March April 2024

FLOWER MARCH •APRIL 2024

HOUSE l GARDEN l LIFESTYLE

OUR

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MARCH •APRIL 2024

Contents

The Big Reveal

Our FLOWER Showhouse

PHOTO BY PAUL COSTELLO

We open the doors of this Georgian-style home in Baton Rouge to unveil the beauty created by an accomplished team of interior designers and floral talents.

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ON THE COVER: In the showhouse primary bath, Baton Rouge designer Arianne Bellizaire creates an enchanted garden with a wallpaper canopy of flowering vines and an artistic mosaic panel that becomes a view of its own. Photographed by Paul Costello THIS PAGE: The showhouse living room was designed by Ashley Gilbreath.

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Contents DEPARTMENTS

SCENE

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We’ve got our eyes on...

Thibaut’s Indienne Collection; a new collaboration between Theodore Alexander and Alexa Hampton; Little English marks a milestone; Charleston celebrates its history and culture

IN BLOOM

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Garden: Vizcaya

On Biscayne Bay in Miami sits Vizcaya, an early-1900s Italianate villa surrounded by wonder-filled gardens, all steeped in history and timeless beauty.

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Market: Loving Louisiana

The home state of our FLOWER Showhouse offers an abundance of treasures from beloved local vendors.

Flowers: 1818 Farms

In a tiny Alabama town, an inspired amateur farmer launched a small business that bloomed beyond her wildest dreams.

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Women in the Garden

Best known as the author of Out of Africa, Karen Blixen also had an artist’s eye that she indulged through floral arrangements.

IN E V ERY ISSU E Watering Can What’s Online?

Sources Garden Moment

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12 16 110 120

PHOTOS (TOP TO BOTTOM) BY ROBIN HILL FOR VIZCAYA MUSEUM & GARDENS; COURTESY OF 1818 FARMS

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PHOTOS (TOP TO BOTTOM) BY ROBIN HILL FOR VIZCAYA MUSEUM & GARDENS; COURTESY OF 1818 FARMS

Sophisticated wallcovering, fabric, furniture, and trim.

thibautdesign.com

Wild Wisteria Mural. Eaton Ottomans in Stony Brook.

Watering can

A Note from the Editor

“What makes it FLOWER?” —KAREN CARROLL, EDITORIAL DIRECTOR, FLOWER

of rising interior design stars and more established players, was paired with talented local and regional floral designers to brilliant effect. With décor that ranges from wildly colored tropical wallpaper to a cool greige bedroom and everything in between, along with the perfect floral accents, the showhouse is unquestionably FLOWER.

Showhouse Honorary Chair Barry Dixon

Enjoy your tour!

Margot Shaw EDITOR-IN-CHIEF

Showhouse Design Chair Mary McDonald

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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PORTRAIT BY BECKY LUIGART-STAYNER: TOP PHOTO COURTESY OF BARRY DIXON: BOTTOM PHOTO COURTESY OF MARY MCDONALD

THIS IS A CRITERION considered with every story pitch received, every image selected, every idea entertained.

It’s FLOWER if it’s warm, inspiring, engaging, compelling, educational, possessing a botanical presence of some kind, generally awash in color, and of course, beautiful.

Researching and selecting designers— interior and floral—to be part of the ensemble that would make up the symphony of our Baton Rouge Showhouse was another instance where the certain “FLOWER je ne sais quoi” played a starring role. Having Barry Dixon and Mary McDonald, flower and FLOWER lovers both, as Honorary Chair and Design Chair respectively, proved a master stroke, I must say. Their unerring instincts and sage advice were invaluable, and the process became a fascinating and creative collaboration—yielding what I consider a sweeping success.

The house, with its Georgian silhouette, beautifully proportioned spaces, and intimate outdoor moments, was already an embodiment of the aesthetic ideals we hold dear. And the cast of designers, a mix

March•April 2024

Flower_

PORTRAIT BY BECKY LUIGART-STAYNER: TOP PHOTO COURTESY OF BARRY DIXON: BOTTOM PHOTO COURTESY OF MARY MCDONALD

The Other Elizabeth • 17 East Main Street, Boyce, VA Elizabeth Locke Jewels • 968 Madison Avenue, New York City 212-744-7878 Store Locations: 540-837-3088 or www.elizabethlockejewels.com/where-to-buy

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VOLUME 18, ISSUE 2

MARGOT SHAW FOUNDER/EDITOR-IN-CHIEF

Karen Carroll EDITORIAL DIRECTOR Julie Gillis MANAGING EDITOR Nicole Gerrity Haas ART DIRECTOR Amanda Smith Fowler STYLE DIRECTOR Casey Epps EXECUTIVE ASSISTANT DIGITAL

Jason Burnett DIGITAL GENERAL MANAGER Carrie Clay ASSOCIATE 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

Jennel O’Brien PUBLISHER

Suzanne Cooper NATIONAL DIRECTOR, HOME FURNISHINGS Julie Durkee NATIONAL DIRECTOR, LUXURY Wendy Ellis REGIONAL ACCOUNT MANAGER Sara D. Taylor REGIONAL ACCOUNT MANAGER Marlee Ledbetter MARKETING COORDINATOR For sales inquiries: sales@flowermag.com BUSINESS OFFICE

Mercy Lloyd CHIEF OPERATING OFFICER Nicole Bowman CIRCULATION MANAGER 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

Ready for Our Close-up!

The FLOWER team loved spending time at our showhouse in Baton Rouge. We shot tons of video of the home while interviewing the talented designers behind every space.

Now we are sharing this extraordinary house with the rest of the world.

Look for our video introduction to the showhouse with highlights from Editor-in-Chief Margot Shaw, Showhouse Honorary Chair Barry Dixon, and Showhouse Design Chair Mary McDonald. Learn more about the home from Ivy Residential Concepts, the design/build team. Then be sure to watch our room-by-room tour for an in-depth look at each space narrated by its interior designer. It’s all happening on the FLOWER YouTube channel and at flowermag.com/showhouse.

FOR THE ‘GRAM

Be sure to follow @flowermagazine on Instagram, where we’re getting to know even more about what makes the showhouse designers tick. We ask them a series of rapid-fire questions—from who’s their design icon to what flower captures their personalities—and the group doesn’t hesitate to reel off answers. Get the scoop from Arianne Bellizaire, Rachel Cannon, Kara Cox, Heather Dewberry, Barry Dixon, James Farmer, Amanda Smith Fowler, Ashley Gilbreath, Chad Graci, Will Huff, Benjamin Johnston, Mary McDonald, Megan Molten, Lisa Palmer, Ware Porter, Laura Roland, and Veronica Solomon. #flowershowhouse

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PHOTOS (TOP AND BOTTOM LEFT) BY PAUL COSTELLO; (BOTTOM RIGHT) COURTESY OF BUSINESS OF HOME

A Garden of Showhouse Flowers

The pages of this issue are filled with gorgeous flowers from the floral design teams who created arrangements for the showhouse, but there’s even more online. We’ve captured all of the beauty from Louisiana floral designers Dunn and Sonnier, Hummingbird Floral Studio, Kim Starr Wise Floral Events, Michelle West Design Studio, and Pick-a-Petal Floral Design. See more at flowermag.com/showhouseflorals

PHOTOS (TOP AND BOTTOM LEFT) BY PAUL COSTELLO; (BOTTOM RIGHT) COURTESY OF BUSINESS OF HOME

PHOTO COURTESY OF THIBAUT

What We’ve Got Our Eyes On

FLORAL DESIGN, HISTORIC EVENTS,

A 20TH ANNIVERSARY CELEBRATION

By Carrie Clay

Scene

PHOTO COURTESY OF THIBAUT

The Indienne Collection from Thibaut includes the “Ribbon Floral” pattern (seen in these window treatments) and the “Charter Stripe Embroidery” pattern (shown covering Thibaut’s Darien Dining Chairs).

AT HOME WITH HISTORY

Inspired by the past, Thibaut’s new collection is sure to satisfy the floral maximalist.

Step back in time with Thibaut’s new Indienne Collection.

Thibaut draws inspiration from hand-printed textiles imported to France from India in the 17th century.

These fabrics dominated interiors throughout Europe

and the Americas because of their colorful, maximalist design and exotic origin. This new collection includes wallpapers, wovens, and fabrics replete with botanicinspired paisleys, Jacobean florals, and statement medallion f l o w e r m a g .c o m

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CHEERS TO 20 YEARS!

Two decades ago, Shannon Latham noticed a gap in the market for high-end traditional children’s clothing that could be treasured and passed down. Her own grandmother’s hand-sewn garments inspired the first piece she designed, a classic children’s day gown. Twenty years later, Shannon celebrates a milestone achievement and credits the work and faithfulness of her team at Little English for her success. “What a gift it is to watch those who once wore Little English as children now buying the brand for their sons and daughters,” she says.

To properly honor this anniversary, Little English has launched a new product category with its heirloom nursery and bedding.

Complete with three color schemes—blush, meadow, and sky—the collection embraces traditional nursery styles with delicate botanical embroidery on the edge of each piece. Along with this product launch, Little English also features a new spring floral-inspired clothing collection. Shannon likens the design of each piece to growing a garden as each flower and color combination is meticulously picked to create the beauty—and the adorableness—of the final product.

PHOTOS (LEFT COLUMN) COURTESY OF THIBAUT; (RIGHT COLUMN; TOP TO BOTTOM) BY ANDREW KUNG PHOTOGRAPHY, BY ERICA LEE PHOTOGRAPHY

prints. A vegetable-dyed palette of teal, raspberry, and indigo brings the patterns to life, perfect for anyone looking to add high-contrast spring colors to their home decor.

Though a definite nod to the past, the Indienne Collection has been updated to appeal to contemporary tastes. Patterns and palettes complement one another, making a mix-and-matched layered look a viable option. The result is a floral wonderland that remains classic and refined. With its timeless feel, the collection helps create a fresh space rooted in history and inspired by nature.

March•April 2024

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PHOTOS (LEFT COLUMN) COURTESY OF THIBAUT; (RIGHT COLUMN; TOP TO BOTTOM) BY ANDREW KUNG PHOTOGRAPHY, BY ERICA LEE PHOTOGRAPHY

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Scene WHAT WE’VE GOT OUR EYES ON ...

REFINED MEETS VERSATILE

CELEBRATE THE CITY

Formerly known as the Festival of Houses and Gardens, the newly reimagined Charleston Festival honors the city’s houses, history, and culture during its 77th celebration. This year, the Historic Charleston Foundation celebrates the theme of historic preservation with a concert series, lectures, hands-on workshops, and a solo exhibition titled Windows Into Another World by London-based artist Jill Hooper at the Aiken-Rhett House Museum. FLOWER Founder and Editor-in-Chief Margot Shaw will lead a thoughtful conversation on bringing the patinated voice and style of historic Charleston into today’s entertaining and decorating trends with panel participants Tara Guérard of Soiree, Heather Barrie of Gathering Events, and preservation designer Olivia Brock.

In an effort to further highlight the city’s design history, the Historic Charleston Foundation ushers in a new tradition this year with Charleston by Design, a special four-day event packed

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with lectures, house tours, and designer vignettes focused on the Lowcountry’s exceptional interior design, landscape, and decorative arts history. The Charleston Festival takes place March 14-April 14, 2024. Tickets can be purchased at thecharlestonfestivalsc.org or by phone at 843.722.3405.

PHOTOS (TOP TO BOTTOM) COURTESY OF THEODORE ALEXANDER; BY KIM GRAHAM COURTESY OF THE CHARLESTON FESTIVAL

What happens when a celebrated designer known for her classic tastes teams up with a time-honored furniture brand defined by its refined style? Pure magic! Alexa Hampton and Theodore Alexander have created a sophisticated capsule collection featuring curved shapes that lean into Alexa’s more formal sense of style. The newest additions include rich wooden dressers and tables, as well as upholstered dining chairs, cases, and benches, all available in a variety of colors, patterns, and floral motifs. Theodore Alexander offers custom finishes, making the collection truly versatile. Designers can mix and match the selection of earthy-hued patterns with the wood finish of their choice to create a truly one-of-a-kind piece.

PHOTOS (TOP TO BOTTOM) COURTESY OF THEODORE ALEXANDER; BY KIM GRAHAM COURTESY OF THE CHARLESTON FESTIVAL

Garden • Market • Flowers • Women in the Garden

in Bloom

The long view north from the Mound to the main house features a basin and island lined with ornaments of obelisks, scrolls, and urns framed by an allée of clipped live oaks.

Gilded Age Gem ON BISCAYNE BAY IN MIAMI SITS VIZCAYA, AN EARLY-1900S ITALIANATE VILLA SURROUNDED BY WONDERFILLED GARDENS, ALL STEEPED IN HISTORY AND TIMELESS BEAUTY.

By Alice Welsh Doyle Photography courtesy of Vizcaya Museum & Gardens

C

elebrated American artist John Singer Sargent wrote the following to a friend while he was visiting Vizcaya and painting a series of watercolors there in 1917: “The great big villa that James Deering has built down here is a mine of sketching. It is like a giant Venetian Villa on the Brenta with columns & loggias & porticos and ships down to the water, and dark gardens with statues just

like Frascati. I can’t tear myself away.” Not only does Sargent sum up the enchantment of Vizcaya in only a few sentences, he also imparts the sentiment that the estate is easy to fall in love with because of its beauty. Even the name Vizcaya describes itself well, originating from a Basque word that translates as “an elevated place.” Its name also reflects that of a province in Northern Spain situated on the Bay of f l o w e r m a g .c o m

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in Bloom GARDEN

Biscay, which in Spanish translates to the Gulf of Vizcaya.

A product of the wealth of the Gilded Age—a time period that also produced grand country homes such as the Biltmore, San Simeon, and the great estates of Newport, Rhode Island—Vizcaya was the vision of James Deering, who along with his father and brother created the Illinois-based Deering Harvester Company that later became International Harvester after a merger with a rival firm. Deering had a specific vision for his winter residence, and like many successful businessmen, he was used to being in charge. He was leery of hiring a famous architect who might have more of an opinion, so he took a chance on some relative neophytes: Paul Chalfin, an artist and protégé of Elsie de Wolfe (she had designed the interiors for Deering’s Chicago apartment); New York architect Francis Burrall Hoffman (recommended to Chalfin by Ethel Barrymore); and garden designer and architect Diego Suarez, who had studied at the Accademia di Belle Arti in Florence.

Deering was extremely hands-on throughout the project and engaged in every detail with the creative team. He and Chalfin travelled extensively throughout Italy to study the villas and their gardens, gathering inspiration along the way and making purchases for the proposed estate. Deering decided that the villa should be sited right on the water so as to preserve the existing ridge with its dense hardwood forest, which would have been a more practical and less expensive location. His unique

TOP: Triumphal arches frame the arrival court and feature mythical trophies and seahorses, motifs Deering selected for Vizcaya to mimic those at the Palazzo Bevilacqua in Verona, Italy. ABOVE: The outbuilding, an open loggia called the Casino on the Mound, was built as a focal point on the main axis from the house. It served as a tea house and shelter complete with a fireplace.

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March•April 2024

LEFT: With its

manicured lawn and hedges, the orchidarium includes many varieties of orchids, some native to Florida. BELOW: The cross axis of the garden is defined by the balanced placement of semicircular pools and vine-covered dome gazebos.

CONTINUING THE LEGACY While the entire horticultural team is dedicated to preserving the gardens as they were originally realized through the lens of the vast design archives, Vizcaya is not stuck in time. “Some parts, like the rose garden, are sacrosanct. But in other parts, we have no clear design precedent,” says Ian Simpkins, Senior Director of Horticulture and Sustainability. “If the plants that were originally designed for those areas do not contribute to the visitor’s experience, we introduce rare or unusual plants, as long as they are appropriate for the space. For example, the northern parterre was destroyed in Hurricane Irma, so we took the opportunity to go back to the original design while also experimenting with different plants that could be more sustainably grown.”

According to Simpkins, the gardens will be completely restored starting in two years with the help of a firm that specializes in historic landscapes. All the original water features will be operable again, making the trills of running water present at every turn.

“We plan to faithfully interpret the original design intention while looking at what we can effectively improve,” says Simpkins.

“We will be updating the gardens for their 21st-century use as a public space. Vizcaya was not originally designed for 350,000 visitors a year, so there will be some modernization introduced. However, the magic of Vizcaya will always be its heart and soul.”

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in Bloom GARDEN

Paths that lead to surprises at every turn are part of Vizcaya’s allure. The sense of discovery is transportive.

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“Part of what makes Vizcaya’s gardens so magical is the tension—this tightly restrained garden in the midst of this wild forest that surrounds it.”

—IAN SIMPKINS, SENIOR DIRECTOR OF HORTICULTURE AND SUSTAINABILITY AT VIZCAYA

direction is what ultimately distinguished Vizcaya from the crowd of storied country estates of the well-heeled. The mansions of Newport and Long Island looked out over vast stretches of lawn to the sea. However, Vizcaya’s waterside placement made the bay a part of the conversation at all times and necessitated that the gardens be located on the side of the villa, giving them a distinctive presentation in the landscape.

Suarez initially designed the grounds and gardens of Vizcaya without visiting the property, which proved to be an exercise in futility, as Ian Simpkins, Senior Director of Horticulture and Sustainability, explains. “When Suarez got to the site, he discovered a blazing sun, flat topography, and salt marshes. His original design would have reflected harsh light right into the main house.” So he redesigned the gardens, this time using European principles that involve controlling the view as well as where the eye will rest. “The constraints built into formal European garden design are meant to represent humanity’s role in reflecting nature as a lens in which you see nature perfected,” says Simpkins. “Part of what makes Vizcaya’s gardens so magical is the tension—this tightly restrained garden space in the midst of this wild forest that surrounds it.”

Suarez also came up with some unique solutions to accommodate the South Florida environment. First, he created statuary-lined walks on either side of the main garden, which served both to focus the view and block the wind coming off the bay. He also took care of the flatness of the site by creating a mound in the back of the garden.

“The Garden Mound served to stop your eye at the end of the garden and prevent it from going beyond,” says Simpkins.

“The Casino (an indoor/outdoor pavilion) built on top also anchored your eye.” However, the Garden Mound created another problem for Suarez. In front was a large expanse of flat land that needed addressing. His solution was a high French Renaissance “goose foot” parterre design, a rather unusual choice to put into an Italianate baroque-style garden but extremely successful with its connecting axes within a symmetrical outline.

Vizcaya was created with the intention of transporting the visitor to another place and time, and every inch does just that, beginning with the tranquil green entrance drive through a now-endangered South Florida hardwood hammock forest that leaves the noise of Miami far behind. “It was brilliantly executed to immerse you and to create an experience that you not only observe but actually become a part of,” says Simpkins.

“I believe that is the reason, above everything else, why people love the gardens of Vizcaya so much. When they come here, they forget about what they were doing or what they were worried about. They become part of its theater.”

in Bloom MARKET

Loving Louisiana THE HOME STATE OF

OUR SHOWHOUSE OFFERS AN

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ABUNDANCE OF TREASURES FROM BELOVED LOCAL VENDORS. Produced and styled by Missie Neville Crawford and Sutton Ward Photography by David Hillegas 1 Mardi Gras Flag Embroidery Canvas ($48) by Needle Arts NOLA; needlenola.com 2 Bevolo headquarters in New Orleans; bevolo.com 3 Vintage Sindh Abochani Wedding Shawl ($3,750) by B. Viz Design; bvizdesign.com 4 Summer Rain artwork ($2,400) by Kathy Hughes through Cole Pratt Gallery, coleprattgallery.com 5 Boxed Set of French Belle Epoque plated silver flatware ($625) in “filet” by Christofle through Lucullus Antiques; lucullusantiques. com 6 Antique Ottoman Empire Raised Gold Metallic Embroidery Pillow ($875) by B. Viz Design; bvizdesign.com 7 Magnolia flower (inquire for pricing) from Weston Farms; westonfarms.com 8 Gien Toscana Dessert Plate ($48) through Adler’s; adlersjewelry.com 9 Gien Toscana Dinner Plate ($58) through Adler’s; adlersjewelry. com 10 Sybil Cuff Placemats (inquire for pricing) in “Dusty Pink” linen by Leontine Linens; leontinelinens.com 11 Chocolate Lemon Doberge Cake ($52.50) by Joe Gambino’s Bakery; gambinos.com 12 Cake Server ($175) in “Lismore” by Waterford through Adler’s; adlersjewelry.com 13 Anais Dinner Napkins (inquire for pricing) with monogram in “Scalloped Coral” thread

by Leontine Linens; leontinelinens.com 14 Letterpressed, Personalized Cards With Gilded Beveled Edge and Floral Envelope Liner (inquire for pricing) by Scriptura; scriptura.com/stationery 15 Banana Leaf Wrap Ring ($125) in “Sterling Silver” by Mignon Faget; mignonfaget.com 16 Banana Leaf Wrap Cuff ($225) in “Bronze” by Mignon Faget; mignonfaget.com 17 Hand Stitched Suzani ($2,600) by B. Viz Design; bvizdesign.com 18 Antique Ottoman Empire Raised Gold Metallic Embroidery Pillow ($2,900) by B. Viz Design; bvizdesign.com 19 Newcomb Pottery (prices vary), produced from 1895-1940 at Newcomb College (now Tulane); merchants vary 20 Jasmine Freshwater Pearl Station Necklace ($388) in “Bronze” by Mignon Faget; mignonfaget.com

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in Bloom FLOWERS

Flourishing on the Farm IN A TINY ALABAMA TOWN, AN INSPIRED AMATEUR FARMER LAUNCHED A SMALL BUSINESS THAT BLOOMED BEYOND HER WILDEST DREAMS.

By Lydia Somerville Photography Courtesy of 1818 Farms

J

ust off Interstate 565 sits a small town of only 58 residents. Sometimes called the Williamsburg of Alabama due to its Federalstyle architecture, the community of Mooresville predates the founding of the state by one year. For resident Natasha McCrary, this idyllic village presented an opportunity to launch a small business on a plot of land just around the corner from her house. “I started the farm to teach my children respect for the land, as well as to show them how a small business works,” she says.

Named for the year the town was established, 1818 Farms began with a handful of sheep and chickens but has

TOP: Natasha McCrary stands among her ranunculus blossoms in the flower field. She starts the plants covered in the winter, then allows them to sunbathe when the threat of frost has passed. ABOVE: A vintage Ford pickup carries flowers that Natasha delivers to her flower subscription customers.

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FLOWER

CHARLESTON BY DESIGN M A RC H 1 4 - M A RC H 1 7, 2 0 24 A celebration of preservation and style with the design world’s brightest minds.

AMY ASTLEY

THOMAS JAYNE

VEERE GRENNEY

BEN & KATE TOWILL

WILLIAM CULLUM

PRESENTING SPONSOR:

NATIONAL MEDIA SPONSOR:

Join us in Charleston, SC March 14 through March 17.

As the four-day Opening Weekend of The Charleston Festival, the innagural Charleston by Design will feature site-specific Designer Vignettes, the Design in Mind Lecture Series and the highly anticipated Opening Night Party.

GIL SCHAFER + RITA KONIG

Tickets on sale now!

A Historic Charleston Foundation Fundraiser March 14 through April 14, 2024 TheCharlestonFestivalSC.org

in Bloom FLOWERS

ABOVE AND RIGHT: Natasha emphasizes sustainability on the farm, ensuring that no blooms go to waste. Here, she works with zinnias, preparing them for use in her floral prints. The flowers are a favorite because of their saturated colors.

since expanded to include a host of other animals; an assortment of farmrelated, educational events; a line of handmade, hand-packaged bath and beauty products; and a strong focus on growing seasonal flowers—about 15,000 of them each year. There’s even a flower subscription service that includes delivery by Natasha herself in a restored 1965 Ford F100.

Natasha and her family, including husband Laurence who is a sixthgeneration Mooresville resident, enjoy

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growing a variety of blooms, including tulips, dahlias, Pacific Giant delphiniums, Madam Butterfly snapdragons, campanula, strawflowers, French carnations, and Sweet William. “When I began planning the farm, it was important to me to make it sustainable,” Natasha says.

“Seed collection, especially of heirloom flowers, is one way we do that. We also do a lot of propagating to maximize the number of flowers we produce. We strive for zero waste, so we forecast how many blooms we will need each season.”

In a farm building near the flower fields is a drying room, complete with a dehumidifier, where Natasha works with blooms grown specifically for the purpose of being dried. “The flowers in this room have to be kept in a really dry environment,” she says. “You can’t enjoy them in a vase first and then dry them properly.

They have to go straight from the field to the drying room.” The dried flowers include weld, dyer’s chamomile, coreopsis, cosmos, madder root, scabiosa, and bachelor’s buttons. Natasha also stews

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in Bloom FLOWERS

Natasha conceived the idea of “Where I Bloom” floral collages in the shape of each of the 50 states.

The collages are photographed and then printed in a high-resolution giclée process that renders the flowers in minute detail. BELOW: Natasha uses natural dyes from dried flowers to create her eco-print scarves in cotton and silk.

some of them into natural dyes that she uses in the textile arm of her business.

The botanicals give softly saturated hues to the cotton and silk scarves that the farm sells. In another application, Natasha’s team presses leaves gathered from the farm onto silk to create oneof-a-kind wearable art. Designs come from trees and plants such as dogwood, redbud, black walnut, pecan, maple, ginkgo, ferns, and eucalyptus.

One of Natasha’s favorite things to do is welcome visitors to the farm. “We love showing them around and helping them understand the scope of our work,” she says. Along the way, guests are introduced to the dozen or so Southdown Babydoll sheep that call 1818 Farms home. As beneficiaries of the farm’s success, they are a potent and adorable advertisement for Natasha’s business plan. Hens also peck around in the barnyard, and a Great Pyrenees keeps a watchful eye over it all.

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“I started the farm to teach my children respect for the land, as well as to show them how a small business works.”

—NATASHA MCCRARY

The most recent addition to the business is a cottage that Natasha acquired. It overlooks the flowers and sheep and serves as a shop, photography studio, and clubhouse for the farm’s community. Here, Natasha purveys the scarves, pressed flowers, and the farm’s line of bath and beauty products that earned her an award from Amazon for Women-Owned Small Business of the Year in 2019. She also has embarked on a new art form—a collection of giclée prints of her pressed flower compositions. Giclée printing uses archival inks and paper to reproduce photographs in large formats with an incredibly sharp resolution. In painstaking detail, Natasha created a floral map of each of the 50 states, including tiny archipelagos and peninsulas made of botanical materials. The maps were then photographed and printed. Called “Where I Bloom,” the almost three-dimensional prints appeal to buyers’ geographic roots and their nostalgia for the places they call home.

Archival inks ensure the prints will last a lifetime. Having mastered this innovative art—along with the cultivation of farm animals, a flower farm, and a thriving bath and body brand—it’s clear that Natasha is, indeed, a woman in bloom.

From May through October, 1818 Farms sells “Grower’s Choice” flowers by the bucket.

TOURS STATEWIDE

April 20-27, 2024 Proceeds fund the restoration of Virginia’s historic public gardens and a research fellowship program.

Hydrangea macrophylla ‘Nikko Blue’

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in Bloom WOMEN IN THE GARDEN

More Than Words BEST KNOWN AS THE AUTHOR OF OUT OF AFRICA, KAREN BLIXEN ALSO HAD AN ARTIST’S EYE THAT SHE INDULGED THROUGH FLORAL ARRANGEMENTS.

By Charlotte Moss

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TOP TO BOTTOM:

Portrait of the Danish author in the 1950’s reading in one of the wood-paneled rooms at Rungstedlund. • Whether creating single-flower or composed arrangements, Blixen preferred a style that was loose and natural, just like the herbaceous borders from which they were plucked.

PHOTOS (TOP TO BOTTOM) BY HULTON ARCHIVE VIA GETTY IMAGES; KAREN BLIXEN, KAREN BLIXEN’S FLOWERS NATURE AND ART AT RUNGSTEDLUND. CHRISTIAN EILERS PUBLISHERS, 1992.

W

hen one thinks of Karen Blixen, whose book Out of Africa memorialized her years as an expatriate in British East Africa, flowers do not immediately come to mind. And yet flowers, and the art of arranging them, were essential to her identity.

While Blixen’s African residency lasted 17 years, the rest of her life, both before and after her time in Africa, was spent at Rungstedlund, her family’s manor house north of Copenhagen—and it was there that her devotion to flowers bloomed.

Blixen returned to Denmark in 1931 following the financial collapse of her coffee farm and a plane crash that killed her lover, Denys Finch Hatton. Upon her retreat to Rungstedlund, she spent her days arranging flowers from her garden and writing on her portable Corona No. 3 typewriter. For three decades, she pursued both interests with intensity. While some of her early short stories, poems, and other unpublished works reside in the Royal Danish Library, it was her first two books, Seven Gothic Tales and Out of Africa, that launched her writing career under the nom de plume Isak Dinesen.

Blixen always had a creative mindset, originally wanting to be a painter. However, once she was back at home in Denmark, she began to channel her artistry into her flowers. Regarding her love for arranging, she once said, “Every time it is as if you were painting a flower picture.” When she was searching for the exact hue that might be lacking in an arrangement, she was known to hop on her bicycle to scour roadsides or turn up unannounced at the gardens of friends to see if she might find the precise shade needed.

The range of Blixen’s floral artistry was great, from creations consisting of just one type of flower to mad celebrations of color, scale, and texture. And much like well-known British florist Constance Spry, Blixen often employed cabbage leaves, leek foliage, and contributions from the side of the road in her arrangements. But her work was not imitative; it possessed a pathos that seemed to signal how tragically brief moments of true beauty are, perhaps born of her own difficulties. Among the most magnificent of Blixen’s floral works, which have been preserved for us through photographs, are richly nuanced monochrome arrangements. One such creation includes pristine white tulips, denuded of leaves, that seem to pirouette like slender-legged

PHOTOS (TOP TO BOTTOM) BY HULTON ARCHIVE VIA GETTY IMAGES; KAREN BLIXEN, KAREN BLIXEN’S FLOWERS NATURE AND ART AT RUNGSTEDLUND. CHRISTIAN EILERS PUBLISHERS, 1992.

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in Bloom

ABOVE, LEFT TO RIGHT: This haphazard arrangement of tulips makes it clear that Blixen was not a self-conscious flower arranger. •

Blixen once said, “I had time after time watched the progression across the plain of the Giraffe, in their queer, inimitable, vegetative gracefulness, as if it were not a herd of animals but a family of rare, long-stemmed, speckled gigantic flowers slowly advancing.”

BELOW: A classic Danish farmhouse, Rungstedlund is now a museum. The rooms on the lower floors are furnished as they were on the day Blixen died. The upper floor is a gallery/exhibition space.

ballerinas. Set in a delicate opaline vase and placed in front of a pale blue wall, the arrangement calls to mind the restrained boldness of a Balenciaga silhouette. There also is a glorious masterpiece of all-white flowers—roses, Astrantia, ground elder, hostas, and marguerites—but with subtle variations of the hues (whites with hints of pink or lilac or yellow) that create a painterly effect.

Blixen suffered physical ailments for most of her life, which limited her mobility and social life.

Because of that, entertaining at home was vital to her.

When expecting guests, she would often go into the garden very early in the morning in her nightdress and a pair of Wellies to pick armloads of flowers.

After dropping them into buckets of water, she would head back to bed for a while. Then, to enchant her visitors, Blixen would festoon every room in the house with extravagant displays. At times, she would devote two or more days to her floral presentations.

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PHOTOS (TOP LEFT) KAREN BLIXEN, KAREN BLIXEN’S FLOWERS NATURE AND ART AT RUNGSTEDLUND. CHRISTIAN EILERS PUBLISHERS, 1992.; (BOTTOM RIGHT) OLE JENSEN VIA GETTY IMAGES

WOMEN IN THE GARDEN

PHOTOS (TOP LEFT) KAREN BLIXEN, KAREN BLIXEN’S FLOWERS NATURE AND ART AT RUNGSTEDLUND. CHRISTIAN EILERS PUBLISHERS, 1992.; (BOTTOM RIGHT) OLE JENSEN VIA GETTY IMAGES

“I think that flowers themselves are one of the miracles of life, and that it is wonderful in every way to occupy oneself with them, but you will know that I have a special passion for arranging them.

Every time it is as if you were painting a flower picture.”

– KAREN BLIXEN

This crafting of flowers into arrangements of great magnificence and originality was in keeping with Blixen’s crafting of her own persona as grand and eccentric—she was known to eat only oysters and grapes and drink only Champagne.

Flowers were a way for her, as a person known to be rather difficult, to connect with people. Her arrangements were offerings of beauty and generosity to those who came to see her. So in touch was Blixen with her natural surroundings that her home while she lived in Africa, located in the Ngong Hills, was called Mbogani, meaning “house in the woods.” Rungstedlund includes plenty of woods as well, and it is there where Blixen is appropriately buried under the protection of an old beech tree.

With a lifelong love of gardening, designer Charlotte Moss has long been intrigued with what draws people—especially women—into the world of horticulture. She has a forthcoming book with Rizzoli on the subject of gardening women, set to release spring 2025.

C L A S S I C

never goes out of style littleenglish.com

BIG Reveal The

Our FLOWER Showhouse

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Each interior designer in this talented ensemble plays their part to perfection, melding classic and current to create rooms with just the right amount of decorative drama scripted into the mix. We raise the curtains and pull off the covers to take a detailed look at the FLOWER Showhouse.

Text by KAREN CARROLL Styling by AMANDA SMITH FOWLER Photography by PAUL COSTELLO

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PHOTO BY DAVID HILLEGAS

T

he refined Georgian-style house, tucked within a Baton Rouge neighborhood built on the grounds of a historic property dotted with centuries-old live oaks, was conceived and executed by Ivy Residential Concepts, a real estate development and design-build firm owned by Jewel and Vincent Centanni. “This project had multiple layers because not only were we designing and building a showhouse, but we also planned from the beginning for it to become our personal home,” says Vincent.

The couple, who enlisted residential designer Andy McDonald for the architectural drawings, gravitate toward a European aesthetic, which made a Georgian house a natural fit. Inside, they balanced classic references with streamlined details that lean a little more contemporary, opting to omit baseboards and pare back moldings except in a few statementmaking areas such as the pediments in the living room that echo the facade. “We love traditional style and materials, but we also needed the house to be fun and youthful,” says Jewel. “While we made some specific choices with the color palette for surfaces and finishes, we wanted to give designers freedom to carry out their visions.”

Mary McDonald, showhouse design chair, and Barry Dixon, honorary chair, both agree the end result seamlessly marries old and new and reflects a successful collaboration. “The architecture, symmetry, and classic layout allowed the designers to put their own stamps on each room, which is the great thing about a showhouse— to see different perspectives and leave with ideas that may not be in your usual vernacular,” says Mary. Barry adds, “Modern details speak with the old-world elements and antiques, and the geometry of the house plays well with floral patterns. There’s also a beautiful dialogue between the interiors and the garden and outdoor areas that we see through the windows.”

On the pages that follow, we invite you to explore each space, learn from the creative minds who directed them, and note the resources used to bring the entire production together. The FLOWER Showhouse designers have hit their marks and are ready for their close-ups.

PHOTO BY DAVID HILLEGAS

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Ware Porter Entry

“I think of an entry as an amuse-bouche leading to a big reveal that unfolds beyond. It’s the space that makes the first impression—and often the last, unless you’ve invited the kind of guests who prefer to slip out the back door at the end of the party.”

FLORAL DESIGN: KIM STARR WISE of KIM STARR WISE FLORAL EVENTS

Ware Porter’s Point of View

“Too much of a good thing is wonderful.”

FO R M A N D FA S H I O N “Farrow & Ball has a new collection of wall coverings from fashion designer Christopher John Rogers, who happens to have been raised in Baton Rouge. After watching his fashion show in Paris, I was inspired by his way with color and geometry that was just out of this world.

I chose this paper as a tribute.”

KEEPING WITHIN THE LINES “I embraced the geometry of both the architecture and the wallpaper in choosing all the other elements, such as the Schumacher fabrics, the Christopher Spitzmiller lamps, and abstract works from Ann Connelly Fine Art.” FLUENT IN FRENCH “In combining old and new, I thought of iconic places in Paris such as Place Vendôme, The Ritz, and the Palais Royal in juxtaposition with the modernity of the wallpaper.”

Ware incorporated a 19th-century Louis XV-style commode and a giltwood French mirror from Fireside Antiques, a mid-century modern lithograph from artist Charles Lapicque, and a planter based on the treillage of Versailles by Accents of France.

M A K I N G WAV E S Ware’s exploration of lines continues from the precise to the curved, with a rug from Patterson Flynn, a hand-cut rag paper collage by Michael Buscemi, and a nude charcoal

by Edward Pramuk. In a striped sweater, even showhouse owner and builder Vincent Centanni quite coincidentally gets into the spirit.

SPONSORS: Ann Connelly Fine Art | Currey & Company | Farrow & Ball | Fireside Antiques

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Kara Cox Nursery

“I love to design spaces for children, but I avoid themes or anything too childish because I want them to grow up in beautiful rooms that inspire and will allow their own creativity to shine as they get older.”

FLORAL DESIGN: MICHELLE WEST of MICHELLE WEST DESIGN STUDIO

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Kara Cox’s Point of View

“Thoughtful design means no detail is overlooked. I strive to create projects that are ‘toothbrush-ready’—that’s all you’ll need to comfortably move in.”

THE BIRTH OF THE IDEA “My inspiration came from the stylized fern wallpaper and large-scale floral fabric from Liberty used for the canopy and drapery, and I continued the palette in other pieces and patterns in the room.”

PRETTY IN PINK “The canopied daybed is a perfect spot for parents to snuggle with their baby. Later, it can become a reading nook for a little girl. The pink mohair is luxurious but also very forgiving.” A bouclé chair and Chelsea House agate side table will come in handy for early-morning feedings or bedtime lullabies. And as Kara likes to incorporate something old into every space she designs, the B. Viz pillows with exquisite antique embroidery details will no doubt encourage the nursery’s occupant to develop very refined taste.

B E AU T I F U L B E G I N N I N G S The lucky little one will have early exposure to the finer things, from Bella Notte linens in her crib to smart outfits from Little English. Kara believes every room—even a nursery—needs original art, so she hung an abstract bayou scene by Ashton Shaw Despot over the crib and arranged a series of small works salon-style on the vestibule’s walls. In the adjoining bath, pale green cabinetry, a Waterworks faucet, and an antique mirror will lure even the most reluctant child to wash up.

SPONSORS: Ann Connelly Fine Art | B. Viz Design | Bella Notte | Chelsea House | Currey & Company | Fireside Antiques | Liberty | Little English | Modern Matter | Waterworks

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Ashley Gilbreath Living Room

“I grew up in Baton Rouge, so I’m returning to my old stomping grounds. Whether at a party, a football game, or enjoying dinner at home, people are going to have a good time in this colorful city. I wanted to reflect a sense of place in my room. This is my hometown—I have to show up!”

FLORAL DESIGN: ANNMARIE MEYERS of HUMMINGBIRD FLORAL STUDIO

Ashley Gilbreath’s Point of View

“Balancing form and function with memory and emotion, home is a place for people to embrace family and celebrate life’s joys.”

D E S I G N I N S P I R AT I O N “The architecture of the house with large pediments in the living room establishes a classical tone. I started with a traditional Brunschwig & Fils pattern on the walls and pulled a little more modern with things such as fabrics from Kravet, upholstery pieces from LEE Industries, and a light fixture from Julian Chichester. The mix acknowledges and respects the past but also throws in some fresh elements and details.”

R AISE A GLASS “The bar cabinetry is sleek with a flat front. We added a panel-like trim with paint and fun hardware by Modern Matter. The bar’s doors can be closed for every day and opened when entertaining.”

DESK SET “I love multipurpose furniture arrangements. A desk in the living room is a bit unexpected. The leather chair adds a punch of black, and a B. Viz pillow picks up the subtle rose in the fireplace marble.”

A R T F U L P L AC E M E N T “Because of the tall draperies, I needed a place for the eye to rest. The urn from Fireside Antiques is a sculptural piece that can stand on its own but looks even prettier when filled with flowers.” Ashley suspended a contemporary painting by Caleb Mahoney behind.

LOOK UP “Outlining the ceiling with a metallic paint detail carries the eye up and adds more definition to the space.”

SPONSORS: B. Viz Design | Brunschwig & Fils | Currey & Company | Farrow & Ball | Fireside Antiques | Kravet | LEE Industries | Lee Jofa | Modern Matter | Replacements, Ltd.

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Amanda Smith Fowler Laundry Room and Adjoining Hall “Pretty surfaces and materials elevate a workhorse room like the laundry and help make going about life’s daily tasks a joy.”

FLORAL DESIGN: ANNMARIE MEYERS of HUMMINGBIRD FLORAL STUDIO

Amanda’s Point of View

“A house should tell the story of a well-lived and well-loved life, and the most interesting ones are never truly complete—they only grow more layered and meaningful with each passing year.”

D E S I G N I N S P I R AT I O N “My starting point came from the tile treatment Jewel Centanni of Ivy Residential Concepts designed. The stripes run from one end of the room across the ceiling to the other side, and the rosy colors make the room glow no matter the time of day.”

E N G L I S H AC C E N T “We visited the Liberty showroom while in London, and I became enchanted with the company’s history and designs. I went back to their roots and chose one of their iconic florals for the shade. I used two solids in the blush tones from the tile work for the valance and the skirt that conceals storage under the counter.”

ROOM TO BLOOM “I styled the laundry as a cutting room, envisioning the sink filled with loads of flowers from the garden.

Every house needs a spot where you can really get creative with the textures, colors, and shapes of whatever is in season. And what better time to pull together a few arrangements than while you’re waiting for the clothes to dry?”

TA K E A C L O S E R L O O K “In the small hall outside the laundry room, one of Liberty’s new papers covers the wall. It features all kinds of birds and flowers. Every time I pass through, I notice something different.”

SPONSORS: Ann Connelly Fine Art | Currey & Company | Fireside Antiques | Grace Rose Farm | Liberty | Modern Matter | Serena & Lily

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Benjamin Johnston Primary Bedroom

“Every room needs a touch of nature.

Here, the wall of windows helps the backyard become an extension of the bedroom. Having that flood of natural light allowed me to go tailored and moody to quiet down the space.”

FLORAL DESIGN: ANNMARIE MEYERS of HUMMINGBIRD FLORAL STUDIO

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Benjamin Johnston’s Point of View “I believe in keeping it classic, curated, and cool.”

B A L A N C I N G AC T “I try to strike that balance where if you add one more element it becomes too much, and if you take one away it feels underdone.

Although at first glance some might say this is a masculine room, I believe there’s a play on texture, softness, and luxury that women respond to as well.”

D E S I G N I N S P I R AT I O N “My furniture collection for Chaddock is inspired by classical forms interpreted through a midcentury lens. The eight-poster bed with double columns is my ode to Italian architect Andrea Palladio.”

TO THE TOUCH “Texture is incredibly important to my work. I like the juxtaposition of matte surfaces, such as wood finishes, with more luxurious ones and even a little shimmer in textiles.”

In Benjamin’s own fabric and trim collection for S. Harris, he incorporates his many influences, from ancient motifs such as the Greek key to Art Deco to mid-century modern.

RAISING THE BAR “The verticality of the room calls for pieces to lift the eye, such as my ‘Adriano’ bar with door detailing that evokes an apothecary cabinet.”

D R E A M I N G I N B L AC K A N D W H I T E “I find comfort in order, so my gallery wall is very structured.

The Rodney Smith photographs are dream-like, which seems right for a bedroom. They hang within a series of panels we created with ribbon atop the Stroheim grass cloth.”

SPONSORS: Chaddock | S. Harris | Stroheim

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Primary Bath and Dressing Room “I envisioned a bright and airy enchanted garden in the primary bath— and for the dressing room, a moody and dramatic night underneath the stars.”

FLORAL DESIGN: ANNMARIE MEYERS of HUMMINGBIRD FLORAL STUDIO

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Arianne Bellizaire’s Point of View

“Design is about creating rooms that effortlessly mix nostalgia with aspiration—ones that feel like home because they remind you of fond memories but also leave space to evolve and grow as you do.”

C L I M B I N G T H E WA L L S “I love how the flowers on the York wallpaper wind up and around the vanity to frame the window. And the natural light is one of my favorite things about the space.”

A R T O F T H E B AT H Arianne leaned a glass mosaic panel from New Ravenna’s Gracie collection atop the vanity. A bronze sculpture, Greeting the Dawn, from Fireside Antiques overlooks the Waterworks tub.

S TA R P OW E R Connie Harris, a Louisianabased decorative painter, created the ceiling mural. “Her interpretation of a starry night took the closet over the top.”

TRICK OF THE TRADE In both spaces, Arianne used two shades of Farrow & Ball paint on cabinetry with the darker color on the panels’ inset edge to add depth and dimension.

CONNEC T THE DOTS The designer wallpapered the backs of shelves in a contemporary Farrow & Ball pattern called “Dots” by Christopher John Rogers. “It reminded me of shadows or the way you’d see light streaming in through the window.”

BRINGING THE GLAM “Every room needs a touch of bling or something that sparkles.”

Arianne selected a Currey & Company chandelier of iron branches dripping with crystal pendants for the bath and chose Blumera’s brass globe of birds and flowers—inspired by a painting by the late artist Laurie Blum—for the dressing room.

“And the Modern Matter hardware on the cabinetry looks like incredible pieces of jewelry.”

FA S H I O N FO R WA R D A LEE Industries bench upholstered in their "Halo Moonstone" fabric offers a perch to slip on shoes or contemplate the day’s outfit. “I see a woman who loves classical elements but is also inspired by innovation and modernity. She’d wear Chanel, Fforme, and of course, Christopher John Rogers.”

SPONSORS: Currey & Company | Fabricut | Farrow & Ball | Fireside Antiques | LEE Industries | Modern Matter | New Ravenna | Palmer Industries | Waterworks | York Wallcoverings

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James Farmer Dining Room

“My grandmother always said we eat with our eyes first, and before the first bite, there should be a visual feast.”

FLORAL DESIGN: STEPHEN SONNIER of DUNN AND SONNIER

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James Farmer’s Point of View

“I’m a fortysomething, 6´4˝, 200-pound man, and I love ruffles and jabots.

Give me a swag or chintz all day long.”

D E S I G N I N S P I R AT I O N “My absolute favorite fabric, ‘Tree of Life’

by Lee Jofa, is now a wallpaper as well.

Name a color, and it’s in there. You can start pulling them out and be off to the races.”

ROOM WITH A VIEW “The large window looking onto the garden invited an indoor/outdoor moment. I chose a metal console by McKinnon and Harris that was crisp and bright to balance the browns and patina of the antiques.”

CHINA SYNDROME James set the table with Spode’s “Indian Tree” from Replacements, Ltd., and accessorized with platters on the walls.

“I love how the coral and umber tones pop against the Prussian blue of the antique china cabinet.”

H AV E A S E AT James incorporated old-school details such as buttons, reverse pleats, and piping on the dining room chairs. “They have a slipcovered look, yet they’re tailored and buttoned up.”

F I F T H WA L L “I treat ceilings as a piece of art. We created a trellis effect by painting it, as well as the window casings, ‘Calke Green’ by Farrow & Ball. It’s a color that looks great in daylight or candlelight.” James customized the shades on the Currey & Company chandelier with a blue velvet trim.

B OW B E AU T I F U L The art bows are a tribute to one of James’s decorating icons, Mario Buatta. “Creating that detail was like sprinkling salt on a chocolate chip cookie.”

SPONSORS: Ann Connelly Fine Art | Brunschwig & Fils | Currey & Company | Farrow & Ball | Kravet | Lee Jofa | Replacements, Ltd.

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Chad Graci

Kitchen and Butler’s Pantry “I wanted to bring a lot of personality to the breakfast area and for it to be a soft landing amid the marble and lacquer.”

FLORAL DESIGN: MICHELLE WEST of MICHELLE WEST DESIGN STUDIO

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Chad Graci’s Point of View

“Design is about feeling the intention that comes with the interaction between the fabulous and the functional.”

TA B L E M AT T E R S “In the breakfast area, we needed something soft and luxurious to break up the hard surfaces of the kitchen. I found the leopard print for the LEE Industries banquette and began building around that. Fabricut sheers frame what I believe is the best view in the house—looking through the windows to the neoclassic pool pavilion.”

CULINARY M A STERPIECE Art takes on many forms, from a custom range

by L’Atelier Paris with jewelry-like detailing to the deep veining of “Calacatta Violette” marble from Marmi Stone that echoes the movement of an abstract painting to an actual abstract painting by Cynthia Knapp.

BREAKING THE MOLD “The mahogany color in the butler’s pantry is so rich, but I wanted something threedimensional on the wall to give it sparkle and keep it from getting too serious. I had a flashback to my grandmother’s kitchen, where she had fantastic copper molds in fun shapes around the perimeter. I called my mother and asked her to go get those molds—and I had them within a day!” For the ceiling, Chad chose a silver tea paper from York Wallcoverings to add more glamour.

SPONSORS: Ann Connelly Fine Art | B. Viz Design | Fabricut | Fireside Antiques | L’Atelier Paris | LEE Industries | Modern Matter | New Ravenna | Palmer Industries | Replacements, Ltd. | Waterworks | York Wallcoverings

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©2024 Waterworks is a Registered Trademark of Waterworks IP Company, LLC

MIX MASTERS “It was a symbiotic relationship working with Jewel and Vincent of Ivy Residential Concepts. They have such a good eye and a vision for what they wanted to impart through their surface selections. My goal was to help corral and hone those ideas and tie the two rooms together. My starting point was the brown-and-white palette of checkerboard flooring by New Ravenna, which carries from the butler’s pantry into the kitchen.”

©2024 Waterworks is a Registered Trademark of Waterworks IP Company, LLC

Henry, meet Chronos.

Introducing Henry Chronos

Will Huff and Heather Dewberry Covered Porch

“We wanted to create the look and feel of an indoor room that has been transported outside. We call this our ‘Latticed Lanai.’ ” FLORAL DESIGN: STEPHEN SONNIER of DUNN AND SONNIER

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Will Huff and Heather Dewberry’s Point of View

“There’s no reason beautiful rooms can’t be comfortable too. With thoughtful planning, good design can be the bridge between chic and livable.”

TO THE TOUCH “Will and I love to use portieres outside for softness and privacy, but we needed something to anchor the corners,” says Heather. “Every outdoor room needs a touch of rattan or wicker—and what’s more Southern than ferns in a wicker urn?” The design duo brought in more texture with a Serena & Lily console and a Currey & Company light fixture.

ARTFUL ARRANGEMENT Heather and Will commissioned Atlanta artist Thomasa Seymour to create a floral piece with paints that could withstand the elements.

“And it isn’t a Huff-Dewberry space without a grouping of plates,” Will says. Heather adds,

“We found the oyster plates at Fireside Antiques. They’re a nod to Louisiana cuisine and bring a little local flavor to the porch.”

IN THE CLUB “For years, we’ve been building fully upholstered club chairs that can be used outside. They add a great sense of comfort—and ours swivel,” says Heather. Will explains, “Outdoor fabrics have come such a long way. This Scalamandré floral pattern took our breath away.”

D E S I G N D E TA I L “The lattice wall from Fuller Architectural Panels gives the porch definition, making it feel cozier and more like a room,” says Will.

SPONSORS: Bevolo Gas & Electric Lights | Currey & Company | Fireside Antiques | Fuller Architectural Panels | Hartstone | Kravet | Serena & Lily

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Amanda Smith Fowler with Susan Hable Front Courtyard, Pool Deck, and Pavilion

“Having a front courtyard with seating groups for conversation feels like such a gracious way to enter this house. I love the way sunlight moves across the fretwork pattern on my outdoor furniture, creating shadows that are just magical.”—Susan Hable

PHOTOS (PAGES 82-86) BY DAVID HILLEGAS

LANDSCAPE ARCHITECTURE: REICH LANDSCAPE ARCHITECTURE FLORAL DESIGN: ANNMARIE MEYERS of HUMMINGBIRD FLORAL STUDIO

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“Hable’s chaises and nesting tables for Hickory Chair, scalloped umbrellas by Serena & Lily, and bolsters in a stripe from Liberty make lounging lazily by the pool an exercise in chic.”

— Amanda Smith Fowler

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Susan Hable’s Point of View

“Nature influences so much of my design work. When I need a creative recharge, I head from my studio to the garden, where I can find inspiration at every turn, in every season.”

L I G H T FA N TA S T I C “No room is complete without metallics or shine, and exterior spaces are no exception,” says Amanda. “Bevolo’s aged copper lanterns seem as if they’ve been a part of the house for years.

Whether during the day or when lit for evening, they look great at the front door, around the pool, or leading into the pavilion.”

T H E S TAG E I S S E T Using tableware from Replacements, Ltd., Amanda amped up the style factor for a luncheon après swim. She layered plates in different shapes and shades of green with bamboo flatware and colorful crystal.

N O M OW I N G R E Q U I R E D The turf by European Company feels soft underfoot, looks natural and green year-round, and can take the wear-and-tear of a cutthroat game of croquet.

When it’s time to return to more solid ground, handcrafted pavers by Hartstone provide both texture and contrast in the front courtyard and backyard pavilion.

D O N ’ T-M I S S D E TA I L “In the pavilion, we adapted the tradition of painting porch ceilings haint blue, which the Gullahs believed would help ward off evil spirits,” Amanda says. “It’s also thought to deter mosquitos, and although I’m not sure that’s true, during a hot-and-humid Louisiana summer, we’ll try anything.”

SPONSORS: Bevolo Gas & Electric Lights | Currey & Company | European Company | Farrow & Ball | Fireside Antiques | Grace Rose Farm | Hartstone | Hickory Chair | Liberty | Replacements, Ltd. | Serena & Lily

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We create the most exceptional concrete elements in the world h artston etile.com

Rachel Cannon

Powder Room, Mudroom, and Rear Hall “I wanted the powder room to exude glamour—think the equivalent of Elizabeth Taylor in a ball gown wearing her fabulous jewelry.”

FLORAL DESIGN: STEPHEN SONNIER of DUNN AND SONNIER

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Rachel’s Point of View

“In a world of demands, a haven of harmony is not just a desire—it’s a necessity.”

D E S I G N I N S P I R AT I O N “The marble countertop Ivy Residential Concepts selected was my starting point for the powder room.

It reminded me of a precious stone, which led me to think of Elizabeth Taylor and her famous jewelry collection.”

LU XE TOUCH “I’m obsessed with upholstered walls. I’ve wanted to do them in a powder room for a long time, and this was my opportunity.”

Rachel swathed the walls in a luxurious wine-colored velvet from Fabricut and outlined the edges with a tape and nailhead trim. A mottled gold wallpaper (seen in the mirror), also by Fabricut, takes the luxurious design scheme over the top.

THROUGH THE LOOKING GL ASS “I collaborated with Ann Connelly Fine Art and epoxied flowers by Louisiana artist James Vella to the mirror. I love that they reference Venetian glass and reflect the theatrical atmosphere I wanted to create.”

VA N I T Y FA R E The floating vanity allowed for a bountiful floral moment underneath. Rachel requested the floral designer bring the drama, and Stephen Sonnier met the challenge with planters overflowing with some of Rachel’s favorites, including peonies, poppies, anemones, and tulips.

H A L L PA S S Portieres in fabric by Ngala Trading close off the mudroom niche in a back hallway lined with paintings and an installation of Mia Kaplan’s hanging waterlily sculptures from Ann Connelly Fine Art. SPONSORS: Ann Connelly Fine Art | Currey & Company | Fabricut | Ngala Trading

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Lisa Palmer

Upstairs Bedroom and Bath “My upstairs bedroom is a corner room with a gorgeous live oak outside the window, which makes it feel a little like a treehouse.”

FLORAL DESIGN: EMILY EBERWINE of PICK-A-PETAL FLORAL DESIGN

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March•April 2024

U

Lisa Palmer’s Point of View

“I like to work with classic forms and throw in something clearly unexpected. Classic always wins, and that touch of the unexpected brings the smiles!”

D E S I G N I N S P I R AT I O N “My starting point was a Gracie wallpaper with flowering trees called ‘Tobacco Silhouette.’ It’s a rich curry, which is a color I love so much.”

M I S S I S S I P P I L OV E “In Mississippi, I’m fortunate to be surrounded by craftsmen and artists who help execute my vision. Peggy Goldstein, who does incredible monogramming, embroidered the flower on the headboard I designed. Smyda Woodworking made the custom-designed side tables. And I commissioned Delta figurative artist Cathy Hegman to paint a woman in a blue gown with floral headdress—it’s so beautiful it brings me to my knees.”

WO R T H A C L O S E R L O O K To frame the view, Lisa chose a Kravet linen for the drapery, edged with a floral trim by Samuel & Sons.

F I T FO R A Q U E E N “I found the 18th-century daybed in New Orleans and knew I had to have it, but it was too big for the end of the queen bed. I had my very talented carpenter take about 10 inches out and put it back together, including the center legs. Now reupholstered, it looks seamless and fits perfectly.”

CREAM OF THE CROP “For the ceiling, I chose ‘Au Lait’ from Christopher John Rogers’s capsule collection for Farrow & Ball. It has a sheen and creaminess that complements the wallpaper.”

SPONSORS: Ann Connelly Fine Art | Farrow & Ball | Fireside Antiques | Hickory Chair | Kravet | LEE Industries | Modern Matter | Palmer Industries | Waterworks

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March•April 2024

Make a Stat t Wi Unique Lux y Rose Bouquets Lux y C Gard Roses C -To-Ord & Shipped Nationwide

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Veronica Solomon Upstairs Bedroom and Bath

“I imagined the space for a person who loves learning about creatures and insects— it’s whimsical but still sophisticated and not too childlike.”

FLORAL DESIGN: ANNMARIE MEYERS of HUMMINGBIRD FLORAL STUDIO

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

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Veronica Solomon’s Point of View

“Don’t overthink it. Design with reckless abandon.”

D E S I G N I N S P I R AT I O N “The Porter Teleo wallpaper is reminiscent of the ink blots of a Rorschach test. It’s really bold and strong. I immediately saw butterflies, and they became the jumping-off point for the room.”

F L I G H T O F FA N C Y Veronica continued to set butterflies alight in artwork, hardware, and even underfoot in the “Monarch Fire” rug from the Alexander McQueen collection for The Rug Company.

UPON REFLEC TION “My favorite vignette is the dresser from Currey & Company with a gilded snake mirror above it that I’ve had for a very long time. It captures my eye every time I walk into the room.”

S H A D E S O F N AT U R E “Green grounds the space.” Veronica used a faux crocodile leather on the four-poster bed and added a quilted-velvet coverlet by Bella Notte. Emerald curtains by Fabricut are edged with a tape that evokes a collection of precious pebbles.

“I custom-designed the nightstands—I love bringing the texture of hair-on-hide to my projects.”

F L O R A A N D FAU N A “I’m drawn to the movement of the snakes and animals amid flowers in the bathroom wallpaper.” The pattern by The Vale London is juxtaposed with a crisp black-and-white stripe on the ceiling.

SPONSORS: Bella Notte | Currey & Company | Fabricut | Modern Matter | The Vale London | Universal Furniture | Waterworks

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Laura Roland Library

“In a library, you’re telling a story, whether through books, art, or the things you do within it. I’ve used pieces with history that can take you to another place.

I envision a lot of creativity and comfort happening here.”

FLORAL DESIGN: KIM STARR WISE of KIM STARR WISE FLORAL EVENTS

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

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Laura Roland’s Point of View

“Bringing the outdoors in guides my design decisions. We want to create the feeling of being surrounded by natural beauty within a built environment.”

A L OV E FO R A N T I Q U E S “My mother and grandmother started Fireside Antiques in the 1980s, and now I’m the third generation in the business. I believe you don’t really ‘own’ an antique—you make it a part of your life until it gets passed down and reused by the next generation. Antiques keep all that energy. And the patina that comes with use and years of wax polished into wood gives them a depth and history which just can’t be replicated.”

COLOR STORY “We painted both the walls and ceiling Farrow & Ball ‘Lichen’ to make you feel as if you’re being hugged by the room. It’s one of my favorites because it works as a neutral but also has color that is a little dusty, like a library should be.”

PA I R I N G O L D A N D N E W “I collect antique frames that inspire me, and they often work well with modern art. Ann Connelly and I created a kind of surrealist gallery wall with the right balance between old and new.”

FO C A L P O I N T “I bought the tapestry as is, with the velvet frame around it. It’s 17th-century French, and I love its beautiful colors and scene. A lot of tapestries I find would be too large for a room this scale, but this one made the perfect centerpiece for the library.”

C R E AT U R E C O M FO R T S Laura layered pattern into the built-in cabinetry with a Sister Parish wallpaper on the back of shelves that echoes the tones of the marble counter, along with cafe curtains that conceal storage underneath.

“Whether someone is working at the desk or reading on the sofa, all the comforts should be close at hand, so I arranged a bar with snacks and aperitifs.”

SPONSORS: Ann Connelly Fine Art | B. Viz Design | Farrow & Ball | Fireside Antiques

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Megan Molten Family/Media Room

“I call this room the ‘Jungle Tent.’ When I spotted the wallpaper from Cole & Son, I had to have it—it’s bold with the tropical feel I wanted, and it pulled the color palette together.”

FLORAL DESIGN: EMILY EBERWINE of PICK-A-PETAL FLORAL DESIGN

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

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Megan Molten’s Point of View

“Home should be our favorite place in the world, where even after a vacation we can’t wait to get back to our own sofa or bed. It should feel like we’re walking into our personal five-star hotel.”

T WO BY T WO “I love to design with pairs—it gives the space symmetry and balance, which makes my heart happy.” Megan selected matching Universal Furniture sectionals and ottomans and then hung two oversize rattan chandeliers from Currey & Company overhead.

“They were actually so large they had to come in through the windows rather than the door!”

THINK PINK “I initially thought the ceiling would be solid green, as we wanted a moody media

room. When a colleague suggested we paint the 30-inch-wide pink stripes, I embraced the idea because it’s one of my signature colors.

It became the perfect touch, adding the ‘tent’ to our jungle.”

CHIC CONTR AST The prickly texture of the porcupine-quill mirror from Ngala Trading contrasts with the contemporary profile of the reeded chest in a matte-white finish.

GA ME ON “Kelly Wearstler is one of my style icons, and I upholstered chairs from Universal with her fabric for Lee Jofa.” The tulip-style table provides a chic surface to play games. The painting above the table is by Meredith Pardue through Ann Connelly Fine Art. MAKING AN ENTRANCE “I draped a curtain at the door so you would feel as if you’re walking into the tent. It’s tied back with a rattan chain we often use as an accessory arranged over a bowl or book.”

SPONSORS: Ann Connelly Fine Art | Currey & Company | Farrow & Ball | Fireside Antiques | Kravet | Lee Jofa | Ngala Trading | Universal Furniture

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IVY RESIDENTIAL CONCEPTS Proud Design Build Team of the 2023 FLOWER Magazine Showhouse liveivy.com @ivylifestyles

FLOWER Showhouse Floor Plans

9'-4" 9'-4"

POOL POOL 12' XX 36' 36' 12'

7'7'

7'7'

POOL CABANA CABANA POOL 12'-0" CLG. CLG. HT. HT. 12'-0" 16'-6" xx 11'-2" 11'-2" 16'-6"

12'-6" 12'-6"

11' - BOTTOM OF CLG. DETAIL 11' - BOTTOM OF CLG. DETAIL

10

11'-0" - WINDOW HT. 11'-0" - WINDOW HT. 11'-6" - BOTTOM OF CLG. DETAIL 11'-6" - BOTTOM OF CLG. DETAIL

11'-0" WINDOW HT. 11'-0" WINDOW HT.

FREEZE FREEZE

KITCHEN KITCHEN 11' CLG. CLG. HT. HT. 11' 16'-8" xx 26'-3" 26'-3" 16'-8"

3'3'

11' - BOTTOM OF CLG. DETAIL 11' - BOTTOM OF CLG. DETAIL

DINING DINING 12' CLG. CLG. HT. HT. 12' 13'-0" xx 14'-0" 14'-0" 13'-0"

11'-0" WINDOW HT. 11'-0" WINDOW HT.

PRIMARY BEDROOM BEDROOM PRIMARY 11-6" CLG. CLG. HT. HT. 11-6" 14'-8" xx 18'-10" 18'-10" 14'-8"

STEAM

5

6'-2" 6'-2"

LAUNDRY STEAM LAUNDRY 10' CLG. CLG. HT. HT. 10' 9'-4" xx 12'-0" 12'-0" 9'-4"

WASH WASH

4

DBL DBL OVEN OVEN

7

1'-6" 1'-6"

LIVING ROOM ROOM LIVING 12' CLG. CLG. HT. HT. 12' 22'-0" xx 24'-0" 24'-0" 22'-0"

ICE ICE

3 POWDER POWDER 10' CLG. CLG. HT. HT. 10'

DRY DRY

4'-0" xx 7'-8" 7'-8" 4'-0"

MUD MUD 10' CLG. CLG. HT. HT. 10' 4'-0" xx 7'-0" 7'-0" 4'-0"

PRIMARY VEST. PRIMARY VEST. 10' CLG. HT. 10' CLG. HT. 4'-1" x 6'-11" 4'-1" x 6'-11"

GARAGE HALL HALL GARAGE 12' CLG. CLG. HT. HT. 11 12' 4'-2" xx 20'-10" 20'-10" 4'-2"

LAUNDRYHALL HALL LAUNDRY 10'CLG. CLG.HT. HT. 10' 5'-2"xx7'-11" 7'-11" 5'-2"

CLOSET

WET BAR BAR WET

CLOSET 10' CLG. HT. HT. 10' CLG.

10'-10" 10'-10"WINDOW WINDOWHT. HT.

NURSERY NURSERY BATH BATH 10' CLG. CLG. HT. HT. 10' 5'-4" 10'-2" 5'-4" xx 10'-2"

WATER CLOSET WATER CLOSET 12' CLG. HT. 12'3'-9" CLG.x HT. 5'-2" 3'-9" x 5'-2"

6

PRIMARY BATH BATH PRIMARY 12' CLG. CLG. HT. HT. 12' 11'-4" xx 13'-8" 13'-8" 11'-4"

NURSERY NURSERY VESTIBULE VESTIBULE 10' CLG. HT. 10'3'-3" CLG.x HT. 3'-6" 3'-3" x 3'-6"

11' - BOTTOM OF CLG. DETAIL 11' - BOTTOM OF CLG. DETAIL

2 NURSERY NURSERY 12' CLG. CLG. HT. HT. 12' 13'-1" xx 11'-4" 11'-4" 13'-1" 10'-0" WINDOW HT. 10'-0" WINDOW HT.

NOOK NOOK 9'9'CLG. CLG.HT. HT. 3'-8" 3'-8"xx9'-2" 9'-2"

PRIMARY PRIMARYBATH BATH ENTRANCE ENTRANCE

12' 12'CLG. CLG.HT. HT. 4'-2" 4'-2"x 4'-10" x 4'-10"

11' - BOTTOM OF CLG. DETAIL 11' - BOTTOM OF CLG. DETAIL

GARAGE GARAGE 26'-0" xx 27'-0" 27'-0" 26'-0" FOYER FOYER CLG. HT. HT. 12' CLG. 112' 16'-7" xx 16'-6" 16'-6" 16'-7" 10'-0" WINDOW HT. 10'-0" WINDOW HT.

PRIMARY CLOSET CLOSET PRIMARY 12' CLG. CLG. HT. HT. 12' 10'-8" xx 18'-10" 18'-10" 10'-8"

10

First Floor | 106 | F L O W E R

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FRIDGE FRIDGE

BUTLER BUTLER 11' CLG. CLG. HT. HT. 11' 9'-8" xx 13'-9" 13'-9" 9'-8" WINE WINE

D D/

1

6

WARE PORTER

RACHEL CANNON

2

Primary Bath and Dressing Room

Nursery

7

LISA PALMER

Entry

KARA COX

9

Powder Room, Mudroom, and Rear Hall 12

JAMES FARMER

3

Upstairs Bedroom and Bath

Dining Room

ASHLEY GILBREATH

13

8

VERONICA SOLOMON

CHAD GRACI

Living Room

Kitchen and Butler’s Pantry

4

AMANDA SMITH FOWLER

Upstairs Bedroom and Bath

9

WILL HUFF and HEATHER DEWBERRY

Laundry Room and Adjoining Hall

8

11

ARIANNE BELLIZAIRE

14

LAURA ROLAND Library

Covered Porch

5

BENJAMIN JOHNSTON

15

10

MEGAN MOLTEN

AMANDA SMITH FOWLER with SUSAN HABLE

Primary Bedroom

Family/Media Room

Front Courtyard, Pool Deck, and Pavilion

14 13

12

15

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

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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 sponsors:

FLORAL DESIGNERS: Dunn and Sonnier, Hummingbird Floral Studio, Kim Starr Wise Floral Events,

Michelle West Design Studio, and Pick-a-Petal Floral Design

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Built to Last

We sit down with Jewel and Vincent Centanni, owners of Ivy Residential Concepts, for details on how they developed their vision for the FLOWER Showhouse.

Flower: How did conceptualizing the showhouse, which would become your own home after tours ended, differ from your approach when working with clients?

Vincent: Although it was personal for us, we create a tailored fit for every client because houses should always be personal. We learn about the homeowner and what they’re trying to accomplish before we draw or execute the first thing. We ask them a lot of lifestyle questions, down to who wakes up earliest and makes the coffee. In our house, that’s definitely me—I bring Jewel her first cup each morning.

Jewel: Open floor plans have been on trend in recent times, but we went with a more traditional layout. It’s ideal for a showhouse because interior designers can take their individual rooms and create special moments. Also, defined spaces work for the way Vincent and I live and entertain.

where that palette has been prominent. We use classic materials, but going a little bolder with some choices also gives the house a youthful energy.

The kitchen could work beautifully for a serious chef or serve as a sophisticated showpiece even if someone barely uses a microwave. It seems to balance function and style equally.

Vincent: It’s a contemporary take on a service kitchen. The range is oversized with many elements, and the large island is a true workstation that is not meant for guests to sit around.

Hopefully they’re relaxing in the breakfast area while the cooking happens. The look of a white kitchen remains timeless for a reason, but by making subtle changes in the shade of white or choosing a striking marble that makes a splash, you can still have a lot of style going on.

Tell us about the primary bath layout. What was the impetus for floating the tub in the center?

Vincent: It maximizes the footprint and creates pathways— putting it in a corner would almost have made the space feel too open. The tub becomes a focal point, like a large piece of jewelry in the middle of the room.

Jewel: I definitely wanted separate closet spaces for us, and this layout was a creative way to accomplish that. Vincent gets to hide all his things behind the cabinetry and wardrobe doors around the bathroom, and the primary dressing room becomes mine.

From the moment we walked in the door, it was clear this house had an interesting conversation happening between traditional and contemporary.

Vincent: You can see that in the design of the stairs—they have a clean geometry and spareness, but the plasterwork also gives them an old-world feel similar to what you will find in rural European houses. I intended for some of the interior architectural detailing to lean modern, but the inside still had to relate to the exterior. One way we achieved that was to repeat the Georgian pediment over the front door in the same scale above the living room fireplace and wet bar, as well as on the pavilion in the backyard.

Whether in the veining of marble, tile applications, or lacquered cabinetry color, warm tones from rosy pink to rich mahogany weave throughout surfaces and finishes. Jewel, as you selected and specified them, what drove you in that direction?

Jewel: I’m really loving warm colors, and lately I’ve been inspired by a few European designers’ hospitality projects

“Our goal for both ourselves and our clients is to develop timeless houses—the kind children will want to inherit.” — Jewel Centanni

Finally, let’s wind down in one of our favorite spots, the backyard.

Jewel: I wanted the feeling you get from Slim Aarons photography—his combination of wonderful architectural spaces with pops of color and people lounging by a pool. When we’re having a drink on the covered porch, we can look across the lawn toward the pool area that is light and bright with checkerboard turf and then beyond to the pavilion with its Georgian pediment. We love that view. f l o w e r m a g .c o m

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Sources

Who Did It & Where To Get It

9 10

8

14

11

3

15

13

16

7

1

2 4

6

12

18

5 17

Showhouse Designer Key (from page 44) 1 Arianne Bellizaire 2 Will Huff 3 Heather Dewberry 4 Mary McDonald 5 Chad Graci 6 James Farmer 7 Susan Hable 8 Megan Molten 9 Laura Roland 10 Benjamin Johnston 11 Kara Cox 12 Veronica Solomon 13 Rachel Cannon 14 Lisa Palmer 15 Barry Dixon 16 Ashley Gilbreath 17 Amanda Smith Fowler 18 Ware Porter

KARA COX

ART AND ANTIQUES Ann Connelly Fine Art

ACCESSORIES B. Viz Design

FURNITURE Chelsea House

Fireside Antiques

Kara Cox Interiors

Coley Home

FABRICS AND TRIMS Schumacher

Little Wood Shop

Kara Cox Interiors

ART AND ANTIQUES Ann Connelly Fine Art

HARDWARE Modern Matter

Ashton Shaw Despot

Vesta Hardware

Fireside Antiques

LIGHTING Blumera

waremporter.com Entry; Page 48

karacoxinteriors.com Nursery; Page 52

FLOOR COVERINGS Patterson Flynn LIGHTING Christopher Spitzmiller

The Urban Electric Co. PAINT Farrow & Ball PLANTER Accents of France WALLCOVERINGS Farrow & Ball

Kara Cox Interiors CLOTHING Little English FABRICS AND TRIMS Liberty FAUCETS AND FIXTURES Waterworks

FLOOR COVERINGS Kara Cox Interiors

Stark Carpet

WINDOW TREATMENTS Liberty

FABRICS AND TRIMS Kravet

ASHLEY GILBREATH

FAUCETS AND FIXTURES Thompson Traders

ashleygilbreath.com Living Room; Page 56 ACCESSORIES B. Viz Design

Casa Branca Parish by Ashley Gilbreath

LEE Industries

FLOOR COVERINGS Fibreworks

From Jaipur With Love FURNITURE Currey & Company

Replacements, Ltd.

LEE Industries

Currey & Company

Thompson Traders

LINENS Bella Notte

ART AND ANTIQUES Caleb Mahoney

Parish by Ashley Gilbreath

WALLCOVERINGS Liberty

Debra Williams Fireside Antiques

HARDWARE Modern Matter

Phillips Metal Works

Kevin McLean Laura Clark

VOLUME 18, ISSUE 2. 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.

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WHO DID IT & WHERE TO GET IT

LIGHTING Julian Chichester

ART AND ANTIQUES Rodney Smith

MOSAIC PANEL New Ravenna

COUNTERTOPS Marmi

FLOOR COVERINGS Serena & Lily

The Urban Electric Co.

Soicher Marin

Visual Comfort & Co.

FABRICS AND TRIMS S.Harris

PAINT Farrow & Ball

FABRICS AND TRIMS LEE Industries

FURNITURE Brown Jordan

WALLCOVERINGS Farrow & Ball

FAUCETS AND FIXTURES Thompson Traders

Serena & Lily

PAINT Farrow & Ball

Samuel & Sons

WALLCOVERINGS Brunschwig & Fils

FLOOR COVERINGS Madison Lily

WINDOW TREATMENTS Lee Jofa

Stark FURNITURE Chaddock

AMANDA SMITH FOWLER

LIGHTING Visual Comfort & Co.

Laundry Room and Adjoining Hall; Page 60

LINENS Signoria

ACCESSORIES Serena & Lily

WALLCOVERINGS Stroheim

ART AND ANTIQUES Ann Connelly Fine Art

WINDOW TREATMENTS S.Harris

Blackwell Botanicals Fireside Antiques FABRICS AND TRIMS Liberty FAUCETS AND FIXTURES Fezology

ARIANNE BELLIZAIRE

ariannebellizaire.com Primary Bath and Dressing Room; Page 66 ACCESSORIES Blumera

FLOOR COVERINGS Serena & Lily

ART AND ANTIQUES Fireside Antiques

FLOWERS Grace Rose Farm HARDWARE Modern Matter

CEILING MURAL Connie Harris Art Decorative Painting

LIGHTING Currey & Company

COUNTERTOPS Marmi

LINENS Sferra

FABRICS AND TRIMS Fabricut

TILE Zia Tile

FAUCETS AND FIXTURES Thompson Traders

WALLCOVERINGS Liberty

Waterworks FLOOR COVERINGS The Rug Company

WINDOW TREATMENTS Liberty

FURNITURE LEE Industries

York Wallcoverings

JAMES FARMER

jamesfarmer.com Dining Room; Page 70 ACCESSORIES A Place To Call Home ART AND ANTIQUES Ann Connelly Fine Art

Aubergine Antiques Inessa Stewart Antiques Studio De Chen FABRICS AND TRIMS Brunschwig & Fils

Kravet Lee Jofa FLOOR COVERINGS Fibreworks FURNITURE McKinnon and Harris HARDWARE Kravet

Waterworks FLOOR COVERINGS Graci Interiors

New Ravenna FURNITURE Graci Interiors

LEE Industries HARDWARE Modern Matter

WINDOW TREATMENTS Brunschwig & Fils

Lee Jofa

AMANDA SMITH FOWLER with SUSAN HABLE

ACCESSORIES Currey & Company

METALWORK Palmer Industries

Frontgate

RANGE L’Atelier Paris

ART AND ANTIQUES Fireside Antiques

TABLETOP Ralph Lauren Home

FABRICS AND TRIMS Liberty

Replacements, Ltd.

WINDOW TREATMENTS Fabricut

WALLCOVERINGS Lee Jofa

PAVERS Hartstone

LINENS Leontine Linens

Lux Lampshades

TABLETOP Replacements, Ltd.

Currey & Company

Visual Comfort & Co.

WALLCOVERINGS York Wallcoverings

PAINT Farrow & Ball

LIGHTING Bevolo Gas & Electric Lights

hableconstruction.com Front Courtyard, Pool Deck, and Pavilion; Page 82

LIGHTING Vaughan Designs

LIGHTING Currey & Company

A Place to Call Home

LATTICE Fuller Architectural Panels

WILL HUFF AND HEATHER DEWBERRY huffdewberry.com Covered Porch; Page 78

Serena & Lily

FLOOR COVERINGS Serena & Lily FURNITURE Hickory Chair LANDSCAPE TURF European Company LIGHTING Bevolo Gas & Electric Lights LINENS Sferra

ACCESSORIES Serena & Lily

PAINT Farrow & Ball

Mainly Baskets

PAVERS Hartstone

ART AND ANTIQUES Fireside Antiques

HARDWARE Modern Matter

graciinteriors.com Kitchen and Butler’s Pantry; Page 74

Thomasa Seymour through Gregg Irby Gallery

PLANTS AND PLANTERS Capital Garden Products

LIGHTING Blumera

DRAPERY Marika Meyer

Grace Rose Farm

ACCESSORIES Chaddock

ACCESSORIES B. Viz Design

Currey & Company

Madegoods

LINENS Sferra

ART AND ANTIQUES Ann Connelly Fine Art

FABRICS AND TRIMS Scalamandré

Fireside Antiques

Schumacher

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