Architectural_Digest_USA__September_2017

THE INTERNATIONAL DESIGN AUTHORITY SEPTEMBER 2017

I, CLAUDIA THE SUPERMODEL AT HOME IN ENGLAND

+

KATE MOSS ALEXANDER WANG DIANE VON FURSTENBERG AND MORE!

THE FASHIONABLE SET OPENS ITS DOORS

CONTENTS september

56

114

A CUP FROM THE WEBSTER

BY LES ATELIERS COURBET. ATELIERCOURBET.COM

A TABLESCAPE IN CLAUDIA SCHIFFER’S SUFFOLK HOUSE.

138 FERTILE IMAGINATION

For half a century, tastemakers the world over have turned to Paolo Pejrone to create happy, harmonious gardens. Today the 76-year-old landscape designer shows no sign of slowing down.

By Sarah Medford

146 IN FULL FLOWER

A collaboration with wallpaper house de Gournay—just unveiled in her London home—proves Kate Moss’s design sense extends well beyond the wardrobe.

By Jane Keltner de Valle

Everyone covets an invitation to the treasure-filled Florida home of real estate magnate and Design Miami founder Craig Robins.

By Horacio Silva

Features 114 LIVING THE DREAM

FOLLOW @archdigest

At her Tudor manse in England, supermodel Claudia Schiffer and her family are surrounded by historic architecture, modern art—and a few friendly ghosts.

By Jane Keltner de Valle

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AR C HD I G E S T.CO M

130 COOL CUSTOMER

Alexander Wang enlists designer Ryan Korban to fashion an unapologetically grown-up home.

By Andrew Bevan

162 ANSWERED PRAYERS

When her own Manhattan studio proved too small for a blockbuster commission, artist Julie Mehretu found room to create in the lofty nave of a deconsecrated Harlem church.

By Julie L. Belcove

166 HOW SWEET IT IS

For fashion It girl Alice NaylorLeyland and her family, home in the English countryside is a wonderland. By Amanda Brooks (CONTINUED ON PAGE 18)

TABLE: SIMON UPTON; CUP: COURTESY OF MELANIE COURBET

150 MIAMI HEAT

CONTENTS september

Discoveries 41 AT HOME WITH: SITTING PRETTY

In a gracious Gramercy Park apartment, Australian model Jessica Hart enlists interior designer Remy Renzullo to customize her bachelorette pad.

By Jane Keltner de Valle

44 SHOPPING: EARTHY DELIGHTS

This season’s raw riffs on modernism recall the primitive forms of Picasso’s Cubist paintings and ceramics.

46 WORLD OF: D. PORTHAULT

A lavish new book celebrates the sprightly, deluxe linens of the beloved French house.

By Mitchell Owens

50 PERSONAL BEST: LILY KWONG

The fashion model turned landscape designer breaks new ground. By Hannah Martin 52 AD VISITS: IN THE BAG

The Manhattan townhouse of Coach’s new CEO is all about soulful chic. By Mitchell Owens 56 DEBUT: MATERIAL WORLD

The design doyenne behind Les Ateliers Courbet brings a coterie of craftspeople into the limelight with new locations in New York and Miami. By Hannah Martin 58 ARTISAN: GLASS HOUSE

150

THE BREAKFAST ROOM IN CRAIG ROBINS’S MIAMI BEACH HOME.

Taking the reins of his mother’s business, Marcantonio Brandolini D’Adda introduces modern verve to Murano’s ageold craft. By Hannah Martin A range of influences comes to life in Alessandro Michele’s new home collection for Gucci.

62 OBSESSIONS: UP TO THE MINUTE

This season’s watches keep time with the material obsessions of the design world.

By Hannah Martin (CONTINUED ON PAGE 22)

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ON THE COVER CLAUDIA SCHIFFER AT HOME IN ENGLAND WEARING A TEMPERLEY LONDON DRESS AND AQUAZZURA SANDALS. FASHION STYLING

BY LUCIE MCCULLIN. HAIR BY SEB BASCLE FOR CALLISTE USING SCHWARZKOPF “STYLISTE ULTÎME” DEVELOPED WITH CLAUDIA SCHIFFER. MAKEUP BY KIRSTIN PIGGOTT AT JULIAN WATSON AGENCY USING CLAUDIA SCHIFFER MAKEUP. “LIVING THE DREAM,” PAGE 114. PHOTOGRAPHY BY SIMON UPTON. STYLED BY LAWREN HOWELL. FOR DETAILS SEE RESOURCES.

KRIS TAMBURELLO

60 DEBUT: WILD THINGS

CONTENTS september

138

A GARDEN BY PAOLO PEJRONE IN PORANO, ITALY

85 ARCHITECTURE: STATEMENT PIECE

Following in the footsteps of Yves Saint Laurent, architecture duo Studio KO conjures a temple to the fashion designer’s legacy in his cherished Marrakech.

By Joshua Levine

90 TRAVELS: GREEN ACRES

Beloved by the fashion crowd, Litchfield County lures a new generation of tastemakers.

By Sam Cochran

94 DESIGN: GIRL JUST WANTS TO HAVE FUN

Wild-child Katie Stout plans the ultimate slumber party for her solo show at R & Co.

In Every Issue 28 EDITOR’S LETTER

By Amy Astley

30 OBJECT LESSON: SHELL SHOCK

Philip Arctander’s whimsical clam chair is the latest style trophy. By Hannah Martin 34 DEALER’S EYE: FD GALLERY

The New York–based jewelry dealer on buying lustrous compacts, cases, and vanity boxes. By Hannah Martin 36 THINK PIECE: ROCK STAR

Christopher Boots’s bronze folding screen shimmers with quartz and lapis lazuli.

By Hannah Martin

By Sam Cochran

182 RESOURCES 98 LEGACY: LIFE OF THE PARTY

With a new Manhattan hotel and a much-anticipated return to nightlife, Ian Schrager looks back on the club that launched his career. By Mark Rozzo

The designers, architects, and products featured this month.

184 LAST WORD: ALLEY-OOP

A vibrant basketball court in Paris is a slam dunk.

By Sam Cochran

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166

THE DRESSING TABLE IN ALICE NAYLOR-LEYLAND’S MASTER BEDROOM.

FROM TOP: DARIO FUSARO; SIMON UPTON

Culture

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editor’s letter

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1. CLAUDIA SCHIFFER AND BULLET AT COLDHAM HALL, IN SUFFOLK, ENGLAND. 2. ALEXANDER WANG AT HOME IN NEW YORK CITY. 3. KATE MOSS STRIKES A POSE IN HER LONDON BATH. 4. ALICE NAYLOR-LEYLAND AND HUSBAND TOM SURVEY THEIR BRITISH ESTATE. 5. ME, WEARING PETER PILOTTO AT THE NEW YORK CITY BALLET SPRING GALA.

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K

ate Moss is not an oversharer.

She rarely gives interviews, shuns social media, and has revealed that “Never complain, never explain” is a favorite motto. Thus, being granted an exclusive peek into her London home—her glamorous bathroom, at that—feels especially intimate and rare. And Ms. Moss does not disappoint: She collaborated with bespoke wallpaper house de Gournay to create a truly spectacular pattern, unveiled in our story.

Speaking of supermodels, our smashing cover star, Claudia Schiffer, is another glamazon who has preserved her mystery and privacy by remaining resolutely a woman of few words. Although she and her husband bought a grand Tudor mansion in the British countryside some 15 years ago, they are just now generously opening the doors of Coldham Hall to outside eyes. And the house, like its owner, is a knockout: As Ms. Schiffer handles both the artcollecting and decorating duties herself, the sophisticated results are impressive.

Our annual Style issue also offers up cool-kid designer Alexander Wang at home in his sleek new Manhattan apartment, which he jokingly (but accurately!) describes as “50 shades of black,” and Design Miami founder Craig Robins in his Miami Beach house that successfully explores 50 shades of white (including a Zaha Hadid bathroom that is not to be missed). An ocean away from black and white minimalism, AD pays a visit to Instagram and fashion It girl Alice Naylor-Leyland in her enchanting English country house, where color, pattern, and whimsy reign in both her interiors and her celebrated wardrobe. Consider all these houses best-dressed.

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Fashion Moments

5

4

AMY ASTLEY Editor in Chief @amytastley

1. AND 4. SIMON UPTON; 2. ANTHONY COTSIFAS; 3. NIKOLAI VON BISMARCK; 5. JARED SISKIN/PATRICK MCMULLAN/GETTY IMAGES

1

object lesson

THE STORY BEHIND AN ICONIC DESIGN

Shell Shock

MANOLO YLLERA

Philip Arctander’s whimsical clam chaır is the latest style trophy

A PHILIP ARCTANDER CLAM CHAIR IN THE BERLIN HOME OF BOUTIQUE OWNER EMMANUEL DE BAYSER. 30

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object lesson

JILL AND DAN DIENST’S MANHATTAN LIVING ROOM, WITH A CLAM CHAIR AT LEFT.

DESIGNER PIERRE YOVANOVITCH PLACED A GOLDEN CLAM CHAIR IN A PROVENCE CHÂTEAU.

FROM TOP: ANTHONY COTSIFAS; MATTHIEU SALVAING/COURTESY OF PIERRE YOVANOVITCH

I

n the late 1990s, Peter Kjelgaard, now with the Danish auction house Bruun Rasmussen, noticed an amusing chair on the block. Perched on cartoonish beech legs, its fabric-covered seat and back formed the shape of a happy open clam. You could buy the chair, with no known designer, for about $300.

In fact, it was only after a series of misattributions—the Danish architect Viggo Boesen; the unknown Norwegian Martin Olsen, which turned out to be merely the name of a now-defunct Oslo furniture store—that the chair’s actual creator was identified in 2013. The much-loved mollusk was designed in 1944 by Philip Arctander, an obscure Danish architect best known for his work on affordable housing.

“Arctander is such an oddity,” says Kjelgaard, who verified the narrative with the Dane’s descendants and friends. “He’s known for basically nothing at all in terms of design.”

While the chair was made inexpensively and in mass quantities—and, more recently, reupholstered in cozy sheepskin—it has gained steady traction in the trophy market of late. In 2013 a pair—misattributed to Martin Olsen— went for over $220,000. After that, says Los Angeles–based dealer Joel Chen, everyone started dusting off their clam chairs and bringing them to market. Still, mysteries continue to emerge. In May, reports that a 1944 Arctander chair for IKEA sold for $65,000 made its way around the design world.

But dealers generally refute the IKEA attribution: “They are copies or heavily inspired,” says Kjelgaard. “A testament to the relaxed attitude toward copyrights in 1950s Sweden.”

Regardless of the origin story, the fashion and design sets remain enchanted. Style maven Vanessa Traina has proclaimed her love for the seat. Scandinavian-design dealer Jill Dienst keeps two fuzzy clams in the living room of her New York apartment. And art dealer Maggie Kayne snapped up a pair for her Los Angeles home. Says Kayne: “They’re beautiful objects that are supercomfortable. It’s not easy to find both.” —HANNAH MARTIN

dealer’s eye

WHERE ART MEETS COMMERCE A CIRCA-1935 COMPACT BY PAUL FLATO.

AN ART DECO CIGARETTE CASE

BY VAN CLEEF & ARPELS.

FD Gallery The New York–based jewelry dealer on buying lustrous compacts, cases, and vanity boxes A 1930S FLATO VANITY CASE.

jewelry and objets d’art.

HISTORY LESSON: “Decorative boxes, vanity cases, and clutches were produced from the late 19th century through the first half of the 20th by many notable jewelry companies,” says owner Fiona Druckenmiller. “They had in-house lapidary artisans and jewels in their vaults.”

KEY MANUFACTURERS: Cartier, Van Cleef & Arpels, Fabergé, Verdura, Tiffany & Co., and Paul Flato.

RARE ACQUISITION: “A box that once belonged to the Grand Duchess Maria Pavlovna. When the Romanovs fled Russia, some of her treasures were reportedly stuffed into pillowcases that were left at the Swedish embassy and not found for close to 100 years. A gold cigarette case decorated in neoclassical architectural motifs from this same cache went for over $1 million at Sotheby’s in 2009.”

VALUE ASSESSMENT: Origin is key. The most valuable pieces at auction were usually made for, or owned by, a royal, a president, or a pop-culture celebrity.

CLIENT REQUEST: Anything Art Deco. “Some pieces are really intricate chinoiserie with lots of inlaid stones.”

LOOK FOR: Personalization. “A message or inscription—usually on the underside of the lid—can reveal more about the piece’s provenance, increasing value.” fd-gallery.com —HANNAH MARTIN

INTERIOR: STEPHANIE HEDGES; PRODUCTS: FALCONE STUDIOS

SPECIALTY: Rare and one-of-a-kind collectibles, primarily

FD GALLERY, DESIGNED

BY STUDIO SOFIELD.

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A CIRCA-1950 VANITY CASE BY HERMÈS.

DESIGN ON THE EDGE

Rock Star Christopher Boots’s bronze folding screen shimmers with quartz and lapis lazuli 36

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IN HIS NATIVE MELBOURNE, industrial designer Christopher Boots grew

up hunting rocks. His favorite find? Quartz. These days, hunks of the common crystal join a sprinkling of lapis lazuli in the Aussie’s first room divider. “I like to get my hands dirty,” says Boots, who cast the celestial screen in bronze using a lost-wax method to leave hand marks and a surface-of-the-moon texture on the limited edition of eight. Of his innate draw to minerals, the designer says: “I do believe in their healing power.

We would probably improve as a species if we had more elements of nature in our interiors.” Available through Twentieth in Los Angeles and christopherboots.com. —HANNAH MARTIN

CHRISTINE FRANCIS

think piece

HAIR BY COREY TUTTLE FOR HONEY ARTISTS USING ORIBE; MAKEUP BY JOSEPH CARRILLO FOR KATE RYAN INC. USING CHANEL

JESSICA HART, ON A POLTRONA FRAU CHAIR, UNDER ENOC PEREZ’S PORTRAIT OF HER; MILO BAUGHMAN CREDENZA. FASHION STYLING BY JESSICA SAILER VAN LITH.

DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY JANE KELTNER DE VALLE

Sitting Pretty In a gracious Gramercy Park apartment, Australian model Jessica Hart enlists interior designer Remy Renzullo to customize her bachelorette pad PH OTO G R A PH Y BY S TEPHEN KENT JOHNSON

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DISCOVERIES at home with

W

hen Jessica Hart split from her longtime boyfriend earlier this year, her friend Lauren Santo Domingo promptly set her up on a blind date—with a decorator. “We got together and it was like a match made in heaven,” says Hart of Remy Renzullo, whom she hired immediately. (A Cartagena house for Santo Domingo’s family is among the rising design star’s other projects.)

Newly settled into a light-flooded one-bedroom apartment overlooking Gramercy Park, Hart was faced with the pressing matter of editing the contents of her life: What she gained in 14-foot ceilings she lost in square footage. Still, she says, “I came across this and was like, ‘Wow. This is where I want to wake up.’ ” To make it work she decided to sleep in the loft above the kitchen and turn the bedroom into a spacious closet. “A genius idea,” says Renzullo. The closet’s twin-size window seat, cushioned with Le Manach’s Balmoral flower pattern, serves as a guest bed, and the walls are painted with Farrow & Ball’s vermilion Blazer in a nod to the opulent interiors of Paris’s Hôtel Costes. Hart’s impressive wardrobe is overseen by a home organizer who visits twice a week to curate, giving the room the air of a chic vintage boutique.

Renzullo arranged the open living area into vignettes, mixing feminine pieces with midcentury ones and centering the space on a needlepoint rug Hart found in Greece. The dining area is fitted with a George Nelson table, a window seat covered in Kuba cloth, and 1970s Wicker Works chairs. Art includes Richard Prince and Enoc Perez portraits starring Hart. And floor-to-ceiling green velvet curtains perfectly mimic the trees outside so “you get the greenness of the park year-round,” says Renzullo.

The welcoming space lends itself well to informal dinners and movie nights; three of Hart’s closest friends live in the neighborhood and are regulars. “We have a Gramercy Girls group text,” she says, noting that the previous night they binge-watched The Handmaid’s Tale.

The only thing the apartment, which Hart cheekily refers to as her bachelorette pad, isn’t designed for is guests of a more romantic nature.

The loft cozily fits a twin bed well appointed in D. Porthault’s Tulipe Perroquet. “This place is all about me,” Hart says. She then adds with a wink: “There are plenty of other beds in this city.” —JANE KELTNER DE VALLE

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TOP A PAIR OF RICHARD PRINCE PORTRAITS HANGS ABOVE A GEORGE NELSON BENCH PILED WITH BOOKS. CURTAINS

BY ANTHONY LAWRENCE-BELFAIR USING CLARENCE HOUSE FABRIC. BOTTOM HART’S CLOSET, FORMERLY THE BEDROOM, FEATURES CURTAINS MADE FROM A SEMI-SHEER KUBA CLOTH FROM XENOMANIA; ORLEY SHABAHANG RUGS.

DISCOVERIES shopping 1 3 4

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Earthy Delights This season’s raw riffs on modernism recall the primitive forms of Picasso’s Cubıst paintings and ceramics 5 1. RUBY NERI UNTITLED (TRADITIONAL POT). 26" W. X 24" D. X 35" H.; PRICE UPON REQUEST. SALON94.COM, 212-979-0001 2. CRISTINA CELESTINO FOR FORNACE BRIONI BIBIENA TERRA-COTTA FLOOR TILE. 7" X 9.5"; FROM $193.

FORNACEBRIONI.COM; +39-0376-58142

4. ROOMS FOR THE FUTURE PERFECT WILD SCULPTURAL CHAIR 01 FROM THE WILD MINIMALISM COLLECTION. 35.25" H. X 17.5" DIA.; $3,025.

THEFUTUREPERFECT .COM; 877-388-7373.

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5. ALDO ROSSI FOR LAURA MERONI INTARSIA SIDEBOARD. 54.5" W. X 19.5" D. X 29.25" H.; $9,500.

ARTEMEST.COM

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6. HALIMA CASSELL ECHO SCULPTURE. 19.5" H. X 12" DIA.; $21,322.

HALIMACASSELL.COM; +44-781-705-3308 7. SIGVE KNUTSON FOR CARWAN GALLERY DRAWING OBJECTS COLLECTION. PLANTER, 15" H. X 12" DIA.; $4,400.

SHELF TOWER, 24" L. X 66" H.; $6,600. CHAIR, 18" W. X 18" D. X 30" H.; $3,850. CARWANGALLERY .COM; +961-3-686089

1.–6. COURTESY OF RESPECTIVE COMPANIES; 7. MARWAN HARMOUCHE

3. PHILIPPE ANTHONIOZ FOR RALPH PUCCI L139 FLOOR LAMP. 52" H.; $48,000. RALPHPUCCI .NET; 212-633-0452

DISCOVERIES world of

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1. MISMATCHED D. PORTHAULT BED LINENS IN A TEXAS HOUSE. 2. D. PORTHAULT, $60; GIBBS-SMITH.COM. 3. THE COEURS PATTERN SPECKLES THE MANHATTAN CRIB OF NICKY AND JAMES ROTHSCHILD’S DAUGHTER.

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A lavish new book celebrates the sprightly, deluxe linens of the beloved French house

S

ounds like a trick question, but what do the Duchess of Windsor and Paris Hilton have in common? D. Porthault’s heart-dappled Coeurs bed linens. “Paris had the classic pink version when she was a child, and I had the Étoiles pattern of blue stars,” says fashion and accessories designer Nicky Rothschild, Hilton’s sister. She selected the same rosy print—a 1950s commission for the Baltimore divorcée who romanced English king Edward VIII and later added to Porthault’s line—to brighten daughter Lily’s nursery, right down to the custom-made crib bumper. “We even have matching heart robes,” Rothschild continues, “and Lily has enough Porthault dresses in the closet to last until she’s six.”

Call it a cult. As the new book D. Porthault: The Art of Luxury Linens (Gibbs Smith) bears witness, ever since Madeleine and Daniel Porthault produced their first colorful printed bed linens in 1924, the French firm has been a chic-set mainstay.

Jacqueline Kennedy slept beneath Porthault sheets at the

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3 1. AND 3. ERIK KVALSVIK/D. PORTHAULT/COURTESY OF GIBBS SMITH; 2. BOOK: COURTESY OF D. PORTHAULT

D. Porthault

DISCOVERIES world of A PORTRAIT OF PORTHAULT FAN ESTÉE LAUDER OVERLOOKS SPRIGHTLY TOWELS AT GRANDDAUGHTER AERIN’S HAMPTONS HOUSE.

White House, and actress Catherine Deneuve loves Bouquet de Violettes table linens. As for home-furnishings entrepreneur Aerin Lauder, following in the footsteps of mother Jo Carole and grandmother Estée, she can’t get enough of Porthault’s fabulously flowered sheets, table linens, towels, cocktail napkins—even the shams for travel pillows. “Brown-and-white for winter destinations, and brighter ones for tropical spots,” Lauder explains, adding that if it weren’t for her husband, their bedroom would be a bower of Lilas, with its flurry of lilac blossoms ruffled by an unseen breeze.

“Porthault prints are never static,” says Joan Carl, who has owned the firm with her husband, Bernard, since 2005.

“It’s never just a bloom—the flowers have movement, as though you’re walking through a meadow.” Piquant details add dressmaker dash: Madeleine Porthault, in her youth, worked for couturière Maggy Rouff; hence the linens’ hallmark scalloped edges and bias trims. As for Porthault’s palette, think bright, fresh, and printed or embroidered on purest white. Says Carl, “It’s a happy product.” And who couldn’t use a bit more joy in their lives? dporthaultparis.com —MITCHELL OWENS

NEW YORK MILLE FLEURS BLOOMS ON A BED AT CERAMIST CHRISTOPHER SPITZMILLER’S HUDSON VALLEY FARM.

INTERIORS: ERIK KVALSVIK/D. PORTHAULT/COURTESY OF GIBBS SMITH; PILLOW: COURTESY OF D. PORTHAULT

CHARDONS LUZERNE, CHARLIE CHAPLIN’S FAVORITE.

OEILLET LINENS DRESS PORTHAULT OWNER JOAN CARL’S FRENCH KITCHEN.

DISCOVERIES personal best LILY KWONG, IN AN ADAM LIPPES TOP AND PANTS, ON NEW YORK’S HIGH LINE. FASHION STYLING BY JESSICA SAILER VAN LITH.

LAND ART—LIKE ROBERT SMITHSON’S SPIRAL JETTY IN UTAH—HAS INSPIRED KWONG’S WORK.

LEFT GARDENING SET BY WILD & WOLF FROM ONE KINGS LANE. BELOW THE HEDGE-MAZE KWONG INSTALLED WITH MAISON ST-GERMAIN ON THE HIGH LINE.

PLANTER BY DAYLESFORD ORGANIC.

Lily Kwong FLOWER BASKET BY HERMÈS.

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have farmers’ hands,” says Lily Kwong, examining her palms over breakfast at New York’s Standard hotel. Just yesterday she installed a green roof and potted garden at 33 Greenwich, a new restaurant nearby. “All my guys were wearing gloves, but I was bare-handed,” she says.

“I love playing in the dirt.”

Some might be surprised to learn that the northern California– born, New York–based fashion model—and cousin of designer Joseph Altuzarra—has a soft spot for soil, but Kwong insists, “I’ve always felt connected to plants.” She comes from a long line of green thumbs—before her grandfather (himself the descendant of a famous Chinese herbalist) found a career as a banker, he spent his teenage years working on farms. And at her hippie high school in NorCal, agriculture was her favorite class.

So when Kwong’s modeling career took off, she found solace in the familiar: nature. “I was getting dropped into cities around the world. Gardens became my place of escape.” Her interest led her to enroll in Columbia University’s Urban Studies program.

“I wanted to make cities greener; to reconnect people to nature.”

After working with Island Planning Corp. to develop green spaces in the LVMH Design District, Kwong set out on her own in 2016. Since then, she has installed 12,000 tropical plants at a Brooklyn music venue, created a 5,000-square-foot interior

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AN INTERIOR GARDEN KWONG DESIGNED FOR THE 14TH FACTORY IN L.A.

garden (that’s 20 truckloads of dirt) for a pop-up museum in Los Angeles, and collaborated with French spirits brand St-Germain, laying her hands on a strip of turf she’s always fantasized about, New York’s High Line, where she created a meandering hedge maze. Next up is a landscape influenced by Japanese and Chinese gardens for the Shou Sugi Ban House retreat center in Southampton. “A lot of people are landscape-blind,” she says. “They can tell you their favorite street but not that it’s lined with canopied trees. I want to make them plug back into that relationship.” lilykwongstudio.com —HANNAH MARTIN

P ORT RAI T BY C LAI BORNE S WANS O N F R A N K

HAIR AND MAKEUP BY DINA CALABRO USING NARS; LAND ART: GEORGE STEINMETZ; HIGH LINE: DAVID X PRUTTING/BFA.COM; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

The fashion model turned landscape designer breaks new ground

DISCOVERIES AD visits

LEFT NIELS OTTO MØLLER CHAIRS AWAIT DINNER GUESTS AT COACH PRESIDENT AND CEO JOSHUA SCHULMAN’S NEW YORK HOUSE. BELOW SCHULMAN, LEFT, AND HUSBAND JIM CONLEY IN THE SITTING ROOM. FOR DETAILS SEE RESOURCES.

The Manhattan townhouse of Coach’s new CEO is all about soulful chic

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or Joshua Schulman, the new president and CEO of the Coach brand, the life authentic is key. “I like to live in spaces that fit the vernacular of a city,” he explains, adding that his previous residences have included a classic Haussmannian apartment in Paris (when he worked for Tom Ford’s Yves Saint Laurent) and a Victorian flat in London’s Kensington Gardens (when he was CEO of Jimmy Choo).

Three years ago he and his spouse, Jim Conley, a technologyeducation consultant formerly with YouTube, went in search of what they considered to be an über-Manhattan property: a historic townhouse, which they found near Gramercy Park.

Joining them when it came time to furnish was decorator-friend Cliff Fong, owner of the L.A. design firm Matt Blacke and the showroom Galerie Half, known for its ruggedly sexy stock of vintage Scandinavian Modern furniture clad in its original leather, plus provincial European antiques and modern lighting.

“Cliff’s natural style is probably a bit softer than mine historically has been,” explains Schulman, noting that one of his previous homes was so spare that it could be described as

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American Psycho in Paris. “Since then,” he continues, “my taste has softened a little bit—hopefully a lot.”

And so it has. Returned to its period-1900 grace by George Switzer, of New York’s Swis.Loc Architecture, Schulman and Conley’s house is a place where past meets present in perfect harmony. That includes the owners’ individual tastes, which are melded so expertly that it’s difficult to determine where one begins and the other ends. Which certainly wasn’t the case when the two met a dozen years ago. As Conley recalls, when he visited Schulman’s Manhattan apartment (which they later shared),

P HOTOGRAP HY BY S T EP HEN K ENT J OHNS ON

S T YLED BY M I C HAEL R E Y N O L DS

GROOMING BY NATASHA LEIBEL FOR ARTISTS BY TIMOTHY PRIANO USING ALTERNA HAIRCARE

In the Bag

DISCOVERIES AD visits

ABOVE IN THE LIBRARY, A KARINE LAVAL WORK HANGS ABOVE A CHARLOTTE PERRIAND SIDEBOARD; MOGENS KOCH CHAIR AND OTTOMAN. LEFT IN THE MASTER BATH, A POUL HENNINGSEN PENDANT JOINS A WATERWORKS TUB WITH A LEFROY BROOKS FILLER. BELOW THE LIVING ROOM, WITH A WILLIAM MONK PAINTING AND A HORN CHAIR.

The couple’s tastes are melded so expertly that it’s difficult to determine where one ends and the other begins. the fashion executive asked him what he thought of the place— only to be shocked when his date responded, “It’s a little clinical.”

Today, Conley says, “we’ve both yielded and kind of grown.”

Schulman’s and Fong’s knowledge of design has become part of Conley’s own vocabulary as much as his passion for contemporary art has become part of Schulman’s world. In the smokeblue dining room, colorful canvases by Raymond Pettibon and Jake Messing join sinewy 1960s Niels Otto Møller chairs and a 19th-century Italian painted side table. The fog-gray library brings together a flowery Karine Laval chromogenic print with a 1950s Charlotte Perriand sideboard.

Add to this mix old Oriental carpets and lots of smoothly polished wood and you get something that Schulman, never much of a domestic type, didn’t expect: a house that’s really a home. “When we started the project, I was only concerned with the aesthetics,” he says. “But Cliff and Jimmy were always asking, ‘How do you want to live in this room?’ ” Today the townhouse is guest central, with the men hosting frequent parties (Conley is the resident chef ), including last Thanksgiving’s extended-family bash for 36. “It’s not only our styles that have evolved,” Schulman observes. “Design really can be transformative.” —MITCHELL OWENS

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DISCOVERIES debut 4 1 2

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1.–3. HAND-PAINTED LOBMEYR CARAFE AND CUPS FROM THE WEBSTER COLLABORATION. 4. MELANIE COURBET AT MIAMI HOT SPOT THE SURF CLUB. 5. HAND-BLOWN GLASS DECANTER

BY WAYNE HUSTED, 1954. 6. MARIO MILANA CHAIR.

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Material World The design doyenne behind Les Ateliers Courbet brings a coterie of craftspeople into the limelight with new locations in New York and Miami P ORT RAI T BY K RI S TAM B U R E L LO

HAIR AND MAKEUP BY STEVEN HOEPPNER FOR ARTISTS BY TIMOTHY PRIANO USING YSL BEAUTÉ TOUCHE ÉCLAT; 1., 2., 3., 5., AND 6. COURTESY OF MELANIE COURBET

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n the Sundays Melanie Courbet spent in the French countryside while growing up, she and her mother would visit the shop of a local glassblower. “The women in my family are in the arts, and the men are merchants,” explains Courbet, a descendant of the 19th-century painter Gustave Courbet. “So as a kid I said, ‘What if I bring them together? If I take Gérard the glassblower into the shop, people can see how beautiful it is when he makes the glass.’ ” Some three decades later, her idea has become reality. In Les Ateliers Courbet, her Nolita shop-gallery hybrid (which will move to Chelsea in September), she has hosted Japanese master craftspeople, held indigo-dyeing workshops, showcased new and old designs from Sèvres porcelain, and nourished the careers of young talents like Anna Karlin, whose chess piece– shaped barstools were snapped up by John Legend and Chrissy Teigen the day before the space opened in 2013.

“I would rather wait two hours for a coffee than drink it from a plastic cup,” says Courbet, sipping from a mug at the Mercer Hotel. This high-end riff on hygge encapsulates the ethos of her brand. “It’s about quality of material, craftsmanship, and the appreciation of time.”

Judging by her upcoming schedule, it’s one that resonates.

In addition to the new Manhattan location, a Miami outpost in the recently revamped Surf Club will also open in September.

Between the two, Courbet will unveil a collaboration with the Webster’s Laure Heriard Dubreuil inspired by the paintings of Henri Rousseau. “It’s happy, it’s lush,” she says of the collection, which includes flora-covered glassware from Lobmeyr and jungle-themed plates from Laboratorio Paravicini. “We asked ourselves, What would Les Ateliers Courbet be if it was on holiday at the Surf Club? We didn’t want to take ourselves too seriously.” —HANNAH MARTIN

DISCOVERIES artisan 1

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Glass House Taking the reins of his mother’s business, Marcantonio Brandolini D’Adda introduces modern verve to Murano’s age-old craft 4 3

1. MARCANTONIO BRANDOLINI D’ADDA AT COMPONENTI DONÀ, THE HOT SHOP HE WORKS WITH IN MURANO. 2. AND 3. PIECES FROM BRANDOLINI D’ADDA’S NEW COLLECTION. 4. AND 5. LAGUNA B’S BERLINGOT AND GOTO GLASSES.

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2., 3., 4. AND 5. COURTESY OF RESPECTIVE COMPANIES

s a kid I was not interested in glass,” says Marcantonio Brandolini D’Adda, surveying shelves of Murano cups sprinkled with stars, stripes, and swirls at Palazzo Brandolini, his family’s illustrious Gothic home in Venice.

“I was always breaking it!”

His mother, the Paris-born Marie Angliviel de la Beaumelle, began making glasses under the moniker Laguna B in 1996 after moving to Venice to wed Brandino Brandolini D’Adda.

A few years after her passing, in 2013, something changed for Marcantonio. He quit his job in Milan, returned to Venice, and took a trip to Murano. “I saw so much potential,” he recounts.

These days the 26-year-old makes his morning commute by boat to the island where craftspeople have been blowing glass since the late 13th century. But while he works with traditional masters at Componenti Donà, his output is hardly the stuff of Venice gift shops. For his first collection—a series of 18 monumental vessels that glisten in the light like melting candy—clear molten glass is rolled in shattered colored pieces, then blown into the desired form: “The glass has a mind of its own,” he says.

“Each piece decides its own shape.”

There was a time when works such as 2 these were par for the course in Murano: 20th-century talents such as Carlo Scarpa, Ettore Sottsass, and—Marcantonio’s favorite—Napoleone Martinuzzi regularly partnered with companies like Venini on experimental creations. But in the last few decades, some of that innovation has been sacrificed, diluting Murano, in the minds of some, to a tourist attraction. “Laguna B is trying to keep something alive,” he says.

“Murano should be the capital of glass.”

This year Marcantonio launched a residency program in partnership with the renowned Pilchuck Glass School outside of Seattle, where he studied in 2016. Next he will collaborate with Alma Zevi on an exhibition of new work that will all be suspended from the ceiling of her namesake Venice gallery: an artful riff on a crystal chandelier; a multicolored stalactite-esque column. As for his mother’s signature Laguna B glasses, which have garnered a cult following among au courant hostesses, he’ll continue and evolve production. Upcoming tableware collaborations with Moda Operandi, Cabana magazine, and perfumer Frédéric Malle are in the works. But it’s all just the tip of the iceberg for Marcantonio, who dreams of expanding Laguna B into a lifestyle brand in the spirit of Venini.

“I want to design for the whole house: chandeliers, tableware, toilets—well, maybe not toilets,” he says with a laugh. “But I want to do everything.” —HANNAH MARTIN

DISCOVERIES debut 2

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Wild Things A range of influences comes to life in Alessandro Michele’s new home collection for Gucci 1. CHAIR, $2,500. 2. CUSHION, $1,490. 3. TRAY, $980.

4. FOLDING TABLE, $1,250. 5. CANDLE, $340. 6. SCREEN, $22,000.

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P HOTOGRAP HY BY S T UA RT TYS O N

DISCOVERIES obsessions Malachite Mania

Up to the Minute This season’s watches keep time with the material obsessions of the design world PH OTO G R A PH BY T H O MA S L AGRANGE

PROP STYLING BY VALÉRIE WEILL

THE GEODE DU JOUR OF THE INTERIORS WORLD SHOWS ITS COLORS ON TODAY’S FIRST-CLASS TIMEPIECES. DISPLAYED IN POLISHED MALACHITE SPECIMENS, FROM TOP, ALTIPLANO 60TH-ANNIVERSARY EDITION TIMEPIECE BY PIAGET WITH 18-KARAT YELLOW-GOLD CASE, PATINATED GREEN DIAL, AND ALLIGATOR STRAP, $25,200; PIAGET.COM. LVCEA TOURBILLON WATCH BY BULGARI WITH JADE DIAL SET WITH DIAMOND INDEXES, PRICE UPON REQUEST; BULGARI.COM. GRAND BAL PLUME WATCH BY DIOR WITH TSAVORITE GARNETS, MALACHITE, AND FEATHERS, PRICE UPON REQUEST; DIOR.COM. TABLE FROM ARTOCARPUS AT SAINTOUEN MARKET IN PARIS.

DISCOVERIES obsessions Ponti Scheme WITH A MARQUETRY DIAL COMPOSED OF LAPIS, AGATE, CACHOLONG, AND OBSIDIAN, THE ROTONDE DE CARTIER WATCH RECALLS ITALIAN ARCHITECT GIO PONTI’S BEGUILING FLOOR TILES, PRICE UPON REQUEST; CARTIER .COM. TILE DESIGN BY GIO PONTI PRODUCED

BY CERAMICA D’AGOSTINO FROM THE PARCO DEI PRINCIPI HOTEL IN SORRENTO, ITALY.

Color Guard MATCH YOUR WRIST TO YOUR WALLS WITH THIS SEASON’S DAZZLING JEWEL BOX– PALETTE OYSTER PERPETUAL YACHT-MASTER 40 BY ROLEX, WITH MULTICOLORSAPPHIRE AND GREEN-TSAVORITE ROTATABLE BEZEL, $65,000; ROLEX.COM.

COME FACE-TO-FACE WITH FEARLESS FAUNA THAT COULD HAVE SAUNTERED RIGHT OUT OF A WILD DE GOURNAY WALLPAPER PANEL. FROM LEFT, SLIM D’HERMÈS GRRRRR!

BY HERMÈS, WITH WHITE-GOLD CASE AND ALLIGATOR STRAP, $80,400; HERMES.COM. PETITE HEURE MINUTE PINK FLAMINGO WATCH

BY JAQUET DROZ, WITH MINIATURE PAINTING ON ENAMEL DIAL AND DIAMONDS, $39,400; JAQUET-DROZ.COM. CUSTOM WALL COVERING

BY KEN FULK FOR DE GOURNAY. —HANNAH MARTIN

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ALL PHOTOS COURTESY OF RESPECTIVE COMPANIES

Animal Instinct

Statement Piece Following in the footsteps of Yves Saint Laurent, architecture duo Studio KO conjures a temple to the fashion designer’s legacy in his cherished Marrakech

CULTURE

WHERE TO GO, WHO TO KNOW, WHAT TO SEE

EDITED BY SAM COCHRAN

STUDIO KO FOUNDERS KARL FOURNIER (LEFT) AND OLIVIER MARTY SIT IN THE FIRM’S MARRAKECH OFFICE (STUDIOKO.FR).

PH OTO G R A PH Y BY MATTHIEU SALVAING

CULTURE architecture

FROM TOP THEIR LATEST PROJECT, THE MUSÉE YVES SAINT LAURENT MARRAKECH, OPENS TO THE PUBLIC OCTOBER 19 (FONDATION-PB-YSL.NET). CHILTERN FIREHOUSE, THE LONDON HOTEL THAT STUDIO KO DESIGNED FOR ANDRÉ BALAZS IN 2014. THE COVER OF THE DUO’S FORTHCOMING MONOGRAPH.

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FROM TOP: MATTHIEU SALVAING; TIM CLINCH; COURTESY OF RIZZOLI

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hree years ago, Pierre Bergé, Yves Saint Laurent’s longtime partner in business and in life, contacted architects Olivier Marty and Karl Fournier, also partners in business and life, and asked them to design a museum in Marrakech that would house Saint Laurent’s legacy and, in no small part, his own. His directive was deceptively straightforward: “It’s simple—I want something strong, Moroccan, contemporary, and, above all, absolutely uncompromising.” Oh, is that it?

For Bergé, who had never commissioned a building from scratch, to award the job flat out was a stunning leap of faith, though he already knew Marty and Fournier well. The architects had met him years before through Bergé’s tight-knit circle of friends in Morocco, where the duo’s firm, Studio KO, so called for their first initials, got its start designing spare, striking homes for clients with names such as Hermès and Agnelli. Both architects were amazed when Bergé showed them around Villa Oasis, the Marrakech retreat that he and Saint Laurent had restored together.

“They’ve become like family,” says Bergé, who worked with them to reimagine his own house in Tangier. “They’re not haughty, like some other architects I know.” He wasn’t concerned that neither had ever designed a public institution, let alone a 43,000square-foot museum and cultural center to showcase Saint Laurent’s archives and sketches. “It was something of a gamble, but I love taking risks,” reflects Bergé. “I’m extremely happy with the wager we made.”

Opening October 19, the Musée Yves Saint Laurent Marrakech promises to be a quiet triumph that ticks all of Bergé’s boxes. Purity of line reigns, with contrasting walls of terrazzo, concrete, and terra-cotta bricks, and a round central atrium that’s all but empty, open to the sky. Marty likens the interplay of volumes to a Cubist sculpture. What the museum is not is some literal evocation of, say, Le Smoking, YSL’s iconic women’s tuxedo. “The only real reference to Saint Laurent are the layers of brick that recall the weave of a textile,” says Marty, adding that the floor plan is meant to resemble a sewing pattern. “I bet if he were alive, Yves would have wanted something very different, but at the end of the day, I like to think he would have loved it.”

This offers an idea of how Studio KO works— each project bears the imprint of its circumstances so that the family resemblance isn’t always immediately clear from one design to another. “We always try to adapt a project to its place,” says Fournier, noting that if there’s a common thread, it’s that natural light (“how it’s chiseled, how it’s filtered”) becomes a kind of intangible building block. At a 2009 villa in Tagadert, Morocco, mud mortar façades practically disappear into the surrounding desert, coming alive as the sun passes overhead and colors shift. A 2014 house in Saint-Briac-sur-Mer, France, meanwhile,

CULTURE architecture CLOCKWISE FROM FAR LEFT YVES SAINT LAURENT AT HOME IN MARRAKECH IN 1980; ONE OF STUDIO KO’S VILLA PROJECTS IN MOROCCO; A STUDIO KO–DESIGNED VILLA IN CORSICA, PHOTOGRAPHED FOR THE JUNE 2015 ISSUE OF VOGUE.

mixes board-formed concrete with ebonized timber. And for their own retreat on the island of Corsica, Marty and Fournier enlisted local craftsmen to help update a 19th-century house, applying plaster unevenly over the old stone. Neither architect recoils at the word minimalism, but theirs is a shaggy version shaped by hands—not a means toward steely perfection. “It’s not about erasing the human touch, but highlighting it,” says Fournier. “Imperfection is part of the process. It’s our language, but you can only recognize it if you can feel it.”

Marty and Fournier allow their fancy to run much freer when they design hotels and restaurants—so much so that they both describe a kind of “schizophrenic” split between their residential and hospitality work. Here, too, context is everything, though they will often dream up a backstory that supplies its own fantastical narrative. For Chiltern Firehouse, the hit London hotel they designed for André Balazs in 2014, the duo envisioned a noble English family who, down on their luck, take refuge in an old firehouse and try vainly to keep up standards. Hence among the mullioned windows, elegantly

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coffered ceilings, and chesterfield sofas there are floral rugs that Marty calls “almost ugly.”

But don’t blame Studio KO—blame the imaginary Waddington-Bowleses. “A lot of people are coming to us now to make another Chiltern, but we explain to them that it will never happen again,” says Fournier. “It’s all in the context—the place, the client, and the evolution of our taste.”

That shared taste dates back more than 20 years, when the two men met and fell in love while studying at the École des Beaux-Arts in Paris, launching Studio KO shortly thereafter.

Their shared aesthetic values, they discovered, allowed them to play well together. “We both come from the same kind of leftist, intellectual, middle-class homes with hundreds of books but no sense of space or comfort or architecture,” says Fournier. “We are taking our revenge!”

Revenge has certainly been sweet. Today Studio KO has offices in Marrakech, Paris, and London, where it opened an outpost in 2014. Lately the firm has been working steadily in the U.S. Last year it finished work on a Balmain boutique in downtown Manhattan, and it is currently completing another store for the brand, this time on Melrose Avenue in Los Angeles.

Meanwhile, Balazs was so pleased with Chiltern Firehouse that he entrusted the architects to update his cherished Chateau Marmont. Later this September, the duo will publish their debut monograph, Studio KO (Rizzoli).

Despite all the global to and fro, Messieurs Karl and Olivier of Studio KO remain indivisible—aesthetically if not always physically. In separate interviews, the only pronouns either one used were we and our and us. But they are not the same. Marty is the draftsman, Fournier the dreamer. “Olivier has a tendency to add things, and I follow behind him and subtract,” says Fournier, pressed to make a distinction. But everything they do, he adds, ends up as a “musical score for piano for four hands.” —JOSHUA LEVINE

CLOCKWISE FROM TOP LEFT: HORST P. HORST; DAN GLASSER; FRANÇOIS HALARD

“Imperfection is part of the process,” says Karl Fournier.

“It’s our language.”

CULTURE travels Green Acres Beloved by the fashion crowd, Litchfield County lures a new generation of tastemakers

DIANE VON FURSTENBERG UNWINDS AT CLOUDWALK, HER CHERISHED ESTATE IN NEW MILFORD, CONNECTICUT. ARETHUSA FARM.

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he pastoral pleasures of Litchfield County have long been an open secret among the style set. Diane von Furstenberg put down roots in this corner of Connecticut in her 20s, purchasing a sprawling farm known as Cloudwalk that remains her spiritual center. Bill Blass found bliss at an estate now owned

by Daniel Romualdez. And Annette de la Renta still holds court at the home she shared with her late husband, Oscar, not far from Robert Couturier’s own private haven. The list goes on and on. No wonder André Leon Talley dubbed the region “the fashion belt,” though he might have just as well called it the fashion parachute—an escape from the industry’s relentless pace.

Today the area is luring a new generation of tastemakers, among them Brett Heyman, Ariel Ashe, and Wes Gordon. It’s easy to understand the appeal. Country roads gracefully unfold, with postcardperfect stone walls, barns, and farm stands punctuating forests and fields. Every turn reveals the faint sound of rushing water.

Cell service becomes spotty, loosening the shackles of Instagram and email. Suddenly the unthinkable happens: You forget about your phone.

“It’s not a place that’s supersocial by nature,” says Heyman, who spends weekends with her family at their Washington home. “There is certainly a fashion contingent, but people come up to be mellow.” That crew includes her friend Paul Andrew, a New Preston resident and a regular hiker along the trails at nearby Steep Rock Preserve. “I’ve always been a country guy,” the footwear

CULTURE travels

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MORE TO DO IN LITCHFIELD COUNTY WHERE TO SHOP New Preston lays claim to the county’s quaintest boutiques, with the perfectly curated Pergola Home (pergolahome .com), Privet House (privethouse.com), and Plain Goods (plain-goods.com) all within steps of one another. But Washington Depot now boasts its own design destination, George Home, filled with an artful mix of contemporary and vintage treasures (georgehomect.com). In Kent, AD100 decorator Robert Couturier swears by antiques emporium RT Facts, which expanded into a second space (rtfacts.com). The determined hunter, however, should arrive early Sunday morning at the Elephant’s Trunk Flea Market, where Brett Heyman can regularly be found scouring the many booths (etflea.com).

1. ANDREW FRY AND MICHAEL DEPERNO OUTSIDE PLAIN GOODS, THEIR STORE IN NEW PRESTON. 2. GLASSWARE AT PRIVET HOUSE. 3. BRETT HEYMAN AT HOME WITH HER CHILDREN IN WASHINGTON (AD, SEPTEMBER 2015).

WHERE TO STAY Set on 58 acres, the Grace Mayflower Inn & Spa reigns as the oasis of local luxury, with stately rooms—many recently refreshed—inventive American cuisine, and a bliss-inducing hammam (mayflower grace.com). Farther north, the White Hart also offers both elegant accommodations and culinary delights; check out the Jasper Johns in its award-winning restaurant or grab lunch at its casual Provisions café (whitehartinn.com). And for a true taste of local domestic life, a quick search on Airbnb turns up postcard-perfect farmhouses galore (airbnb.com).

WHERE TO EAT Chef Joel Viehland is putting the finishing touches on Ore Hill and Swyft, his new Kent restaurants (swyftct.com). In Bantam, Arethusa Farm’s gourmet empire continues to grow with an ice-cream parlor, restaurant, and now café (arethusafarm.com) while the picnic tables at West Shore Seafood remain packed thanks to the best hot lobster roll around (westshore seafood.com). On Fridays, sip on rosé outside at the Owl (owlnewpreston.com), a charming New Preston wine bar, before heading down the street to Nine Main Café’s taco night—a favorite of Plain Goods proprietors Andrew Fry and Michael DePerno (ninemainbakery.com). And if it’s a country throwback you crave, head to G.W. Tavern (gwtavern.com) or the White Horse pub (whitehorsecountrypub.com).

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designer explains. “Litchfield really reminds me of rural England, where I grew up—the rolling hills, the cows.”

Of course, Litchfield County isn’t one place but many: a daisy chain of villages, each with its own charms. Take the tiny borough of Bantam, where Manolo Blahnik USA president George Malkemus has built a gourmet extension of his local Arethusa Farm, opening a dairy store, a farm-to-table restaurant, and a casual café. New Preston, meanwhile, brims with the best boutiques, among them Pergola Home, a gardener’s paradise; Privet House, with its elegant glassware, vintage books, and antique furniture; and two-year-old Plain Goods, set in a converted cottage. As the latter’s co-owner decorator Michael DePerno notes of the area, “It’s nowhere, but it’s somewhere.”

Change doesn’t come quickly to this neck of the woods, but some new arrivals stand to add more energy still. In Washington Depot, Wilson Henley and Bruce Glickman—the duo behind Duane Modern—have teamed up with Betsey Nestler to launch George Home, an impeccably curated furniture emporium that opened this past June. And Nomatrained chef Joel Viehland, formerly of the much-missed Community Table, is putting the finishing touches on side-byside restaurants (one casual, one tasting menu) in a historic Kent building owned and restored by philanthropist Anne Bass. To put it mildly, the simple life never felt so sophisticated. —SAM COCHRAN

CULTURE design

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Wild-child Katie Stout plans the ultimate slumber party for her solo show at R & Co.

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atie Stout is preparing for emergency sofa surgery. “Pepita got scalped!” the artist/designer cries with a giggle during my visit to her Brooklyn studio, explaining that an accident ripped the hair and forehead off a cherished new creation—a couch shaped like a recumbent nude and named after one of Goya’s supposed models. The next day, Stout will rush to its side at the Museum of Contemporary Art Santa Barbara, where the piece is set to appear in a group exhibition devoted to the theme of play. For now, though, she is giddy as she discusses her September solo debut at R & Co., the Manhattan gallery whose roster she joined last fall.

She shows me the doll-like maquette upon which Pepita is based, moving its arms and legs into different positions and imagining new pieces. “Now she’s a bench, now she’s a chair,” Stout muses. “I definitely feel a deep connection to her and the other girls.” The squad in question is a series of cartoonish lamps and mirrors, the naked female forms of which Stout sculpts in clay and paints candy colors. One girl does a head stand; another sits on a friend’s shoulders. Wires go in and out

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3 1. KATIE STOUT AT WORK IN HER BROOKLYN STUDIO; HER SOLO SHOW OPENS AT R & CO. ON SEPTEMBER 26 (R-AND-COMPANY.COM).

2. A 2015 PAPER-PULP SIDE TABLE. 3. A 2017 SPIKY CERAMIC LAMP FINISHED IN GOLD.

P ORT RAI T BY AM Y LO M B A R D

HAIR AND MAKEUP BY MIKE FERNANDEZ FOR ARTISTS BY TIMOTHY PRIANO USING EVO HAIR PRODUCTS AND NARS COSMETICS; SIDE TABLE AND LAMP: COURTESY OF RESPECTIVE COMPANIES

Girl Just Wants to Have Fun

CULTURE design of bodies; nipples at times double as touch sensor switches. “It’s not about being sexy,” Stout says. “The girls are just having fun.”

The same could be said of her. In the past few years, Stout has taken the art and design worlds by storm creating furnishings that seem to laugh in the face of convention, all the while letting you in on the joke. A shaggy armoire is clad entirely in tube socks; braided rugs take the form of eyes or lips; chairs are at turns unexpected—stuffed with fabric, wrapped in vinyl—and provocatively functionless, their upholstered frames totally limp. This off-kilter sense of beauty has quickly won over daring aesthetes such as fashion iconoclast Jeremy Scott and AD100 designer Kelly Wearstler, who notes, “Katie has a truly unique point of view. She pushes materiality and takes major 2 risks. Her work is confident and a little punk.”

Making furniture has long appealed to Stout, who studied at Rhode Island School of Design. “RISD was soooo emotional,” she says with the kind of easy laugh that only time and distance can afford. Freshman year her mother passed away, after which Stout dropped all but one of her classes, eventually regaining her footing in the furniture department. “I’ve always been obsessed with the domestic world,” she reflects. “Furniture opens people’s minds as to what a home life can be. It’s my way of lightening the mood.”

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“Katie has a truly unique point of view. She pushes materiality and takes major risks.”

—Kelly Wearstler 3

1. STOUT’S BELOVED PEPITA SOFA. 2. ONE OF HER “GIRL” LAMPS. 3. ZHEN ZHEN MARBLE BENCH, 2017. 4. A CERAMIC WALL MIRROR. 5. A 2016 STUFFED CHAIR.

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At school, she developed the technical expertise that would later help lead her to victory as the winner of the first season of Ellen’s Design Challenge. “RISD’s furniture department was very traditional,” she says of her training. “You’d learn how to execute a design—how to draw, how to build.”

Her first piece of furniture was a wood table in the shape of an udder, the maternal metaphors of which are not lost on her. “I was looking at it recently and thought—Wow, nothing’s changed, but everything’s changed.”

For her exhibition at R & Co., opening September 26, Stout envisions a kind of slumber party. “Sleepovers are a place for weirdness and conversation,” Stout explains. “There’s always some sort of revelation.” In the works are a number of creative departures, including girls woven out of wicker, jute rugs, a sequined bed frame, and a dining set in extruded plastic. She’s also collaborating with stone fabricators to translate tiny clay models into full-size marble seating. “Everything will talk to each other but be experimental in its own right,” she says, suddenly wistful at the thought of parting with her pieces. “I need to be less emotional about the things I make.” —SAM COCHRAN

CULTURE legacy

LEFT IAN SCHRAGER IN THE LOBBY OF HIS NEW MANHATTAN HOTEL, THE PUBLIC. ABOVE A CROWD FORMS OUTSIDE STUDIO 54, WHICH WOULD HAVE TURNED 40 THIS YEAR. BELOW A ROOM AT THE PUBLIC (PUBLICHOTELS.COM).

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Life of the Party

With a new Manhattan hotel and a much-anticipated return to nightlife, Ian Schrager looks back on the club that launched his career

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accessorized with an iPhone and a voice that recalls vintage Jimmy Durante, the 71-year-old comes across as equal parts entrepreneur, sociologist, scenester, family guy, and instant friend. “I love visuals, but visuals are nothing more than what special effects are in a movie,” says Schrager. “Design, though, is an ethos. It’s all about the mix—these disparate elements coming together to create excitement.”

For Schrager, excitement and design have always gone hand in hand. Consider Morgans, the world’s first boutique hotel, which Schrager and Rubell opened in 1984, and the Arata Isozaki–designed ’80s disco Palladium, which Paul Goldberger

P ORT RAI T BY M ART I EN M U L DE R

FROM TOP: PETER L. GOULD/IMAGES; NIKOLAS KOENIG

ombining theater, disco, café, nightclub, and every other entertainment divertissement known (and some unknown) to 20th Century Man. . . .” So went the modest description of a new Manhattan venue on the occasion of its April 26, 1977, opening. Located on West 54th Street, the establishment in question called itself Studio 54, and the above bit of artful, entirely prophetic hype appeared in its original PR blast. The artifact is one of the many treasures found in Studio 54 (Rizzoli), a new omnibus commemorating the 40th anniversary of the hot spot to end all hot spots.

The book has been shepherded by Ian Schrager, who, with the late Steve Rubell, created the hedonistic Eden that André Leon Talley extolled as an “artificial paradise.” After all, Studio 54 didn’t just naturally sprout from the Manhattan schist: It was conceived, from the silver banquettes to the notorious velvet rope, with Schrager riding herd on a team that included interior designer Ron Doud and architect Scott Bromley. Among the specifications on Schrager’s punch list: “Separate coat check for furs. . . . Crazy, luxurious & clean bathrooms. . . . No DECO.” When we catch up with Schrager at his latest venture—the Public, a 367-room hotel on Manhattan’s Lower East Side— the Brooklyn native radiates more personal electricity than Reddy Kilowatt. In his uniform of black jeans and black shirt,

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“People forgot about Woodstock but not about Studio 54!”

—Ian Schrager 1. HIS OWN HOME AT 40 BOND. 2. SCHRAGER’S NEW BOOK (RIZZOLI, $75). 3. A CELEBRITY CROWD AT STUDIO 54. 4. MIAMI’S DELANO HOTEL. 5. NEW YORK’S EDITION. 6. THE GRAMERCY PARK HOTEL.

1. MARK SEELEN; 2. COURTESY OF RIZZOLI; 3. ROBIN PLATZER; 4. TODD EBERLE; 5. AND 6. NIKOLAS KOENIG

declared “one of the most remarkable pieces of interior architecture in New York.” Then there was the roll call of hotels as era-defining as Studio 54, each of them tricked out with Philippe Starck wizardry: the Paramount, the Delano, and, most famous of all, the Royalton, a faded midtown Manhattan dowager that became the ultimate ’90s playpen. In 2005, Schrager conscripted the artist Julian Schnabel to implement a luxury dreamscape at the shopworn Gramercy Park Hotel. Three years later, Schrager partnered up with Marriott to guide Edition, a chain of boutique hotels whose New York outpost opened two years ago in the landmark Metropolitan Life clock tower. More than two dozen will follow soon, in Times Square, West Hollywood, Barcelona, and beyond.

At the Public, the mix is one of raw materiality tempered by refinement and comfort, what Schrager calls “tough lux.”

To create the 32-story concrete-and-glass building, which rose from an old parking lot on Chrystie Street, he tapped the Pritzker Prize–winning architects Herzog & de Meuron, with whom he is also developing 160 Leroy, a curvy condo tower on the Hudson. It’s a continuation of their joint residential work, exemplified by 40 Bond, the 2007 building where Schrager and his family live in a penthouse designed with Christian Liaigre and John Pawson, a friend of 20 years. “Ian is passionate about detail,” says Pawson, who has brought his customary finesse and flair for texture to the 11 condos that top the Public. “He checks and double-checks it all. You need that kind of long look in order to get things right.”

The atmosphere at the Public (rooms from $150 a night; take that, Airbnb) is leavened with playful Schrager touches: an Iván Navarro light sculpture, mirror-lined and neon-lit escalators, Nerf-like basketballs for shooting hoops. The opening blowout, this past June, had its Studio 54–esque moments, with a swirl of 2,000 guests and a surprise set by Patti Smith in the basement performance space, designed with the help of Bonetti/Kozerski Architecture. Director Matt Tyrnauer (Valentino: The Last Emperor; Citizen Jane) had his cameras rolling for a 4 feature documentary about Schrager 6 and Studio 54, expected out next year.

Schrager still marvels at the staying power of the nightclub that launched his career.

“People forgot about Woodstock but not about Studio 54!” he says with characteristic, disarming hyperbole. After four decades of his bringing design to the forefront of hospitality, there’s no standard-issue Schrager look or approach. Instead, the uplifting, refreshingly off-center spirit of 54 remains a constant. “I don’t take myself too seriously,” Schrager says.

“I still consider myself an outsider, no matter what I’m doing.” —MARK ROZZO

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SIMON UPTON. LOGO COLOR INSPIRED BY SHERWIN-WILLIAMS SW 6818 VALIANT VIOLET

LADY OF THE HOUSE CLAUDIA SCHIFFER, AT HER HISTORIC HOME IN THE ENGLISH COUNTRYSIDE, BENEATH GUNTER SACHS’S MULTI-PANEL LE CRI (1991), DEPICTING HER FAMOUS POUT. SHE WEARS A CLAUDIA SCHIFFER KNITWEAR SWEATER, M.I.H. JEANS, AND MINNETONKA MOCCASINS. FASHION STYLING BY LUCIE MCCULLIN.

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IN THIS STORY: HAIR BY SEB BASCLE AT CALLISTE AGENCY; MAKEUP BY KIRSTIN PIGGOTT AT JULIAN WATSON AGENCY. SPECIAL THANKS TO ANNICK AND KATIE OF BENNINGEN LLOYD INTERIOR DESIGN AND STYLING, AND EMMA MILNE-WATSON FROM STUDIO W

LIVING THE DREAM

THE ENTRANCE HALL OF THE 16TH-CENTURY ESTATE BOASTS ART BY RONI HORN AND DAVID HOCKNEY. VAUGHAN LANTERN; CURREY & CO. LAMPS; PIMPERNEL & PARTNERS CHAIR IN A MOGHUL POPPYPRINTED LINEN FROM CHRISTOPHER MOORE. OPPOSITE SCHIFFER, WITH THREE OF HER FOUR DOGS, IN A SWEATER BY CLAUDIA SCHIFFER KNITWEAR, TEMPERLEY LONDON SKIRT, AND AQUAZZURA SANDALS. FASHION STYLING BY LUCIE McCULLIN. FOR DETAILS SEE RESOURCES.

At Claudia Schiffer’s Tudor manse in England, the supermodel and her family live in majestic splendor, surrounded by historic architecture, modern art—and a few friendly ghosts TEXT BY

JANE KELTNER DE VALLE

PHOTOGRAPHY BY

SIMON UPTON

STYLED BY

LAWREN HOWELL

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laudia Schiffer—member of the original supermodel club, iconic Guess? girl, magazine-cover star times a thousand, and savvy businesswoman—is well versed at navigating runways. So 15 years ago, when the Teutonic bombshell and her now husband, English film director Matthew Vaughn, turned into a half-mile-long driveway— unannounced and on a whim—to inquire whether the owners might consider selling the historic house at the end of it, Schiffer naturally won over her audience.

“We basically knocked on the door and said, ‘We love this place,’ ” she recalls of the serendipitous moment.

“They had no idea who we were or what we were doing there.” Months later, the couple, having closed the deal, were married there in front of 120 guests.

The 14-bedroom Tudor mansion on 530 acres now serves as the full-time residence to them and their three children, Caspar, 14, Clementine, 12, and Cosima, 7, plus a menagerie of dogs, cats, sheep, pig, and tortoise—the last a gift from Vaughn shortly after he and Schiffer met on a blind date. “We weren’t even dating yet,” she says, still charmed by the gesture.

“I had told him over dinner, ‘I love tortoises and I’ve always wanted to have one.’ ” And voilà! One arrived

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at her doorstep in Mallorca on her birthday. It now happily resides in the stables.

It’s said that the 1574 house—built in the shape of an H in honor of King Henry VIII—owes its name to Queen Elizabeth I, who was nonplussed at being served cold ham when she stayed there and thus christened it Coldham Hall. It served as a safe haven for Catholic priests during the Elizabethan purges, and still boasts a few priest holes—cubbies below the floorboards—which today make perfect hiding places for the kids. “They used to always have magnets and strings going down to check if there was anything valuable,” says Schiffer, adding that they found nothing.

The property was also a meeting point for the conspirators of the Gunpowder Plot of 1605, and remained in the original family for some three centuries.

“We have a lot of history to live up to,” admits Schiffer. Out of respect for its rich past, the couple have adopted a slow and studied approach to decorating the house. “We’ve taken our time,” Schiffer says.

“Nothing was bought quickly.”

The furniture is a mix of comfortable upholstered pieces, antiques, and family heirlooms. “Great homes sometimes lack that personal detail,” Schiffer says. “I wanted to have things in the house that are important to us because they have great memories attached,” she explains, citing an oak chest in the drawing room

IN THE DRAWING ROOM, CLUB CHAIRS DRESSED IN A JASPER FABRIC SIT BENEATH A GRAYSON PERRY ETCHING. OPPOSITE THE HOUSE LIES AT THE END OF A LONG, STATELY DRIVEWAY.

ABOVE THE BEDROOM OUTSIDE A MARBLE-CLAD GUEST BATH IS PAPERED IN A LOTUS MOTIF BY GALBRAITH & PAUL. OPPOSITE THE MASTER BATH’S BESPOKE MARBLE SINK AND SHOWER ENCLOSURE ARE DESIGNED BY BENNINGEN LLOYD. FITTINGS BY LEFROY BROOKS; TOWEL RACK BY BARD & BRAZIER LTD.; BAMFORD SOAPS.

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FASHION STYLING BY LAWREN HOWELL

OPPOSITE IN THE GREAT HALL, A PAIR OF 17TH-CENTURY FLEMISH OIL PORTRAITS OF NUNS HOVERS ABOVE THE LONG OAK DINING TABLE. BELOW BERNHARD FUCHS’S C-PRINT OF A WHITE VOLKSWAGEN PASSAT HANGS IN A POWDER ROOM, ALONGSIDE THOMAS STRUTH PHOTOGRAPHS.

ABOVE SCHIFFER, WEARING AN ALTUZARRA DRESS AND AQUAZZURA FLATS, WARMS UP ON THE FIREPLACE FENDER. LEFT A PAIR OF PIMPERNEL & PARTNERS CHAIRS UPHOLSTERED IN COZY SKANDILOCK SHEEPSKIN STANDS ON A GRAPHIC ROBERT STEPHENSON RUG IN THE SCREENING ROOM. SOFA IN A RED LORO PIANA INTERIORS CASHMERE AND A THROW BY JOHNSTONS OF ELGIN; CHAIRS (FAR LEFT) IN HERMÈS FABRIC

BY DEDAR. ARTWORKS

BY LUCIAN FREUD AND PETER BEARD.

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Out of respect for its rich past, the couple have adopted a slow and studied approach to decorating the house.

OPPOSITE A PATRICK DEMARCHELIER PHOTO OF A LION LOOKS OVER THE DINING-ROOM TABLE, SET WITH BORDALLO PINHEIRO CERAMICS AND VILLEROY & BOCH DINNERWARE. DAYLESFORD ORGANIC GLASSWARE; CHAIR CUSHIONS OF A SCANTEX GINGHAM. ABOVE THE KITCHEN BOASTS AN AGA RANGE AND GENEROUSLY SIZED WORK ISLAND. FRESH PRODUCE FROM DAYLESFORD ORGANIC IN THE COTSWOLDS; CHECKERED TEA TOWELS BY MEYER-MAYOR.

from her childhood home and a shield with her husband’s family arms in the great hall. “The stories these things tell are important.

“We also brought in a lot of color and pattern,” she says. The walls of nearly every guest bedroom are covered in traditional motifs—tree-of-life fabric in one room, an orchard-print wallpaper in another.

One bedroom, per Schiffer’s insistence, was wrapped from floor to ceiling in Galbraith & Paul crimson lotus wallpaper to create a tentlike effect.

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f the furnishings lean traditional, the art that fills the walls acts as a wonderful juxtaposition. Avid collectors, Schiffer and Vaughn have amassed an array of impressive works by such contemporary masters as Andreas Gursky, Damien Hirst, and Candida Höfer.

Recent acquisitions are some of David Hockney’s iPad drawings of the English countryside, which Schiffer was attracted to because they “look like they could be on our grounds.” Schiffer began poking around galleries as a young model in Paris living in the Marais. While her peers were navigating the party circuit, the famously reserved good girl of the bunch was plotting her future collection. “There was this Andy Warhol exhibition at the Pompidou,” she recalls, “and I remember thinking, One day, if I have enough

money, I would like to buy one of those.” A decade into her career, she purchased her first Warhol, a camouflage painting that now hangs in the study.

When their clock tower burned to the ground a few years ago, and she and Vaughn were forced to think about what they would want to rescue if the fire spread to the main house—luckily, it didn’t—they immediately turned to some of the art. In particular: Ashkan Sahihi lenticular photos of each child, an Adam Fuss photogram of Cosima when she was a baby (“Sadly, when I came to understand that he does this sort of thing, it was too late for the older children”), and a pair of Ed Ruscha paintings that say marry me and yes. Vaughn commissioned the first when he proposed to Schiffer. The second is, of course, her answer—though she assures that she did give him a verbal response in the interim.

While Coldham Hall initially served as a weekend getaway from London, the family moved there fulltime several years ago. These days, after dropping the kids at school (not a single paparazzo in sight), Schiffer and Vaughn retreat to their study with a cup of tea, where they work at desks alongside each other.

They often take creative meetings here. In addition to her own projects, which include Claudia Schiffer (Rizzoli), a coffee-table tome on her spectacular threedecade modeling career, coming out next month,

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ABOVE A TRAPEZ WALLPAPER BY ARNE JACOBSEN COVERS THE WALLS IN CASPAR’S OVERFLOW ROOM. EDELWEISS PIANO IN A BESPOKE LACQUER; ANTIQUE CHAIR BY ROBERT “MOUSEMAN” THOMPSON; KNIGHT MILLS COVERLET.

RIGHT CLEMENTINE’S ROOM FEATURES A LUKE STEPHENSON PHOTO OF AN ICE-CREAM CONE. HEADBOARD AND BED SKIRT OF A CHRISTOPHER FARR CLOTH LINEN; DESK BY SPACE & SHAPE; ROBERT STEPHENSON RUG. BELOW A BEAU DUNN PORTRAIT OF BARBIE IN CLEMENTINE’S ROOM.

“We’re not very formal,” says Schiffer.

“I wanted it to be rustic, so you felt like you could have muddy dogs running around and kids with jam on their hands.”

SEVERAL GENERATIONS OF DOLLS—INCLUDING SOME FROM SCHIFFER’S CHILDHOOD—RESIDE IN COSIMA’S BARBIE ROOM. CHRISTOPHER FARR CLOTH LINEN ON BENCH CUSHION; NAMAY SAMAY FABRIC ON CHAIR.

LEFT A BRAQUENIÉ TREE-OF-LIFE FABRIC COVERS THE WALLS OF ONE BEDROOM. ANTIQUE CARVED BED WITH CARAVANE BEDDING; BOBBIN CHAIRS; CANDLE (ON NIGHTSTAND) BY THE PERFUMER’S STORY BY AZZI. OPPOSITE ANOTHER GUEST ROOM FEATURES A VIBRANT LE MANACH FABRIC. ANTIQUE BENCH CUSHIONED IN A ROMO COTTON-LINEN; AUFSCHNITT BERLIN PILLOWS; VAUGHAN FLOOR LAMP.

Schiffer also acts as an executive producer on her husband’s films. The latest, Kingsman: The Golden Circle, is due out this month. “It’s so quiet, we can really take our time,” she says of the idyllic arrangement. “Matthew and I are very private people.

We don’t enjoy going to lots of parties. The kind of entertaining we like to do is at home.”

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o that end, the house couldn’t be better suited. Aside from boasting enough guest rooms to qualify as a boutique hotel, Coldham Hall is purposefully designed to be kid- and animal-proof. Much of the furniture is upholstered in sturdy, practical fabrics like corduroy and moleskin. “Shooting fabrics are made of moleskin, which means it lasts forever,” observes Schiffer.

“We’re not very formal,” she adds. “The whole idea of the house is that everyone can roam. I wanted it to be rustic so you felt like you could have muddy dogs running around and kids with jam on their hands.”

On weekends, the place is almost always filled with guests and children. People come down at their leisure to eat or read the paper in the great hall. Days are filled with outdoor activities: croquet, swimming,

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tennis, long walks with the dogs. Dining is family style in the sense that “we always eat with the kids,” Schiffer says. “We all sit together.” She and Vaughn abandon their healthy diet on the weekends, serving hearty English classics like shepherd’s pie and Yorkshire pudding. In the evening, the adults might watch a film in the screening room or play Hearts by the fire in the drawing room, while the children entertain themselves with Wii and snooker in the games room.

It does all seem rather picture-perfect. But just when night has fallen, the fire crackling and wine flowing, Schiffer and Vaughn demonstrate their flair for the dramatic. “We start telling ghost stories,” she explains. The humor—or horror, as the case may be—is that the house is indeed haunted. “We hear creaking noises and strange things happen sometimes, like the music comes on,” she says. Have they ever tried to evict the uninvited guests? “We had a medium go around, and she told us that actually all the ghosts in the house are lovely,” she deadpans. “No one needs to be scared.” She adds with a warm smile: “We welcome all the ghosts, basically.” Or perhaps it would be more accurate to say that the ghosts have welcomed Schiffer and her family.

★ EXCLUSIVE VIDEO: CLAUDIA SCHIFFER AT HOME, ARCHDIGEST.COM.

design notes

THE DETAILS THAT MAKE THE LOOK ORLEANS HANGING PENDANT; TO THE TRADE. PAULFERRANTE.COM

DAKAR FLAT-WEAVE RUG; $8,890 FOR 12' 1" X 10' 3" RUG. ROBERTSTEPHENSON.CO.UK

SCANDINAVIAN SHEEPSKIN LOUNGE CHAIR FROM DENMARK 50; $7,900. 1STDIBS.COM

A GUEST ROOM’S WALLS ARE COVERED IN SIRENE RAYURE FABRIC

BY BRAQUENIÉ.

PEWTER DUCK SALT-AND-PEPPER SET; $46. VAGA BONDHOUSE.COM

XVIIth CENTURY DINING TABLE BY ALFONSO MARINA; TO THE TRADE. DERINGHALL.COM

WOODLAND PHEASANT DINNER PLATE; $37. SPODE.COM

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CLAUDIA SCHIFFER,

BY CLAUDIA SCHIFFER; $65. RIZZOLI.COM. BOOK COVER PHOTOGRAPH

BY MARIO TESTINO.

POMMES DE PIN LINEN-COTTON

BY LE MANACH; TO THE TRADE. PIERREFREY.COM

A STRIKING ELLEN VON UNWERTH PHOTO FROM SCHIFFER’S NEW BOOK.

ZIG ZAG STOOL BY POLS POTTEN; $375.

LEKKERHOME.COM

BRILLIANT AMBER PAINT; $70 PER GALLON. BENJAMIN MOORE.COM

INTERIORS: SIMON UPTON; PAINT: PAUL ARMBRUSTER; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

PAVAGE IMPRIMÉ FABRIC; $342 PER YARD. HERMES.COM.

THE STUDY’S WALLS ARE COVERED WITH LELIÈVRE FABRIC AND ADORNED WITH WORKS

BY ANDY WARHOL AND ED RUSCHA. THE FRONT FAÇADE OF COLDHAM HALL.

IN THIS STORY: GROOMING BY LISA AHARON FOR STARWORKS ARTISTS

THE FASHION DESIGNER— WITH HIS MINIATURE PINSCHER, UNI—PERCHES ON AN ERIC SCHMITT TABLE IN FRONT OF A STATEMENT PHOTOGRAPH

BY STEVEN KLEIN. FOR DETAILS SEE RESOURCES.

cool customer Alexander Wang enlists designer Ryan Korban to fashion an unapologetically grown-up home

ANDREW BEVAN ANTHONY COTSIFAS STYLED BY MICHAEL REYNOLDS TEXT BY

PHOTOGRAPHY BY

ARC H DI G E S T. CO M

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LEFT A PLASTER PRIMATE BUST KEEPS WATCH IN THE LIVING AREA. BELOW AN OLD WORLD WEAVERS SUEDE COVERS THE BEDROOM WALLS. BED BY BAKER; SCONCES BY CASTE;

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ello, MTV, and welcome to my crib,” Alexander Wang declares with a teasing grin as the elevator doors open directly into his elegant West Chelsea apartment. A decade ago, the designer virtually redefined downtown cool with his cutting-edge clothing, and his first collections earned the then-22-year-old wunderkind status for elevating urban streetwear to the runway—not to mention his outrageous afterparties. A decade later, the 30-something innovator has left his airy-artist-loft days behind for a decidedly more polished and refined living space in a sleek, starchitect–designed building alongside the Hudson River. “It was time for a grown-up apartment that had a view, separate rooms, and a little outdoor space— something more cozy and intimate,” he explains.

Wang strides through the entrance gallery, past a wall peppered with Kate Moss portraits by Gene Lemuel and a pair of sculptural R&Y Augousti tortoiseshell chairs (“my Beetlejuice chairs,” he jokes) with three handmade plaster-and-bronze Eric Schmitt pendants keeping watch overhead. He halts directly in front of a large-scale Steven Klein photo of a horse’s

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SHAGREEN NIGHTSTAND

BY R&Y AUGOUSTI. OPPOSITE BEANBAG CHAIRS BY ALEXANDER WANG FOR POLTRONA FRAU SIT IN THE DRESSING ROOM. BESPOKE CARPET DESIGNED BY RYAN KORBAN.

derriere—the focal point of the room: “This is my favorite piece and really gives you the first impression of the apartment and what you’re getting into.”

The home is a result of the synergy—and oftcontrasting philosophies—of Wang and his longtime friend and collaborator interior designer Ryan Korban.

“It’s a real love/hate relationship, but I wouldn’t have it any other way—it’s like working with family,” admits Wang, who has partnered with Korban on his last two residences as well as his corporate office, showroom, and retail stores.

In stark contrast to the open floor plans Wang had lived in, the new space has three sets of ninefoot double doors that open from the gallery into separate quarters: the master-bedroom suite (with expansive dressing room and closet), a guest room and a home office (for which Korban designed a massive shagreen desk), and the sun-drenched living and dining area. “I had a very clear vision going into this,” states Korban, who enlisted architect Lauren Crahan at Brooklyn-based firm Freecell to help define the space. “I wanted it to be very edited and precise and to establish what young modernity would look like. I tried to push Alex out of his comfort zone a bit but still keep that thing that he always has: the hardness, the dark tones, that aspect of his work that makes

In a bold move, Korban persuaded Wang to start from scratch and bring almost nothing from his former home.

“The space isn’t quite retro, nor wholly modern—and certainly not traditional,” says Korban.

IN THE ENTRY HALL— WHICH DOUBLES AS A GALLERY—TWO R&Y AUGOUSTI TORTOISESHELL CHAIRS ANCHOR A LARGESCALE DESIRON MIRROR. PLASTER AND BRONZE LIGHTS BY ERIC SCHMITT; CUSTOM-MADE RUG BY RYAN KORBAN.

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“When I come home, it’s important that I love everything that’s here, but I also need pieces that I can actually sit down on,” says Wang.

LEFT WANG NEXT TO A MARBLE MANTEL BY RYAN KORBAN. LIAIGRE CHAIR AND LAMP. BELOW AN ARCHIVAL IMAGE OF MODEL DARIA WERBOWY FROM THE PAGES OF VOGUE, MAY 2010, WEARING

ALEXANDER WANG. BELOW LEFT FOUR PHOTOGRAPHS OF KATE MOSS BY GENE LEMUEL HANG ABOVE AN ERIC SCHMITT TABLE. CRYSTAL FROM PHOENIX GALLERY NYC.

OPPSOSITE: DAVID SIMS/TRUNK ARCHIVES

A PAIR OF OVERSIZE MARBLE COCKTAIL TABLES FROM HOLLY HUNT TAKE CENTER STAGE IN THE LIVING AREA. THE RH MODERN SOFA WEARS A DEDAR FABRIC; LORO PIANA INTERIORS PILLOWS.

you stop and think and feel a little uncomfortable.”

In a bold move, Korban persuaded Wang to start from scratch and bring almost nothing from his former home, instead custom-building pieces to fit the rooms. After winning that round, Korban tried to talk Wang into taking his signature black aesthetic completely off the table, a move the designer wasn’t quite willing to make. “I first said the theme of the project should be ‘50 shades of black,’ ” quips Wang.

“There is always that back-and-forth with Alex and me because we know each other so well,” adds Korban. “Sometimes you have to stop and think, Are we pushing just for the sake of pushing, or can we make a decision?” The pair ultimately compromised by staining the floor black and working in more bronze, brown, and gray tones.

To keep the finely honed apartment from seeming too severe, Korban employed an array of luxurious materials throughout: suede walls, playful horsehair sconces by Apparatus, parchment-framed mirrors, and Mies van der Rohe Brno dining-room chairs dressed in sheared mink.

In the main living area a big RH Modern sectional envelops a pair of Holly Hunt marble cocktail tables as they nest facing a mammoth Nero Marquina marble mantel fireplace. “Even though the lines are modern,

the stone adds something traditional and handcrafted,” says Korban. “The proportion is almost ridiculous, but the room needed that weight.”

With so many bespoke pieces and sought-after collector’s items, Wang was intent on avoiding a museum-like living experience. “The balance of comfort with aesthetic was a constant topic,” he says. “When I come home, it’s important that I love everything that’s here, but I also need pieces that I can actually sit down on.”

The contradictions are what make Wang’s pad so genius. Sleek and monolithic in tone, it also feels warm and livable. It’s both over-the-top and restrained. “It’s important to me that nothing ever feels too decorated,” Korban states. “There’s a little of everything here. It’s neither retro nor wholly modern—and certainly not traditional. It’s not any one thing, but I hope it defines contemporary design and luxury.”

Perhaps most important, it suits the current definition of Wang himself: “I’m doing a lot more grown-up entertaining these days—complete with all the accoutrements,” he says. “And this place makes that possible. I find myself at Whisk and Williams Sonoma more than I’ve ever shopped at a kitchen store in my life.”

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AT BRAMAFAM, PAOLO PEJRONE’S PIEDMONT VILLA, BOXWOOD HEDGES AND YEW TOPIARIES EDGE THE KITCHEN GARDEN. A MONOGRAPH OF HIS RESIDENTIAL WORK PRIVATE ITALIAN GARDENS IS BEING PUBLISHED BY MONDADORI ELECTA THIS OCTOBER.

TEXT BY

SARAH MEDFORD

fertile Äąmagination

For half a century, Italy’s elite and tastemakers the world over have turned to Paolo Pejrone to create happy, harmonious gardens. Today the 76-year-old landscape designer shows no sign of slowing down

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PORTRAIT: OBERTO GILI; ALL OTHER PHOTOS © DARIO FUSARO/PRIVATE ITALIAN GARDENS, BY PAOLO PEJRONE, MONDADORI ELECTA, 2017

think about space. They are different languages, but the same story.” Following his time under Page, Pejrone traveled to study gardens his mentor had admired and later collaborated with Marella Agnelli on the grounds of Alzipratu and Villar Perosa, her homes in Corsica and outside Turin. The latter was Page’s masterwork.

“I believe he was the only real disciple Russell ever had,” she told House & Garden in 2004.

The syllabus Page had prepared stopped short of South America, and in 1972 Pejrone decamped for Brazil to visit the landscapes of Roberto Burle Marx.

For six formative months, he studied with Burle Marx and drank in the ecological precepts of Rio de Janeiro’s visionary artist/plantsman. “Russell was the best of the past,” he observes, “but Roberto was the future. In 60 years of gardening, I’ve moved from Page to Burle Marx. Gardening now is coming not from my eyes or hands but from the heart.”

For all its diversity, Pejrone’s work is distinguished by a profound sensitivity to site. Many of his gardens hover on the edge of steep banks that he tames through skillful terracing; sun-drenched areas are often enlisted as olive groves because, as he explains, “the superfluous alone will not bring harmony.” And the designer is a true conjurer of shade, coaxing it into being in subtle aolo Pejrone remembers the moment when his life took an irrevocable turn. and myriad ways that range from jewel-toned passages, It was January 8, 1970, at around four where roses tumble over lofty pergolas, to penumbral o’clock in the afternoon, and Pejrone— glades that move across cool lawns like love notes slipped under a door. then an architect in his late 20s—was A pragmatist as well as a romantic, Pejrone sings visiting the Turin home of Gianni and the praises of “happy” landscapes arrived at through Marella Agnelli. The couple were “hard work and great effort, no doubt, but without family acquaintances, and though he making too much ‘noise.’ A garden that’s too elabodidn’t know them personally, the rate, too sophisticated, too neat will eventually eager young aesthete had accepted become a nightmare.” Potagers are often the heart a teatime invitation in the hope of being introduced of his schemes, and clients enjoy their eggplants to Marella and her houseguest, legendary British and strawberries knowing that—at Pejrone’s urging— landscape designer Russell Page. “I met them both at lukewarm water, heated by the sun, has been used the same moment,” recalls Pejrone, still pinching to irrigate them. If that sounds a bit silver-spade, himself over having encountered his greatest patron he doesn’t think that way; he’s simply invested the and his greatest teacher in a single afternoon. “That time to learn what plants need and what they don’t. conversation changed my life.”

“Too much peat and too much water in the garden Over the past half-century, Pejrone has done can wreak more damage than one can even imagine,” anything but squander his good fortune. Now 76 and an esteemed landscape designer himself, he’s created he warns, slipping into the tone he perfected as a longtime garden columnist for two of Italy’s biggest some 800 gardens across Europe for clients ranging from the Agnellis to Valentino and Giancarlo Giammetti daily newspapers, La Repubblica and La Stampa.

His national popularity comes as no surprise. He to Prince Sadruddin Aga Khan—even, he reveals, “for the joy of Pope Benedict.” His new book Private Italian tolerates weeds, shuns fertilizer, and turns a blind eye to the small creatures who, he insists, have as much Gardens (Mondadori Electa) highlights this illustriright to the landscape as he does. (Perhaps the Italians ous past, but it can barely hint at the future: Pejrone have never met Pietro Rabbit?) A true child of the is busier than ever, tending to a grand estate on 1960s, Pejrone writes of his own garden, “All the plants Capri, a Renzo Piano–designed hospital in Bologna, and I want is to be happy without any hang-ups.” and a historic plot near Piazza San Marco in Venice.

These days, Pejrone is the mentor, turning out Page remains a touchstone because Pejrone solidly trained graduates every year at a horticultural apprenticed alongside him for 18 fruitful months school outside Turin. “We are making real gardeners, in England, Ireland, and Italy. “Russell made me with their hands, hearts, and heads,” the designer a gardener,” Pejrone says by phone from Bramafam, insists. “Not dreaming, but really effective. Plants are his own Arcadian retreat in Piedmont. “He was a huge school for me—in simplicity most of all. I learned in the heart and the heavens. The gardeners have to be in the middle.” For Pejrone, the middle is no doubt that little and big things can be at the same level of a ravishing place. importance. How to arrange and grow plants, how to

IRRIGATION TANKS MASQUERADE AS REFLECTING POOLS AT BRAMAFAM, WHICH FEATURES WILD STRAWBERRIES, BOXWOOD HEDGES, AND BANANA PLANTS. OPPOSITE THE LANDSCAPE DESIGNER PHOTOGRAPHED AT HOME WITH HIS DOGS RATAFIÀ AND FARFUI FOR HOUSE & GARDEN IN 2007.

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1. PENELOPE ROSES COVER AN ARBOR AT A HILLSIDE ESTATE IN PORANO, ITALY. 2. WISTERIA CASCADES OVER A BRIDGE TO A SCULPTURAL PARTERRE. 3. LILIES OF THE NILE AT ORIZZONTE ESTATE ON THE ISLAND OF ELBA.

4. WISTERIA CROWNS THE “KITCHEN” GARDEN OF A HOUSE ON ROME’S APPIA ANTICA. 5. BACK IN PORANO, MORE PENELOPE ROSES SPILL OVER BOXWOOD HEDGES. 6. POPS OF PINK ROSES IN MONCALIERI, ITALY.

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“A garden that’s too elaborate, too sophisticated, too neat will eventually become a nightmare,” says Paolo Pejrone.

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A BELVEDERE FRAMES VIEWS OF A GARDEN ROOM ON THE GROUNDS OF AN ESTATE ON THE OUTSKIRTS OF ROME.

IN THIS STORY: STYLING BY ZOE BEDEAUX; HAIR BY EAMON HUGHES; MAKEUP BY KARINA CONSTANTINE; FLOWERS BY FLORA STARKEY

KATE MOSS IN HER LONDON ENTRY HALL, WHERE THE WALLS ARE DRESSED IN DE GOURNAY’S HAND-PAINTED ANEMONES IN LIGHT SILK WALL COVERING IN DAYBREAK. OPPOSITE THE DUSK VERSION OF THE PATTERN ON CUSTOM XUAN PAPER COVERS HER MASTER BATH, WHERE AN IRVING PENN PORTRAIT OF THE MODEL SITS ABOVE A MIRRORED-AND-STONE HEARTH, BEHIND A CLAWFOOT TUB BY DRUMMONDS. WALL COVERINGS: $1,470 PER 3' PANEL. FOR DETAILS SEE RESOURCES.

IN FULL FLOWER A collaboration with English wallpaper house de Gournay—just unveiled in her London home—proves Kate Moss’s design sense extends well beyond the wardrobe

TEXT BY

JANE KELTNER DE VALLE

PORTRAIT BY

NIKOLAI VON BISMARCK

INTERIOR PHOTOGRAPHY BY

SIMON BROWN

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RIGHT AN ARTIST AT WORK ON ONE OF THE HAND-PAINTED PANELS. OPPOSITE DOUBLE VANITY IN WHITE ARABESCATO MARBLE WITH BESPOKE CABINETS IN NICKELPLATED BRASS AND LOWIRON GLASS. THE CURTAINS ARE MADE FROM SARI FABRIC SOURCED FROM JANIE LIGHTFOOT TEXTILES.

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ate Moss isn’t exactly famous for being a morning person, so the fact that the master bath in her London home is inspired by dusk is rather fitting.

“It’s my favorite time of day,” coos the legendary model and night owl, slinking about the grisailleenveloped space in a short silk kimono. “Picture a summer night when it goes silvery-blue from the light of the moon,” she continues. “I wanted that kind of film noir feel in here.”

Nearly three decades in front of a camera lens have given Moss a rich photographic library—which comes in handy with respect to more than just her iconic way of putting clothes together. Her interiordesign style is equally innate. Eclectic, too: “I love mixing old and new things, all different eras.” While she collaborates on her homes with interior designer Katie Grove—incidentally, her former personal assistant—she cops to being very hands-on.

“I don’t want to say I’m a control freak, but I’m a control freak,” Moss says, erupting into a raspy laugh. When it comes to social media, though, she admits to being somewhat clueless. “Thank God I’ve got a teenage daughter—she keeps me up to speed, or I wouldn’t know anything!”

To capture the mood of “a solarized Man Ray picture,” as she describes it, Moss teamed up with bespoke-wallpaper house de Gournay to create a silver-tinted anemone pattern (according to Greek mythology, the flower is thought to symbolize luck).

The result of an intimate design process, Anemones in Light depicts cascading blooms overlapping shards of solar radiance, and will become part of de Gournay’s permanent collection. “I’ve always

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loved what they do. It’s like vintage jewelry—it’s special,” she says, adding that a powder room in her country house is done in their Badminton design, incorporating jaybirds to mimic the chirping variety that inhabit her garden there.

The new paper provides the perfect backdrop for the glamorously appointed master bath. Centered in the space is a claw-foot tub, set beneath a vintage crystal chandelier from James Worrall and placed opposite a carved stone hearth. You can just imagine it burning with a fire in the winter while Moss soaks in a hot bath filled with her signature blend of Santa Maria Novella carnation oil and magnesium flakes, which she says “take the edge off.” Elsewhere, there’s a mirrored vanity lined with antique perfume bottles and a wall of framed black-and-white photographs, including a diamond-dust Elvis, Elizabeth Taylor, David Bowie, and a triptych of Moss with Alexander McQueen (the late designer was a close friend).

Embroidered silver curtains made from saris are draped at the windows. “So no one can see into the bathroom, thank goodness,” Moss notes, adding that parties have been known to spill over to this part of the house.

“I love those old movies with glamorous bathrooms where they have chaise longues. My bathroom in the country has a chesterfield, and when I have my birthday parties there, we always end up hanging out in it,” Moss explains. “It’s got a record player, it’s cozy, it’s fun—there’s potions and lotions and smelly things. Everyone’s welcome.”

Her guests in the country will soon have some new wall candy to admire as well. Moss designed a daybreak version of Anemones in Light for her bathroom there (it also adorns a hallway in her London home). “I like the feeling of when the sun is just coming up at a [music] festival, and you have that glowy light,” she says. “This one is pastels and neons—quite psychedelic.” In other words, perfectly Kate Moss.

“Picture a summer night when it goes silvery-blue from the light of the moon.

I wanted that kind of film noir feel in here.”

MIAMI Everyone covets an invitation to the treasure-filled Florida home of real estate magnate and Design Miami founder Craig Robins

HORACIO SILVA KRIS TAMBURELLO STYLED BY MICHAEL REYNOLDS TEXT BY

PHOTOGRAPHY BY

MIDCENTURY-MODERN MASTERPIECES INCLUDING A MARIA PERGAY DAYBED, A GIO PONTI WALNUT CHEST, AND A PAIR OF STOOLS

BY CHARLOTTE PERRIAND MIX WITH OBJECTS OF MORE RECENT VINTAGE, LIKE A LIMITED-EDITION CARBON LADDER BY MARC NEWSON AND A SPIRAL LAMP BY TOM DIXON, IN THE LIVING ROOM OF CRAIG ROBINS’S SUNSET ISLAND, MIAMI BEACH, HOME. DESIGNER JULIE HILLMAN AND ARCHITECT WALTER CHATHAM OVERSAW THE HOUSE’S RENOVATION. FOR DETAILS SEE RESOURCES.

HEAT

“White walls and decent lighting are all I need,” Robins declares. “The art and design should be allowed to do all the talking.”

ABOVE LAZ, THE FAMILY’S BOXER, POSES IN THE LIVING ROOM, WHERE ARTWORKS BY (FROM LEFT) ZAHA HADID, JOHN CURRIN, AND JOHN BALDESSARI LINE THE WALLS.

PIERRE PAULIN’S MUSHROOM CHAIR IN A HOLLAND & SHERRY WOOL, A BESPOKE SOFA IN A HOLLY HUNT FABRIC, AND A TRIO OF CONCRETE PIECES BY MAX LAMB SURROUND

A LIMITED-EDITION RONAN AND ERWAN BOUROULLEC COCKTAIL TABLE. HAND-KNOTTED ALPACA RUG BY DORIS LESLIE BLAU. OPPOSITE CRAIG ROBINS ON THE L-SHAPED SOFA.

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f Miami is the Magic City, Craig Robins is its tireless conjurer. As founder and chief executive of the real estate company Dacra, Robins has been pulling off seemingly impossible feats since the late 1980s. He transformed the moribund Art Deco neighborhood of South Beach into a glittering destination. More recently he has turned the Design District, a virtual wasteland north of Miami’s downtown, into a culturally inflected luxury-shopping mecca.

This sorcerer of South Beach also waved his wand over the renovation of his home in Miami Beach’s exclusive Sunset Islands. Robins had owned the two-story waterfront property for nearly two decades, but in the run-up to his 2015 marriage to Jackie Soffer (a powerful South Florida real estate developer in her own right), he enlisted architect Walter Chatham and interior designer Julie Hillman to update the house and build an addition. Considered but not overly appointed, the inviting, just-over-9,000-square-foot place is as much a functioning family home (the couple have six children) as it is an outlet for their boundless artistic passions.

“I’m not into the idea of living in an uptight showpiece,” explains Robins, who is sitting on a custom-made L-shaped sofa in the living room that looks out onto Sunset Lake. “People get so crazy with finishes. White walls and decent lighting are all I need. The art and design should be allowed to do all the talking.”

And what a setting for artful conversation Robins and Soffer have created. A tour of the home reveals an international Who’s Who of midcentury and contemporary design, including furniture and curios by Gio Ponti (lots and lots of Ponti!), Maria Pergay, Marc Newson, the Bouroullec brothers, the Campana Brothers, and Tom Dixon—even a concave Ping-Pong table by Ron Arad. Almost all of the pieces, Robins points out, are from Design Miami, the agenda-setting design fair that he launched in 2005. “There are clearly no boundaries between my personal and professional lives.”

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ARCHITECT DAVID ADJAYE’S “GENESIS,” A WOODEN PAVILION DESIGNED FOR THE 2011 EDITION OF DESIGN MIAMI, NOW SITS IN THE GARDEN, WHICH WAS MASTERMINDED BY LANDSCAPE DESIGNER NATHAN BROWNING OF ISLAND PLANNING CORPORATION.

“I once walked in on Martha Stewart doing an impromptu shoot with photographer Todd Eberle in the bathroom.”

GUESTS AT THE MANY PARTIES ROBINS HOSTS HAVE BEEN KNOWN TO GATHER IN THE SCULPTURAL MASTER BATH FASHIONED BY ZAHA HADID. FITTINGS BY BOFFI.

As if to prove his point, Robins is wearing clothing by Tom Ford and oxfords by Berluti—two of the prestige brands he has lured to the Design District. Typically, he says, he would be in his more edgy, regular uniform, “Rick Owens or Saint Laurent” (also retail partners), but he had a meeting earlier with a straitlaced client so opted for nonthreatening mufti.

A onetime art student turned avid collector, the normally restrained Robins is effusive when talking about the inestimable art collection in the home. “I don’t care how much it costs or what people say it’s worth,” he says, marveling at a series of first-edition Francisco de Goya prints hanging in a hallway outside his upstairs gym. “You can’t do better or have anything more important than art like this.” Elsewhere, Baldessaris hang next to Currins; Marlene Dumas shares pride of place in the dining room with Louise Bourgeois; and Vito Acconci appears locked in an eternal standoff with Joseph Beuys.

Not that it’s all blue-chip names on display. An oil painting resting on a shelf in the library turns out to be by Robins’s actor friend Robert Downey Jr. As for the ceramic teapot of unrecognizable provenance? “Oh, that,” Robins deadpans, “is a new piece from a genius ceramist called Marlon Robins,” referring to his 17-year-old son.

Robins and Soffer were pretty much in agreement when it came to integrating their respective collections (“If anything, we inspire each other to collect outside our comfort zones,” he says), but a battle erupted over the yard—a tropical idyll created

by Nathan Browning, the formidable landscape designer who is also responsible for the Design District’s beguiling greenery.

While the couple agreed to extend the theme of collectibility by having Browning transport and plant a significant collection of rare Caribbean palms, they locked horns over

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what to do with the rest of the 160-yard-wide space.

“Craig was adamant about having the pavilion that David Adjaye built for Design Miami in 2011,” Browning explains, “and Jackie was adamant about building a basketball court for the kids and felt that the Adjaye would block the view.”

The result is a harmonious balance that doesn’t feel crowded or precious. “We love it out here,” Robins says, “and we pretty much eat and entertain outside from November through May. Why have a house in Miami if you don’t live outside?”

Dinner at Casa Robins is often served on an outdoor table for 12 close to the dining room and kitchen. The guests are typically as rowdy as the resident wild parrots and as divinely disparate as the art on the walls. “He’s like a curator of people,” says Harmony Korine, the director/actor/artist, who recalls sitting next to the shoe designer Christian Louboutin on a recent night. “He likes to throw people in the mix and see what happens, but it never feels forced.”

The Miami-based supermodel Karolina Kurkova concurs.

“You never know who you are going to meet,” she says.

“It could be someone from fashion, business, art, or a bunch of Harvard professors, but it’s always interesting and fun.”

While the guests may be glamorously unpredictable, at the end of each soiree they inevitably end up in the spectacular master bathroom designed by Robins’s dear friend and collaborator, the late Zaha Hadid. “I once walked in on Martha Stewart doing an impromptu shoot with photographer Todd Eberle in the bathroom,” Robins recalls. “To be fair to Martha, I think she asked for permission at some point in the night, and as far as party antics go, it’s less naughty than what a lot of people get up to in Miami bathrooms.”

BELOW A POLISHED STAINLESS-STEEL PINGPONG TABLE BY RON ARAD STANDS READY IN THE FAMILY ROOM. CUSTOMMADE WOOL DHURRIE

BY THE RUG COMPANY. OPPOSITE THE DINING ROOM BOASTS A PAINTING BY JOHN CURRIN,

A LIMITED-EDITION AQUA TABLE BY ZAHA HADID, NEPAL CHAIRS

BY PAOLA NAVONE, AND A DEBORAH THOMAS PENDANT. THE WALLS ARE PAINTED IN A 50/50 BLEND OF BENJAMIN MOORE’S DECORATOR’S WHITE AND LINEN WHITE.

A LEATHER PENDANT BY RONAN AND ERWAN BOUROULLEC HANGS IN THE STAIRHALL. A SCULPTURE

BY STUDIO WIEKI SOMERS SITS IN THE NICHE; LIMESTONE FLOORING. OPPOSITE A MARC NEWSON “CHOP TOP” TABLE IN THE LIBRARY; CHAIRS BY JEAN PROUVÉ; STOOL BY MOGENS LASSEN; LIGHT FIXTURE BY JOHANNA GRAWUNDER.

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ANSWERED PRAYERS When her own Manhattan studio proved too small for a blockbuster commission, artist Julie Mehretu found room to create in the lofty nave of a deconsecrated Harlem church TEXT BY

JULIE L. BELCOVE PHOTOGRAPHY BY JASON SCHMIDT

ARTIST JULIE MEHRETU TEMPORARILY MOVED HER STUDIO INTO THE FORMER CHURCH OF ST. THOMAS THE APOSTLE IN HARLEM. SHE IS REPRESENTED IN THE U.S. BY MARIAN GOODMAN GALLERY (MARIANGOODMAN.COM).

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t’s a sunny spring morning, and inside a deconsecrated Harlem church, artist Julie Mehretu’s assistants are riding hydraulic platforms up the face of one of two towering paintings—canvases so monumental, at 27 feet tall by 32 feet wide, that Mehretu’s Chelsea studio could not house them. As the team painstakingly screen-prints tiny black squares in places, Mehretu stands below, parsing the frenzy of gestural black marks that she herself has stroked on. Some resemble a mythical alphabet, others parts of the human figure.

“There’s no plan,” she says, running a hand through her short, dark curls. “It’s all intuitive.” Commissioned by the San Francisco Museum of Modern Art (SFMOMA), Mehretu—a favorite of both curators and the market—has created a study in tension, works at once abstract and rooted in history. As SFMOMA director Neal Benezra says of the paintings, which go on long-term view September 2, “They’re beautiful to look at and wonderful to think about.”

The museum’s only parameter was that the works would bookend the staircase that the AD100 firm

Snøhetta recently added to architect Mario Botta’s iconic lobby. After she visited the space, Mehretu says, her mind zigzagged from 19th-century American landscapes (Eadweard Muybridge’s photographs of Yosemite, the Hudson River School’s romantic vistas) to Silicon Valley’s ascension as the epicenter of technological innovation. “That’s part of what that place is and part of what’s making the museum what it is today,” she explains.

Though her initial idea was to create a gray underpainting, Mehretu had recently used the world’s biggest digital printer, in Germany, to produce opera sets for Peter Sellars and realized it could do the trick. Digitally reducing landscapes by Hudson River painters Albert Bierstadt and Thomas Cole into eightbit snippets, she created an abstract base layer. She then blurred photographs of riots that erupted in the aftermath of recent police killings and embedded those whirls of color. “Over there, that’s a big flame,” she says, pointing to a shock of orange. “The greens are sirens.”

Her team spent the summer of 2016 spreading 20 coats of clear acrylic on the canvases. Then, Mehretu recalls, “it was really just me, by myself, for months.”

But the world intruded, politics blocking her creativity.

ARTWORKS FROM TOP LEFT: COURTESY OF THE ARTIST AND MARIAN GOODMAN GALLERY, NEW YORK; COURTESY OF THE ARTIST AND COLLECTION SFMOMA

CLOCKWISE FROM BELOW MEHRETU WITH ONE OF THE MONUMENTAL NEW CANVASES. PLOVER’S WING, 2009, FROM THE ARTIST’S FORTHCOMING SOLO SHOW AT CENTRO BOTÍN IN SANTANDER, SPAIN (OCTOBER 11– JANUARY 28; CENTROBOTIN.ORG). INSIDE THE CHURCH.

STADIA I, 2004, FROM THE PERMANENT COLLECTION OF SFMOMA.

“The most interesting work confounds, confuses, and creates headaches,” says Julie Mehretu.

“I was in here all of October trying to figure out what to do. Hours just staring at the canvases, then getting bored. After the election I started drawing into them.”

Using her signature sumi ink, Mehretu finally cut loose. “I was trying to find myself in the paintings, but I was also being lost in them,” she says. “Everything feels so lost right now, at least for me, especially since the election. That feeling of being displaced and not having a real language for how to deal with any of this stuff has also been a big part of the work.”

Born in Ethiopia to an Ethiopian father and an American mother, Mehretu was almost seven when her family fled the country’s repressive regime and settled in Michigan. While earning her MFA at the Rhode Island School of Design, she hit on the concept of using tiny pen drawings as a foundation of her work. Later, during her residency at the Museum of Fine Arts, Houston, those drawings evolved into architectural renderings, a structure she long relied on but moved away from a few years ago, she says, amid the world’s growing chaos.

She considers the SFMOMA commission perhaps her most American work to date. “The paintings are very focused on the history of this country, the

landscape and aspiration of that—and the limit, failures, and horrific side of that aspiration.” Mehretu shrugs off any concerns that, since the canvases read as abstraction, allusions to Manifest Destiny or emancipation may be lost on viewers. “I’m not at all interested in whether you can decipher a political intention,” she says. “The most interesting work confounds, confuses, and creates headaches.”

Mehretu often listens to political podcasts while working, but some days jazz musician Jason Moran provided live accompaniment as he composed a piece inspired by the paintings. She describes the canvases as sonic: “I think you hear them.” Her method, not unlike jazz, embraces trial and error. “I draw then erase, draw and erase—a lot.” The job, she adds, requires pushing past failure. “I want them to be paintings that I keep coming back to. I don’t want to be disappointed in them in five years.”

Working at the church has given her a one-block commute from her Harlem home. But she’s looking forward to returning to her Chelsea studio with its view of the Hudson River, where the sun lingers.

“That changes my life in the city,” she says, “to have that little bit of orange light at the end of the day.”

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how sweet it is For fashion It girl Alice Naylor-Leyland and her family, home in the English countryside is a wonderland AMANDA BROOKS SIMON UPTON STYLED BY GIANLUCA LONGO

TEXT BY

PHOTOGRAPHY BY

NANCY AND BILLY NAYLOR-LEYLAND INDULGE IN SWEETS IN THE DINING ROOM OF STIBBINGTON HOUSE. THE WINDOWS ARE CURTAINED IN A CLAREMONT FABRIC, EDGED WITH SAMUEL & SONS TASSEL FRINGE, AND A THIBAUT WALLPAPER COVERS THE WALLS. 18TH-CENTURY CHAIRS IN A COLEFAX AND FOWLER SILK; TOY ANIMALS FROM SELFRIDGES. FOR DETAILS SEE RESOURCES.

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IN THIS STORY: HAIR BY PHILIPPE THOLIMET AT SAINT LUKE USING ORIBE HAIR CARE; MAKEUP BY TAMARA BELOVA

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lice Naylor-Leyland likes to create a scene.

Last summer, the golden-haired, brighteyed English beauty propelled herself into Instagram fame with a rainbow-hued 30thbirthday party that rivaled most weddings.

Hosted at Stibbington House, the fairy-talelike country home in Cambridgeshire that Alice shares with her husband, Tom, and children, Billy and Nancy, now five and two respectively, the party featured a tent filled with towers of pink peonies, giant bouquets of multicolored balloons, an old-time Dixieland band, pastel-dyed sheep, and Alice herself in a psychedelic Gucci gown. Anyone who caught a glimpse of the extravaganza on Instagram or in the

ABOVE THE KITCHEN FEATURES RANGES BY AGA (LEFT) AND BRITANNIA (RIGHT). THE WALLS ARE PAINTED IN EDWARD BULMER’S CUISSE DE NYMPHE EMUE. BESPOKE ISLAND; CARRARA-MARBLE COUNTERTOPS. OPPOSITE ALICE (IN A VALENTINO DRESS) AND TOM WITH THE CHILDREN.

ABOVE IN THE BAR ROOM, A TAXIDERMY “UNICORN” BY A MODERN GRAND TOUR SITS ATOP AN ANTIQUE PERSIAN RUG FROM CHRISTIE’S. CURTAINS OF A GEORGE SPENCER DESIGNS VELVET WITH SAMUEL & SONS TRIM. OPPOSITE IN THE DRAWING ROOM, ETHEL THE CAVAPOO PERCHES ON AN ARMCHAIR BY HOWARD CHAIRS LTD. UPHOLSTERED IN A LEE JOFA FLORAL. TAXIDERMY WHITE PEACOCKS BY A MODERN GRAND TOUR.

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COLEFAX AND FOWLER’S JUBILEE ROSE CHINTZ DRESSES THE WINDOWS AND A BENCH IN ALICE’S BATH; TUB AND FITTINGS BY CZECH & SPEAKE. OPPOSITE THE SAME PRINT ADORNS THE MASTER BEDROOM, WHERE ALICE (IN A GIAMBATTISTA VALLI COUTURE DRESS) SITS WITH HER CHILDREN.

September 2016 issue of Vogue, where Alice is a contributing writer to the magazine’s website, wanted to know more about the new girl in town who counts model Poppy Delevingne as her best friend.

Recognized for her embrace of pattern and color, Alice has quickly transformed herself from blogger and Instagrammer into a designer and brand collaborator. She recently debuted a rose-scented cologne created with Aerin Lauder and launched her second collection of velvet loafers for French Sole, whimsically embroidered with happy icons like flamingos, unicorns, and rainbows.

Picturesquely set on a river, with a circa-1810 neoclassical facade and stolid later-19th-century additions, Stibbington (in Tom’s family since the 1970s) is rooted in traditional good taste. In its current incarnation, the home represents a true collaboration between husband and wife. From the outset the couple agreed that Nantclwyd, Tom’s parents’ estate in Wales, decorated in the 1950s by John Fowler himself, would be one of their design touchstones. They enlisted decorator Flora Soames

to help them create the foundation and find fabrics and new resources. Decorative wallpapers, an abundance of faded chintz, walls covered in pictures and plates, and 18th- and 19th-century furniture are now the hallmarks of Stibbington’s decor.

H

eir to one of the great real-estate dynasties in England, Tom grew up in not one but two legendary country houses. He did a stint in the furniture department at Christie’s before going to work helping manage his family’s properties, including those in the Yorkshire town of Malton, where he directs the hugely popular annual food lovers’ festival. With his experience, he weighs in heavily when it comes to choosing the “right” frame for a piece of art or determining the “correct” proportions of a sideboard for the entry hall.

Without veering too far outside the mutually determined parameters, Alice’s exuberance and overtly feminine take on English country style shine throughout. Every room is defined by pattern or

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LEFT ALICE IN AN ERDEM DRESS WITH HER LAMBS. BELOW TOM ON A PATH AT STIBBINGTON HOUSE. BOTTOM THE 19TH-CENTURY HOUSE IS BUILT FROM LOCAL KETTON STONE.

It’s the layers—the things collected and added over the years—that give a house its soul.

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LEFT IN THE BAR ROOM, THE WALLS ARE COVERED IN A FARROW & BALL WALLPAPER; THE CHAIRS WEAR A GEORGE SPENCER DESIGNS LINEN-SILK; TAXIDERMY ZEBRA FOUND IN PROVENCE.

ABOVE LOOKING OUT ONTO THE GARDENS. BELOW THE YOUNG WALTONIAN, BY JAMES FAED, HANGS ABOVE A VINTAGE RECORD PLAYER IN THE DRAWING ROOM. SPEAKERS BY TANNOY.

Every room is defined by pattern or texture or a sophisticated mix of colors, much like Alice’s celebrated fashion sense.

IN THE DRAWING ROOM, AN OSTRICH-FEATHER LAMP BY A MODERN GRAND TOUR STANDS NEXT TO A CUSTOM-MADE SOFA UPHOLSTERED IN A LE MANACH FABRIC. PILLOWS OF A LEE JOFA CHINTZ; CLAREMONT SILK CURTAINS WITH CUSTOM TRIM; ANTIQUE AUBUSSON RUG.

texture or a sophisticated mix of colors, much like Alice’s celebrated fashion sense. Her love of coordination is evidenced in lampshade trims that complement upholstery piping. In each of the guest bedrooms, a floral-covered luggage rack mirrors the curtains and throw pillows. “Thank God I’ve been around my mother-in-law enough to see how she runs her homes,” she notes. “Not one centimeter is unconsidered; that attention to detail is key.”

She credits her own mother’s influence for the cozy and welcoming atmosphere of the eight guest rooms, outfitted with every amenity a visitor could want. And she points to the example of the legendary Nancy Lancaster’s drawing room for showing that it’s the layers—the things you collect and add over the years—that give a house its soul.

“We got married quite young, having known each other since our teenage years, so we were the first of all our friends to do up an entire house,” Alice recalls.

“No one of my age had yet set the bar or influenced my point of view of what a home should be, so I had all the freedom to make my own decisions.”

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And their reaction?

“Well, Poppy said she hadn’t seen that much chintz since she was last at her grandmother’s house.”

Asked whether she thought that was meant as a compliment or a bit of good-natured teasing, she answers with a chuckle, “I’m not sure, actually.”

Although it all may appear camera-ready to us, Alice unashamedly owns up to making mistakes.

“My first attempt at wallpaper in the dining room was way too safe,” she admits. “Even with a beautifully set table, I couldn’t make the room come alive.

I like things to be timeless and become better with age, but sometimes it just turns out boring.”

The result of the love and talent Alice and Tom have poured into Stibbington is anything but humdrum. Their impeccable taste mixed with an insatiable appetite for playful details, like standing a peach ostrich-feather lamp in a corner of the drawing room or seating stuffed animals at the breakfast table, makes it the perfect house for both raising children and throwing Insta-fabulous parties for generations to come. Here’s looking forward to her 40th!

IN THE PLAYROOM, THE CURTAINS ARE OF A BENNISON LINEN EDGED WITH COLEFAX AND FOWLER FRINGE, AND THE WALLS ARE COVERED IN A COLE & SON WALLPAPER. TOM SITS ON A SOFA DRESSED IN A TITLEY AND MARR FABRIC.

OPPOSITE IN NANCY’S ROOM, MANUEL CANOVAS’S L’ENVOL COVERS THE WALLS, AND A SUSANNA DAVIS LINEN DRESSES THE WINDOW. CRIB BY THE NURSERY WINDOW, LONDON; ANTIQUE CASTIRON BED WITH SWISSDOT VOILE HANGINGS.

design notes

THE DETAILS THAT MAKE THE LOOK

FLAMINGO SALT AND PEPPER SHAKERS; $24 FOR SET OF TWO. WESTELM.COM

HANGING STAR LANTERN; TO THE TRADE. CHARLES EDWARDS.COM

A CORNER OF THE DRAWING ROOM.

“

All my friends’ houses are cool and modern, but I just felt like that would not work at Stibbington.”

TOTAL CONTROL THREE-OVEN CAST-IRON RANGE IN PISTACHIO; $19,799. AGA-RANGES.COM

ANTIQUE GEORGIAN-STYLE ROCOCO WALL-MOUNT CONSOLE; TO THE TRADE. JOHNROSSELLIANTIQUES.COM TEACUP IN ANTIQUE IRIS PATTERN WITH 24K-GOLD TRIM; $160. HERENDUSA.COM 180

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INTERIORS: SIMON UPTON; FABRIC: JOSEPHINE SCHIELE; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

OSTRICH-FEATHER LAMP IN CORAL BY A MODERN GRAND TOUR, AYNHOE PARK; $4,285. AMODERN GRANDTOUR.COM

“

I said, ‘If we’re going to go oldy-worldy, then let’s go really oldyworldy.’ ” —Alice Naylor-Leyland

DAHLIA DINNER PLATE; $195.

CHRISTOPHERSPITZMILLER.COM

L’ENVOL WALLPAPER

BY MANUEL CANOVAS; TO THE TRADE. COWTAN.COM

ALTHEA COTTON IN CELADON; TO THE TRADE. LEEJOFA.COM

A GUEST BEDROOM. ANTIQUE SWEDISH PAINTED ROCKING HORSE BY GEMLA MOBLER FROM SCANDINAVIAN ANTIQUES & LIVING; $3,950.

1STDIBS.COM

EMORY SKIRTLESS BENCH; $3,735.

CENTURYFURNITURE.COM

HEFNER SLIPPERS IN BLUE VELVET WITH UNICORN EMBROIDERY

BY ALICE NAYLORLEYLAND (A.K.A. MRS. ALICE) FOR FRENCH SOLE; $247.

FRENCHSOLE.COM

GIANT STUFFED CHEETAH; $70. MELISSA ANDDOUG.COM

resources Items pictured but not listed here are not sourceable. Items similar to vintage and antique pieces shown are often available from the dealers listed.

(T) means the item is available only to the trade.

COVER: Electric Chair series by Andy Warhol; warhol.org. Dita table lamps by Paolo Moschino for Nicholas Haslam Ltd.; nicholashaslam.com. Kingsman decanter

by Higgs & Crick; higgsandcrick.com.

IN THE BAG PAGES 52–54: Interiors by Matt Blacke Inc.; mattblackeinc.com. Architecture by Swis.Loc Architecture; swisloc.com. PAGE 52: In dining room, 1960s Niels Otto Møller rosewood-andleather dining chairs from Lief; liefalmont.com.

Bronze Wishbone table by BDDW; bddw.com.

Vintage French 18-light iron chandelier from Wilson Antiques; 561-802-3881. Vintage French industrial iron convex mirror from Carl Moore Antiques; carlmooreantiques.com.

Antique bleached oak chest from Lee Stanton Antiques; leestanton.com. On table, midcentury Danish ceramic vase from Lucca Home; luccaantiques.com. In sitting room, vintage cantilevered brass chandelier from Galerie Glustin Luminaires; 1stdibs.com. Curtains of Vanbrugh Plain wool, in Baltic gray, by Mark Alexander (T); markalexander.com. Alf Svensson highback lounge chair from Galerie Half; galeriehalf.com. On vintage Dunbar one-arm sofa, Dashing Stripe wool by Holland & Sherry (T); hollandsherry.com. Antique Kashan rug from J. Iloulian Rugs; jirugs.com.

PAGE 54: In master bath, Voltaire freestanding oval cast-iron bathtub by Waterworks; waterworks.com. 1930 Mackintosh fittings

by Lefroy Brooks; lefroybrooks.com. PK80 leather daybed by Poul Kjærholm from Roxy Klassik; roxyklassik.dk. Captain’s mirror

by BDDW; bddw.com. Antique Kashan rug from J. Iloulian; jirugs.com. In library, vintage Casando sideboard by Charlotte Perriand from Galerie Charraudeau; charraudeau.com.

Vintage Mogens Koch leather wingback chair and ottoman from Galerie Half; galeriehalf.com. Choupette pouf, in curly white Mongolian lamb, by Démiurge New York; demiurgenewyork.com. On walls, Pavilion Gray paint by Farrow & Ball; farrow-ball.com. Antique Malayer rug from J. Iloulian Rugs. Vintage Italian wall arm lamp from Galerie Half. In living room, antique steer horn chair from the Window; 1stdibs.com. Vintage Illum Wikkelsø leather lounge chairs from FabriekNL; fabrieknl.com.

Speaker by Phila Audio Corp, in claro walnut, from BDDW. On walls, Manor House Gray paint by Farrow & Ball. Antique Kerman rug from J. Iloulian Rugs.

LIVING THE DREAM PAGES 114–129: Hair by Seb Bascle at Calliste Agency; callisteagency.com; using Schwarzkopf “Styliste Ultîme” developed with Claudia Schiffer; schwarzkopf.com.

Makeup by Kirstin Piggott at Julian Watson Agency using Claudia Schiffer Makeup; julianwatsonagency.com. PAGE 115: Mottisfont lantern by Vaughan (T); vaughandesigns.com.

Prideaux table lamps by Currey & Co. (T); curreycodealers.com. Chair by Pimpernel & Partners (T); pimpernelandpartners.co.uk; in Moghul Poppy linen by Christopher Moore from Turnell & Gigon (T); turnellandgigon.com.

PAGE 117: On chairs, Maya Flower hemp, in brown, by Jasper (T); michaelsmithinc.com.

Sea grass rug by Linney Cooper (T); linneycooper.co.uk. PAGE 118: Lotus wallpaper, in crimson, by Galbraith & Paul (T); hollandsherry.com. PAGE 119: Leith pendant

light by Mullan Lighting from Peter Reid Lighting; peterreidlighting.co.uk. Classic shower and sink fittings, in gold, by Lefroy Brooks; lefroybrooks.com. Bespoke sink and shower by Benningen Lloyd; benningenlloyd .com. PAGE 120: Woodland dinnerware

by Spode; spode.com. PAGE 121: In screening room, Farnham floor lamp, in bronze, by Vaughan (T); vaughandesigns.com. On wing chairs, Pavage Imprimé cotton-linen, in cassis, by Hermès (T); hermes.com.

Percy chair by Pimpernel & Partners (T); pimpernelandpartners.co.uk; in sheepskin

by Skandilock (T); skandilock.com. On sofa, Sherpas cashmere, in rosso lacca, by Loro Piana Interiors (T); loropiana.com. Tam Tam stool, in red, by Pols Potten; polspotten.nl.

Dakar flatweave rug by Robert Stephenson (T); robertstephenson.co.uk. PAGE 122: On chair cushions and table linens, Campos fabric by Scantex (T); scantex-shop.de. Table ceramics

by Bordallo Pinheiro; bordallopinheiro.com.

Glassware by Daylesford Organic; daylesford .com. Petite Fleur dinnerware by Villeroy & Boch; villeroy-boch.com. PAGE 123: Range

by Aga; agaliving.com. Ceramics by Bordallo Pinheiro; bordallopinheiro.com. Produce from Daylesford Organic; daylesford.com.

Tea towels by Meyer-Mayor; meyer-mayor.ch.

PAGE 124: In Caspar’s overflow room, Trapez wallpaper by Arne Jacobsen; borastapeter.se.

Floor lamp by Santa & Cole; santacole.com.

Edelweiss piano, in bespoke lacquer, by 1066 Pianos; 1066pianos.com. On bed, blanket by Knight Mills; knightmills.com. In Clementine’s room, Pill desk by Space & Shape; spaceand shape.com. Task lamp by M.oss Design; studiomossdesign.nl. On mantelpiece, Beam table lamp by Lane; lanebypost.com. Ziggy Chair, in clotted cream sheepskin, by Heal’s; heals.com. Bed upholstered in Pollen linen, in lemon, by Kate Blee for Christopher Farr Cloth (T); christopherfarrcloth.com. Bedding

by CoopDPS; couvertureandthegarbstore.com.

On sofa, Mendip cotton by Fermoie (T); claremontfurnishing.com. Bespoke “Clemmie” pillow by Tilla Lindig; luxuryfamilyaffair.com.

Small Stay lounge chair, in pink velvet, by Space Copenhagen for Gubi; thefutureperfect .com. Model A cork stool by Jasper Morrison for Vitra; vitra.com. Wire basket (as table), in rose, by Ferm Living; fermliving.com.

Portable turntable by Crosley; crosleyradio .com. Tashkent flatweave rug by Robert Stephenson (T); robertstephenson.co.uk.

PAGE 125: On bench cushion, Pollen linen, in chocolate, by Kate Blee for Christopher Farr Cloth (T); christopherfarrcloth.com. On chair, Dal fabric by Namay Samay from Jasper (T); michaelsmithinc.com. PAGE 126: On walls, Le Grand Genois Panneau cotton by Braquenié (T); pierrefrey.com. Gujarat bedcover, Shibori bedcover, and velvet cushion, in red, all from Caravane; caravane.fr. Sea grass rug by Linney Cooper (T); linneycooper.co.uk. PAGE 127: On walls, Pommes de Pin linen-cotton by Le Manach (T); pierrefrey.com. Farnham floor lamp by Vaughan (T); vaughandesigns.com.

Pillows (on sides) of Mendip cotton by Fermoie (T); claremontfurnishing.com. Throw pillows

by Aufschnitt; aufschnitt.net. On bench, Linara cotton-linen by Romo (T); romo.com.

COOL CUSTOMER PAGES 130–37: Interiors by Ryan Korban; ryankorban.com. Architecture by Freecell Architecture; frcll.com. PAGES 130–31: Naja table by Eric Schmitt for Liaigre (T); 212-2012338. PAGE 132: In living area, plaster monkey head from Flair; flairhomecollection.com.

In bedroom, on walls, Sarabelle faux-suede, in cinder, by Old World Weavers (T); starkcarpet.com. Caged bed by Kara Mann for Baker (T); bakerfurniture.com. On bed, pillows of Altai wool-blend, in nero assoluto,

by Loro Piana Interiors (T); loropiana.com.

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2017 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 74, NO. 9. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published monthly by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007.

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Flint sconces by Caste (T); castedesign.com.

Round mirror from Michael Dawkins Home; michaeldawkinshome.com. R&Y Augousti shagreen nightstand from Area ID; 1stdibs .com. Vintage console from Flair. PAGE 133: Custom-made carpet by Ryan Korban; ryankorban.com. Custom-made closet, in macassar ebony, by Freecell Architecture; frcll.com. PAGES 134–35: Sylvie chairs by R&Y Agousti; agousti.com. Betty mirror by Desiron (T); desiron.com. Plaster-and-wrought-iron light by Eric Schmitt; from Valerie Goodman Gallery; 1stdibs.com. Custom-made rug by Ryan Korban; ryankorban.com. PAGE 136: In living area, custom-made mantel by Ryan Korban; ryankorban.com. Conches chair, in leather and silk, and Liseron floor lamp, in bronze, by Liaigre (T); 212-201-2338. In entry hall, Umberto table by Eric Schmitt for Liaigre (T). Crystal from Phoenix Gallery; phoenixgalleryny.com. PAGE 137: Madagascar cocktail tables by Holly Hunt (T); hollyhunt .com. RH Modern Modena track arm sectional sofa; rhmodern.com; in Kipling silk, by Dedar (T); dedar.com. On sofa, pillows of Splendido viscose blend and Grand Natté Laminato cotton, by Dedar (T). Bomarzo pedestal side table by Eric Schmitt for Liaigre (T); 212-2012338. Custom-made carpet by Ryan Korban; ryankorban.com.

IN FULL FLOWER PAGES 146–49: Interiors by Kate Moss and Katie Grove of Kate Moss Interiors; katemoss.com. Anemones in Light wall coverings by Kate Moss for de Gournay; degournay.com. PAGE 147: Spey castiron tub and Brora High Level WC Suite

by Drummonds; drummonds-uk.com.

PAGE 149: Curtains from Janie Lightfoot Textiles; janielightfoot.co.uk. Custom-made mirrored cabinet fabricated by David Lightfoot Design; delightfoot.co.uk. Double Lowther Vanity Basin Suite by Drummonds; drummonds-uk.com.

MIAMI HEAT PAGES 150–61: Architecture by Walter Chatham Architect; wfchatham.com.

Interiors by Julie Hillman Design; juliehillman.com. Landscape design by Nathan Browning of Island Planning Corporation; islandplanningcorporation.com.

PAGES 150–51: Carbon ladder by Marc Newson; marc-newson.com; Spiral lamp by Tom Dixon; tomdixon.net. PAGES 152–53: On Pierre Paulin Mushroom chair, Chamonix wool by Holland & Sherry (T); hollandsherry .com. Custom-made sofa by Julie Hillman Design; juliehillman.com; in Big Dreams cotton-velvet, in celebrity, by Holly Hunt (T); hollyhunt.com. Cocktail table by Ronan and Erwan Bouroullec; bouroullec.com.

Custom-made hand-knotted alpaca rug by Doris Leslie Blau (T); dorisleslieblau.com.

PAGE 156–57: Shower and bath fittings by Boffi; boffi.com. PAGE 158: Nepal chairs

by Paola Navone (T); baxter.it. Curtains of a Kazak polyester blend, in snow, by Robert Allen (T); robertallendesign.com. On walls, a 50/50 blend of Decorator’s White and Linen White paints by Benjamin Moore; benjaminmoore.com. PAGE 159: Stainless steel Ping-Pong table by Ron Arad; ronarad.co.uk.

Custom-made wool dhurrie rug by The Rug Company; therugcompany.com. Custom-made sofa by Julie Hillman Design; juliehillman.com; in Rialto acrylic blend by Coraggio; coraggio .com. PAGE 160: Liane leather pendant by Ronan and Erwan Bouroullec; bouroullec.com.

In the niche, Blossoms vase by Studio Wieki Somers; wiekisomers.com. Stairway, of limestone and plaster, and railing by Walter Chatham Architect; wfchatham.com; fabricated by Twenty Two Group; the22group .com. On walls, a 50/50 blend of Decorator’s

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White and Linen White paints by Benjamin Moore; benjaminmoore.com. PAGE 161: Vintage Chop Top table by Marc Newson; marcnewson.com. Disky hanging light fixture by Johanna Grawunder; grawunder.com.

HOW SWEET IT IS PAGES 166–81: Alice Naylor-Leyland of Mrs. Alice; mrsalice.com. Tom Naylor-Leyland of We Love Malton; maltonyorkshire.co.uk.

Interiors done in collaboration with Flora Soames; florasoames.com. PAGES 166–67: Curtains of Armure Cannele fabric by Claremont (T); claremontfurnishing.com; with tassel trim by Samuel & Sons (T); samuelandsons.com. On walls, Thalia Strie wallpaper, in aqua, by Thibaut (T); thibautdesign.com. On chairs, Lucerne silk, in sky blue, by Colefax and Fowler (T); cowtan.com. Tablecloth by Cologne & Cotton; cologneandcotton.com. Toy animals from Selfridges & Co.; selfridges.com. PAGES 168– 69: In kitchen, on walls, Cuisse de Nymphe Emue paint by Edward Bulmer Natural Paint; edwardbulmerpaint.co.uk. Ranges by Brittania (right); britannialiving.co.uk; and Aga (left); agaliving.com. PAGE 170: Armchairs by Howard Chairs Ltd.; howardchairs.com; in Althea linen by Lee Jofa (T); leejofa.com; with pillows of silk, in saffron, by Claremont (T); claremontfurnishing.com; and brush trim

by Samuel & Sons (T); samuelandsons.com.

Vintage taxidermy white peacocks, mounted on plinths, by A Modern Grand Tour/Aynhoe Park; amoderngrandtour.com. PAGE 171: Curtains of velvet, in moss, by George Spencer Designs (T); claremontfurnishing.com; with tassel trim by Samuel & Sons (T); samuelandsons.com. Taxidermy “unicorn”

by A Modern Grand Tour/Aynhoe Park; amoderngrandtour.com. PAGE 172: Curtains and bench of Jubilee Rose chintz by Colefax and Fowler (T); cowtan.com. Tub and fittings

by Czech & Speake; czechandspeake.com.

On chair, Armure Cannelle fabric by Claremont (T); claremontfurnishing.com.

Hanging from wardrobe, dresses by Gucci; gucci.com; Emilia Wickstead; emiliawickstead .com; and Temperley London; temperleylondon .com. On antique table, Alice bag by Olympia Le-Tan; olympialetan.com; on floor, flats include slippers by Alice Naylor-Leyland (a.k.a. Mrs. Alice) for French Sole; frenchsole .com. PAGE 173: In the master bedroom, bed dressed in Jubilee Rose chintz by Colefax and Fowler (T); cowtan.com. PAGES 174–75: In the bar room, Ranelagh wallpaper by Farrow & Ball; farrow-ball.com. On chairs, linen-silk by George Spencer Designs (T); claremontfurnishing.com. In the drawing room, speakers by Tannoy; tannoy.com.

PAGES 176–77: Ostrich-feather lamp, in coral, by A Modern Grand Tour/Aynhoe Park; amoderngrandtour.com. On sofa, Point de Tours cotton-silk by Le Manach (T); pierrefrey.com; with pillows of Althea linen chintz by Lee Jofa (T); leejofa.com. Curtains of silk by Claremont (T); claremontfurnishings .com. Antique mirrors from Christie’s; christies.com. PAGE 178: In Nancy’s room, on walls, L’Envol wallpaper by Manuel Canovas (T); cowtan.com. Curtains of Harris linen, in petal, by Susanna Davis; susannadavis.co.uk.

Crib by the Nursery Window; nurserywindow .co.uk. PAGE 179: Curtains of Laguna Rose linen by Bennison (T); bennisonfabrics.com; trimmed with Arlington cut fringe by Colefax and Fowler (T); cowtan.com. Clandon wallpaper by Cole & Son (T); cowtan.com.

Sofa upholstered in fabric by Titley & Marr (T); titleyandmarr.co.uk.

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AR C HD IG E S T.CO M

ALEXANDRE PENFORNIS

Alley-Oop Parisians, prepare for a double take. Here in Pigalle, which was once an artists’ enclave and later a red-light district, a group of contemporary aesthetes have joined forces to transform a modest basketball court—wedged between two apartment buildings—into a riot of color. With the help of Nike, Stéphane Ashpool of the French streetwear label Pigalle collaborated with the creative agency Ill-Studio to soak the space in vivid hues, blending gradients reminiscent of Rob Pruitt paintings and geometric graphics that recall the Memphis Group. Unveiled this past June, the makeover marked the latest fashion partnership between Pigalle and Nike, and follows up on their and Ill-Studio’s previous update to the court. We call the new look a slam dunk. —SAM COCHRAN