed to be self-sufficient. We envision this will be a room he’ll spend time in beyond just getting ready for the day. Open shelves provide an opportunity to display collections of his favorite things.

TAKE NOTE

Tucked within the space, a powder room features a custom marble vanity by Temmer and unlacquered brass fittings from Waterworks. “The room is small and we didn’t want to overpower it.” A globe lantern and antique mirror lead the eye up.

ASHLEY WHITTAKER

SCREENED PORCH

FLORAL DESIGN

KEITH ROBINSON OF GLORIOSA DESIGN

“I want this to be a true extension of the house. A shaded porch is so appealing in the summer, and having a fireplace makes the room usable year-round.”

Ashley Whittaker’s Point of View

KEY ELEMENT

Striped shades made by The Shade Store have a dentil molding detail and evoke tent awnings. “I used the same fabric to line the back side so that the view from the garden toward the house will be equally pretty.”

WORTH A CLOSER LOOK

The designer painted the inside of pendant lights from Currey & Company a haint blue, traditionally used on Southern porch ceilings. Ashley also believes that no porch should be without potted plants. “At the end of a hectic day, you’ll find me with watering can in hand. Container gardening makes me happy.”

ON BALANCING STYLE WITH PRACTICALITY

The designer gave interior fabrics a waterproof treatment and used teak and woven furniture that weathers well. “Even if things eventually show a little wear and tear, that’s part of the charm of a well-loved room.”

“I love rooms where you can put your feet up, set your drink down, and have fun.”

“My goal was to bring softness and femininity to the order of a Regency-style garden. This wasn’t the moment for large banana-leaf prints or neon color.”

Elaine Griffin’s Point of View

HOW THE DESIGNER MAKES A SPLASH

Elaine monogrammed scalloped bathmats by Matouk to use as shams on oversize pool loungers. “The personalization is unexpected outside, and the terry cloth makes the luxury practical.” The bouclé on the loungers is both comfortable and chic. “It’s like taking a nap on a Chanel suit.” Bevolo lanterns provide ambience for an after-sunset dip.

PLOT FOR PALETTE AND PATTERN

OUTDOOR LIVING

Elaine gave principles of indoor decorating a fresh-air spin by creating distinct zones, including living area (preceding pages), recreation area (poolside), and dining space. She surrounded a large concrete dining table with metal chairs, all by Century Furniture, and collaborated with floral designer Canaan Marshall on a setting she envisioned for clients celebrating a fourth anniversary, often symbolized with flowers and fruit.

“When working with a landscape ‘starchitect’ like John Howard, my role is to complement, not compete, with the environment.” Here, quiet greens, ivories, and apricots relate to nature; stripes repeat in different scales. Fabrics by Thibaut.

“Exuberance doesn’t have to be loud. You can make bold statements with a whisper.”

JARED HUGHES

THREE-STORY STAIRWELL AND ADJOINING LANDINGS

DESIGN MISS MILLY’S EVENT RENTALS, FLORALS, & DESIGN

“I’ve spent a lot of time in England and have been fortunate to experience firsthand the details and design work in its stately houses. The Regency-style architecture was the jumping-off point for my inspiration.”

FLORAL

SPONSORS

BALLARD DESIGNS

Jared Hughes’ Point of View

MIX MASTER

In the curve of the stairwell, the designer hung art from a brass picture railing to create a salon-style look. “Most of the pieces are from my personal collection. It’s much more interesting when you combine different styles and periods. Mixing antique oil paintings with contemporary art creates the right amount of tension.”

STAIR DOWN

“I’ve been obsessed with this pattern from The Rug Company for a long time. I use a lot of animal-print runners because they’re so forgiving. These leopards appear to crawl up the stairs— the design is both quirky and classic.” Jared adds that the brass handrail will only get more beautiful with age.

DESIGN DETAILS

Jared used an English hand-blocked chintz designed in 1859 by Jean Monro with collections of Grand-Tour objects throughout the upper-level landing (seen here and preceding pages). Portieres leading into the bedrooms’ vestibules feature fabric by Vervain. Jared painted the shades for Visual Comfort sconces in green and red for additional strokes of color.

“Having a collected feel evokes a sense of timelessness that will always rise above trends and be in good taste.”

“We imagined a girl with a passion for The Secret Garden and then brought that idea to life.”

Tammy Connor’s Point of View

IN THE PINK

Tammy pulled the pink from the bedroom into the bath with a lime wash paint finish in “Papillon” by Domingue. The vanity is by Kingdom Woodworks.

ONE TO GROW ON

“Our starting point was a Fromental wallpaper that feels fresh and modern with flowers and trees in relief. Although we had a young girl in mind, this space will easily grow along with her and can become a guest room later. The olive green and dusty pink combination is a sophisticated spin on a pink-and-green palette, and we layered in antiques and materials with character that speak to a sense of longevity.” A small bird painting by SCAD alumna Kathleen Buys hangs off-center over the LEE Industries headboard.

SIDE NOTE

A lacquered green desk serves as one of the bedside tables. “It’s perfect for homework or as a spot for a young girl to draw things she has seen while out playing in the garden.” The woven water hyacinth lamp is by Currey & Company.

“In both design and life, I try not to subscribe to something just because everyone else is doing it. Hopefully this translates into authentic interiors that reflect the architecture and setting, as well as the family’s lifestyle.”

Beth Webb’s Point of View

BLUE NOTES

“I like to call this bedroom ‘Rhapsody in Blue.’ The 19th-century cabinet from Ainsworth-Noah that Tristan found in France and the Massimo Listri photograph of the Hermitage in St. Petersburg were the starting points for the palette,” says Beth. The “Prince Charles” bed from Rose Tarlow through Jerry Pair (preceding pages), piled with Matouk linens, invites relaxation. According to Beth, “A bedroom should feel sumptuous, elegant, and above all, comfortable.”

TRICKS OF THE TRADE

“The texture of the grasscloth on the walls is a beautiful contradiction to the high gloss of the ceiling,” Beth says. Tristan adds, “Drapery needs to be luxurious because it envelops the room. I pay a lot of attention to details such as lining the drapery with a heavy bump to create structure and also muffle sound.”

ON THE SURFACE

Atop an 18th-century commode, a 19th-century Italian bronze horse stands in front of a contemporary work by Atlanta artist Scott Ingram (who uses nail polishes in his creative process), and a Régence mirror. “Every surface tells its own little story, and this vignette is one of my favorites,” says Tristan.

“An idea of home is visceral, but we can truly share it only when we make it tangible—when we see it, touch it, feel it. Only then do we know we’re home.”

Lisa Mende’s Point of View

DESIGN DETAIL

The trim on the leading edge of the curtains references back to the ceiling pattern, as well as to the scallops on the luxurious bedding from Pioneer Linens (preceding pages).

DREAM FACTOR

A Thibaut wallpaper mural, profuse with blooms, birds, and butterflies, envelops the room. “I also like to give the ‘fifth wall’ interest, and this was a perfect opportunity for a trellis wallpaper on the ceiling.” Lisa pays equal attention underfoot with a radiating carpet design from The Rug Company (preceding pages).

Blue-and-white porcelain from Replacements fills shelves in the Jonathan Charles bureau.

ALIGHT ON THIS

WELCOME IN

Charlotte artist Stephen Wilson embroidered the headboard with flowers seen in the wall covering. Lisa pinned on embroidered butterflies for additional dimension.

In the vestibule, an exuberant mirror, silver vases filled with roses, and a cloche of butterflies speak to the lush environment that awaits.

“Surround yourself with the people and things you love, and you’ll always have reason to smile.”

MALLORY MATHISON GLENN

ROOM,

SUITE

Mallory Mathison Glenn’s Point of View

BALANCING ACT

Although her design is unapologetically feminine, Mallory used contrasting materials like a chunky jute rug and dark woods to balance the Gracie wallpaper, dressmaker window treatments from The Shade Store, and tufted banquettes from Lillian August (previous pages). “I like the mix of those elements with the polished and pristine.” On a leisurely afternoon, who could pass up the rosé bar cart? “Love you Bunches and Miraval are two of my favorites.”

IN THE BATH

The adjacent bathroom features an airy interpretation of her rose, blue, and gold palette with Thibaut wallpaper, custom sconce shades, Sherle Wagner hardware, and Waterworks fixtures.

QUICK STUDY

Creativity runs in the designer’s DNA. An abstract painting by artist Monteigne Ray Mathison—who happens to be Mallory’s mother—incorporates all the colors of the room. The study’s check-draped daybed is ideal for stealing an afternoon nap. “When the door is closed, the rest of the family knows this is all about ‘me’ time.”

“Homes should be joyful. Live what you love.”

FRAN KEENAN

TERRACE-LEVEL GYM WITH ADJOINING SPA

FLORAL DESIGN LUSH LIFE HOME & GARDEN

“I’ve taken the coldness out of what can often be a clinical-looking room and created a visually inspiring environment. Any motivation we can get while taking care of ourselves is vital.”

Fran Keenan’s Point of View

DESIGN EXERCISES

“We painted stripes on the floor at a 45-degree angle to infuse a little energy.” The designer pieced together vinyls to create a patchwork ottoman. “It’s practical—you can sit on it or use it to stretch muscle groups, and it’s ok if it gets damp.” Linen panels surround the room, adding softness and creating depth behind the art. A pair of sofas from LEE Industries in a cinnamon velvet (preceding pages) offer a place to lounge post-workout.

KEY ELEMENTS

LEAN IN

The designer threaded touches of cobalt throughout on upholstery trims, pillow details, and the ottoman. In addition to contemporary exercise equipment, Fran collected vintage medicine balls and weights. “I love finding worn and weathered things to layer in with modern functionality.”

“Old breaks the mold. Incorporate antique and vintage things, and your house will never look like anyone else’s.”

Fran papered spa walls with reproductions of the Periodic Table. “It’s a wink toward wellness; we need elements like oxygen and magnesium to survive and thrive.” In a nod to her fashion background, she was inspired by a Rick Owens leather jacket for the valance leading to the bathroom area (preceding pages). “We draped four hides and left the edges raw so it didn’t feel precious.”

VANITY

PHOTO BY ROBERT PETERSON

TISH MILLS KIRK

Tish Mills Kirk’s Point of View

NATURAL CHOICE

Preceding pages: “The bedroom feels connected to the earth through the sepia, brown, and cream tones we used. I’m not usually this bold with wall coverings, but I fell in love when I saw a small swatch of this jungle print by Parete. I knew it would be a fun way to bring the outdoors in. Light and dark furniture pieces from Gabby echo the give and take of the room’s palette.”

CLIMB IN

“For the bed hangings (preceding pages), I used long panels of a Fabricut animal pattern that attach from the ceiling. They evoke the feeling of a glamorous tent.” A Samuel & Sons trim featuring beaded insects adds a sense of humor and surprise in the room.

TAKE IT OUTSIDE

“In the morning, guests can relax on the adjacent terrace with a cup of coffee before heading upstairs. The Summer Classics furniture is super comfortable.”

“

DREAMY DETAIL

The luxuriousness of these Pioneer Linen sheets is beyond belief, and the gold embroidery adds even more elegance.”

“We’re living through another Roaring ‘20s of design. Embrace it, take some chances, and have fun.”

RAY BOOTH

TERRACE-LEVEL FAMILY ROOM

FLORAL

DESIGN KEITH ROBINSON OF GLORIOSA DESIGN

“A series of convex mirrors in different scales creates an installation that echoes the porthole windows. They also bounce light around, animating the space.”

Ray Booth’s Point of View

CIRCLE THIS

Previous pages: “I arranged a pair of sectional sofas from my furniture line for Hickory Chair in an L-shape and then interrupted the bulk of the back with an ottoman in between. It’s all deep-seated and incredibly comfortable for movie-watching.” Below, Ray continues the circular play with a hand-blown glass light fixture from John Pomp through R. Hughes “that looks like a mobile suspended from the ceiling.” The table spins down to 18 inches and up to 22 inches, “which gives a little diversity for height and use.”

GAME POINT

Ray saw the other side of the room as the ideal spot for a game table. “I surrounded my table with a curved banquette and vintage chairs. The upholstered screen reaches its arms out to gather the furniture and is also the perfect place to hang the painting by David Kidd.”

MAKING HIS CASE

A buffet with square-pleated front, another of Booth’s own furniture designs, provides ample storage as well as a surface for decorative objects and a drinks tray.

“The real byproduct of good design is not that something is beautiful but that it evokes emotion and feeling.”

Corey Damen Jenkin’s Point of View

SITTING PRETTY

Antique art juxtaposes with a contemporary painting by Atlanta artist Shanequa Gay. Corey used Kravet fabrics—several of his own design—on the built-in banquette cushions and pillows. The octagonal tables and stools are from Maitland-Smith.

TRICK OF THE TRADE

Mirrors, reflective finishes, and organic motifs such as the Gracie wallpaper visually defy the feeling of a closed-in, windowless room. “Going light and ethereal achieves a ‘Jedi mind trick’ that makes the spaces feel taller and airy and invites people in.” Shades of pink weave from the morning bar through to the wine cellar, painted insets of the coffered ceiling (preceding pages), and chairs by Hancock & Moore.

WORTH A CLOSER LOOK

“There’s so much sculptural geometry, from the oval insets in the speakeasy to the intricate and exacting shelving in the wine room [preceding pages].” Sculpture also comes into play in the morning bar’s fixtures from Sherle Wagner.

“Life is too short to live in a beige box!”

Nellie

Howard Ossi’s Point of View

ALWAYS LOOK UP

DESIGN DETAILS

“I envisioned a collaboration between sea and sky, with shagreen paper on the walls and a wallpaper of birds in flight on the ceiling.” Embroidered guest towels named Kohola (which means coral in Hawaiian) from Pioneer Linens continue the concept. Hardware is by Waterworks. Adjacent page: “I found a mirror with rippled detailing that matches the wall color perfectly and had custom sconce shades made from sheer fabrics. The pink-andgreen veining in the countertop pops nicely with the teal on the walls.”

“Surround yourself with beautiful things, and you’ll never go wrong.”

“The wallpaper on the ceiling draws the eye up, and Aerin Lauder’s plaster fixture from Visual Comfort casts a beautiful pattern of light around the room.”

FLOWER SHOWHOUSE FLOOR PLANS

MAIN LEVEL

1

MICHELLE NUSSBAUMER

Entrance Hall and Adjoining Powder Room 2

SUZANNE KASLER The Salon 3

BARRY DIXON Library 4

ALEXA HAMPTON Dining Room 5

MELANIE MILLNER

Catering Kitchen and Butler’s Pantry 6

BUNNY WILLIAMS

Cutting Room, Powder Room, and Adjoining West Gallery 7

CATHY KINCAID Primary Bedroom 8

JULIE DODSON

Primary Bath, Her Dressing Room, and Adjoining East Gallery 9

DON EASTERLING & NINA LONG

Gentleman’s Dressing Room and Adjoining Powder Room 10

ASHLEY WHITTAKER

Screened Porch

BACK OF HOUSE

OUTDOOR

TERRACE AND POOL DECK

ELAINE GRIFFIN

Outdoor Terrace and Pool Deck

FRONT OF HOUSE

UPPER LEVEL

1

JARED HUGHES

Three-Story Stairwell and Adjoining Landings 2

TAMMY CONNOR Bedroom and En Suite 3

BETH WEBB & TRISTAN HARSTAN Bedroom and En Suite 4

LISA MENDE Bedroom and En Suite 5

MALLORY MATHISON GLENN Study, Sitting Room, and En Suite

TERRACE LEVEL

1

FRAN KEENAN

Gym with Adjoining Spa 2

TISH MILLS

Bedroom, En Suite, and Adjoining Outdoor Terrace 3

RAY BOOTH Family Room 4

COREY DAMEN JENKINS Secret Speakeasy, Wine Cellar, and Adjoining Morning Bar 5

NELLIE HOWARD OSSI Powder Room

THANK YOU

The FLOWER Showhouse would not be complete without the incredible support of so many marquee brands and floral designers. It is with deep gratitude that we thank the following:

FLORAL DESIGNERS: Atlanta Planters; Canaan Marshall Designs; East Pine Designs; Garden Party Designs; Gloriosa Design; Holly Bryan Floral Design; Kappi Naftel; Kirk Whitfield; Lush Life Home & Garden; M. Delia Designs; Mary Pinson; Michal Evans Flora & Event Design; Miss Milly’s Event Rentals, Florals, & Design; Parties to Die For; Robert Long Flora & Event Design; and Wildflower Designs

Sources

MICHELLE

NUSSBAUMER

Entrance Hall and Adjoining Powder Room; Page 36

ACCESSORIES

Ballard Designs

Chelsea House Mainly Baskets Maitland-Smith

ART

Wendover Art Group

CABINETRY Kingdom Woodworks COUNTERTOP Temmer

FABRICS Clarence House Fabricut Thibaut

FAUCETS/FIXTURES

Waterworks

FLOOR COVERINGS

The Rug Company

FURNITURE

Chelsea House HARDWARE Sherle Wagner International Modern Matter

LIGHTING Visual Comfort & Co. LINENS Matouk

PAINT

Domingue Architectural Finishes Fine Paints of Europe

WALLPAPER Paul Montgomery

WINDOW TREATMENTS

The Shade Store

SUZANNE KASLER

The Salon; Page 40

ACCESSORIES

Ainsworth-Noah

BK Antiques Keith ETC.

APPLIANCES

La Cornue

Viking ART

Alan Avery Gallery Pryor Fine Art

CABINETRY Kingdom Woodworks COUNTERTOP Temmer

FABRICS Chelsea Textiles Douglass Workroom Fortuny Houles Sunsilks

FAUCETS/FIXTURES

Waterworks

FURNITURE Bungalow Classic Hickory Chair Huff Harrington Loft Antiques Paris Flea Market HARDWARE Armac Martin Sherle Wagner International LIGHTING Paris Flea Market MANTEL Chesneys PAINT Benjamin Moore Domingue Architectural Finishes WALLPAPER Phillip Jeffries

WINDOW TREATMENTS Willard Pitt Curtain Makers

BARRY DIXON Library; Page 44 ANTIQUES Bell & Preston Randall Tysinger

ACCESSORIES

Arteriors

Kelly Metalworks Kinsey Marable Iatesta Studio R. Hughes Replacements, LTD.

FABRICS Daniel Guross Decor de Paris Fortuny Northcroft Fabrics Samuel & Sons Stroheim

Who Did It & Where To Get It

TylerGraphic Vervain Zak+Fox

FLOOR COVERINGS Kyle Bunting

FURNITURE Arteriors Cox London Julian Chichester Tomlinson Companies

HARDWARE Sherle Wagner International

LIGHTING

Visual Comfort & Co. Currey & Company

MANTEL Chesneys

PAINT

Fine Paints of Europe

WALLPAPER Phillip Jeffries

WINDOW TREATMENTS The Shade Store

ALEXA HAMPTON Dining Room; Page 48 ANTIQUES

English Accent Antiques William Word Antiques ART Celia Rogge Fine Arts Mark D’Alessio FABRICS Clarence House Kravet Samuel & Sons

FLOOR COVERINGS Nazmiyal Collection FURNITURE Theodore Alexander HARDWARE Sherle Wagner International

LIGHTING Broome Lampshades Newport Lamp & Shade Company

Visual Comfort & Co.

MANTEL Chesneys PAINT Benjamin Moore

TABLETOP

La Gallina Matta Replacements, LTD. WALLPAPER Gracie

WINDOW TREATMENTS The Shade Store

MELANIE MILLNER

Catering Kitchen and Butler’s Pantry; Page 52

APPLIANCES

Viking

ART Tew Galleries CABINETRY Kingdom Woodworks COUNTERTOP Marmi Natural Stone FABRICS Pierre Frey

FAUCETS/FIXTURES

Waterworks FINE CHINA fête

FLOOR COVERINGS Stark Carpet HARDWARE Kingdom Woodworks Sherle Wagner International

LIGHTING Visual Comfort & Co.

PAINT Benjamin Moore Domingue Architectural Finishes WALLPAPER Holly Hunt

WINDOW TREATMENTS Douglass Workroom

BUNNY WILLIAMS

Cutting Room, Powder Room, and Adjoining West Gallery; Page 56

ANTIQUES

A. Tyner Antiques

Bunny Williams Home

ACCESSORIES

Ballard Designs

Bunny Williams Home

ART

Ballard Designs Bunny Williams Home John Funt

CABINETRY Kingdom Woodworks COUNTERTOPS Francois & Co.

FAUCETS/FIXTURES

Waterworks

FLOORING Temmer

FURNITURE Ballard Designs HARDWARE Sherle Wagner International

LIGHTING Currey & Company

PAINT Benjamin Moore Domingue Architectural Finishes

Fine Paints of Europe WALLPAPER Lee Jofa Thibaut

CATHY KINCAID

Primary Bedroom; Page 60

ACCESSORIES

Ainsworth-Noah Antique Textiles Collections

Fabulous Things, Ltd. Madre Dallas Replacements, LTD. FABRICS Namay Samay through Wells Abbott

FLOOR COVERINGS

Doris Leslie Blau Stark Carpet FURNITURE Bonacina Peck & Company Gerald Bland

HARDWARE Sherle Wagner International

LIGHTING

Ainsworth-Noah John Boone Christopher Spitzmiller, Inc. The Lamp Shoppe Edgar Reeves

VOLUME 17, ISSUE 1. Flower magazine, ISSN 1941-4714, is a bimonthly publication of Peony Publishing, LLC, located at 3020 Pump House Road, Birmingham, AL 35243. Periodicals postage is paid at Birmingham, AL, and additional mailing offices. Postmaster: Send address changes to Flower magazine, P.O. Box 8538, Big Sandy, TX 75755. For subscription inquiries and customer service, please call 877.400.3074. All unsolicited materials will not be returned. Printed in the U.S.A.

LINENS

Matouk MANTEL Chesneys PAINTS Benjamin Moore Milesi

WALLPAPER de Gournay Conner Wallcovering

WORKROOMS

Amazing Custom Upholstery Interior Design Services

JULIE DODSON

Primary Bath, Her Dressing Room, and Adjoining East Gallery; Page 64

ANTIQUES

A. Tyner Antiques

Foxglove Antiques Provenance Antiques Renouveau Antiques William Word Antiques

ACCESSORIES

Rejunevation Replacements, LTD. Sapelo Skin Care

APPLIANCES

U-Line

ART

Dimmitt Art Gallery Longoria Collection

CABINETRY Kingdom Woodworks COUNTERTOP Temmer

FABRICS Clarence House Fortuny Fromental Holland & Sherry Kravet Madeaux Nobilis Pindler Scalamandre Schumacher

FAUCETS/FIXTURES

Waterworks

FLOOR COVERINGS

The Rug Company

FURNITURE The Joseph Company Universal Furniture

HARDWARE

Fixtures & Fittings

Sherle Wagner International

LIGHTING

Ainsworth-Noah Edgar Reeves Vaughan Visual Comfort & Co.

LINENS Matouk Lettrefina

WALLPAPER

Fromental Porter Teleo

WINDOW TREATMENTS

Heines Custom Draperies The Shade Store

DON EASTERLING & NINA LONG

Gentleman’s Dressing Room and Adjoining Powder Room; Page 68

ACCESSORIES

Ainsworth-Noah Edgar Reeves Foxglove Antiques Mathews Furniture + Design Peachtree Battle Antiques Scott Antique Markets William Word Antiques COUNTERTOP Temmer

FABRICS Jerry Pair Schumacher Travis & Company

FAUCETS/FIXTURES

Waterworks

FLOOR COVERINGS Moattar

FURNITURE Mathews Furniture + Design HARDWARE

Matthew Quinn Collection Sherle Wagner international Urban Archaeology

LIGHTING Jamb London John Rosselli

Visual Comfort & Co.

PAINT Milesi

WALLPAPER

Fromental

WINDOW TREATMENTS The Shade Store

ASHLEY WHITTAKER

Screened Porch; Page 72

ACCESSORIES

Bungalow Classic Creel and Gow

Christopher Spitzmiller, Inc.

LIGHTING

Bevolo Gas & Electric Lights Currey & Company

FABRICS Bennison Namay Samay Perennials Zina Studios

FLOOR COVERINGS

L&M Carpets Jamie Lanford, Inc.

FURNITURE David Sutherland Munder Skiles

RT Facts

The Lacquer Company HARDWARE Sherle Wagner International WINDOW TREATMENTS The Shade Store

WORKROOMS Westside Custom Upholstery

ELAINE GRIFFIN

Outdoor Terrace and Pool Deck; Page 76

ACCESSORIES

Amanda Lindroth FABRICS Thibaut

FLOOR COVERINGS Doris Leslie Blau NY FURNITURE Century Furniture

LIGHTING

Bevolo Gas & Electric Lights Zafferano America

LINENS Matouk

TABLETOP Juliska Replacements, LTD.

JARED HUGHES

Three-Story Stairwell and Adjoining Landings; Page 80

ANTIQUES

Loft Antiques

William Word Antiques

ACCESSORIES

Ballard Designs Currey & Company

ART Jean Glenn

Michael Dines

Stephen Shon Travis & Company William McClure

FABRICS

Decortex, Jean Monro, Stroheim, and Vervain through Fabricut

FLOOR COVERINGS

The Rug Company FURNITURE Hancock & Moore HARDWARE Byron & Byron through Fabricut

LIGHTING

Christopher Spitzmiller, Inc. Edgar Reeves Hector Finch Visual Comfort & Co.

PAINT Benjamin Moore Domingue Architectural Finishes

WALLPAPER Gracie

Jean Monro through Fabricut

TAMMY CONNOR

Second-Story Bedroom and En Suite; Page 84

ACCESSORIES

Sapelo Skin Care

ANTIQUES English Accent Antiques Foxglove Antiques William Word Antiques ART

Alan Avery Art Company Huff Harrington SCAD Art Sales CABINETRY Kingdom Woodworks COUNTERTOP Temmer

FAUCETS/FIXTURES Waterworks

FLOOR COVERINGS

Keivan Woven Arts

FURNITURE The Lacquer Company LEE Industries

HARDWARE Sherle Wagner International

LIGHTING Currey & Company Edgar Reeves

Nancy Johnson Algire LINENS Matouk

PAINT Benjamin Moore Domingue Architectural Finishes

WALLPAPER Fromental WINDOW TREATMENTS The Shade Store

BETH WEBB & TRISTAN HARSTAN Second-Story Bedroom and En Suite; Page 88

ANTIQUES Ainsworth-Noah

ART Scott Ingram CABINETRY Kingdom Woodworks COUNTERTOP Temmer

FABRICS B. Mori* Jasper Fabrics* Rose Cumming* Samuel & Sons*

FAUCETS/FIXTURES Waterworks

FLOOR COVERINGS Keivan Woven Arts

FURNITURE

Allan Knight* Dessin Fournir* Jerry Pair Nancy Corzine Rose Tarlow

HARDWARE Iron Studio Sherle Wagner International

LIGHTING Edgar Reeves Visual Comfort & Co. LINENS Matouk

PAINT Benjamin Moore Fine Paints of Europe WALLPAPER Ainsworth-Noah

WINDOW TREATMENTS

Willard Pitt Curtain Makers *available through Ainsworth-Noah

LISA MENDE

Second-Story Bedroom and En Suite; Page 92

ANTIQUES William Word Antiques

ACCESSORIES Cruel Mountain Edgar Reeves International Shades

Little Design Co.

Nancy Price Curated Replacements, LTD. Sapelo Skin Care Stephen Wilson Studio

ART

Alexis Walter Dawn Nakamura Interiors Stephen Wilson Studio

CABINETRY Kingdom Woodworks COUNTERTOP Temmer

FABRICS Thibaut

FAUCETS/FIXTURES

Waterworks

FLOOR COVERINGS

English Village Lane The Rug Company

FURNITURE Jonathan Charles River & Bord

HARDWARE Sherle Wagner International LIGHTING

Louise Gaskill Lighting Visual Comfort & Co.

LINENS Pioneer Linens

PAINT Benjamin Moore Domingue Architectural Finishes WALLPAPER Thibaut

WINDOW TREATMENTS

The Shade Store

WORKROOMS

JD Stanley Patterson Custom Workroom

MALLORY

MATHISON GLENN

Second-Story Study, Sitting Room, and En Suite; Page 96

ACCESSORIES

Fleur Home Mirror Home Replacements, LTD.

ANTIQUES

William Word Antiques

ART Gregg Irby Huff Harrington

CABINETRY Kingdom Woodworks COUNTERTOP Temmer FABRICS Cowtan & Tout Lee Jofa Thibaut

FAUCETS/FIXTURES

Waterworks

FLOOR COVERINGS Underfoot

FURNITURE

Lillian August for Hickory White HARDWARE Sherle Wagner International LIGHTING Edgar Reeves Visual Comfort & Co.

LINENS Pioneer Linens PAINT Benjamin Moore Milesi WALLPAPER Gracie Thibaut

WINDOW TREATMENTS

The Shade Store WORKROOMS Charlene Tong Checks & Valances

FRAN KEENAN

Terrace-Level Gym with Adjoining Spa; Page 100

ACCESSORIES

Bala Chairish Mary & Wilma Unique Black Sheep

ANTIQUES

Unique Black Sheep ART

Alan Taylor Jeffries

Amy Stone

Anne Darby Parker Brent Warr Emily Morgan Brown Heidi Harner

CABINETRY Kingdom Woodworks COUNTERTOPS Temmer

FABRICS Pierre Frey Samuel & Sons Schumacher

FAUCETS/FIXTURES

Waterworks

FURNITURE LEE Industries

GALLERIES Co-Op Art Atlanta Design Supply Gregg Irby HARDWARE Nest Studio Sherle Wagner International LIGHTING Chairish Visual Comfort & Co. LINENS Matouk PAINT Benjamin Moore Domingue Architectural Finishes Milesi

TISH MILLS KIRK Bedroom, En Suite, and Adjoining Outdoor Terrace; Page 104 ART Huff Harrington CABINETRY Kingdom Woodworks COUNTERTOP Temmer FABRICS Fabricut Interlude London Samuel & Sons The Vale London

FAUCETS/FIXTURES Waterworks

FLOOR COVERINGS Moattar Summer Classics FURNITURE Baker Furniture Gabby Showroom 58 Summer Classics HARDWARE Sherle Wagner International

LIGHTING

Bevolo Gas & Electric Lights Huff Harrington Visual Comfort & Co.

LINENS Pioneer Linens PAINT Benjamin Moore WALLPAPER Parete

WINDOW TREATMENTS

The Shade Store

WORKROOMS

The Drapery Room

RAY BOOTH Terrace-Level Family Room; Page 108

ANTIQUES

A. Tyner Antiques Holland MacRae Robuck

ACCESSORIES Blake Weeks R. Hughes ART

David Kidd

FABRICS Ainsworth-Noah Arabel Fabrics Schumacher

The Romo Group

FLOOR COVERINGS Colonial Mills Marc Phillips FURNITURE Paul Plus Baker Furniture Constantini Hickory Chair HARDWARE Sherle Wagner International LIGHTING Arteriors

John Pomp through R. Hughes Visual Comfort & Co.

PAINT Benjamin Moore Domingue Architectural Finishes WALLPAPER Phillip Jeffries

WINDOW TREATMENTS

The Shade Store

WORKROOMS

Blue Door Framing Douglass Workroom

COREY

DAMEN JENKINS

Secret Speakeasy, Wine Cellar, and Adjoining Morning Bar; Page 112

ANTIQUES

William Word Antiques

ACCESSORIES Ballard Designs Replacements, LTD.

APPLIANCES Marvel U-Line

ART CO-OP Art Atlanta

COUNTERTOPS Temmer FABRICS Kravet

FAUCETS/FIXTURES Sherle Wagner International Waterworks

FLOOR COVERINGS The Rug Company

FURNITURE Hancock & Moore Maitland-Smith OW Seating

HARDWARE Sherle Wagner International LIGHTING Visual Comfort & Co.

PAINTS Benjamin Moore Fine Paints of Europe

WALLPAPER Gracie

NELLIE

HOWARD OSSI Terrace-Level Powder Room; Page 116

ACCESSORIES

Anali Kohola Made Goods CABINETRY Kingdom Woodworks COUNTERTOP Temmer FABRICS Cowtan & Tout

FAUCETS/FIXTURES Waterworks

FLOOR COVERING Moattar

HARDWARE Sherle Wagner International Waterworks

LIGHTING Lux Lampshades Visual Comfort & Co.

LINENS Pioneer Linens

PAINT Benjamin Moore

WALLPAPER Cowtan & Tout Jane Churchill

A Perfect Pairing

AT THE FLOWER SHOWHOUSE, THE CLASSIC STYLE OF THESE ANTIQUE COPPER LANTERNS COMPLEMENTS THE GRACEFUL STRENGTH OF THE HOME’S REGENCY ARCHITECTURE.

Produced and styled by Amanda Smith Fowler • Photography by David Hillegas

“Lighting is like jewelry; it’s one of the most important elements of architecture. Our objective is to be historically accurate in both scale and style,” says Drew Bevolo, third-generation owner of Bevolo Gas & Electric Lights. “Regency architecture pre-dates lighting fixtures on houses. By using antique copper, the material on original gas streetlights in London, we can integrate an architecturally neutral cohesion with our lanterns. At dusk, the lanterns add a subtle glow, creating warmth and giving a sense of space to their surroundings.”

THE FRENCH QUARTER ORIGINAL BRACKET

(flanking the doors)

This Bevolo original was designed in the 1940s by world-renowned architect A. Hays Town and company founder Andrew Bevolo, Sr.

GOVERNOR POOL HOUSE LANTERNS IN THREE SIZES

(on stoop and steps)

Ideal for use in your outdoor living spaces, these lanterns are designed to hold large candles for more illumination.

All of the above provided through partnership with Bevolo Gas & Electric Lights, 504.522.9485, bevolo.com