Luxe Magazine November/December 2020 National

In celebration of the brand’s 60th anniversary, renowned Portuguese artist Joana Vasconcelos imagined a line of seating and accessories for Roche Bobois. The Bombom collection presents her interpretation of comfort and interior design: playful, generous and resolutely optimistic.

Bombom, designed by Joana Vasconcelos.

Collection of sofas with entirely removable slipcovers, upholstered in different shades of Stretch fabric. Sets of mobile backrests, can be positioned freely on the seats.

Tutti Frutti. Rugs, designed by Joana Vasconcelos.

Manufactured in Europe.

Photo Michel Gibert, for advertising purposes only.

hunterdouglas.com

ŠHunter Douglas 2020

FEEL LIGHT TRANSFORMED™ Innovative window treatments with PowerView® Automation transform the natural light in your home to create the perfect mood, whenever the moment.

Pirouette® Shadings with PowerView® Automation

The S TATE M E NT CO LLE C TI O N

We are redefining the world of luxury appliances, one detail at a time.

Elevate Everything.

MONOGR AM .COM

CONTENTS

NOV DEC 2 02 0

18

EDITOR'S LETTER

Radar 22

AS TOLD TO Luxe gets personal with three A-list talents on their design starts and what’s energizing them now.

28

CHANGE MAKERS Ethical production and artisan communities are the cornerstone to these growing luxury decor brands.

30

R O U N DTA B L E Pros weigh in on the spaces that ignited their passion for interiors and architecture.

Market 42

M AT E R I A L Brimming with inspiration, four arbiters of style share their playful mood boards.

50

TREND Decorative surfaces from bygone eras continue to intrigue today.

58

SPOTLIGHT Classically celebrated furnishings shine through a modern lens.

Living

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70

K I TC H E N + B AT H Thomas O’Brien’s own curated kitchen makes for a very special space.

82

THE REPORT Soulful and stalwart, the new historical home is a balm for the times.

NOMAD SHOWROOM 102 MADISON AVE, NEW YORK, NY 10016 NYC@LIAIGRE.US MIAMI SHOWROOM 137 NE 40TH STREET, MIAMI, FL 33137 MIA@LIAIGRE.US LIAIGRE.COM

CONTENTS

FEATURES

92

104

116

120

Fashion Forward

Uptown Girl

Landscape Meditation

Colonial Revival

A San Francisco designer sets the stage for a well-lived life in an exuberant and colorful Presidio Heights home.

Beige takes a turn for the glamorous in an Upper East Side apartment that’s anything but stuffy.

Colorado’s topography, natural light and storied history inspire the large and small sculptures of a Denver artist.

A 1930s charmer in Bedford, New York, gets a vibrant update befitting its modern family in residence.

Written by Mary Jo Bowling Photography by Douglas Friedman

Written by Maile Pingel Photography by Joshua McHugh

Written by Jennifer Sergent Photography by Caleb Santiago Alvarado

Written by Michelle Brunner Photography by Annie Schlechter

ON THE COVER: When designer Ken Fulk created this intimate spot in a San Francisco living room, he envisioned his clients enjoying family brunches around the Laura Kirar Kiwari dining table on the plush banquette crafted by Antonio’s Antiques and the upholstered stools by J.F. Fitzgerald wearing a Pierre Frey fabric.

The walls are dressed in a distinctive Élitis Galerie des glaces wallcovering. Page 92

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Š2020 Snaidero USA

H01 | Elegante Bespoke Collection | Made in Italy | Green Good Design Award Winner Find an exclusive showroom near you, or dealership opportunities 1.877.762.4337 | Exclusively distributed by snaidero-usa.com

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Today, SANDOW is a fully integrated solutions platform that includes leading content, tools, and services, powering innovation for the design and luxury industries. Its diverse portfolio of media assets includes Interior Design, Luxe Interiors + Design and NewBeauty. Materials Innovation brands include global materials consultancy, Material Connexion, game-changing material sampling and logistics platform, Material Bank, and materials reclamation program, Sample Loop. SANDOW brands also include research and strategy firm, ThinkLab. In 2019, SANDOW was selected by the New York Economic Development Council of New York to become the official operator of NYCxDESIGN Week, beginning in 2020. sandow.com

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FASHION THAT SURROUNDS YOU H

ow you dress your home is as important as how you dress yourself.

Philip Nikolich of Advanced

If fashion is art that we wear, interior design is art that we live in. Both are

Woodwork in Palm Desert, Calif.,

influenced by cultural trends, colors, materials, surfaces, silhouettes, shapes and

won first-place for this large luxury

accessories — and how they mingle to form a cohesive personal style statement.

kitchen (above), in the 2019 NKBA Professional Design Competition.

Scan below to view Philip's portfolio on his NKBA Profile page.

In this award-winning kitchen, NKBA designer Philip Nikolich combined high-gloss cabinetry, textured woods, leather and sculptural hardware to create a chic, sleek space.

“We always try to incorporate something different,” says Nikolich. “The end result is that we want our designs to inspire. No one is inspired by design that is recycled or over-used.”

Through its professional development programs and certifications, comprehensive Kitchen & Bath Industry Show (KBIS) marketplace, vibrant exchange of information, innovation and ideas, the National Kitchen & Bath Association strives to inspire its members and build an unparalleled design community.

For more information on membership and to be inspired, visit NKBA.org.

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Heather Schreckengast, Greta Wolf @luxemagazine Luxe Interiors + Design, (ISSN 1949-2022), Arizona (ISSN 2163-9809), California (ISSN 2164-0122), Chicago (ISSN 2163-9981), Colorado (ISSN 21639949), Florida (ISSN 2163-9779), New York (ISSN 2163-9728), Pacific Northwest (ISSN 2167-9584), San Francisco (ISSN 2372-0220), Southeast (ISSN 2688-5735), Texas (ISSN 2163-9922), Vol. 18, No. 6, Nov/Dec, prints bimonthly and is published by SANDOW, 3651 NW 8th Ave., Boca Raton, FL 33431. Luxe Interiors + Design (“Luxe”) provides information on luxury homes and lifestyles.

Luxe Interiors + Design , SANDOW, its affiliates, employees, contributors, writers, editors, (Publisher) accepts no responsibility for inaccuracies, errors or omissions with information and/or advertisements contained herein. The Publisher has neither investigated nor endorsed the companies and/or products that advertise within the publication or that are mentioned editorially. Publisher assumes no responsibility for the claims made by the Advertisers or the merits of their respective products or services advertised or promoted in Luxe. Publisher neither expressly nor implicitly endorses such Advertiser products, services or claims. Publisher expressly assumes no liability for any damages whatsoever that may be suffered by any purchaser or user for any products or services advertised or mentioned editorially herein and strongly recommends that any purchaser or user investigate such products, services, methods and/or claims made thereto. Opinions expressed in the magazine and/or its advertisements do not necessarily reflect the opinions of the Publisher. Neither the Publisher nor its staff, associates or affiliates are responsible for any errors, omissions or information whatsoever that have been misrepresented to Publisher. The information on products and services as advertised in Luxe are shown by Publisher on an “as is” and “as available” basis. Publisher makes no representations or warranties of any kind, expressed or implied, as to the information, services, contents, trademarks, patents, materials or products included in this magazine. All pictures reproduced in Luxe have been accepted by Publisher on the condition that such pictures are reproduced with the knowledge and prior consent of the photographer and any homeowner concerned. As such, Publisher is not responsible for any infringement of the copyright or otherwise arising out of any publication in Luxe. Luxe is a licensed trademark of SANDOW © 2011. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without the written permission of the Publisher. ADDRESS SUBSCRIPTION REQUESTS AND CORRESPONDENCE TO: Luxe, PO Box 16329, North Hollywood, CA 91615. Email: subscriptions@luxemagazine.com or telephone toll-free 800.723.6052 (continental US only, all others 818.487.2005). ®

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Celebrating

75 years

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LETTER EDITOR’S

Fifteen & Fab! WOW! It’s been 15 years since we launched with one magazine in Colorado. The past decade and a half, we have grown into the largest design network in the country, with 14 regional editions. I am incredibly proud to lead a brand that champions local design on such a grand scale.

To celebrate our birthday, Luxe Interiors + Design is looking boldly toward the future. We have a new logo, and a fresh updated look. While we evolve, our tenets remain: Home is your greatest luxury. Good design lives around your corner. Design professionals are invaluable. The built environment is the foundation. We believe there is power in diversity and authenticity. Finally, and most importantly, design is life-enhancing.

A heartfelt thank you to our team (past and present), to our beloved design community, to our advertising partners and to our valued reader. With love and optimism for the days and years ahead.

Pamela Jaccarino VP, Editor in Chief @pamelajaccarino

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All Designs and Images ©1989 - 2020 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.

THE 2020 GOSSIMER COLLECTION

RADAR AS

TOLD

TO

|

CHANGE

MAKERS

|

ROUNDTABLE

Toasting our 15th anniversary, Luxe celebrates the power and influence of feel-good design.

THREE LUMINARIES CONTEMPLATE DESIGN. AS TOLD TO MICHELLE BRUNNER

Bunny Williams in the sample library at her Manhattan office.

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Doyenne of Decor

My memories of growing up in Charlottesville, Virginia, were of constant company. I lived out in the country, and everyone—my great aunt, godmother, parents—went to each other’s houses.

Having a dinner party or a cocktail buffet was a regular occurrence. There were libraries stacked with books and dogs constantly running in and out. It instilled in me the belief that houses should be welcoming, but not so precious that someone might feel uncomfortable.

I’ve often said that starting a project is like embarking on a new romance—that feeling of seeing someone across the room at a dinner party and your heart races. I fantasize about the house, imagining what it’s going to look and feel like finished. Like all affairs, there are the highs and lows, the traumas and dramas. There are exhilarating moments when you go shopping and find the perfect piece. Then there are the times when you’re dealing with budget constraints or something goes wrong. When I finish a house, I get incredibly sad. It’s time to move on to the next affair, but it’s hard because that project lived in my head for so long.

Working for Sister Parish and Albert Hadley taught me so much. I was just 24 years old, when I was lucky enough to experience the taxi-cab yellow drawing room they did for William Paley’s apartment.

It had beautiful French furniture, a Coromandel screen and paintings by Van Gogh and Gauguin, yet the room was so comfortable. It was a perfect juxtaposition of grand and simple. I’ll never forget that space.

Interestingly enough, people tend to think that I mostly do chintz rooms, but I believe one of the most beautiful things is to have a very severe background with an incredible piece of 18th-century furniture and a modern painting. No matter the style, it’s got to be comfortable, and that’s especially important now. Eight people should be able to sit in a group and talk to each other with a place to rest their drink.

Coming out of this period, people will either want cozier houses filled with furniture and objects, or they’ll be compelled to edit and simplify. Everybody wants an easy answer, but there’s never been just one way in design.

photo: lesley unruh.

TO TOLD AS RADAR

Masters of Ceremony

Bunny Williams

T H E V I C TO R I A H AG A N CO L L EC T I O N AVA I L A B L E F O R R O M A N S H A D E S A N D D R A P E R Y E XC L U S I V E LY AT T H E S H A D E S TO R E S H O W R O O M S N AT I O N W I D E

T H E S H A D E S TO R E . C O M

8 0 0 . 7 5 4 .1 4 5 5

Ken Fulk

TO RADAR

This past year taught us that design isn’t just a pretty picture; it’s a vital component of our lives. We all like to believe that our homes matter. Certainly, I do—after all, I have a business based around that idea. But the importance of the spaces that we live in was magnified during the pandemic. When we look at gatherings that are more intimate, it makes experiences more valued and important.

Though I’ve been sheltering in Provincetown, Massachusetts, I generally think of San Francisco as my home. There’s a common thread that draws outsiders and nonconformists there, whether it’s artsy bohemians or the tech folks; it’s a community that relishes quirkiness and eccentricity. You get the feeling that even the blue bloods in San Francisco have some wonderful tawdry tale in their past! It’s the kind of place where a leather daddy, a drag queen, a tech gazillionaire and a doyenne with a neck full of diamonds can all sit at the same table. It’s part of what drew me there, and what adds a sense of otherness or fearlessness to our work.

When I was younger, I was desperate and excited to learn about design. Growing up in Virginia, I recall the impression family trips to Monticello or The Greenbrier had on me. As I got older, I became interested in designers who built totally immersive environments. The first time I went to Hotel Costes in Paris I was enthralled by Jacques Garcia’s ability to create transportive spaces.

Similarly, Tony Duquette and Renzo Mongiardino had this gift for crafting rooms in an incredibly theatrical way. For us, every project starts with a story. There’s literally a written script for every job we do. The story provides a guidepost so we don’t lose sight of what we’re trying to achieve.

Not every project comes with a rich narrative, but sometimes you get lucky, which happened with our revamp of the Cloud Club, (the legendary lunch spot in the Chrysler Building). It’s one of the most iconic buildings in the world. We want to honor the building’s past as well as the optimism of its era. That’s what’s so special about working on this building at this particular moment. I think we all want to feel optimistic about something right now.

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photo: thomas kuoh.

Magic Maker

AS

TOLD

Ken Fulk on a balcony at the Saint Joseph’s Arts Society in San Francisco.

L I G H T C R E A T E S shadow.

S H A D O W re veals light .

The Kintsu Bath Collection TM

in the new BrillianceÂŽ Black Onyx finish showcases the diametrical interplay of darkness and light.

E X PLO RE T H E F ULL C OLLECTIO N AT B R I Z O.C O M

Celerie Kemble

TO RADAR

Growing up in Palm Beach was a unique experience because it was all folly and fantasy. Every aspect of my childhood home was magical. I grew up in a turreted-shingled church in the middle of a garden filled with orange blossoms and bougainvillea. It’s a place where you can paint vines up over your walls and ceiling.

It’s personality-forward decorating. That love of theatrical design, the integration of indoor/outdoor spaces and a laid-back approach to entertaining carry through my designs, no matter where I’m working.

Though I hadn’t planned on becoming a designer, I didn’t know how to not make design a priority. Deep down I just really like to find things and shine a light on them in a way that shows their potential. To illustrate, I’m not a morning person—there’s very little you could do to get me to wake up before 8:30 a.m. But if a friend said, I’ll give you $300 to go to the flea market to buy things for my house, I would be up at 5 a.m. shivering in the rain with a sense of anticipation that rivals Christmas morning. I get this feeling when I walk into an antique store or turn down an aisle at a flea market. I think we’re all led to things by our joy and if we’re lucky that can be our career.

When I look back, the buildings could burn down and the houses could be sold, but what matters is the people I’ve come to love or be changed by. It’s funny—you think your career is about what you do, but it’s mostly about who you do it with. An unforeseen and often uncelebrated highlight is that I get to work with my mother (interior designer Mimi McMakin). She’s the designer I’ve learned the most from, and it’s not just what she’s taught me professionally per se, but also the constantly evolving, beautiful home she provided for us.

The past year has given us all a chance to reconsider our priorities and what makes our homes distinctly ours. The pandemic, the stopping of work, having been stuck in our houses—it’s made things that matter mean much more.

Personally, it has made me more focused on antiques, vintage items and things that have history. It’s beauty with deeper roots, meaning and authenticity.

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photo: stephen karlisch.

Wit & Whimsy

AS

TOLD

Celerie Kemble in her New York City apartment.

FOR A NEW WAVE OF HOME DECOR BRANDS, GOOD BUSINESS AND SOCIAL CONSCIOUS GO HAND IN HAND. W R I T T E N BY G R AC E B E U L E Y H U N T

“Consumers are becoming more discerning about investing in brands with purpose,” says Jodie Fried, co-founder of Armadillo. Of the brand’s artisan and weaver community (shown here), she adds, “We consider them extended family.”

Being confined to our spaces like never before has shed light on every facet of our homes: the look, the function, the comforts— and with renewed potency, the intentions behind the items we live with. While consumer activism gained fresh credence in 2020, a rising tide of young design brands have been defining a new model of ethical production at scale for years.

Unable to find fine, handmade rugs that aligned with their value set, Jodie Fried and Sally Pottharst founded Armadillo with community enrichment and fairtrade practices as key DNA pillars. Not a decade into business, the duo established The Armadillo Foundation, which supports free medical clinics and funds an elementary school in their weaver village in India. “We have a team on the ground and our artisans know that if they have a

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financial or medical need, they can come to us,” says Fried.

For Los Angeles-based Block Shop, kinship was a similarly integral principal. Helmed by sisters Hopie and Lily Stockman, the cult favorite design studio was born on relationships Lily had developed with a family of next-generation block printers while studying overseas.

Recognizing kindred spirits in these artistic entrepreneurs, the sisters hatched plans for a graphic block print brand whose success champions wages two to three times higher than the national average and dedicates 5% of proceeds toward health care initiatives in the Jaipur artisan community. “A familial sense of decency has always been our core ethos,” says Hopie.

Like the Stockman sisters, Christina Bryant too found the spark for St. Frank,

her luxury home goods brand, while abroad.

Living in rural Rwanda, Bryant became enamored with the exquisite Agaseke baskets made in her village. So spurred a business model that works with artisans in under-resourced communities to design and produce product lines. (To date, St. Frank supports jobs in more than two dozen countries.) “We showcase traditional craft as art form,” says Bryant, adding that her Oaxacan embroidered tablecloths take four women an entire month to create.

“Our model is the opposite of exploitative.

We make a premium product that the handiwork deserves.”

As with anything shown affection, the impact is palpable. Notes Hopie, “When human care and thoughtfulness flow from creator to object, you sense that intention when you hold it in your hand.”

photo: courtesy armadillo.

MAKERS CHANGE RADAR

Come Together

A-LISTERS RECALL THE SPACES THAT HAVE LEFT AN INDELIBLE MARK. W R I T T E N A N D P R O D U C E D BY B R I T TA N Y C H E VA L I E R M C I N T Y R E

Alexa Hampton's sitting room for the 2014 Kips Bay Decorator Show House.

“In 2014, I did the Kips Bay Decorator Show House at the famed Villard Houses. It was a Mudejar fantasy of a sitting room that was really elevated by the architecture of this NYC landmark.”

–ALEXA HAMPTON, ALEXAHAMPTON.COM

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“I have a few rooms I continually fall back on for inspiration. I love Nancy Lancaster’s ‘buttah-yellah’ drawing room on London’s Avery Row and Billy Baldwin’s La Fiorentina in the south of France— both for their mastery of furniture layouts and comfortable style.”

–DANIELLE ROLLINS, DANIELLEDROLLINS.COM

“ If I had to choose one building as being the most important to my work, it would be the Renaissance palazzo Villa Rotonda designed by Andrea Palladio. Studying it helped me discover the tenets and discipline of classical design and the proportional principles of Vitruvius.”

–TOM STRINGER, TOMSTRINGER.COM

alexa hampton photo: jean bourbon.

RADAR

ROUNDTABLE

Life-Changing Design

RADAR

ROUNDTABLE

“My favorite room is the grand salon of the late designer Hubert de Givenchy in Paris. It taught me the importance of creating multiple ways to use a room, the joy of mixing wildly disparate elements together, and that a space shouldn’t appear perfect, but rather that it has effortlessly evolved over time.”

When designing the grand salon in his former residence, Château du Grand-Lucé, in France’s Loire Valley, Timothy Corrigan turned to Hubert de Givenchy as inspiration.

–TIMOTHY CORRIGAN, TIMOTHY-CORRIGAN.COM

–FERN SANTINI, FERNSANTINI.COM

“My first ‘pinch me’ moment was when Luxe ran my Palmolive Building project on its Chicago and National covers in 2012. It was a game changer for my confidence and gave me assurance that I was really capable of hanging with the best designers in the country.”

–SUMMER THORNTON, SUMMERTHORNTONDESIGN.COM

“Last year, I designed a bedroom suite for a showhouse inspired by my mother, a breast cancer survivor, with the intent of renewal for anyone going through treatment.

Colors, textures and patterns were all inspired by my heritage, and once the room was complete, I knew I had created something that would take me to the next level.”

–GAIL DAVIS, GAILDAVISDESIGNSLLC.COM

The foyer of Summer Thornton’s Chicago project featured in Luxe Interiors + Design in 2012.

timothy corrigan photo: eric piasecki. summer thornton photo: nick johnson.

“Three years ago, my career changed when I was hired for the interiors of a Mayan-inspired house by Paul Lamb Architects. Not only did the clients have a love for the Mayan culture, but also a fascination with Art Deco.

It was my first chance to put a collection together that embraced several centuries— everything from Biedermeier to Ruhlmann to Giacometti to now.

It was scary, but oh so rewarding!”

FA B R I C U T.CO M

–KATHRYN IRELAND, KATHRYNIRELAND.COM Kathryn Ireland’s textile Breakfast nook designed collection displayed

by Charlotte Lucas in her original Santa Monica home.

“Many years ago, I designed the main bedroom and bathroom for a showhouse that changed my career. At that time, I had several articles written about my love for color and pattern.

While I do love both, I felt like I was being pigeonholed as “the pattern guy.” So, I designed a neutral room. It certainly helped me gain a whole new level of clientele.”

–JAY JEFFERS, JAYJEFFERS.COM

“Ca’Liza, our version of Heron Bay in Nassau, was on a magazine cover and changed my career forever.”

–AMANDA LINDROTH, AMANDALINDROTHDESIGN.COM Mark Sikes’s room for the 2015 Kips Bay Decorator Show House.

“ Designing the dining room for the 2015 Kips Bay Decorator Show House was a big step.

It was classic and timeless but bold. The room was inspired by Marella Agnelli.

It was the first time East Coasters and editors could see and experience a space by me.”

–MARK D. SIKES, MARKDSIKES.COM

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Amanda Lindroth’s island getaway in Nassau, Bahamas.

kathryn ireland photo: tim beddow. mark sikes photo: amy neunsinger. amanda lindroth photo: tria giovan.

ROUNDTABLE RADAR

“Since Los Angeles was void of anything resembling the British Isles in the early ’90s, I opened a tiny shop in Santa Monica. With my collection of lighting, pillows, tartan throws and other accessories flying off the shelves (all 10 of them), I realized I had arrived!”

H a n d c r a f t e d C o o k i n g R a n g e s & S u i t e s , S t e e l C a b i n e t ry, F i n e W o o d W o r k i n g & A p p l i a n c e s

PA R I S

• NEW YORK • MIAMI • LOS ANGELES

w w w. L e A t e l i e r P a r i s . c om

•

1 800 792 3550

A breakfast nook designed by Charlotte Lucas.

–CHARLOTTE LUCAS, CHARLOTTELUCASDESIGN.COM

“Growing up in New York, I was starstruck by the magnitude and beauty of The Metropolitan Museum of Art. Now, whenever I begin a project, I think of its grandeur and scale, its enclosure and how specific pieces will relate to the space and create just enough tension to make it interesting.”

“ My great-grandmother’s house in the small village of Péronne in France has the thing I find most beautiful in a building: a deep sense of being grounded, having been in one place for so long that it feels like it belongs as much as the hill that it sits on. The building’s stone is the same color as the earth of the courtyard and the vineyards that surround it. It feels organically connected, almost as if it sprouted up on its own.”

–JOY MOYLER, JOYMOYLERINTERIORS.COM

–JESSICA HELGERSON, JHINTERIORDESIGN.COM

Patrick McCarthy’s Miami living room designed by Thom Filicia.

Thom Filicia's living room design for Patrick McCarthy.

“Fashion publishing icon Patrick McCarthy’s Miami apartment was one of my first projects after opening my firm. I was able to push creative boundaries with the space—custom pieces blended with antiques and his incredible art collection. The design made sense for Miami and McCarthy’s lifestyle, while pushing the limits a bit.”

–THOM FILICIA, THOMFILICIA.COM

LUXESOURCE.COM

charlotte lucas photo: laurey w. glenn/southern living. thom filicia photo: jason schmidt.

ROUNDTABLE RADAR

“Designing a house for my sister-in-law and her family was a turning point. My style has evolved since this 2016 project, but the hallmarks of my work— combining old with new, taking chances with pattern and color, and being practical yet creative about space— ring true to this day.”

Style, Safety & Sustainability NEOLITH® STRATA ARGENTUM Space I NEOLITH® Urban Boutique Milano (Italy) I Designed by Héctor Ruiz I Photography: Dámaso Pérez Fototec

Neolith® is a safe, sustainable architectural surface with style and substance.

It enhances any space in which it’s applied, from floors, walls and ceilings to countertops, furniture and even façades.

Low maintenance, hard-wearing, waterproof and scratch resistant, Neolith® slabs can withstand the strongest chemicals and cleaning products, as well as extreme temperatures.

A material produced in a carbon neutral environment, with a 100% natural, ultra-compact composition, it delivers superior levels of hygiene and sustainability. It’s easy to specify and safe to use in commercial, professional and residential settings.

With a range of over 50 high-definition colors designed to resemble everything from marble and granite to timber and metal, and available in a variety of formats and thicknesses, Neolith® provides the perfect balance between form and functionality.

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Bristol Sink Base, Walnut Designer: Liz Williams Interiors, Photographer: Emily Followill Photography

curreyandcompany.com Atlanta | Dallas | High Point | Las Vegas | New York

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Statement-making mood boards, reimagined furniture silhouettes and time-honored decorative arts offer bright inspiration for the season.

DONEC IN MAGNA ID LIGULA FAUCIBUS MATTIS SED NISL NUNC, SIT AMET TEMPOR PORTTITOR POSUERE ET MAURIS.

LUXE ASKED FOUR DESIGNERS TO CREATE MOOD BOARDS WITH PUNCHY PATTERNS AND TEXTURES.

W R I T T E N BY N A M E H E R E

P R O D U C E D BY K AT H R Y N G I V E N W I T H S A R A H S H E LT O N

MASTERFUL MIX

FRANCES MERRILL, REATHDESIGN.COM

Clockwise from top left: Agra Knot Rug / usa.armadillo-co.com. Field Tile by Architectonics / waterworks.com. Primula Arborea Tile / emeryetcie.com. Qajar Stripe / soane.co.uk.

5015-501 Wallpaper by Mauny / zuber.fr. Dish / richardginori1735.com. Teatro Fabric / maharam.com. 9666 and 472 Wallpapers / zuber.fr. Regimen Stripe Fabric / dedar.com.

Velvet Fabric / kirstenhecktermann.com. Mohair Supreme Fabric / maharam.com. Background: Baldwin Fabric by Jeffrey Bilhuber for Le Gracieux / johnrosselli.com.

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photo: leslie grow.

MATERIAL MARKET

In The Headline Here Mood

LOVE. JOY. BLISS.

AVAIL ABLE NOW! UniversalFurniture.com/MirandaKerrHome

As someone who loves the sanctuary of being at home, it has been a dream of mine to create my own collection of furniture that not only is aesthetically pleasing, but also promotes a warm, positive, and loving energy in the home. Many of the small, daily moments of my life served as inspiration for this collection — I hope you love it as much as I do.

*Must have an approved Universal To The Trade account. Offer is valid per account, not per person. 20% discount is available on orders of $2,000 or more. Orders must be placed online or through a customer service or Universal Sales representative. Promotion Code LUXE20 must accompany the order. Discount applies to all Universal products. Offers cannot be combined. Offer ends at midnight on December 31, 2020.

MATERIAL

SARAH BARTHOLOMEW, SARAHBARTHOLOMEW.COM

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photo: nick bumgardner.

MARKET

BLUE + WHITE DELIGHT

Clockwise from top left: Aussellet Darl Fabric by Nicholas Herbert / claremontfurnishing.com. Botanic Garden Fabric / soane.co.uk. Somerset Openwork Braid Trim / samuelandsons.com. Melaya Fabric by Jasper / michaelsmithinc.com. Sitaron Fabric / namaysamay.com. Somerset StriĂŠ Braid / samuelandsons.com. Tatting Stripe Fabric / bennisonfabrics.com. Shiraz Fabric / fortuny.com. Limbury and Hector Fabrics by Colefax & Fowler / cowtan.com. Background: Rainforest Raffia Wallcovering / phillipjeffries.com.

LarenÂŽ Closet designed by Michelle Boudreau

Š2020 The Container Store Inc. 48323

Photo by Caylon Hackwith

Custom Closets For Every Size, Style & Budget.

Schedule your free design consultation today or (try our new Virtual In-Home Design) at containerstore.com/custom-closets.

MATERIAL

JOE LUCAS, LUCASSTUDIOINC.COM

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photo: leslie grow.

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SEA GREEN

Clockwise from top right: Sakana by CW Stockwell. Cimaruta / zakandfox.com. Catalina by Moore & Giles. Orange & Leaves by Jennifer Shorto. Saga / meridastudio.com. Midnight Mademoiselle by Jennifer Shorto. Cashmere by Johnstons of Elgin. Bishop by Jeffrey Bilhuber / legracieux.com. Anni Stripe by Imogen Heath. Kinkead by Ferrick Mason. Whistler by Moore & Giles. Bromley by Jeffrey Bilhuber / legracieux.com. Mosaic Weave / thibaut.com. Speakeasy / fabricut.com. Wallpaper & Fabrics: Harbinger / harbingerla.com.

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NATURAL INSTINCTS

ANISHKA CLARKE AND NIYA BASCOM, ISHKADESIGNS.COM

Clockwise from top center: Brazilian Nut Beads and Kenyan Miniature Baskets / nyumbani.org. Classic Mud Cloth Fabrics / stfrank.com. Vintage Japanese Napkin. Return of the Rudeboy

by Dean Chalkey and Harris Elliott / antennebooks.com. Figure Sculpture by D. Gabbidon / theolympiagallery.com. Background: Macramé Wallpaper / arte-international.com.

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photo: william and susan brinson.

MATERIAL MARKET

Headline Here

The Scandia Down Difference

HEIRLOOM QUALITY DOWN COMFORTERS & PILLOWS

EUROPEAN BED & BATH LINENS

VISIT SCANDIA HOME AT THESE LOCATIONS: NORTHBROOK, IL Northbrook Court Mall 847.205.1010

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ALSO FIND SCANDIA PRODUCTS AT: Pioneer Linens West Palm Beach, FL Feather Your Nest Austin, TX

Threadcount Miami, FL Elizabeth Grace Home Cincinnati, OH

Block Bros. At Home Pepper Pike, OH Casa di Lino Dallas, TX

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The Linen Kist Avon, CO Bonsoir Fine Linens Wellesley, MA

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Longoria Collection Houston, TX Lynnens Greenwich, CT

Bedside Manor Charlotte, NC Gramercy Fine Linens Atlanta, GA

Gracious Home New York, NY The Linen Gallery Omaha, NE

The decorative arts, from paintings to tilework to carvings, transcend boundaries.

W R I T T E N A N D P R O D U C E D BY S A R A H S H E LT O N

House of the Orchard, Pompeii, Italy

Fresco Forward The word fresco transports us to Italian villages with painterly scenes. One of the most stunning examples of the art form lies within the excavated House of the Orchard, built in the first century A.D. in the ancient city of Pompeii. The walls, presumably painted for a wealthy family, depict ethereal garden settings of trees, animals and garden decor in rich, saturated tones—strikingly intact, even after being buried for hundreds of years.

Clockwise from top right: Taj Mahal Stone in SAFE Finish / Price upon request / antolini.com. Blue and Pink Sapphire Earrings / $22,800 / reinsteinross.com. Pacava Cushion in Black / $461 / arumfellow.com. Boteco Sideboard by Marcio Kogan / from $22,490 / minotti.com. Versus Folding Screen by Sam Baron / Price upon request / pierrefrey.com. Sirene Wallpaper Panel by Colette Cosentino / price upon request / fschumacher.com. Construct Sconce by Kelly Behun / $850 / hudsonvalleylighting.hvlgroup.com.

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PHOTO: GETTY IMAGES.

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São Bento Railway Station, Porto, Portugal

Tile Tales

Clockwise from top right: Santorini Fabric in Blue Toile / Price upon request / clarencehouse.com. Washed Blue Bowl by Source and Tradition / $138 / shopterrain.com shopterrain.com. Cotton Napkin by Isilda Parente / $8 / avidaportuguesa.com. Pambiche Tile Collection / Price upon request / annsacks.com. Farrow Round Cocktail Table / Price upon request / sherrill-occasional.com. Scroll Arm Chair / $2,470 / susieatkinson.com. Caldwell 8108F Rug in Blue / Price upon request / feizy.com. Staro Barnyard Horse Double Old Fashioned Glass / $275 / artelglass.com. Timepiece Tassel Tieback in Sapphire / Price upon request / fabricut.com.

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PHOTO: GETTY IMAGES.

Pay close attention and Portugal’s complex history comes to life via its masterful legacy of intricate tilemaking.

Individual geometric and colorful patterns can be credited to the Moorish influence dating back to the 13th century, whereas blue-and-white scenic motifs were first introduced to the country by Italian artists.

This detailed scene decorating a Porto railway station illustrates a storybook narrative—we take it these walls can talk!

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The Forbidden City, Beijing, China

Master Craft

Clockwise from top right: Rivers Small Fluted Pendant by Marie Flanigan for Visual Comfort & Co. / $679 / circalighting.com. Origami and Stellar Wallpaper / Price upon request / arte-international.com. Taper Chair by Kara Mann / Price upon request / mcguirefurniture.com. Tommy Table / Other finishes from $2,835 / armani.com. Marquetry Sphere by Silvia Furmanovich / $1,500 / bergdorfgoodman.com. Channel Placemat / $86 / kimseybert.com. Ornamenta Frog Closure in Persimmon / Price upon request / jimthompsonfabrics.com.

Kortez Wall Art / Price upon request / madegoods.com.

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PHOTO: GETTY IMAGES.

Step foot inside Beijing’s Forbidden City, constructed some 600 years ago, and a sense of reverence immediately sets in. The palace’s precise and complex carvings and bas-relief detail—all handmade—showcase exceptional craftsmanship and artistry.

Vibrant hues of red, gold and green bring the ornamentation to life—a centuries-old palette that still feels remarkably modern in today’s world of design.

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LOW PROFILE The low-slung slipper chair was in vogue during the Victorian Era when ladies needed a comfortable place to put on stockings and shoes. While this design has certainly withstood the test of time, Brooklyn-based maker Eny Lee Parker nixed the petite scale of the slipper silhouette with her * Chair in favor of a more substantial approach.

Upholstered in mohair, the rounded shape of the piece is meant to resemble an O and accompany Parker’s Stitch Stool for an XO effect. enyleeparker.com

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SMOKE SCREEN While the traditional upholstered screen was once used for privacy, the Nila Screen by DeMuro Das is a stunning statement piece meant to be on display. Each panel is crafted with eucalyptus veneer marquetry, gray lacquer and castbronze antique hinges, and embroidered in collaboration with French accessories designer Olivia Dar. The curved lines and intense blue coloration are a reference to Le Corbusier’s Capitol Complex building in Chandigarh, India. demurodas.com

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ON A LIMB The Vintner Table by Kate McIntyre and Brad Huntzinger of Ironies provides a refreshing spin on the classic drinks table, which was introduced in the 1920s when cocktail hour became de rigueur and occasional surfaces were needed. This piece has a cast-brass base antiqued by hand and decorated with a charming fauxbois pattern, while the shagreen top is applied in a starburst motif. ironies.com

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Made in America since 1895 Prints | Specialty | Performance | Acoustical | Naturals yorkwallcoverings.com

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PASS THE TORCH During the mid-20th century, palm tree lighting gained popularity with many pieces produced in the opulent Hollywood Regency style. The goal for Iatesta Studio was to reintroduce the design as more refined and architectural for contemporary interiors, and the result is the sculptural Palm Tree Torchiere. Constructed of forged steel and done in a soft-aged zinc finish, each large-scale, wallmount lamp has more than 130 leaves that are hand cut, rolled and shaped before being welded to the frame. iatestastudio.com Amoir Fou fabric throughout, dedar.com

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NATIONAL LOOKBOOK | GROUNDBREAKERS

HICKORY CHAIR hickorychair.com |

hickorychair

What keeps Hickory Chair on the cutting

past eight years, Rumley has led the aesthetic for Hickory

edge? One look at the company’s iconic

Chair, bringing such talents as Ray Booth, David Phoenix

collaborations reveals its deep dive into

and Susan Hable to create collections for the company.

the worlds of fashion and art, social media,

This fall, he proudly reveals the new Everett by Skip Rumley™

and one-on-ones with designers that keep

collection, a celebration of Hickory Chair’s unique workroom

the furniture maker top in its industry.

culture and its 110th anniversary in 2021. As with every collection,

“This has helped transform our company over the past two

the pieces are mixable and matchable. “Our strength lies in our

decades,” says Skip Rumley, vice president and creative

customization and one-of-a-kind, made-to-order methods,”

director, who, himself, has made an indelible imprint. For the

Rumley says. Bespoke in every way.

“We focus on pieces that have great bones … beautiful proportion and scale, and timeless style.”

MUSINGS + MAKINGS: A Q+A WITH RUMLEY How has your 20 years in design shaped this new collection?

One learns to ‘speak a lot of languages’ as style, fashion and form have evolved. I love references to classic design and the excitement created when traditional and modern forms are mixed with soft silhouettes and architectural forms.

Top: HC3014-05 Parker Sofa, HC3013-14 Joel Chair, HC3007-55 Jim Wing Chair, HC3086-70 Bill Lamp Table, and HC3085-10/HC8030-02 Grace Table base. Artwork by Jim Koch. Above: HC3003-06/96 Kate Sofa, HC3004-27 Susan Swivel Chair, HC3006-21 Wayne Lounge Chair, and HC3080-70 Krystal Cocktail Table.

All photography courtesy of Hickory Chair

What inspired your approach?

With inspiration from fashion, jewelry and fine art, I created this collection of bedroom, dining and living room furniture with a deep understanding of the desires of the Hickory Chair customer. It was important that each piece have beautiful proportion and scale, a dynamic shape and be made from an interesting array of materials.

What materials will we see?

American walnut and ash along with mahogany, marble, glass and customdesigned hardware were used in the creation of the wood products.

Optional tops, finishes and Customer’s Own Hardware COH®, as well as a new Made 2 Measure™ table group provide an exciting palette ready for personalization.

The new upholstery collection includes signature chairs and sumptuous sofa and sectional groupings, as well as hand-tufted pieces.

The Everett Collection by Skip Rumley

Chicago Naples

Dallas Denver Detroit Los Angeles Minneapolis New Orleans New York Sarasota Washington DC www.hickorychair.com

Design tributes to the five boroughs

Visit nycxdesign.com to explore the collection

LIVING KITCHEN

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Elevate the everyday with showstopping kitchen spaces and historical homes having a modern moment.

BATH + KITCHEN LIVING

Table for Two EVERY CORNER IS CONSIDERED IN DESIGNER THOMAS O’BRIEN’S COZY AND COLLECTED KITCHEN. W R I T T E N A N D P R O D U C E D BY K AT H R Y N G I V E N P H O T O G R A P H Y BY F R A N C E S C O L AG N E S E

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The Perfectionist’s Playground

From the ground up, Signature Kitchen Suite was built on precision and purpose.

Whether it’s articulating handles, consistency in our stainless steel grain, Signature Fit installation, or engineering considerations that follow your countertop’s lines, our full collection of built-in appliances is designed to please the designer, builder and home chef alike. Carrying over to our respect for food, each of our appliances are thoughtfully designed to prepare, preserve or clean in the best ways possible. That’s how we stay True to Food.™

SignatureKitchenSuite.com | @SKSappliances | 855-790-6655 Copyright ©2020 Signature Kitchen Suite, 111 Sylvan Ave., Englewood Cliffs, NJ 07632. All rights reserved. “Signature Kitchen Suite” and the Signature Kitchen Suite logo are trademarks of Signature Kitchen Suite.

BATH + KITCHEN LIVING

Thomas O’Brien’s Library House started with a vision for the kitchen. As the story goes, when the building next to his current Bellport, New York, home—a former 1830s boys’ school, which he shares with husband and designer Dan Fink—became available, O’Brien purchased it and started fresh with a ground-up build. “We both love to cook and dine in and when planning this house, we decided it was finally time to create a wonderful kitchen like we do for our clients,” he says. aerostudios.com Talk to us about the floor plan. The kitchen had to be both beautiful and functional and was laid out to accommodate two small rooms flanking the main cooking space, which sits at the top of a large, layered library. Both adjacent areas can be closed off allowing the main space’s kitchen island to shine.

Inspired by an actual English table several hundred years old, the substantial island features clipped corners, lots of storage and a beautiful stone surface.

What was the starting point for the design? I love marble and the way it looks in traditional homes.

I had originally bought slabs of marble for the kitchen but on a trip to the stone yard I came across this Connemara marble I had never seen before. Sourced from the coast of Ireland, the veining reminds me of a vivid green landscape, which I knew would look lovely in the kitchen. It completely changed the space and became the total inspiration for the room.

That table is so inviting! The dining table is the ideal scale for two or four people and is an old English design that falls into the category of brown furniture no one wants anymore, but it’s kind of perfect. The way we set it up is that the cook sits in the chair, for easy access to the kitchen, and the other gets to relax on the settee, but we mix up duties all the time.

This whole area feels easy, even if it’s a bit fancy!

The backsplash transforms the space. Why a mirror? The moment the mirror went in, it changed everything. It not only opens up the kitchen but functions as a window bringing in and reflecting light, which is important in this slightly darker Library House. You can see what’s happening behind you, so the mirror acts as a tool to see the full picture.

In Thomas O’Brien’s kitchen, a custom walnut island by Aero Studios, his design laboratory, takes center stage. The Art Deco drawer pulls are from Le BHV Marais found on a trip to Paris. A Visual Comfort & Co. ceiling fixture and Galia Century stools, both collaborations with O’Brien, complete the arrangement. On the previous page, the designer’s dogs, Dally Mae and Totie, pose on the dining settee upholstered in Owls & Fruit by GP & J Baker for Lee Jofa. The French linen tablecloth is from Copper Beech and the large tumblers are by Baccarat.

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“ I love beautiful, functional designs that are incredibly crafted and well thought out—there’s such enjoyment in collecting these items.

When I pull out different pieces to set the table, it’s all about recombining my favorites. I could never use the same dish for every occasion.”

–THOMAS O’BRIEN

Clockwise from top: A vintage boxed set of sterling silver flatware by Tiffany & Co.; Iced Marble by Benjamin Moore decorates the nostalgic pegboard, which houses the designer’s cookware collection; Irish Connemara Marble, available at BAS Stone, creates a stunning backdrop for an assortment of objets.

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An assemblage of new and antique copper cookware decorates this charming nook off of the main kitchen area.

Furniture pieces purchased on an excursion to Lillie Road in London add character.

BATH + KITCHEN LIVING

“There’s too much to enjoy in this world to not have variety.

I love collecting silver, crystal and serving ware. Plus, we use it!”

–THOMAS O’BRIEN

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Past Perfect CHARACTERFUL AND COMFORTABLE, THERE’S NOTHING DATED ABOUT THE NEW HISTORICAL HOME. W R I T T E N A N D P R O D U C E D BY G R AC E B E U L E Y H U N T

There’s something soothing about a house that has stood the test of time—layers of soul, a testament to enduring materials and beneath it all, a suggestion of simpler days.

It is these and so many other attributes that have intrigued design devotees young and old to seek out historic homes.

As Summer Loftin, designer, antiques dealer and lucky inhabitant of this preserved 1920s carriage house, keenly observes, “Nostalgia is making a comeback and everybody loves a great story.”

In her own Atlanta living room, designer Summer Loftin chose Benjamin Moore’s Summer Blue to create “a calm yet vibrant” setting for original architectural features, including black-and-white checkered floors and preserved dentil moldings, to shine. Adding interest, Loftin’s personal collections of blue-andwhite porcelain, early 20th-century Dutch oil paintings and antique furnishings build a unique and storied tableau. summerloftin.com

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photo: nick burchell.

REPORT THE

original flavor photos: portrait: meghan mcneer. entryway: sarah elliot. old good things photos: found, karen sachar. michael trapp gallery, courtesy stephanie de luca. casa gusto, courtesy charles peed, casa gusto.

LIVING

ORIGINAL FLAVOR Brooklyn-based architect Elizabeth Roberts built an empire around gently injecting turn-of-the-century homes with contemporary perspective. Here, Roberts waxes poetic on balancing old with new and the appetite for historic charm in the luxury market. elizabethroberts.com Natural niche: As an undergrad at UC Berkeley, I spent summers on an archeological dig in Crete, which opened my eyes to the layers of history found in architecture. At the time, Columbia University’s Architectural Historic Preservation graduate program offered a Design Sector degree that focused on the reuse of historic buildings.

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I’m so happy this brought me to New York. I’ve restored more than 50 townhouses here, the vast majority more than 150 years old.

Reno rule: With an addition, it’s respectful to create a clear demarcation where the old building ends and new one begins.

I will not design “fake old.” Never update: Original handrails. Solid mahogany is irreplaceable and when restored, incomparable to any other wood. Always update: Lighting and paint. Dream digs: An old Parisian apartment with high ceilings and plaster moldings everywhere. Characterful refresh: Minimize sheetrock by installing painted or unpainted wood paneling on the ceiling or walls. Finding balance: If there is an authentic detail, I’ll try hard to work around it—and not just in prewar buildings. For a current 1980s renovation, we decided that the unusual roof and double-story fireplace should stay. We’re replacing the lava-stone panels on the chimney breast with handmade tile, but decided the shape and form were important to retaining the feel of the original structure. Always chic: Authenticity.

I spend an enormous amount of time creating unique homes that sit well within their context.

OLD GOOD THINGS

COLLECTORS ACROSS THE NATION SOUND OFF ON BUYING TRENDS AND FAVORITE TREASURES.

RUTH DAVIS, FOUND HOUSTON, TEXAS

In-store: Conversation pieces with personality— unique furnishings, new and vintage art and creative accessories. Personal aesthetic: I’m drawn to antiques with a contemporary feel and look for pieces with very clean lines. That being said, I also love rococo. It’s all about the mix. Signature pieces: Mirrors. Even in a contemporary house, an antique mirror looks fresh, and we sell a lot of them. We also love a great gilt wood chair which we’ll usually upholster in something fun, like chartreuse felt. Two cents: The designer Miles Redd once said that the success of a project depends on how many “yeses” he gets. My advice is to hire a great designer and say “yes” a lot. foundforthehome.com

CRIS BRIGER AND CHARLES PEED, CASA GUSTO WEST PALM BEACH, FLORIDA

Old with new: We offer antiques, art and exclusive contemporary pieces, including Mexican Talavera pottery and papier-mâché botanicals. Recent favorite: A 19 th -century Irish mahogany settee, which arrived in a very stiff blue silk. We reupholstered it in a brown stripe and added chocolate ribbons for spunk. Totally Pride and Prejudice worthy. Secret sauce: We like opposing fabrics, like mattress ticking upholstery for a formal bench to change its attitude—like a day dress for evening.

Why antique: Furniture, like architecture, should pass the test of time, evoking where it came from, and bringing a story to a room. getthegusto.com

MICHAEL TRAPP, MICHAEL TRAPP INC. WEST CORNWALL, CONNECTICUT

Sweet spots: 16th- to 20 th-century textiles, furniture, carpets, ceramics, natural history, paintings, chandeliers and more. Latest score: 16th -century Ming Swatow porcelain plates from a shipwreck discovered off Sumatra. I covered the walls of my sitting room with over 300 of them. Timeless means: Good proportion, quality materials, solid construction and a nice patina. In demand: Dutch Colonial furniture from the 19th and 20th century; simple pieces with strong lines. Mantra: I search the world for beautiful objects. It doesn’t matter who made it or when—just that it’s beautiful. michaeltrapp.com

For a decadent dose of old-world style, look no further than de Gournay’s new Cabinet of Curiosities wallcovering. Drawing inspiration from the 16th -century Wunderkammer craze, the design depicts an array of collectible objects—all hand-painted and custom curated per client—set within the illusion of decorative cabinetry. Think of it like your own miniature museum immortalized in silk. degournay.com

ROOTED IN PLACE Residences by architect Gil Schafer are an inimitable cocktail of timeless style and modern comfort. Whether designing his own Greek Revival farmhouse in New England or a sprawling Mediterranean Revival in Montecito (as seen in this sketch), according to Schafer, the following three considerations shape every ground-up project from outset to install day. gpschafer.com Siting. The most successful home design sits on its site in a way that feels inevitable. It nestles into the land, taking cues from its contours, embracing the views and creating seemingly effortless fl ow between inside and outside.

Context. A new historic house’s authenticity really depends on how well it relates to its context—both natural and historical. What style it is, its proportions, how the windows look, its details—all of these elements send subliminal messages to the mind’s eye that tell you whether to believe the design or not.

Decoration. Never leave thinking about decoration until the end of the project— it should be right there at the beginning along with the architecture and the landscape. In the most successful schemes, the furniture sits effortlessly in rooms designed around them, and the colors and textures of the fabrics enhance the architecture, connecting with the residence’s sense of time and place.

AMERICAN INVENTION

While the exact origin story remains unconfirmed, the rocking chair is widely held as an American contribution, first favored by Colonial mothers, later decorating porches from the Great Plains to the White House and always being reinvented anew as a dynamic design statement. Handiwork of Asheville, North Carolina-based chairmaker Brian Boggs, the Cio rocker—available in maple, walnut and cherry— speaks to both the resurgent chic of clean-lined brown furniture and the enduring appeal of a quintessentially American staple. brianboggschairmakers.com

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ROOTED IN PLACE PHOTO: COURTESY G.P. SCHAFER ARCHITECT. AMERICAN INVENTION PHOTO: COURTESY BRIAN BOGGS. PLAYING FAVORITES PHOTO: COURTESY DE GOURNAY. MAKING HISTORY PHOTO: NICO SCHINCO.

REPORT THE LIVING

PLAYING FAVORITES

MAKING HISTORY

DESIGNER DAVID KAIHOI TELLS THE TALE OF A GRAND OLD 1810 FEDERAL THAT LURED HIS FAMILY TO THE HUDSON VALLEY.

We got the itch last April. A friend insisted we crash at his 19 th-century farmhouse in upstate New York, and that’s when my wife began aching for a country home. She always wanted a Jane Austen fantasy: an old house with good bones and stories. But it was only an abstract notion with architectural flourishes—a crackling fireplace, a proper staircase, gutsy millwork, worn floors and wavy glass windows. Maybe a kooky attic. Something rough around the edges with strong, redeemable character.

Our hearts are in New York City’s East Village, where we haven’t tired of our fifth-floor walkup. Our two kids share a bedroom and we colorfully negotiate use of a single bathroom. It’s an adventure that keeps us tight and mindful. We weren’t necessarily in a position to buy, but we love a project—and entertaining the idea had become a preferred dinner conversation. Where could it be? What might it look like? We were open to all scenarios, but that weekend directed our focus to a historic home in the Hudson Valley.

We’d ogle listings of romantic piles, sigh to ourselves and think, ‘too much work,’ or ‘too much money.’ It was heartbreaking! Death by a thousand listings. But then, one stopped us cold. You know that feeling when it starts to hurt? That’s love, I think. We fell in love.

The house was in Columbia County and since we were in the area over the New Year, we planned a drive-by; a tempt of fate. We snooped around and peeked through windows.

As we feared, it checked all boxes: history, scale and gentle layers of quirks from owners past and present. We contacted the broker for a closer look, and you know the rest. For now, the rooms are empty and the echoes couldn’t make us happier. It will be a long, slow burn, collecting stories and writing the next chapter in the history of this house. reddkaihoi.com

The new neighbors—goats from an abutting horse farm—offer an unconventional housewarming for designer David Kaihoi, wife Monique, daughter Mirabelle and son Anders, as they settle into their recently purchased historic home in Ghent, New York.

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“Western Window Systems creates an openness with horizontal spaces and a lot of glass. A connection to views ties different spaces together.”

– Ed Richardson, co-principal, Clark Richardson Architects

western window systems

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Moving glass walls and windows for all the ways you live.

FASHION FORWARD In a San Francisco home, a designer sets the stage for a colorful, well-lived life.

W R I T T E N BY M A R Y J O B O W L I N G P H O T O G R A P H Y BY D O U G L A S F R I E D M A N

Interior Design: Ken Fulk and Daryl Serrett, Ken Fulk Inc

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o designer Ken Fulk, life is like a film, and not only is he working on the screenplay, he’s building the movie set.

Thus, when asked to help dear friends and fellow fashion lovers tailor their new San Francisco home to them, he began thinking of a narrative he unofficially calls “Hollywood glam meets haute couture.” “I’ve long envisioned interior projects as movies—I often start them with clips playing in my mind,” says Fulk, who has also been known to draw on ad campaigns, historic photos, celebrity outfits and album covers for inspiration.

“In the early stages of the design process, my team writes a treatment, something like a movie pitch or script, that sets the tone for what is to come.”

For his friends Nadir and Sobia Shaikh, there was no question the script would contain elements of high fashion. Sobia and Fulk met at a runway event some 15 years ago and bonded quickly over their shared interest in style. “Sobia is a person who likes to live and entertain beautifully,” Fulk observes.

“Everything she touches is made more attractive, and she makes the effort to dress stylishly.

Naturally, her home would be as fashionable.”

In the world of the Shaikhs, beauty and color go hand-in-hand. “We are originally from Pakistan, where bright hues are a part of the culture,” says Sobia, a fashion blogger and Net-A-Porter ambassador. “I have always been attracted to color and I dress the part; for example, my wedding dress was bright orange, moss green and fuchsia.

I wanted my home to reflect that.”

But the couple’s new dwelling, while lovely, was less than vibrant. “With her fashion sense, Sobia is a walking catalogue of inspiration. This house wasn’t like that,” Fulk says. “Though it was very nice, it had been remodeled in a way that made the interior nondescript. The good news is that it presented a blank canvas that was waiting to be dressed.”

To begin, the designer had the couple answer a series of questions, a process he calls the “Fulkfessional.” Sobia was not retiring about her vision.

“Although I needed Ken to help me translate them and make them reality, I had many thoughts,” she says. “For this home I wanted a zebra print, a wallpaper with an insect pattern, a pair of furcovered swivel chairs I’d seen in London, some peacock imagery, and bright blue and green colors.”

To some designers, such client mandates might seem intimidating. To Fulk’s ears, they were like an award-winning soundtrack. The zebra print

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appears in the opening scene, in a black-and-white striped rug that bridges the spaces making up a double living room. “Like many San Francisco homes, this one has side-by-side living spaces that were probably once divided by pocket doors. On one side, we created a public space with a curved blue sofa and the plush swivel chairs. On the other, there’s a more private salon with a banquette by the window that’s perfect for a lovely brunch or a place to enjoy cocktails and conversation.” The wallcovering, adorned with large images of gilded frames, injects a robust dose of glamour in both spaces. “Forgive the pun, but it’s a framework for the room,” says Fulk. “It adds both drama and oldworld elegance.”

“Creature” comforts play a supporting role throughout. The requested insect pattern shows up in Sobia’s office, where emerald-colored beetles embellish the wallpaper and inspire the green cabinetry with brass accents. The brilliantly hued teal lacquer of the dining room walls and fan-like shapes of the chandelier and sconces recall the color and form of a striking peacock with spread tail feathers. But nowhere is the animalia nature more pronounced than in the media room, where an elaborate green-and-purple painted iguana spans the ceiling. “I love the idea of creatures in design, and this one is exotic and extravagant,” says Fulk. “There’s almost something I call ‘ugly beautiful’ about the reptile. It’s like fashion, when something totally new comes down the runway.

At first, you may find it startling, but look closely, and you see that it’s extraordinary and possesses great beauty. This fantastical beast looks like he just crawled in from the terrace and is the guardian of the room.”

That runway-inspired nature extends to the main bedroom, where a metallic accent wall with geometric nailhead patterns wouldn’t be out of place at Paris or New York Fashion Week. “The home’s interior architecture had been erased, and these kinds of features restore it,” Fulk notes.

“There’s a sexy quality to it, and the leather and studs are something you might see in the clothing of Jean Paul Gaultier or Dolce & Gabbana.”

Clearly, in this designer’s screenplay, fashion plays a major part. “When you are well-dressed you not only look better, you feel better,” explains Fulk. “It’s the same with a well-dressed home, it goes hand-in-hand with a beautiful life.” Thanks to the man who directed this interior, the fashionable family is now ready for their close-up.

The living room of this San Francisco home contains a more intimate space that designer Ken Fulk says is perfect for tête-à-têtes. The custom banquette crafted by Antonio’s Antiques and the upholstered stools by J.F. Fitzgerald wearing a Pierre Frey fabric cozy up to a Laura Kirar Kiwari dining table. The ceiling glows with a metal-leaf wallcovering by Holland & Sherry, and the walls are swathed in Élitis Galerie des glaces.

Above: In the kitchen, a banquette encircling a table with an Eero Saarinen base and a green marble top is done with blue leather from S.H. Frank & Co. The wallpaper—Brighton Pavilion by Schumacher—has images of birds in flowering branches, displaying just a few of the animal motifs found in the house. The chandelier and mirror are vintage.

Opposite: Noting that he “never met a lacquer he didn’t like,” Fulk had the dining room walls finished with a brilliant lacquer, created and applied by Willem Racké Studio. The Tony Duquette Splashing Water chandelier and sconces prompted Fulk to recall plumed peacocks. Chippendale chairs surrounding a vintage table also wear a lacquer finish and a Manta Ray leather by Moore & Giles.

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Above: Sobia Shaikh’s office features the beetle-adorned Emeralds wallcovering by Jennifer Shorto and cabinets lacquered in Benjamin Moore’s Cat’s Eye green and trimmed with brass. The Worlds Away Vanessa desk has a Linden table lamp by Kelly Wearstler for Circa Lighting atop it while a Rewire pendant hangs overhead.

Opposite: An iguana mural by Rafael Arana on the ceiling strikes an exotic note in the media room.

Peony-colored Marmorino wallpaper makes a brilliant backdrop for a marigold-hued Velvet Lyre Chesterfield sofa by Anthropologie. A vintage coffee table sits atop an Ethos II rug from ABC Carpet & Home.

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Above: A detail of the eye-catching pink Marmorino wallpaper shows its painterly nature. A vintage sconce illuminates a built-in cabinet in the media room.

Opposite: The guest room walls have a verdant nature thanks to the Cole & Son Palm Leaves wallpaper. A white Room & Board bed is flanked by Lena nightstands by Made Goods. The Rubicon jute rug is by West Elm and the Demille pendant is by RH.

Above: The dressing room off the main bedroom features a Sandbach mirrored desk topped by a vintage mirror and fronted by a Jonathan Adler Rider chair. The crystal lamp is vintage. The walls are covered in Graffito wallpaper by Kelly Wearstler.

Right: Fulk struck a fashionable note in the main bedroom with metallic leather panels

by Scott Tal behind a Dmitriy & Co Noma bed, upholstered in Dedar Dante fabric.

The Grand Repos chair and ottoman are from Design Within Reach.

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Uptown Girl High above Park Avenue, a traditional floor-through apartment gets a heady dose of joie de vivre.

W R I T T E N BY M A I L E P I N G E L P H O T O G R A P H Y BY J O S H U A M C H U G H

Interior Design: Nick Olsen, Nick Olsen Inc. Architecture and Home Builder: Lee J. Stahl, The Renovated Home

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Two portraits by Dora Maar greet guests in the entryway of this newly renovated Park Avenue home. Designer Nick Olsen chose a gilded wallcovering from Roger Arlington for the space, adding a Regency center table won at auction at Stair Galleries and Miles Redd for Ballard Designs stools. The 1950s chandelier, found at BK Antiques, is attributed to Jacques Adnet.

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he first thing she said was, ‘I want light, bright, fun and young,’ ” recalls designer Nick Olsen of an early meeting with a client who would fast become one of his favorites. “She was bored with her last apartment and wanted something with a vivacious spirit.”

Her words fell upon him like pixie dust and the result is a sunlit floor-through home that melds her treasured collections with colorful new statement pieces and playful prints, all while acknowledging several of America’s legendary designers.

“First and foremost, every project is clientcentric and based on what that client needs,” says Olsen. In this case, discussions began in the kitchen of the homeowner’s previous apartment, where she talked about issues of flow and her wish to make better use of the rooms in her new home. Olsen responded with a plan that offered just what she needed: comfortable chambers with task-oriented areas, like a makeup vanity in her bedroom, a writing desk in the den and the living room’s many conversational seating groups, which can accommodate two or 10 in equal intimacy. They even opted to turn a bonus room into a pink-hued “ladies’ lounge”—a decidedly luxurious and feminine retreat. “She can work in different areas on her laptop, and there are lots of places to curl up and watch TV,” Olsen adds.

The apartment had been designed and remodeled for its previous owners by Lee Stahl and was move-in ready, but Olsen, who worked closely with his junior designer Tara McCauley on the project, needed to tailor a few last architectural aspects for his client.

He brought back Stahl (“Lee is more than a general contractor, he’s a design-build guru!”

Olsen says) to make several key updates, including reconfiguring the main bathroom and closet, adding more storage, restoring the housekeeper’s room that had been turned into an office, and updating hardware and light fixtures. “Now it’s the perfect apartment,” says Stahl. “Grand but not cookie cutter, and her bedroom suite is like something you’d find in a home in Greenwich or Southampton.”

The furnishings are a fittingly sumptuous mix of old and new, a reflection of both Olsen and his client’s open approach to the design. “She came with some of her own pieces, but this was a fresh start,” he explains. Throughout the apartment, Olsen interwove custom pieces with what he dubs “the stars of her collection,” namely a 10-foot Coromandel screen (“I’m obsessed with it,” he says), an English breakfront, an Art Deco dining table and a 1940s French writing desk.

Her art collection, which includes works by Ross Bleckner, Alex Katz, David Hockney, Picasso and Matisse, also features prominently in every room.

Giving them all new life is Olsen’s fresh color palette, which the designer took directly from his client’s predominantly neutral wardrobe and arsenal of jewel-toned accessories. “Beige gets a bad rap, but I love it!” he says. “Here, it creates a clean envelope for jolts of emerald green, red and blue. It’s a luxe backdrop—not matchy-matchy.”

Other special touches include the living room’s hand-troweled, mica-flecked plaster walls by decorative painter Agustin Hurtado and the dining room’s whimsical lambrequins by curtain maker David Haag, which were inspired by the Art Deco buildings seen just beyond the windows.

What Olsen has done here is give every wowfactor moment one expects of a glamorous prewar apartment exactly the spunky spirit his client wanted. “Say Park Avenue and people think fussy,” he says. “I’m trying to bring traditional room arrangements and a lush, layered look into the 21st century.” For inspiration, he looked to a few of the greats: Albert Hadley, himself a veteran of Park Avenue projects and whom Olsen calls “a genius at placement,” and Billy Baldwin, whose grand sitting rooms influenced the living room’s convivial layout.

Olsen also took influence from his own mentor, Miles Redd, the designer he worked for before launching his own firm a decade ago this year.

The little stools in the entryway are Redd’s design and bring a sense of formality to the space. “I want this home to feel natural and fun, but entry halls should let you know what you’re dealing with. This is the Upper East Side, and I believe in acknowledging history and place, and what it means to be a New Yorker.”

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In the Coromandel screen-framed living room, elegant seating groups encourage conversation.

Olsen chose a Pierre Frey linen for the loveseat and sofa, adding passementerie trim and houlés fringe to the latter. The client’s antique fauteuil was updated with an emerald Jim Thompson velvet and the Oomph slipper chairs were given a Bennison stripe. The James Mont eglomisé cocktail table is from Decor NYC and the rug is from ABC Carpet & Home.

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Above: First conceived as a dressing room, the “ladies lounge” is a restful, feminine jewel box awash in floral motifs, including Phillip Jeffries’ Empress wallcovering and a Roman shade of Pierre Frey’s Le Grand Genois. The Vaughan pendant and sconce, crystal lamp with new Fermoie shade from John Rosselli & Associates and large mirror from KRB add light and sparkle.

Opposite: Artworks by Field Kallop and Picasso preside over the dining room, where Olsen paired Art Deco chairs from Paul Stamati Gallery with the client’s own dining table atop a carpet from The Rug Company. The 1970s chandelier is from Tom Thomas Gallery and the mirrored credenza is from BK Antiques. Lambrequins of Manuel Canovas silk sing against Quadrille wallpaper.

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Above: Near the bathroom swathed in a Studio Printworks wallpaper, Olsen created an inviting reading spot with his client’s existing antiques. The chair was reimagined in Lee Jofa’s Mingo fabric and above are mixed media artworks from Mecox. The Moroccan tile-inspired rug is from Anthropologie.

Opposite: In the guest suite, Benjamin Moore’s Breath of Fresh Air pops on the ceiling. Olsen chose a Clarence House print for the headboard and Old World Weavers fabric for the bed skirt and drapery panels edged with Fabricut trim. Above the bed is a mirror from HM Luther, while a painting by Rose Kuper crowns the Saarinen table from DWR topped with an Aero lamp.

Olsen wrapped the main bedroom in a fabric wallcovering from Winfield Thybony, creating a soft background for the custom bed upholstered in Dedar fabric and artworks by Marino Marini, Eugène Boudin and Matisse. The sconce from Circa Lighting was given a Clarence House fabric shade and the Patterson Flynn Martin carpet was layered with a vintage runner from Bazar Oriental Rugs.

“I believe in acknowledging history and place, and what it means to be a New Yorker.”

–NICK OLSEN

Above, left: A lively Clarence House fabric was chosen for the main bathroom’s Roman shades, positioned over a BainUltra tub with Michael S. Smith for Kallista fittings. The Charles Hollis Jones bench was found at Decor NYC and given a Nobilis velvet.

Above, right: The powder room is adorned with a silver tiger wallcovering from Clarence House and a red Japanned Queen Anne-style mirror from Doyle. The vanity is Palmer Industries with a faucet from Harrington Brass Works.

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Landscape Meditation A Denver artist invokes earth and atmosphere to enliven sculpture at every scale.

W R I T T E N BY J E N N I F E R S E R G E N T P H O T O G R A P H Y BY C A L E B S A N T I AG O A LVA R A D O

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atrick Marold remembers childhood walks with his parents through canyons and mountains near their Wheat Ridge, Colorado, home to look for evidence of ancient life, collecting Native American arrowheads and pottery shards along the way.

“Those walks were an early introduction into meditating on the landscape,” he says. These days, he continues that practice through massive public art pieces and smaller sculptures.

“I worked my way into this genre because of the scale and experiences I was trying to create,” says Marold, who collaborates with loggers, metalworkers and stone masons to execute his larger designs. With each commission, he seeks to marry a piece to its site using materials that complement the surrounding terrain or architecture, and then he incorporates the ephemeral aspects of sun, wind and light to bring it alive. Shadow Array, for example, is an arrangement of beetle-kill spruce logs on slopes lining the transit station at the Westin Denver International Airport. The sun’s daily march across the sky casts ever-changing shadows that animate the trains’ comings and goings.

At the National Music Centre in Canada, Marold fashioned ceiling-hung vessels topped with soundboards from pianos that had been destroyed in a flood. He worked with engineers to affix a solar-powered device on each board to make the piano wires vibrate; the levels of the sun determine the octave at which the strings “play.”

Nature’s vagaries play a hand in other works, such as temporary installations Marold created for sites in Vail, Iceland and Vermont. He takes a break between public commissions to work on smaller pieces shown through the William Havu Gallery in Denver. These studies in wood, metal and glass “are therapy for me,” he says. “I don’t have to think about what anyone else thinks.” His latest creations include “photograms” made by light passing through a cracked-glass sculpture onto silver-gelatin photographic paper, and a faceted sculpture made from wood blocks gilded in copper leaf.

Marold’s inspirations come from nature as always, which is abundant outside his two-barn studio near Denver. “I go for walks and observe what’s compelling in nature,” he says of his research. “But fundamentally, it’s just play.”

Sculptor Patrick Marold hones in on individual elements through his gallery work (opposite and left), some of which he salvages from his own property (below). His warehouse-sized workshop (bottom) is equipped for him and his collaborators to produce larger works of public art.

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Colonial REVIVAL A mĂŠlange of confident colors and spirited patterns breathe new life into a historic home in Bedford, New York.

W R I T T E N BY M I C H E L L E B R U N N E R P H O T O G R A P H Y BY A N N I E S C H L E C H T E R

Architecture: Patrick M. Croke, Patrick M. Croke, Architect Interior Design: Brittany Bromley, Brittany Bromley Interiors Home Builder: Jason Siemers, Siemers Carpentry and Construction

For the entry of this Bedford, New York, home, designer Brittany Bromley paired a vintage Italian chandelier with an antique French bench upholstered in leopard print and a hot pink Beni Ourain rug from Morocco. Walls swathed in a Studio Four NYC grass-cloth wallpaper in collaboration with artist Sally King Benedict frame views to the adjacent den.

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erched on a hill overlooking the quaint hamlet of Bedford Village, New York, this gracious 1930s home is a portrait of old-fashioned Yankee charm.

One could easily imagine a young Katharine Hepburn gliding down its staircase or taking tea in a sunlit corner. But while the appeal of center-hall Colonials—and screwball comedies, for that matter—is arguably eternal, traditional houses can read a bit stiff, especially for a young family. That’s what the client, a single mother with three children, thought when she first viewed the property: She loved the elegant bones and 10-foot ceilings, but wished it were less buttoned-up. “The design brief was to create a more vibrant family home,” says designer Brittany Bromley. “We really wanted to make it feel lighter and more open.”

Addressing the need for a more connected layout, the project team, which included Bromley, architect Patrick Croke and general contractor Jason Siemers, carved new openings between most of the first-floor rooms. On the second floor, they redistributed the square footage to enlarge the bedrooms, adding storage as well as a new laundry facility. As is often the case with old houses filled with surprises, “This was one of those jobs that started out small in the beginning, but its scope seemed to grow daily,” notes Siemers.

Similarly commonplace for period homes, the bulk of the renovation occurred in the kitchen, where reconfiguring the existing layout allowed for a generous cook space and eat-in breakfast nook.

“We wanted to give the kitchen a better relationship to the existing outdoor spaces,” says Croke. With the architect’s luminous new fenestration in place, the lush backyard and bluestone-lined terraces now seemingly flow into the home’s central core.

To refresh the interiors, Bromley punched up the palette and introduced unconventional finishes while simultaneously celebrating period details.

Upon entry, grass-cloth wallpaper, hand-painted in an abstract pattern, winds its way up the main staircase. “It sets the stage for the idea that you’re going to encounter traditional tropes, but they’re going to be interpreted in ways that are both modern and relevant to the way these people want to live,” she says. For instance, the foyer’s midcentury chandelier, leopard settee and hot pink Moroccan rug bid a warm welcome, but do so with unexpected sass.

That playfulness extends to the living room, a fizzy parfait of melon and kiwi that toes the line between formal and fun. Not many clients would be game to paint the walls of such a large and prominent space a pale peach lacquer, but Bromley says the feminine hue wasn’t a hard sell.

“At that point in the project, we had a real creative currency with her and she trusted our instincts,” says the designer, who daringly paired the color with acid green silk taffeta drapes. “We wanted to honor the beautiful dentil moldings and allow you to feel the grandeur of the ceiling height, but also do something less predictable and a little tonguein-cheek.”

Sherbet tones continue in the dining room where a vintage French birdcage chandelier presides over the table, resembling an ornate miniature pagoda.

Bromley scored the antique pendant early in the design process and it quickly became the muse for the room’s color scheme. It also inspired the hints of exoticism found in the swooping curves of the cornice board and the midcentury Italian hammered-brass tree sculpture. “To me, that’s what’s so interesting about design,” she says.

“It’s the layering of those little moments that are influenced by other things that make a space feel collected and curated.”

Upstairs, Bromley took a more subdued approach in designing the main suite, where soft pastels create a restful atmosphere. “In our business, we hear more and more that clients want their bedrooms to feel like a hotel, but they’re not looking for anonymity, they’re looking for simplicity and elegance,” she says. “That’s what we were trying to accomplish—to create a retreat where she could leave behind the craziness of her life.” Chinoiserie and animal print fabrics in serene colorways keep the mood quiet while still feeling of-a-piece with the rest of the home.

But the room where Bromley’s penchant for pattern reaches full crescendo is surely the media lounge. There, the designer imagined the space as an opulent Turkish casbah replete with tortoiseshell wallpaper. Embracing the room’s petite proportions, she wrapped the perimeter in an oversize, custom U-shaped velvet sectional. By going big and bold, she took what seemed like a deficit—a smaller room typical of old houses—and turned it into a jewel box, which neatly sums up Bromley’s vivacious edge: “We love to take design challenges and turn them into triumphs.”

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Above: Bromley modeled the upstairs media room, which is clad in Schumacher tortoiseshell wallpaper, after a Turkish casbah.

The sconces from Circa Lighting and custom Roman shades (reflected in the mirror from Mirror Image Home) feature a Quadrille fabric that coordinates with the pillows. The Moorish-inspired ottoman is custom.

Opposite: In the dining room, a pagoda chandelier sourced from Antonio’s Bella Casa hangs over a faux tortoiseshell table surrounded by chairs upholstered in a leather from Designers Guild. For pattern play, Bromley paired a Holland & Sherry wallpaper with a rug by Celerie Kemble for Merida Studio. The window treatment is a Schumacher silk taffeta and the silver objets are from Bromley’s Bedford shop, Brittany Bromley Home.

Left: “Carnival� wallpaper and fabric by Christopher Farr dress up the breakfast nook, where a vintage tole lantern hangs above a farmhouse table painted by decorative painter Shelly Denning in the Gustavian style. A Peter Fasano dot print covers the vintage Italian rope chairs and the sconces have custom shades of Fermoie fabric.

Opposite: To ground the kitchen, Bromley opted to paint the mullions of the new windows black.

The cabinets feature fixtures from Katonah Architectural Hardware and the backsplash and counters are a honed white arabesque marble from Alise Marble & Granite Inc. in Bedford Hills. A vintage French gilt chandelier hangs over the island.

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For calming effect, Bromley chose a custom pale blue paint in the main bedroom. Antique French chests flank the bed upholstered in a Thibaut chinoiserie fabric that coordinates with the drapes. An ottoman covered in a Brunschwig & Fils zebra print with Samuel & Sons trim creates a sumptuous reading spot. The antique chandelier is from Brittany Bromley Home.

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“It’s the layering of those little moments that are influenced by other things that make a space feel collected and curated.”

– B R I T TA N Y B R O M L E Y

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Bromley used the home’s covered bluestone patio to create an outdoor room with a European vibe. Surrounded by Belgian urns and abundant greenery, an antique wood trestle table with Provençal-style wicker chairs provides a place for alfresco meals. The sunburst mirror and Italian Oluce sconces are from Avantgarden in Pound Ridge.

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