January February 2024

FLOWER JAN•FEB 2024

HOUSE l GARDEN l LIFESTYLE

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JANUARY• FEBRUARY 2024

Contents FEATURES

44

Time to Fleur-ish

With an unexpected jump from fashion to florals, Anne Dickson shares how she found her passion and launched her brand, Fox and the Fleur.

50

Mountain High Style

Interior designers Gary McBournie and Bill Richards bring studied colorful style to a new retreat on the slopes of Big Sky.

60

House of Blues

When designer Kim Coleman visited a tired redbrick rancher in Palm Beach, she saw visions of a tropical bungalow with rooms opening from street to water, views of lush gardens, and cerulean hues at every turn.

70

Snowy Splendor

A carefully composed Pennsylvania landscape flourishes under a sugarwhite dusting in the height of winter.

PHOTO BY JOEY KENNEDY

ON THE COVER:

44

One of the many floral masterpieces created by Anne Dickson of Fox and the Fleur. Photographed

by Joey Kennedy

“Just living isn’t enough,” said the butterfly. “One must also have sunshine, freedom, and a little flower.” –HANS CHRISTIAN ANDERSEN f l o w e r m a g .c o m

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Contents DEPARTMENTS

SCENE

15

We’ve got our eyes on...

A new book by Alexa Hampton; Scalamandré’s second collaboration with The Met; Currey & Company’s latest design; Ken Fulk partners with The Rug Company; plus Pamela Munson’s embroidered bags with Schumacher

IN BLOOM

25

Interiors

In a Manhattan apartment, designer Lisa Henderson wove a blend of colors, botanical patterns, antiques, and a few modern elements together with playful references for an interesting and layered interior.

25

Known as a literary force in early 20th-century France, Colette left behind a legacy of beauty in her writing, especially in her eloquent descriptions of flowers.

34

Design: Auberge du Soleil

With a nod to the past and a view of the future, Suzanne Tucker redesigns the renowned Auberge du Soleil restaurant in Napa Valley.

15

38

Market: Resort Ready

Forget the chilly temperatures outside! Now is the time to start preparing for your warm-weather escape.

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IN EVERY ISSUE

34

January•February 2024

Watering Can What’s Online?

Sources At the Table

8 12 76 84

PHOTOS (CLOCKWISE FROM TOP) BY JACOB SNAVELY; BY JEREMY FRECHETTE; BY THE INGALLS

30

Women in the Garden

PHOTOS (CLOCKWISE FROM TOP) BY JACOB SNAVELY; BY JEREMY FRECHETTE; BY THE INGALLS

I REMEMBER GOING TO SEE THE MOVIE CAMELOT with my mother

when I was 12. The movie/musical starred Richard Harris as King Arthur, Vanessa Redgrave as Queen Guinevere, and Franco Nero as Lancelot du Lac. The story—beautiful, romantic, and poignant— still evokes a sense of sadness in me all these years later. But what I really remember is the first thing my mother said when we got into her car. She asked,

“What color would you say that movie was?” I don’t remember my answer, and that’s not the point. The point is, things are or can be seen as colors. I had never considered this. It changed the way I looked at life: green springs, blue summer beach days, red and gold falls, and gray and white winter scenes. I found myself paying much closer attention to the emotional element and impact of color, and this has followed me all through my life.

Reflecting on this early adolescent paradigm shift, I closed my eyes after looking through the pages of this issue.

I didn’t see just one color but rather a ribbon-like swirl—a rainbow of hues.

And I smiled. All the colors were beautiful and life-giving and exciting. Then, I remembered our winter garden feature—and something altered. Not negatively, just a moment of quieting down. I had to investigate my reaction to this neutral palette. I determined that with all the vivid hues of the other features—a New York City apartment, a Pittsburgh flower and gift emporium, a Palm Beach house and garden, and

a ski chalet in Big Sky, Montana—the winter white, gray, and bisque scheme was a pause, a place to rest. And I welcomed it.

And hence it gave me a fresh perspective on this season of indoor-ness looking out—reading, thinking, fireside visits, hot drinks, and early nights. A whole new lens for a time often thought drab and dreary.

What a wondrous thing is color!

Love and SDG,

Margot Shaw EDITOR-IN-CHIEF

“Color is a power which directly influences the soul.” —Wassily Kandinsky

Please send your comments, triumphs, challenges & questions to: wateringcan@flowermag.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 flowermag.com/news

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January•February 2024

PORTRAIT BY BECKY LUIGART-STAYNER; PHOTO BY LMPC VIA GETTY IMAGES (MOVIE POSTER)

Watering can

A Note from the Editor

PORTRAIT BY BECKY LUIGART-STAYNER; PHOTO BY LMPC VIA GETTY IMAGES (MOVIE POSTER)

VOLUME 18, ISSUE 1

Margot Shaw FOUNDER/EDITOR-IN-CHIEF Karen Carroll EDITORIAL DIRECTOR Julie Gillis MANAGING EDITOR Nicole Gerrity Haas ART DIRECTOR Amanda Smith Fowler STYLE EDITOR Casey Epps EXECUTIVE ASSISTANT DIGITAL

Jason Burnett DIGITAL GENERAL MANAGER Carrie Clay ASSISTANT EDITOR CONTRIBUTING EDITORS

Ashley Hotham Cox Missie Neville Crawford Alice Welsh Doyle James Farmer Marion Laffey Fox Elaine Griffin Tara Guérard Frances MacDougall Tovah Martin

Cathy Still McGowin Charlotte Moss Ellen S. Padgett Matthew Robbins Christiana Roussel 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 ADVERTISING SALES

Suzanne Cooper NATIONAL DIRECTOR, HOME FURNISHINGS Wendy Ellis REGIONAL ACCOUNT MANAGER Sara D. Taylor REGIONAL ACCOUNT DIRECTOR For sales inquiries: sales@flowermag.com BUSINESS OFFICE

Mercy Lloyd CHIEF OPERATING OFFICER Patrick Toomey ACCOUNTANT CUSTOMER SERVICE

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 Mish Tworkowski Remco van Vliet Evie Vare Louise Wrinkle

What’s Online?

Trending Now at FlowerMag.com

100+ WALLPAPER IDEAS

The wallpaper era continues as designers and homeowners remain fully enchanted with wall coverings of all types. We collected more than 100 stylish wallpapered spaces in every style. Browse through entry halls, living spaces, dining rooms, kitchens and bars, powder rooms, bathrooms, and even dressing rooms and home offices. You’ll also find the makers, pattern names, and colorways where available to help you bring your wallpaper dreams to life.

Start scrolling at flowermag. com/wallpaper-ideas.

Easy and Elegant

Seeing some of Anne Dixon’s glorious floral creations (page 44) and other compositions by talented artists in FLOWER, you might assume that a gorgeous design requires a flower shop full of posies. Not so! Many of the most popular designers featured in the magazine (including Anne) accomplish an elegant look with only two or three materials, or even just a single type of flower. We’ve gathered a collection of more than 30 simple flower arrangements (none of them with more than three varieties of materials) to inspire your creations. See them all at flowermag.com/simple-arrangements.

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The ultimate luxury may be a space devoted to potting, cutting, and arranging flowers. Bunny Mellon has always considered the Liz Lange’s flower room a flower room at necessity for each Grey Gardens of her homes and even carved out a closet-sized space for arranging in her New York apartment. Whether you’re starting with a spacious flower room, a butler’s pantry, or a laundry space, we have tips for kitting out your bloom room, along with a gallery of dreamy cutting rooms to save to your wish list. See them at flowermag. com/flowerrooms.

PHOTOS (CLOCKWISE FROM FAR LEFT) BY JOEY KENNEDY; BY MICHAEL MUNDY; BY EMILY FOLLOWILL

Rooms for Blooms

January•February 2024

HB2334

PHOTOS (CLOCKWISE FROM FAR LEFT) BY JOEY KENNEDY; BY MICHAEL MUNDY; BY EMILY FOLLOWILL

Victorian Lodge | New York, USA

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PHOTOS COURTESY OF CLARKSON POTTER PUBLISHERS/PRINCIPAL PHOTOGRAPHY BY STEVE FREIHON

What We’ve Got Our Eyes On

DESIGN, COLLABORATIONS, DECORATIVE HISTORY, FLORALS

PHOTOS COURTESY OF CLARKSON POTTER PUBLISHERS/PRINCIPAL PHOTOGRAPHY BY STEVE FREIHON

By Ashley Hotham Cox

Scene

WELCOME HOME

In her latest book, designer Alexa Hampton brings us into her design world with a personal tour of her own home.

There are few things more personal than inviting someone into your home. Alexa Hampton, one of the world’s most renowned and revered interior designers, does just that as she opens the doors of her pre-war Manhattan apartment and takes readers on a visually striking tour in her latest book, Alexa Hampton: Design, Style, and Influence. From the moment she took the reins of her late iconic father’s company, Mark Hampton LLC, Alexa has advanced his legacy of elegant, practical, and classical-based interiors for modern living.

A photographic memoir, her new book gives readers an intimate look into Alexa’s personal design process inside her home, where she showcases her collections of art, textiles, and objects. Alexa also celebrates the interior design industry and those who have inspired her and left indelible marks on her life and career. (Clarkson Potter, 2023; $60) f l o w e r m a g .c o m

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Scene WHAT WE’VE GOT OUR EYES ON ...

RING AROUND THE ROSIE

What goes around, comes around. For Currey & Company’s award-winning lighting designer Tom Caldwell, truer words have never been spoken. Inspired by nature’s ability to create a perfect form that is both balanced and distinctive, his Rosabel chandelier is a bouquet of delightfulness. By placing the blooms along the undulant ring on which they sit and designing the

leafy stems to float downward, Tom, who has designed for the company for close to 20 years, creates a whimsical gold chandelier that is both nature-inspired and sophisticated.

In a warm antique finish, the roses’ open petals and arcing leaves are remarkably graceful given each are fashioned from brass. curreyandcompany.com

Known for her unique perspective on color in design, New York-based textile designer Lori Weitzner has an acute awareness of her surroundings. So when neighboring floral and event designer Lewis Miller began “flower flashing” the city with his lushly outrageous floral displays against the backdrop of urban grit, Lori took notice. Not only was she captivated by his use of colors but also by his ability to create art through improvisation—so much so that she tapped his talents for a capsule collaboration to enhance her fall Amaranthine collection. “He is a master at creating environments that are multidimensional, beautifully textured, and unique,” Lori says. Combining texture, color, pattern, and dimension, the unique collection includes four fabrics and two wallcoverings. “Lewis understood immediately what Weitzner is about—innovative combinations of yarn, texture, pattern, weave, and print,” says Lori. “And both of us understood that the more complex and nuanced the materials and compositions in a collection, the more compelling it would be.” weitznerlimited.com

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PHOTOS (TOP TO BOTTOM) COURTESY OF CURREY AND COMPANY; COURTESY OF WEITZNER

PETAL PUSHERS

January•February 2024

Flower_

PHOTOS (TOP TO BOTTOM) COURTESY OF CURREY AND COMPANY; COURTESY OF WEITZNER

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10/29/23 8:43 AM

Scene

CAREFULLY CURATED

American heritage brand Scalamandré delves into centuries of art and history in its latest collaboration with The Metropolitan Museum of Art.

It’s not every day that someone receives full access to one of the world’s largest and finest art museums’ inventory and archives, but an every-half-century invitation will suffice. Following its first collaboration with The Metropolitan Museum of Art in the 1970s, American heritage brand Scalamandré introduces its newest landmark collaboration.

It’s been 100 years since Franco Scalamandré immigrated to America from Italy and began his work with Westinghouse Electric Company in New Jersey.

He transitioned into a role as a draftsman and later as a teacher at the Sealy School of Interior Design. There, he discovered the demand for fine silk fabrics and decided to produce his own silk yardage, beginning with one weaver and one loom. Soon after, in 1929, his eponymous fabric house was born.

Deeply rooted in luxury and high-end design with its fine fabrics, wallcoverings, and trimmings, Scalamandré garnered national attention, including for its work with the White House dating back to the Kennedy years. With a passion for reproducing historic textiles, Franco began a collection of historic fabric restoration projects completed by Scalamandré. Eventually, these textiles became showcase pieces at the company’s own museum. Several of those displayed pieces were later donated to The Met’s archives.

Fast-forward to present day, and a collaboration between the two institutes

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January•February 2024

Scalamandré’s Metropolitan Palampore wallcovering in “Flower Garden”

PHOTOS (TOP TO BOTTOM) BY KIP DAWKINS PHOTOGRAPHY, STYLING BY LAUREL BENEDUM; COURTESY OF SCALAMANDRÉ

WHAT WE’VE GOT OUR EYES ON ...

PHOTOS (TOP TO BOTTOM) BY KIP DAWKINS PHOTOGRAPHY, STYLING BY LAUREL BENEDUM; COURTESY OF SCALAMANDRÉ

Scene came by way of natural selection. This go-round, the textile house delves deeper into the museum’s 5,000 years of archived work, paying homage to not only history but also to the legacy of Scalamandré and its founder.

Charged with a daunting task, the Scalamandré studio combed through thousands of archival heirlooms to create a colorful mosaic of historical narratives. “For this rich and rewarding collaboration between The Metropolitan Museum of Art and Scalamandré, we chose to develop designs from those in their galleries and others that are secreted away in their archives,” says Lorraine Lang, Scalamandré’s executive vice president of design.

Drawing inspiration from historical artifacts, including 16th-century German field and tournament armor and Indian dyed wall hangings and bed coverings dating back to the early 18th century, The Met collection for Scalamandré is a breathtaking celebration of past and present. With more than 90 pieces in its lineup, the collection draws on artwork and objects from 8 of The Met’s 17 curatorial departments, including work inspired from its Asian art department.

In the 18th century, Indian-dyed cloths known as palampores were a regular feature of the chintz trade to Europe.

They were prized as wall hangings and as bed and table coverings, and they typically show a central flower-and-fruitbearing serpentine tree emerging from a hillock with stylized peaks or rocks. “We created Metropolitan Palampore by re-creating a very detailed palampore from Sri Lanka, whose intricate line work was originally drawn with mordant and then hand-painted,” Lorraine says.

“We faithfully copied this tree of life bedcovering pattern to become a bordered wall mural and as an all-over printed fabric. Its scale is grand, and, in the new contemporary colors, it is very eye-catching.”

Scalamandré’s ability to absorb the breadth of the museum’s inventory of period pieces and reimagine them into the authentic and artful collection that is presented today is as inspiring as it is humbling. Each piece is an expression of artisanship, inspired by exquisite forms and cultural traditions. scalamandre.com

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January•February 2024

PHOTO BY KIP DAWKINS PHOTOGRAPHY, STYLING BY LAUREL BENEDUM

WHAT WE’VE GOT OUR EYES ON ...

So much to look forward to.

PHOTO BY KIP DAWKINS PHOTOGRAPHY, STYLING BY LAUREL BENEDUM

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Scene WHAT WE’VE GOT OUR EYES ON ...

DREAM WEAVER

Hailing from a big-hitter roster, including Chanel, Oscar de la Renta, and Bergdorf Goodman, Pamela Munson is well-versed in the fashion industry. So in 2017, when she decided to pivot in her own direction with the launch of her eponymous line, it was a natural shift. Inspired by childhood days cruising coastal Florida and the Bahamas with her grandparents, Pamela created a straw accessories line that encapsulates classic style reminiscent of a bygone era—a collection imbued with a sense of modernity and femininity. Most recently, she joined forces with design house Schumacher to create a collection that celebrates a shared love of bold patterns, classic design, and embroidery. The assortment of five straw minaudières interprets iconic Schumacher designs through the lens of embroidery.

Created in-house, each piece is handwoven using rich colors to bring the textile titan’s spirited patterns to life. pamelamunson.com

GROUNDED IN BEAUTY

For master of maximalism Ken Fulk, whose decoration genius takes him to the ends of the earth and beyond, there’s nothing more invigorating than pushing the limits to create beauty. So when asked to partner with The Rug Company, the designer, who’s made it his stated mission to “always overdeliver and never disappoint,” saw it as a no-holds-barred opportunity. Taking inspiration from Ken’s fantastical portfolio, the Divine Inspiration collection includes six rugs that showcase different rituals employed in celebrating the joy of life— reflection, storytelling, imagination, music, nature, and congregating with a shared intention. “This collection was inspired by our shared search for meaning—through art, music, nature, and reflection,” Ken says.

“These rugs weren’t designed to simply look beautiful but to facilitate meaningful conversations.” Intended for both residential and commercial use, each rug is fully customizable and available in a range of colors and materials. The designs can also be created as wall-to-wall installations and stair runners. therugcompany.com

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January•February 2024

PHOTOS (LEFT TO RIGHT) COURTESY OF PAMELA MUNSON; COURTESY OF THE RUG COMPANY

See more from this collection in “Resort Ready” on page 38.

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PHOTOS (LEFT TO RIGHT) COURTESY OF PAMELA MUNSON; COURTESY OF THE RUG COMPANY

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Interiors • Women in the Garden • Design • Market

in Bloom

City Mix

IN THIS MANHATTAN APARTMENT, DESIGNER LISA HENDERSON WOVE A BLEND OF COLORS, BOTANICAL PATTERNS, ANTIQUES, AND A FEW MODERN ELEMENTS TOGETHER WITH PLAYFUL REFERENCES FOR AN INTERESTING AND LAYERED INTERIOR.

By Cathy Still McGowin Photography by Jacob Snavely Styling by Frances Bailey

f l o w e r m a g .c o m

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in Bloom INTERIORS

C

olorfully sophisticated with that elusive quality of dressy comfort, this New York apartment offers a polished femininity equally suited to the owner’s social events and to her young daughter’s tea parties. Some rooms are more formal than others, but the common threads are color, pattern, and a welcoming aura where everyone feels at home. “The apartment is right down the street from the daughter’s school,” says designer Lisa Henderson. “It’s the place everyone gathers when class gets out, so we didn’t want anything too old-fashioned or overly grand.”

Lisa’s jumping-off point was the “Paradise” Bennison fabric on the living room club chairs. Its range of pinks, reds, purples, and shades of blue and green, along with warm bits of taupe, provided a palette that Lisa could incorporate throughout the house in varying strengths and tones. Lisa says, “We wanted the gathering

PREVIOUS PAGE AND THIS PAGE, RIGHT: Lisa pulled in the home’s gamut of hues when designing the den. She also specified a custom color for the “Bali Hai” Quadrille wallpaper and fabric to bring in brown, a grounding color that adds dimension. BELOW: Living room walls are painted “Pale Powder” by Farrow & Ball, a soft green neutral with just enough power to bring out the variation of colors in the draperies and upholstery.

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January•February 2024

ABOVE: The dining room cues a lighthearted, romantic attitude with its cherry blossom wallpaper, skirted chairs, and crystal chandelier. A Parisian mirror adds a note of sophistication.

RIGHT: In the foyer, a collection of blue-and-white ginger jars, vases, and tulipieres makes a grand gesture on top and beneath the 19th-century mahogany sideboard scored at an Upper East Side estate sale.

spaces to look more grown up, so I turned to rich colors such as aubergine, raspberry, and teal.” A chocolate brown sofa grounds the space. “It really serves as the anchor for the room,” the designer says. “And it’s the perfect shade of brown—not too light and not too dark.”

In the wide entry hall, Lisa covered the walls in a coralleaning orange (“Daylily” by Benjamin Moore). The warm hue is a connector that allowed the designer to push and pull patterns and complementary colors through adjacent rooms.

“From here, you can see all of the main living areas,” Lisa says.

In the dining room, she chose the lettuce colorway of Schumacher’s “Chinois Palais” wallpaper, a lively complement to the hall’s orange-hued walls. The Chinese-inspired print features exotic birds and cherry blossoms, ensuring that the space is perpetually in bloom. Cameo-colored taffeta draperies in a Schumacher fabric tie the room back to the entry while receding enough to keep the focus on the wallpaper, fabrics, antiques, and accessories.

The Georgian mahogany pedestal table is surrounded by f l o w e r m a g .c o m

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in Bloom INTERIORS

The primary bedroom departs from its neighboring rooms with its focus on the sublime. The regal canopy bed, walls, and draperies are swathed in “Happy Garden” from Quadrille. Lisa designed the bench and upholstered it with fabric from Chelsea Textiles. Bungalow 5 nightstands play to feminine curves.

chairs upholstered in “Rambagh Reverse” by Lisa Fine Textiles.

The designer added a pleated, “Eloise-style” mini-skirt to the chairs, a nod to the storybook character’s school uniform. And just as in Eloise’s home, The Plaza Hotel itself, gold accents and silver candelabras add a glamourous note. The ornate, antique Parisian mirror captures the sparkle of the early 19th-century French chandelier, a piece that Lisa altered to electrify in the center and left as is to fit candles in the branches.

The den, equally spirited, takes a more casual approach with the raspberry-colored sectional, antelope-print Stark carpet, and Quadrille wallpaper in a shade specified by Lisa. Doors and baseboards painted a custom blue offer one more modicum of color to keep things interesting. “The blue color is so pretty, and it pops,” Lisa says. “Brown can be too heavy, and white trim can be boring.”

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January•February 2024

Accent pillows and a fabric-covered ottoman pull from colors throughout the home, something Lisa says requires the right mix of scale to be successful. “Prints can’t all be large or small,” she explains. “Creating tension helps achieve the right look.”

Bedrooms lean toward a softer side, as seen in the primary suite. A Quadrille floral-patterned fabric cloaks the entire space in a pretty Wedgwood blue while the canopy bed with its gathered drapery offers regal, cloud-like comfort. Matouk linens and a custom bench at the foot of the bed bring in creamy accents. While the space feels quieter than the rest of the house, it still maintains Lisa’s color theory. “It’s all about finding the right balance,” Lisa says, referring not only to the bedroom but also to the overall interior design. For her client, that balance lies in the middle of big city elegance and family life comfort.

For more information, see Sources, page 76

in Bloom WOMEN IN THE GARDEN

With a lifelong love of gardening, designer Charlotte Moss has long been intrigued with what draws people— especially women—into the world of horticulture. Some have made it their professions, while others have become enthusiasts, patrons, philanthropists, or simply weekend hobbyists. And then there are those who write about all things gardening. In her new column for FLOWER, Charlotte explores some of these women and the journeys that led to their passions for plants and flowers. She also has a forthcoming book with Rizzoli on the subject of gardening women set to release spring 2025.

The Literary Fleuriste KNOWN AS A LITERARY FORCE IN EARLY 20TH-CENTURY FRANCE, COLETTE LEFT BEHIND A LEGACY OF BEAUTY IN HER WRITING, ESPECIALLY IN HER ELOQUENT DESCRIPTIONS OF FLOWERS.

By Charlotte Moss

Claude Debussy, Jean Cocteau, and Anna de Noailles.

It was Colette’s only daughter, Colette de Jouvenel, who lobbied for Place Colette to be named after her mother. André Malraux, the first Minister of French Cultural Affairs and a novelist himself, responded to her request and ensured that Colette was honored in this way. Malraux was also known for responding to the pleas of Jacqueline Kennedy regarding permission for the Mona Lisa to be exhibited in the U.S., one of the few times the painting has ever left France.

A literary life force best known for writing about the coming of age of adolescent girls in books such as Gigi, Claudine, and Chéri, Colette was not a gardener per se. However, the imagery evoked by her descriptions of gardens and flowers defies any lack of

LEFT: Les Jardins de Colette, a contempo-

rary flower garden, was created in memory of Colette. It is located in the town of Varetz near Chateau de Castel Novel where Colette often spent holidays.

The garden covers over 12 acres and represents the phases of Colette’s life.

ABOVE: Colette as a young married woman and writer, describing life of the fin de siecle as she saw it.

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January•February 2024

PHOTOS (LEFT TO RIGHT) COURTESY OF LES JARDINSDE COLETTE/J.GERARD; BY ADOC-PHOTOS/CORBIS VIA GETTY IMAGES

H

ow many times have I crossed the Place Colette while walking from the St. Honore to the Palais-Royal in Paris? More than I can count. Place Colette, named for Sidonie-Gabrielle Colette, is only a short walk from where the well-known writer spent most of her life near the gardens of the Palais-Royal. In fact, the famous restaurant Le Grand Véfour placed a plaque in her memory on her favorite banquette. One can imagine her dining there with friends such as

PHOTOS (LEFT TO RIGHT) COURTESY OF LES JARDINSDE COLETTE/J.GERARD; BY ADOC-PHOTOS/CORBIS VIA GETTY IMAGES

in Bloom

—COLETTE FROM FOR A FLOWER ALBUM

familiarity. Always lingering in her dreams was the memory of the roses and the grapevines in the bucolic Burgundy where she was raised. Later, when Colette referred to the house she purchased in Saint Tropez, known as La Treille Muscat, she proclaimed, “There is … a house, but that counts less.” For her, the focus was the garden she planned there that was to include roses, tomatoes, and herbs such as mint and tarragon.

And while that idea of a garden never became a reality, in Colette’s world of fiction, it was real, tangible, and fragrant.

Matthew Ward, translator of Colette’s book titled Flowers and Fruit, described her writing as “an attempt to turn botany text into poetry.”

While most of Colette’s works had abundant references to flowers, one book in particular, For a Flower Album, broached the subject on a deeper level. A volume translated by Roger Senhouse and illustrated with watercolors by Manet, it was the smallest collection of her writing but included her love letters to and about flowers. Ironically, the book was not published

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January•February 2024

PHOTOS (TOP TO BOTTOM) BY ERIC LAUDONIEN / ALAMY STOCK PHOTO; BY CHARLOTTE MOSS

“These Palais Royal roses, these prodigious old rose trees… roses that in the heart of Paris are awakened by the rainbow held prisoner in a spray of water, I search for a fitting comparison…”

PHOTO COURTESY OF REUBEN SIMPSON-LITTLE FROM BABUSHKA BOOKS (FOR A FLOWER ALBUM AVAILABLE FOR PURCHASE VIA ETSY SHOP BABUSHKA BOOKS)

WOMEN IN THE GARDEN

PHOTO COURTESY OF REUBEN SIMPSON-LITTLE FROM BABUSHKA BOOKS (FOR A FLOWER ALBUM AVAILABLE FOR PURCHASE VIA ETSY SHOP BABUSHKA BOOKS)

PHOTOS (TOP TO BOTTOM) BY ERIC LAUDONIEN / ALAMY STOCK PHOTO; BY CHARLOTTE MOSS

ABOVE: In For a Flower Album, Colette proclaimed, “There is no denying that flowers are my delight.” OPPOSITE PAGE, TOP:

From her entresol apartment, Colette viewed the Palais-Royal through a forest of pleached lindens, almost defying the fact that she was in the heart of Paris.

until 1959, five years after Colette’s death. It was just one of over 80 works of fiction and dramas that made up her prodigious career, while her correspondence reportedly fills even more volumes. As Australian writer and intellectual Germaine Greer once said, “The precious moments for Colette were not those of full flush, but the budding and fading, full of promise or regret.”

Colette’s writings, many of which were based on her life and certain family members, were viewed as controversial by some.

As a result, the Catholic Church denied her a religious funeral, and Colette became the first and only French woman to have a state funeral. Fellow writer Graham Greene protested the church’s refusal to no avail. Yet more than 6,000 mourners turned out as a show of respect for the novelist, journalist, actress, mime, and raconteur. In Père Lachaise cemetery, her final resting place, Colette can be found amongst other writers, poets, and artists, including two that she admired most, Marcel Proust and Honoré de Balzac.

At the end of her life, Colette spent her days on a divan under a fur throw in her Palais-Royal apartment. Incapacitated by arthritis—and with her Parker Duofold poised over her signature blue paper and a vase of roses on her desk— she was to write until she could no longer. The last word she uttered, regarde, was fitting as it was the way she lived her life—looking, feeling, wondering, accepting, and living.

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in Bloom DESIGN

Au Courant in California WITH A NOD TO THE PAST AND A VIEW OF THE FUTURE, SUZANNE TUCKER REDESIGNS THE RENOWNED AUBERGE DU SOLEIL RESTAURANT IN NAPA VALLEY.

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By Christiana Roussel • Photography by The Ingalls

n the heart of agriculturally rich Napa Valley is a singular destination, Auberge du Soleil. Long renowned for its distinctive style—one that captures the joie de vivre of the South of France while seamlessly folding in the local carefree California vibe—the resort has recently undergone a notable renovation to its Michelin-star restaurant and its casual companion, The Bar. What makes this full-scale reimagination so successful is the thread that ties together the original designer, the late Michael Taylor (who basically invented the California Look), with another iconic Californiabased designer, Suzanne Tucker. Suzanne worked in Michael’s firm early on, and her warm, polished style echoes his rustic glamour.

“Staying true to the original vision of the founder, along with the timeless design Michael instilled from the beginning, was always at the forefront,” she says.

As one of Napa Valley’s first fine-dining restaurants, Auberge du Soleil quickly became a favorite with locals and topped many “must experience” lists for travelers. Both the restaurant and the resort are industry standard-bearers due to exquisite accommodations,

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ABOVE: Suzanne Tucker masterfully redesigned

the restaurant at Auberge du Soleil without compromising the timeless style of the original designer, Michael Taylor. TOP: Suzanne’s vision for the dining room included elements of warm-blonde wood paired with floor-to-ceiling windows that allow diners to feel immersed in their northern California surroundings.

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in Bloom DESIGN

spectacular views of the valley, and passionate, intuitive service.

As important as the local terroir is to the wine itself, the setting plays a role in almost every aspect of Auberge du Soleil. French doors and custom-designed, floor-to-ceiling, steel-framed windows throughout invite a flood of soft, natural light while framing views of the picturesque hills beyond. One of the most noteworthy features of the renovation is the relocation of the bar to the opposite side of the interiors. A re-engineering of the 20-foot-high conical roof was

necessary to remove the former floor-to-ceiling cedar tree trunk that was part of the original design. This change opened up the entire space and made room for a bespoke, 9-foot-tall, hand-forged iron chandelier, its corkscrew shape a nod to the wines of the region. French oak flooring is set in a radiant sunburst pattern, while the walls are swept with a pewter-gold hue. The result is a space that seems to impart a soft glow from within.

Bradley Reynolds, managing director of Auberge du Soleil,

The resort’s robust bar program will entice even the most loyal oenophile to try something new.

This signature Fleur de Lis cocktail, served in a delicate Nick & Nora glass, is an elegant start to the evening. Combine all ingredients in a shaker with ice, and shake vigorously to release the essential elements of the cucumber, creating a sophisticated froth.

Garnish with edible flowers for a swoon-worthy sip.

FLEUR DE LIS 2 oz. Hendrick’s Gin 0.5 oz. lime juice 0.5 oz. simple syrup 0.25 oz. St. Germain Elderflower Liqueur ABOVE: Guests who dine alfresco get a front-row view of the rich agrarian landscape that is Napa Valley. OPPOSITE PAGE, TOP: Bar seating is sumptu-

ous without being stuffy. Suzanne employed the use of a variety of materials that are both grounded and light, allowing the setting to take center stage.

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2 dashes Fee Brothers Fee Foam (a vegan swap for egg white) 2 small pieces cucumber

“This redesign was all about bringing the interiors forward to a more contemporary, fresh, lighter look without losing sight of the place and location.”

—DESIGNER SUZANNE TUCKER

says, “The redesign of The Restaurant and The Bar is a project that has been in the works for years, involving countless hours of heartfelt care and attention to detail.” He adds that the goal was always “to preserve the welcoming essence of the space while making stylistic enhancements it so richly deserved.”

Like bottling a moment in time, Suzanne seems to have captured an almost ethereal glow endemic in this part of Northern California. She kept things light yet grounded in the textiles and finishes selected for the space. Antique bronze metal on the bar façade complements the Cielo quartzite bar top with blue-green and warm-brown veining.

Cerused oak wood encircles the setting, lending a warm and relaxed feel that aligns with the region as a whole. Built-in banquettes upholstered in faux bois woven and vegan crocodile-embossed “leather” anchor the interior while ivory lava stone-topped tables create substantial yet visually light dining areas. Guests enjoying these spaces will inherently feel the organically grounded design aesthetic that underscores the entire ethos of the property.

“Our goal with the redesign of Auberge du Soleil was always to maintain its stylish sense of sophistication that is evocative of the South of France while imbuing it with a contemporary spirit,” says Suzanne. “Just as Michael Taylor’s original design vision informed my decisions, The Restaurant and The Bar will appeal to the old guard as well as today’s generation.”

For more information, see Sources, page 76

in Bloom MARKET

Resort Ready

FORGET THE CHILLY TEMPERATURES OUTSIDE! NOW IS THE TIME TO START PREPARING FOR YOUR WARM-WEATHER ESCAPE.

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

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in “Canyon Yellow” through The Travel Studio; thetravel-studio.com 2 Indoor/Outdoor Fabric ($215/ yard) in the “Espadrille” pattern by Peter Dunham Textiles in colorways (top to bottom) “Marrakech”, “Avignon”, and “St Tropez”; peterdunhamtextiles.com 3 Primary Recycled Leather Passport Case ($25) in “Rust/Pink” from MoMA Design Store; store.moma.org 4 Sunglasses ($170) in “05 Lab” by Chimi in “Tortoise Yellow”; chimi-online.com 5 Clutch (inquire for pricing) by Schumacher x Pamela Munson in “Zinnia”; pamelamunson.com/ collections 6 Prairie Necklace ($320) in “Meadow” by Lizzie Fortunato through Mashburn; shopmashburn.com 7 Palmier Earrings ($240) by Lizzie Fortunato; lizziefortunato.com 8 Cabana Necklace ($370) in “Sea Green” by Lizzie Fortunato through Halsbrook; halsbrook.com 9 Striped Straw Boater Wide Brim Hat ($630) by Gucci through Farfetch; farfetch. com 10 Solitaire Swim One Piece ($245) by Hunza G through Shopbop; shopbop.com 11 Blue Chambray Linen Tunic ($245) by CP Shades through Halsbrook; halsbrook.com 12 Avail Body Lotion with Sunscreen ($43) by Aesop; aesop.com 13 Banniere Destination Scarf ($280) in “Faena Poolside” through The Travel Studio; thetravel-studio.com 14 The Covenant of Water book ($16.79); target.com

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in Bloom MARKET

1 Tavira Necklace ($275) in “Lichen” by Lizzie Fortunato; lizziefortunato.com 2 Celine Placemat ($30) in “Natural” by Hammett; shophammett.com 3 The Life Council book ($14); amazon.com 4 Sarong ($62) in “Raspberry” by Sunshine Tienda; sunshinetienda.com 5 Pickleball Paddles ($85 each) in patterns (top to bottom) “Portofino” and “Prouts Neck” by Tangerine Paddle; tangerinepaddle.com 6 Oil Hair Mist con Aloe Vera ($26) by Ceremonia; ceremonia.com 7 Pickleball Paddle ($85) in pattern “Mumbai” by Tangerine Paddle; tangerinepaddle.com 8 Tiger Palm Dinner Napkins ($153/set of 4) in “Tigereye” by Matouk; matouk.com 9 Tiger Palm Tablecloth ($324) in “Tigereye” by Matouk; matouk.com 10 Indoor/Outdoor Fabric ($215/ yard) in the “Espadrille” pattern by Peter Dunham Textiles in colorway “St Tropez”; peterdunhamtextiles. com 11 The Hustler Ankle Fray ($218) in “Fairest of Them All” by MOTHER Denim; motherdenim. com 12 Naxos Brown Stretch Woven Belt ($215) by Gavazzeni through Halsbrook; halsbrook.com 13 Sarong ($62) in “Tropical Floral” by Sunshine Tienda; sunshinetienda.com 14 Tortoise Ice Bucket ($150) by Half Past Seven; halfpastsevenhome.com

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Time to Fleur-ish

With an unexpected jump from fashion to florals, Anne Dickson shares how she found her passion and launched her brand, Fox and the Fleur.

Produced by MARGARET ZAINEY ROUX Photography by JOEY KENNEDY f l o w e r m a g .c o m

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Flower: Tell us about yourself and your earliest experience with flowers.

Anne Dickson: I was born and raised in

Pittsburgh but, despite being in the heart of the city, our neighborhood had a small-town feel with a deep sense of community. My mother and father were avid gardeners, and we would spend weekends planting bulbs, raking leaves, and building lattices. Our yard was modest but always bursting with colorful blooms. After college, I moved to New York City to study interior design at Pratt Institute only to learn that fate had other plans for me. I was offered an amazing full-time job in the marketing department at Tommy Hilfiger! In my two years there, I helped promote fashion shows, new product lines, and company initiatives nationwide. I was involved in so many wild projects—fragrance lines with Beyoncé, a collaboration with Karl Lagerfeld, and a fashion show with Pharrell Williams, to name a few. From there, I went to Dolce & Gabbana and served in a similar capacity. It was a super exciting and intense time.

You later made quite a leap from fashion to flowers!

Yes, a lot happened in my life between my career in fashion and my move into flowers—mainly the sudden passing of my father. That loss really changed me. I was newly married to my husband Andrew (also from Pittsburgh), and we decided we wanted to be closer to our families as we embarked on raising our own.

I’m sorry about your loss, but it sounds like there is a “silver lining” story in there somewhere.

There absolutely is! After returning to Pittsburgh and having our second son, we decided to buy a farmhouse on seven acres. I went from working full time in the city to being a full-time mom in the country. It was a big adjustment for me, but I soon discovered a passion for working in my garden. I would spend my days outside with my sons while growing, pruning, and cutting flowers, much like I did as a child. I wanted to share this joy with others, so I would make fresh bouquets to drop off to family and friends, unsolicited and unannounced.

One day, a visitor at my mother’s house commented on my arrangements that were on display and asked for the name of her florist. My business began right

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PREVIOUS PAGES: A candlelit vignette from a cocktail party at the Aspinwall shop.

Anne frequently hosts events and workshops to engage the community and enable patrons to experience the Fox and the Fleur brand and those of the artisans it represents. THESE PAGES, ABOVE: A cozy corner of the Aspinwall shop is draped with handmade textiles from around the world, including blankets by Scottish designer Paulette Rollo and handsewn bags by Casa Lopez. OPPOSITE: Massive garden-style arrangements in Chinoiserie-inspired vessels grace a farm table inside the Aspinwall shop. Each week, Anne creates fresh “statement makers” that complement the ever-evolving display of new introductions.

then and there—humbly and from a deep place of purpose.

family of all boys and my love of all things pretty.

Tell me about your brand, Fox and the Fleur. What’s in the name?

How did you transition from a home-based business to a brick-andmortar space?

We live in an area called Fox Chapel, so there is that kitschy connection! The “fleur” comes in because my mom is French and I love all things French. I also love the masculine/feminine play of the name. It fits perfectly with my

In 2016, I started the business from inside my home with $1,000 in a bank account. Within a few years, I realized the need for a store presence. We established our first location in Aspinwall in late

“I pride myself on carrying pieces that are created with intention and guided by quality—heritage products that can be passed down for generations.”

—ANNE DICKSON

2022 and a second location in Sewickley just nine months later. Having a shop allows us to offer a complete sensory experience and immerse others in our world in a way that pretty pictures simply cannot.

How would you describe your floral style?

Organic. I don’t like to confine or constrain flowers. Their natural form and movement is innately beautiful and linguistic, so I see my role as merely a messenger of what they want to say.

Aside from the flowers, tell us about your wares.

I pride myself on carrying pieces that are created with intention and guided by quality—heritage products that can be passed down for generations. With three sons, I don’t have anything in my house that is too precious to use or display. We have a “dogs-on-the-bed” and “kids-withmuddy-shoes” kind of lifestyle, and I have that same philosophy in my shop.

You’ve got a floral design business, three sons, and two retail shops, and yet you still find time for community

outreach. I’ve seen your “pop-up projects” on social media, and they are amazing! Tell us more about them.

During the COVID shutdown, I started doing temporary floral installations around town inspired by the ones that Lewis Miller does in New York City.

I wanted to remind members of our community that beauty abounds even in the darkest, most difficult times. My creations might come out of a trash can, climb up a wall, or wrap around a street sign. The positive reactions they have triggered have been the absolute highlight of my career thus far.

OPPOSITE: (Left to right)

Teddy (7), Anne, George (12), Foster (10), and Andrew Dickson in the garden of their Fox Chapel home with Rumi, the family Australian Labradoodle.

LEFT: Towering bronze statues wear grapevine crowns festooned with fresh flowers including roses, forsythia, and ranunculus.

During the COVID shutdown, Anne spread joy throughout the Pittsburgh community when she adorned the “Noble Quartet” of Bach, Shakespeare, Michelangelo, and Galileo who keep watch over the Carnegie Museums.

For more information, see Sources, page 76

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Mountain High Style Interior designers Gary McBournie and Bill Richards bring studied colorful style to a new retreat on the slopes of Big Sky.

By ALICE WELSH DOYLE Photography by ANNIE SCHLECHTER Styling by DAVID MURPHY

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lassic Swiss chalet sensibilities and 1960s David Hicks panache may not seem like ideal bedfellows, but in the capable hands of interior designers Gary McBournie and Bill Richards, these disparate inspirations seamlessly came together. The result is a one-of-a-kind retreat for longtime clients in Montana’s Yellowstone Club. “The homeowner did not want the predictable Western look with too much stone and wood, an antler chandelier, and a palette of creams, browns, and grays,” says Gary. “She said to think more along the lines of Gstaad in the Swiss Alps, so that’s where the old-world European influences came into play.”

The partners also channeled design touchstones from more recent decades to keep things interesting and a bit unpredictable. And while the interiors are not typical in most respects, they still speak to the glorious setting halfway up a ski-in-ski-out mountain. There is stone and wood, but it’s treated in a more subtle fashion. “Our client

ABOVE: The exterior of the home speaks to the setting in Montana’s Yellowstone Club with architecture by Locati. The stone and wood detailing continues into the entry for a welcome connection between indoors and out.

RIGHT: The designers wanted the interiors to feel like an old log cabin but with sophisticated pieces in the mix. For example, a custom settee encrusted with pennies and welded together with stainless steel by sculptor Johnny Swing plays a starring role in the foyer.

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seems to have an allergic reaction to too much dark wood,” laughs Bill. The reclaimed ceiling beams were lightened with a white-wash stain, while hand-troweled plaster separates and softens the ceiling in the primary bedroom. The design team also included a limestone fireplace surround with a more ’70s ambiance instead of the expected wood treatment.

When it came to making selections for the interiors, the designers had to contend with 20-foot-plus ceilings and oversized rooms in some areas of the house. “Scale is important in every project, but in this home, it was essential to get it right or the design could fall flat,” says Gary. The pair scoured international auctions and Paris flea markets to find large antique and vintage light fixtures with a compelling presence. They also chose furniture pieces and accessories that have a sense of gravitas—there is nothing fragile in the mix. “In a home like this, you need to give the impression that you can walk through in your ski boots and not worry

“Scale is important in every project, but in this house, it was essential to get it right or the design could fall flat.”

—GARY MCBOURNIE

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To bring a sense of warmth to the living room with its soaring ceilings, the designers included a mixture of fabrics in floral prints, stripes, and velvets. A Suzani-inspired rug ties everything together.

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OPPOSITE: The office brings nature’s hues indoors with greens, browns, and coppers. All of the window shades in the home are custom and motorized to easily control the light flow in each room. ABOVE: Each guest bedroom has a distinctive design scheme and palette. This one leans into the European ski resort inspiration with a floral Lee Jofa headboard and an elegant canopy in a striped fabric lined in green silk. Walls are covered in a Phillip Jeffries metallic spice paper.

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about anything,” says Bill. “It has to have a look that’s gutsy and solid.”

While the house shows off a novel palette for a mountain property—ruby red, emerald green, tangerine orange, and vivid yellow—along with a mix of pretty blues, the choices proved to be a little more complicated, as Gary and Bill explain. “We are always doing a little dance with these clients. The wife prefers a softer, lighter palette while the husband likes brighter hues. While both have become more open to change during all the years we’ve been working together, we still had to strike a balance.” For example, one side of the extra long living room speaks to the wife’s quieter aesthetic with blue tones, hand-blocked linen fabric, and a multicolored muted strié silk velvet, while the other side of the

BELOW: The mudroom features wooden cabinetry and wainscotting topped with a

Peter Fasano wallpaper in a custom slate-green colorway. The glass globe light fixture in an oil-rubbed bronze finish from Remains Lighting adds a striking note. RIGHT: The family room connects to the outdoors by a slate terrace. The designers created a cozy moment with a Dedon hanging swing layered with a cashmere throw and fur pillow. A side table also by Dedon makes it easy to cozy up with a warm drink or a cocktail.

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space expresses the husband’s bolder preferences with a red sofa, more intense blues, and contemporary art. A seagrass carpet layered with a Suzani-inspired print wool-and-silk rug furthers the dialogue.

When it came to decorative touches, the partners sprinkled pieces throughout that speak to the setting. Over the living room fireplace mantel hangs a Bavarian carved wooden deer head. Another fireplace wall features an overscaled circular Western industrial blade. In the primary bedroom, a straw steer head and a white-washed, tree trunk-inspired lamp base decorate the space. “You definitely know where you are without being too heavy-handed in the décor,” say the designers. “With floor-to-ceiling glass-paned walls, the natural beauty of the Montana landscape is the ever-present scene stealer.”

LEFT AND BELOW: While spacious, the primary bedroom has a cosseting feel with the tall bed hangings, luxurious cashmere layers for the bed, and heavily pleated window panels in a Jane Shelton blue-and-green windowpane check. • The bedroom’s vestibule has organic elements like the petrified wood lamp base juxtaposed with more formal pieces such as a French walnut two-drawer commode circa 1790 to 1810.

For more information, see Sources, page 76

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HOUSE of

B LU E S When designer Kim Coleman visited a tired redbrick rancher in Palm Beach, she saw visions of a tropical bungalow with rooms opening from street to water, views of lush gardens, and cerulean hues at every turn.

By LYDIA SOMERVILLE Photography by CARMEL BRANTLEY

Designer Kim Coleman and architect Caroline Forrest first stuccoed and then painted the house white to disguise its former redbrick exterior. Landscape architect Mario Nievera replaced the old driveway with paving divided geometrically with grass in the joints. Sago palms in pots anchor each side of the front porch.

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The entry emphasizes Kim’s favorite color with a field of blue. The wallpaper was 3D printed in a gessoed design of date palms and butterflies with a raised texture. A lustrous white wallpaper on the ceiling creates a cloudlike effect.

D

esigner Kim Coleman is known for her love of blue—all blues, from turquoise to cadet. “You can never have too much of the color in a house,” she says. So there was no doubt blue would be prominent in the redesign of her newly purchased home in Palm Beach. She splashed variations of the hue everywhere, from the entry hall’s wallpaper to the living room with its jazzy mix. She even found a blue marble for the kitchen backsplash.

Outside, Kim continued her color theme in the courtyard with a plethora of blue pots in assorted shades. “Kim prefers her plants in pots as opposed to beds,” says Mario Nievera, who designed the home’s landscaping. “I started by removing built-in brick boxes that held palms and shrubs and replacing them with the colorful pots.” He then added f l o w e r m a g .c o m

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OPPOSITE: In the living room, Kim confidently mixed varying shades of blue. Aqua fabric covers the banquette, while a navy band trims the pillows. The rug by Tai Ping captures the movement of water with its swirling design of blue fibers. ABOVE: In the breakfast room, French bistro chairs surround a sturdy laminate table that allows for easy cleanup. Monstera leaves from the garden serve as a breezy centerpiece. Doors open onto the loggia overlooking the Intracoastal Waterway.

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ABOVE: Kim had the primary bedroom walls finished with a plaster treatment that incorporates tissue paper for a tactile effect. Above the doors, a lavish valance features double layers of fabric trimmed along the pattern’s edge. An acrylic bench at the foot of the bed adds a retro touch. RIGHT: Kim designed the palm tree pattern for the loggia’s mirrored walls. Phalaenopsis orchids add pops of color.

espaliered jasmine and bougainvillea to soften exterior walls, creating polished “outdoor” rooms. The creation of these rooms, devoted to specific activities such as dining or lounging, allows the outdoors and interiors to merge seamlessly. As another nod to the outside/inside relationship, Kim likes to clip giant monstera leaves from the garden and place them in glass containers throughout the house.

A two-lane driveway originally consumed much of the front lawn, so Mario replaced it with a single lane and planted grass in the paver joints.

He also added a putting green in one pocket of the landscape. “It’s shady there, so we were able to use orchids in the trees for some color,” he says. “The Moroccan doors behind the green were purchased by Kim from Africa. They are a great focal point.”

Inside her home, Kim has created other focal points. “When you come through the front door, there should be something that draws your attention,” she says. In the entry hall, that “something” is the wallpaper. “I commissioned the paper from MJ Atelier,” says Kim. “It has a 3D print with local flora and fauna in a raised gesso on a blue field. There’s lots of texture to it.” To top it all off, she covered the ceiling with a shiny, lustrous paper which shimmers above the magical blue-and-white landscape.

Down the hallway, the home opens onto the loggia with views of the waterway. For a bit of whimsy in the space, Kim installed indooroutdoor mirrors and had them painted with white palms. When her husband expressed doubt about the mirrors, she confidently assured him, “You’re going to love it!” And he does. A pair of JANUS et Cie sofas face off over a coffee table of teak root topped with

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The pool area is a play of blue and green.

Espaliered jasmine softens the walls while a gumbo limbo tree rises from a soft border of datua and firespike plants.

Outdoor furniture by JANUS et Cie sits on paving set into the lawn. “We chose zoysia because Kim has grandchildren who visit often and it’s more forgiving of falls,” says landscape architect Mario Nievera.

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LEFT: Seating on the water allows for maximal enjoyment of the

sunset. Pots of hibiscus, hydrangeas, geraniums, durantas, mandevillas, and stephanotis add color to the serene setting. ABOVE: A putting green set into a shady corner allowed Mario to adorn the trees with orchids. A Moroccan door that Kim found during a trip to Africa adds architectural flourish.

glass. It’s a transportive space—part night club, part jewel box.

The living room exudes strong mid-century style with curvy, rounded seating. For the primary suite, Kim chose elements that evoke ‘60s and ‘70s design, such as a bench with acrylic legs and a channeled headboard. Lavish window treatments give the room a cosseted feeling with a double-layered valance trimmed along the edge of the pattern. The hand-troweled plaster wall finish by Theresa Nardone is embedded with tissue paper for a subtle dimensional effect. For Kim, it’s clear that these details really do make the difference, not only in the primary suite but throughout the home—especially when punctuated by her favorite blues.

For more information, see Sources, page 76

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SNOW Y

Splendor This carefully composed Pennsylvania landscape flourishes under a sugar-white dusting in the height of winter.

By TOVAH MARTIN Photography by ROB CARDILLO

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ot many gardens feel magical in midwinter.

Generally, the landscape slumbers during the “dormant season,” waiting to be awakened by warmer weather. But there’s a garden just outside Philadelphia that offers a glorious season of beauty made even more meaningful when etched in snow.

A lawyer by profession, Leslie Miller will claim she knew nothing about gardening when she first bought the 1937 Walter Durham-designed house and adjacent property with her husband Richard Worley in 1985. Perhaps she hadn’t really dug in prior to the purchase, but she is a testimony to the strength of horticultural roots as a love of the land runs deep in her family of gardeners. That love led Leslie to create a landscape that is incredibly insightful and meticulously calibrated, making every square foot meaningful and beautiful. And her design dexterity is even more evident when her garden is pared down during her favorite time of year—winter.

“There is a simple beauty in the period of hibernation,” Leslie says. “It requires a more intense focus, and I always look forward to it.” She adds that her goal is for the landscape to be as meaningful when viewed from the comfort and warmth indoors as it is when you venture out into the snow.

The property, once stewarded by a master gardener, features specimen trees that remain in their glorious maturity.

Those trees formed the inspirational framework that sold Leslie and her family on the property in the first place. She gives special attention to the silhouettes of the trees that stand out in winter and punctuate the surroundings. But creating a riveting scene even while the garden is in deep slumber requires design insight beyond horticultural savvy. While plant life plays an important part in Leslie’s creation, she also gives hardscape a starring role. And she places an emphasis on the gracefulness of a swooping staircase or a curved handrailing.

Leslie commissioned sculptor/ blacksmith Greg Leavitt to create the bespoke railings that do double duty. In summer, they support entwining clematis that partially masks their lines, while in autumn, there’s a sense of unveiling as

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PREVIOUS PAGES: The French blue shutters and door of this stately Walter Durham-

designed house add a complimentary color spark to the icy surroundings. The strong vertical lines of evergreens emphasize the winter’s tale. THESE PAGES, ABOVE: Behind the house, the perennials in one of the property’s two rock gardens are in deep slumber beneath a blanket of snow. Leslie syncopated the space with a series of conifers and the silhouettes of shrubs and trees specifically placed for winter interest. FAR RIGHT, TOP TO BOTTOM: Every conifer has a reason to shine in winter. For the Norway spruce (Picea abies), the cones are key. • The majestic Ilex ‘Nellie R. Stevens’ produces a crop of berries that attract birds. • The Oriental spruce (Picea orientalis) has skeleton-like needled branches that catch and hold the snow beautifully, creating a handsome profile in winter.

“There is a simple beauty in the period of hibernation. It requires a more intense focus, and I always look forward to it.”

—LESLIE MILLER

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CLOCKWISE FROM TOP LEFT: A pair of concrete

cherubs once entertained from a different location on the property. Now they cap the gate posts to the pool area, overlooking a row of Daphniphyllum, a broadleaf evergreen that looks similar to a rhododendron. • A zinc Fiske Labrador retriever, becoming more prominent in winter, surveys the rock garden, • On the back patio, a pair of water nymphs serve as the centerpiece of a fountain/birdbath capped with pillows of snow.

the vines go dormant. In addition, thoughtfully laid winding bluestone pathways not only have a functional agenda but also a quiet aesthetic. Everywhere, the garden navigates the tricky ratio of plant material to adornment.

Invariably, elegance wins the contest— quietly, discreetly, and majestically.

The temptation to add focal points is a constant compulsion. Leslie and Richard are unapologetic collectors, a penchant that prompted Leslie to co-author a book, Start with a House, Finish with a Collection (Scala Arts Publishers, 2014).

In it, she describes how her indoor collection came together. But her love for detail, craftsmanship, and the patina of the past can be found outside as well. For example, a gazebo is given a Chippendale motif as well as a defining copper finial to beautifully cap it off.

The finishing finial was one of the many instances when Leslie turned to the legendary Pennsylvania antiques dealer Harry Hartman and asked his advice to “spiff this up.” Harry left his mark in other places throughout the property,

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including his help with the couple selecting the French blue shutters that give the Pennsylvania stone house its unique personality.

As a lifelong collector, Leslie worked the landscape on dual fronts. She first considered the hardscape as she positioned pathways and walls where they would be most meaningful. Her inner collector then rose to the challenge of perceptively adding statuary and decoration, including the gates, also by Greg Leavitt. Leslie’s affinity for animals is reflected throughout the garden, as evidenced by a stone owl, a crouching stone whippet, a pair of zinc Fiske deer, a zinc Fiske Labrador retriever, and a not-so-daunting lion. During the growing season, these fixtures partition and add to the tapestry in garden spaces, while in winter, they become focal points without competition.

The property’s horticultural wealth is also part of the winter’s tale. Venerable kousa dogwoods, magnolias, larch, chestnuts, a Metasequoia, Yoshino cherry, and other specimens are integrated into the story. Leslie calls what she does “careful layering,” and she’s always reassessing and balancing the scene. “I’m constantly studying it, walking it, thinking, surveying,” she says. And for this winter wonderland, it’s clear that Leslie’s continuous, painstaking efforts pay off year after year.

ABOVE: The gazebo

is tucked beside Rhododendron ‘Delaware Valley White’ and softened by the branches of a weeping cherry.

LEFT: Even in winter, the layers of shrubs enhance the stone steps and railing leading along the side of the property to the rock garden.

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Sources Any items not listed are unknown.

IN BLOOM PAGES 25-28: INTERIORS: Interior design: Lisa Henderson, Lisa Henderson Interiors, lisahendersoninteriors.com. DEN: Sofa Fabric: Marvic Textiles, marvictextiles. co.uk; Large floral print: Etsy, etsy.com; Drapery fabric, wallpaper, and armchair fabric: Quadrille, quadrillefabrics.com; Rug: Stark Carpet, starkcarpet.com; Floral artwork: Christian Brechneff, christianbrechneff.com; Table lamp: Penny Morrison, pennymorrison.com.

LIVING ROOM: Wall color: ‘Pale Powder’

by Farrow & Ball, farrow-ball.com; Club chair fabric: Paradise by Bennison, bennisonfabrics.com; Lamps: Christopher Spitzmiller Inc., christopherspitzmiller. com; Drapery and armchair fabric: Lisa Fine Textiles, lisafinetextiles.com. FOYER: Wall color: ‘Daylily’ by Benjamin Moore, benjaminmoore.com; Lamp shade: Fermoie, fermoie.com; Chair fabric: Rambaugh Reverse by Lisa Fine Textiles, lisafinetextiles. com; Oushak rug: Sullivan Fine Rugs, sullivanfinerugs.com. DINING ROOM: Lampshades: Fermoie, fermoie.com; Wallpaper: Chinois Palais by Schumacher, schumacher.com; Draperies: Schumacher, schumacher.com. PRIMARY BEDROOM: Fabric and wallcovering: Happy Garden

by Quadrille, quadrillefabrics.com; Linens: Matouk, matouk.com; Bench fabric: Chelsea Textiles, chelseatextiles.com; Bedside tables: Bungalow 5, bungalow5.com.

PAGES 34–37: DESIGN: Designer: Suzanne Tucker, suzannetuckerhome.com; Resort: Auberge du Soleil, aubergeresorts.com.

TIME TO FLEUR-ISH PAGES 44–49: Fox and the Fleur, foxandthefleurdesign.com.

MOUNTAIN HIGH STYLE PAGES 50–59: Interior Design: Gary McBournie & Bill Richards, Gary McBournie Inc., gmcbinc.com; Architect: Locati Architects, locatiarchitects.com; Contractor: Schlauch Bottcher Construction Inc., sbconstruction.com.

EXTERIOR: Windows: Montana Sash & Door, mtsashanddoor.com. ENTRY: Penny-encrusted settee by sculptor

Who Did It & Where To Get It

Johnny Swing, johnnyswing.com from R & Company, r-and-company.com; Custom wool and silk ‘Snow Flake’ rug: Stark Carpet, starkcarpet.com; Linen console tables: John Boone, johnbooneinc.com; Antique table lamp: Timothy Langston, timothylangston.com. GREAT ROOM: Drapery and motorized shades: John Tate Workroom, johntateworkroom.com; ‘Madagascar’ area rug: (large sisal rug) Merida Studio, meridastudio.com, and Stark Carpet, starkcarpet.com; Floral area rug: (smaller colorful patterned rug), starkcarpet.com; Grand piano: Steinway & Sons, steinway.com; Unlacquered brass ceiling fixture: Bernd Goeckler Antiques, berndgoeckler.com; Fire screen: Wm. H. Jackson Co., wmhjacksoncompany. com; Antique carved wood stag head: 1stDibs, 1stdibs.com; Wall color: ‘Tallow’

by Benjamin Moore, benjaminmoore.com; Pair of split-back chairs in a Lee Jofa fabric, Kravet Inc., kravet.com; Ottoman: Classic Cloth ‘Bergerac’ in cranberry, Wells Textiles, wellstextiles.com; Late 16th/early 17th century trestle leg walnut table: 1st Dibs, 1stdibs.com. GUEST BEDROOM: Headboard in Lee Jofa fabric, Kravet Inc., kravet.com; Wallcovering: ‘Japanese Silk’ in metallic spice, Phillip Jeffries, phillipjefferies.com; Bed drapery: by John Tate Workroom in Clarence House fabric (outside), clarencehouse.com, and Kravet dupioni silk (inside), kravet.com; Bedding: Pioneer Linens, pioneerlinens.com.

OFFICE: Drapery: by John Tate Workroom in a Cowtan & Tout fabric, cowtan.com; Motorized grass shades: John Tate Workroom, johntateworkroom.com; Copper lantern: BK Antiques, bkantiques.com; Bronze and black metal and glass side table: Balsamo Antiques, balsamoantiques. com; Circular table with splayed legs and reverse painted gold glass top: BK Antiques, bkantiques.com. MUDROOM: ‘Sorenson’ lantern in an oil-rubbed bronze finish: Remains Lighting, remains.com; Wallcovering: ‘Persia’ in a custom slate green colorway, Peter Fasano, peterfasano. com. TERRACE: ‘Nestrest’ hanging lounger swing and ‘Satellite’ side table, Dedon, dedon.de. PRIMARY BEDROOM VESTIBULE: Petrified wood lamp and French walnut two-drawer commode circa 1790-1810: BK Antiques, bkantiques.com.

PRIMARY BEDROOM: ‘Winslett’ rug in sand with a custom border: Stark Carpet, starkcarpet.com; Drapery by John Tate Workroom in Jane Shelton ‘Counterpane’ in blue/green, janeshelton.com; Motorized grass shades: John Tate Workroom, johntateworkroom.com; ‘Oppede’ bed: Rose Tarlow, rosetarlow.com; Bed drapery

by John Tate Workroom in Lee Jofa ‘Hollyhock’ in multi-colorway (outside) and blue Clarence House fabric (interior), clarencehouse.com, and Kravet Inc., kravet.com; Chandelier with rock and lead crystals: ‘Vecchio’ by Dennis & Leen, dennisandleen.com; Hammered gold gilt metal foot stool: 1950s Italian Luigi Colli from Balsamo Antiques, balsamoantiques. com; Syrie Maugham-style sofa: upholstered in ‘Impeccable’ in ‘watery’ colorway, Kravet Inc., kravet.com; Pair of rolled arm chairs in Lee Jofa ‘Hollyhock’ in ‘multi’, Kravet Inc., kravet.com.

HOUSE OF BLUES PAGES 60–69: Interior design: Kim Coleman, kimcoleman.com; Architecture: Caroline Forrest, MHK Architecture, mhkarchitecture.com; Landscape architecture: Mario Nievera, Nievera Williams, nieverawilliams.com. FRONT EXTERIOR ENTRY: Benches: McKinnon and Harris, mckinnonharris.com. ENTRY HALL: Wallpaper: MJ Atelier, mjatelier. com; Sconces: Apsara Lighting, apsarainteriordesign.com. Console: Creative Metal and Wood Inc., creativemetalwood. com; Mirror: Made Goods, madegoods. com. LIVING ROOM: Banquette fabric: Pierre Frey, pierrefrey.com; Drapery fabric: Holly Hunt, hollyhunt.com; Rug: Tai Ping, taipingcarpets.com. BREAKFAST ROOM: Table: Home Nature, homenature. com; Chairs: Serena & Lily, sernaandlily. com. BEDROOM: Wall finish: Bella Terra Design, @bellaterradesign; Bed: custom; Drapery fabric: Galbraith & Paul, galbraithandpaul.com; Night stands: Made Goods, madegoods.com; Bench: Boda Acrylic, bodaacrylic.com. LOGGIA: Outdoor furniture: JANUS et Cie, janusetcie.com.

POOL: Outdoor furniture: JANUS et Cie, janusetcie.com. TERRACE: Swinging chairs: Walters Wicker, walterswicker.com.

VOLUME 18, 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.

IN

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1 Oriente Italiano dessert plate ($400 for set of 2) in “Aurum” by Ginori 1735, ginori1735.com 2 Riviera Dream White dinner plate ($222) by Royal Crown Derby, royalcrownderby.co.uk 3 Lexington Taupe buffet plate ($165) by Robert Haviland & C. Parlon, mottahedeh.com 4 Stardust Acrylic placemat ($224 for set of 4) by Kim Seybert, kimseybert.com 5 Molten Gold 5-piece place setting ($105) by Michael Aram, michaelaram.com 6 Optic red wine glass ($98) by Moser, moser.com 7 Canton Fish Scale cup ($275) and Canton Fish Scale saucer ($135) by Herend, herendusa.com 8 Fanny goblet ($165) in Amber by William Yeoward Crystal, williamyeowardcrystal.com 9 Michaelangelo bread rim plate (inquire for pricing) by Coralla Maiura, corallamaiuri.com 10 Julian Mejia Design custom monogrammed napkins (inquire for pricing), julianmejiadesign.com 11 Round Pebble placemat: stylist’s own 12 Nobilis fabric: stylist’s own

All glassware, plates, and utensils sourced through Table Matters, table-matters.com.

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