Luxe Magazine - May/June 2023 National

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THE DESTINATION FOR DESIGNER LIGHTING

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CRISTOL SMALL DOUBLE SCONCE

HAND-RUBBED ANTIQUE BRASS WITH WHITE GLASS

Iroise, Dining table, designed by Studio Roche Bobois. *$7,990 instead of $10,490 until 05/21/23 for a table as shown, 86.6” L. x 29.5” H. x 39.3” D. (2 integrated extension leaves of 15.7”). Price includes one semi-elliptical dining table with a colored bubble glass top on a lacquered aluminum crossbar. Base in anthracite lacquered steel. Fixed version also available. Identities chairs, designed by Raphaël Navot. Flow floor lamp, designed by Sophie Larger. Made in Europe.

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French Art de Vivre

Photos

©2022 Hunter Douglas All trademarks used herein are the property of Hunter Douglas

LIVE BEAUTIFULLY

What does it mean to live well? To be perfectly at ease, in comfort and style?

Innovative product designs pair with gorgeous fabrics and control systems so advanced, shades can be scheduled to automatically adjust to their optimal position throughout the day. Creating a new world of beauty, convenience and energy efficiency — morning, noon, and night.

Pirouette® Window Shadings with PowerView® Automation

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MAY JUNE

Radar

36 FIRST PERSON

Stephanie Stokes’ new book is an ode to collected tabletop treasures from near and far.

38 INSPIRATION

Luxe traverses the globe to nd modern makers putting their spin on traditional craft.

46 LEGACY

At a bustling French mill, the centuries-old method of weaving horsehair still produces some of the nest textiles.

Market

52 MATERIAL

Four companies tapping talents around the world—from Ireland and Colombia to India and Massachusetts—to fashion exceptional rugs.

62 TREND

Meet three oral designers creating beautiful arrangements in unconventional ways.

68 SPOTLIGHT

The newly reimagined Hispanic Society Museum & Library opens its doors to talented Latin American furniture and lighting makers.

Living

84 KITCHEN + BATH

Elevated European in uences are the impetus for these charming kitchens, baths and debut tiles.

FEATURES

92

Truer Colors

In Southport, Connecticut, a formerly buttoned up abode on the water gets a heady dose of exuberance.

Written by Kathryn O’Shea-Evans

Rough Touch

When artist Kristin Kelly Colombano makes her beautifully textured felt textiles, it calls for a heavy hand.

Written by Deborah Bishop

Photography by Alanna Hale

108

Lavender Haze

Homeowners with a flair for the unexpected embrace a patternpacked Charlotte redo with purple as the predominant hue.

Written by Michelle Brunner

Photography by Brie Williams

Styling by Frances Bailey

122

British Dialect

A surprise phone call gives a designer another opportunity to refine a grand California home’s accent.

Written by Christine DeOrio

Photography by Paul Dyer

ON THE COVER: Kemble Interiors wrapped the morning room of this Connecticut residence in Schumacher’s Queen’s Flight wallpaper. An Arteriors chandelier hangs above a vintage brass-and-lacquer coffee table joined by a Hickory Chair armchair covered in Romo linen and a Made Goods garden stool. Page 92

Photography by Brittany Ambridge

Styling by Philippa Brathwaite

100% MADE IN EUROPE

DESIGN DIRECTOR

Pam Shavalier

ART DIRECTOR

Candace Cohen

PAMELA LERNER JACCARINO

VICE PRESIDENT, EDITOR IN CHIEF

EXECUTIVE EDITOR

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SENIOR MANAGING EDITOR

Colleen McTiernan

MANAGING EDITORIAL DIRECTOR

Kelly Velocci Jolliffe

MANAGING EDITORS

Krystal Racaniello, Clémence Sfadj

HOMES EDITORS

SOUTHEAST

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COLORADO, LOS ANGELES, SOUTHERN CALIFORNIA

Kelly Phillips Badal

PACIFIC NORTHWEST, SAN FRANCISCO

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ART

ART DIRECTOR

Maria Pluta

SENIOR GRAPHIC DESIGNER

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GRAPHIC DESIGNER

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ASSOCIATE GRAPHIC DESIGNER

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Paulette Pearson

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Shannon Sharpe

MIAMI, PALM BEACH + BROWARD, NAPLES + SARASOTA

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MARKET

SENIOR MARKET EDITOR

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DIGITAL

SENIOR DIRECTOR, CONTENT DISTRIBUTION

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SENIOR MANAGER, DIGITAL CONTENT

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CHIEF EXECUTIVE OFFICER

CHIEF OPERATING OFFICER

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EXECUTIVE VICE PRESIDENT + DESIGN FUTURIST

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SENIOR VICE PRESIDENT, PARTNER + PROGRAM SUCCESS

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DIRECTOR, VIDEO

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SENIOR DIRECTOR, STRATEGIC OPERATIONS

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DIRECTOR, INFORMATION TECHNOLOGY

Joshua Grunstra

SANDOW was founded by visionary entrepreneur Adam I. Sandow in 2003, with the goal of reinventing the traditional publishing model. Today, SANDOW powers the design, materials and luxury industries through innovative content, tools and integrated solutions. Its diverse portfolio of assets includes The SANDOW Design Group, a unique ecosystem of design media and services brands, including Luxe Interiors + Design, Interior Design, Metropolis, DesignTV by SANDOW; ThinkLab, a research and strategy firm; and content services brands, including The Agency by SANDOW – a full-scale digital marketing agency, The Studio by SANDOW – a video production studio, and SURROUND – a podcast network and production studio. SANDOW Design Group is a key supporter and strategic partner to NYCxDESIGN, a not-for-profit organization committed to empowering and promoting the city’s diverse creative community. In 2019, Adam Sandow launched Material Bank, the world’s largest marketplace for searching, sampling and specifying architecture, design and construction materials.

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IRONIES

KATE KELLY SMITH EXECUTIVE VICE PRESIDENT + MANAGING DIRECTOR

SENIOR VICE PRESIDENT, OPERATIONS

Tanya Suber

GENERAL MANAGER

Scott MacClements

NATIONAL SALES DIRECTORS REGIONAL SALES DIRECTORS

NATIONAL PUBLISHER Michelle Blair

HOME FURNISHINGS DIRECTOR

Blaire Rzempoluch

WEST COAST DIRECTORS

Lisa Lovely, Carolyn Homestead

MIDWEST + SOUTH CENTRAL DIRECTOR

Tanya Scribner

SALES OPERATIONS DIRECTOR John Baum

EXECUTIVE ASSISTANT Bianca Buffamonte

SALES ASSISTANT Janice Hyatt

INTEGRATED MARKETING

SENIOR DIRECTOR, MARKETING + DIGITAL STRATEGY Samantha Westmoreland

DIGITAL STRATEGY MANAGER Kasey Campbell

INTEGRATED MARKETING MANAGERS Verity Lister, Frank G. Prescia

INTEGRATED GRAPHIC DESIGNER Antoinette Childs

EVENTS MANAGER Gabriella Laimer

EVENTS COORDINATOR Rachele Daszkal

PAR TNER + PROGRAM SUCCESS

DIRECTOR, SPECIAL PROJECTS Jennifer Kimmerling

PARTNER SUCCESS MANAGER + TEAM LEAD Brittany Watson

SENIOR PARTNER SUCCESS MANAGERS Lauren Krause, Susan Mallek, Molly Polo

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LUXE PREFERRED, PROGRAM SUCCESS MANAGER Stephanie Fritz

NATIVE CONTENT EDITOR + TEAM LEAD Greta Wolf

NATIVE CONTENT EDITORS Heather Schreckengast, Matthew Stewart

CIRCULATION + DISTRIBUTION

SENIOR MANAGER, MANUFACTURING + DISTRIBUTION Stacey Rigney

ARIZONA PUBLISHER Adrienne B. Honig

SALES ASSOCIATE Catherine McGlynn

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SALES ASSOCIATE Addie Szews

CHICAGO REGIONAL PUBLISHER Kathleen Mitchell

DIRECTORS Tracy Colitte, Carolyn Funk, Taylor Greene

COLORADO REGIONAL PUBLISHER Kathleen Mitchell

DIRECTORS Travis Gainsley, Katie Martin

DALLAS + FORT WORTH PUBLISHER Rolanda Polley

SALES ASSOCIATE Addie Szews

GREATER NEW YORK PUBLISHER Trish Kirsch

ASSOCIATE PUBLISHER, NEW YORK Donna Herman

DIRECTOR, NEW YORK Maritza Smith

HOUSTON PUBLISHER Amy McAnally

SALES ASSOCIATE Addie Szews

LOS ANGELES PUBLISHER Tiffany O’Hare

ASSOCIATE PUBLISHER Virginia Williams

MIAMI, PALM BEACH + BROWARD, NAPLES + SARASOTA

REGIONAL PUBLISHER Stacey Callahan

DIRECTORS Jennifer Chanay, Susan Goldstein, Karina Gonzalez

PACIFIC NORTHWEST PUBLISHER Debby Steiner

DIRECTOR Cathy Cruse

SAN FRANCISCO PUBLISHER Lisa Lovely

DIRECTOR Sara McGovern

SOUTHEAST PUBLISHER Sibyl de St. Aubin

SOUTHERN CALIFORNIA PUBLISHER Alisa Tate

ASSOCIATE PUBLISHER Kali Smith

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. 21, No. 3, May/June, 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

AN EXPERIENCE Like No Other

Your private showcase awaits at a Thermador Experience and Design Center. Explore luxury bespoke kitchens and discover how true craftsmanship, design, and innovation can bring your unique vision to life.

Culture of Design

Analyze the most enduring and interesting spaces, and you’ll discover that they are often composed of a layering of cultural influences and ideas...design that preserves heritage while also pushing it to be experimental and fresh. In this issue, we report on, and praise, the people, objects and spaces that revere craft and cultural artisanship as something to be respected and lived with; rooms that offer a conversation about what came before and where things are headed. May they have everlasting appeal.

Pamela Jaccarino VP, Editor in Chief @pamelajaccarino

Juliana Lima Vasconcellos’ Giraffe chairs sit beneath a terra-cotta archway at the newly renovated Hispanic Society Museum & Library.

www.PaulFerrante.com

RADAR

Go global with tabletop treasures from far-flung locales, artisans to watch from around the world and the last textile mill of its kind.

Visual Feast

IN HER SUMPTUOUS NEW BOOK, DECORATOR AND PHOTOJOURNALIST STEPHANIE STOKES MAKES THE CASE FOR SOUVENIRS.

I am a self-confessed tabletop junkie and consummate hostess. On my travels through 86 countries, I have assembled a collection of things that have caught my eye so long as they’re useful for entertaining. These “toys for my table” are for special occasions, special friends or simply because it’s Saturday, and why not have a party.

In the words of Carl Jung, “The creation of something new is not accomplished by the intellect, but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.” And I love each of my treasures. My parties usually start with a verbal table tour instead of grace. I describe how the dishes are from Bali, the wine coasters are from Istanbul’s Grand Bazaar, the tagine salt cellars are from Marrakesh, and so on.

Many of my favorite pieces come from Japan: contemporary sake cups, sonorous Bizen bowls and Oribe kitchenware, all of which are versatile. In France, I fell for Aptware pottery, simple cotton tablecloths from Provence’s outdoor markets and gray porcelain partridges from Nîmes. While exploring Budapest’s antiques district, I couldn’t resist traditional bright-red flowered plates and cross-stitched tablecloths. When I use them at home in New York City, they evoke the folk art quality of Hungarian craft in the same way the pink Fortuny tablecloth I bought in Venice recalls light reflecting off the city’s brick walls, turning its canals the soft-edged pink of Paolo Veronese’s murals.

My book, The World at Your Table, is a call to action. When something inspires you, whether across the globe or at a local consignment store, buy it. Then, set the table with your finds to transport guests into a magical atmosphere. rizzoliusa.com

photo: mark roskams, courtesy rizzoli.

A tablescape mélange by Stephanie Stokes features a tablecloth by Zsuzsanna Nyul with bamboo flatware and a folk art ceramic plate purchased in Hungary.

Imagination Unbound

LUXE CHATS WITH CREATIVES FROM AROUND THE GLOBE WHO ARE BREATHING NEW LIFE INTO TRADITIONAL CRAFT.

PRODUCED BY KATHRYN GIVEN

Klove Studio

Prateek Jain and Gautam Seth, co-founders of New Delhi’s Klove Studio, are upending the way modern lighting is produced in India with their larger than life pieces. While the dynamic duo are experimenting with size, scale and materials, their designs continue to pay homage to the artistic customs and practices that surround them at home.

What was the vision for your latest collection? Our Totems Over Time series celebrates an older way of living and, specifically, how civilizations have left their mark on society with references to ancient symbols and motifs. We wanted to achieve a harmonious balance between geometry and symmetry with bright totems devoted to abundance, vision, beauty and protection. Talk to us about the materials. These nearly 10-foot-tall pieces incorporate metal and handblown glass, a centuries-old technique that supports local artisans in India. We believe in slow design, conscious craftsmanship and dreaming up fantastical ideas that take shape by working with dedicated makers. Where do you find inspiration? From different cultures around the world, but especially in New Delhi where there is such a rich craft legacy. Good design makes life better on every level. klovestudio.com

Hamza Kadiri

Casablanca-based master woodworker Hamza Kadiri hails from a long line of makers who share a deep reverence for their materials, and he is no exception. Each piece of wood sourced for his new sculptural furniture collection was chosen for its singularity, essence and inherent beauty. Kadiri’s expertise of rare, precious varietals of wood honors natural grains and unique patterns for a one-of-a-kind result.

When did you begin working with wood? I’ll never forget the moment I entered my uncle’s workshop at the age of seven. He was one of the most respected woodworkers in the Medina of Fez. I still remember the smell, the dry air and watching each artisans’ slow movements. It was love at fir st sight. Tell us about your latest collection. As an artist, I listen to the wood—sometimes for months at a stretch. The unique forms of a plank and veins in the wood give o a particular emotion. These inspire me with original ideas, although some may be a little crazy. My six new pieces—side tables, credenzas, a bench and an armoire— are a testament to this, including the Royal Ebony credenza (shown). What’s next? Adding exciting new lighting designs to my collection with Les Ateliers Courbet. ateliercourbet.com

LagunaB

The iconic Venetian glassware company founded by the late Marie Brandolini is heralding in a second chapter under the leadership of her son, Marcantonio Brandolini d’Adda. As ceo and creative director, his vision includes investing in projects that support a range of initiatives, like the design community at large, the environment and the city of Venice.

community at large, the environment and the city of Venice.

How are you di at from Paris to was a way of her

Today, we are releasing more limited-edition pieces but still honoring her vision. is also top of mind for us with a new production that allows for more energy e cient in addition to a longstanding with Green Future to o set our emissions.

with the Pilchuck Glass School in to establish Autonoma, an international artist program in Murano. Face-to-face interaction is also important to me, so we have a multifunctional brick and mortar space in the works. recently introduced Vital, which aims to enhance the natural capital of the Venetian Without this our company and

How are you thinking di erently at LagunaB? When my mother moved from Paris to Venice, glassmaking was a way of expressing her creativity. Today, we are releasing more limited-edition pieces but still honoring her vision. Sustainability is also top of mind for us with a new high-energy production facility that allows for more energy e cient manufacturing, in addition to a longstanding partnership w ith Green Future Project to o set our CO2 emissions. What about the next generation? We have teamed up with the Pilchuck Glass School in Washington to establish Autonoma, an international glass artist exchange program in Murano. Face-to-face interaction is also important to me, so we have a multifunctional brick and mortar space in the works. Anything else? Alongside We Are Venice, we recently introduced Vital, which aims to enhance the natural capital of the Venetian Lagoon. Without this important waterway, our company and city would not exist. lagunab.com

MARCANTONIO BRANDOLINI D’ADDA PORTRAIT: ALESSANDRO TREVISAN, CONSOLE PHOTO: JOSEPH KRAMM / JARR STUDIOS FOR LES ATELIERS COURBET, ALL OTHER PHOTOS: COURTESY RESPECTIVE COMPANIES.

Inset: a few of the profiles in Vent Walnut, Earl Walnut and Rokko Cedar.

Featured: Louvers in Earl Walnut M Exterior Finish

Toast

Established in a Wales farmhouse more than 25 years ago, the clothing company Toast has grown its o ering to include exquisite homewares produced by artisans, weavers and mills around the world. Despite its evolution, the brand’s values remain steadfast: champion a slower pace and more thoughtful way of life. CEO Suzie de Rohan Willner elaborates on the brand’s mission.

What makers do you work with? We search around the world for artisans who demonstrate specialist skills and techniques. Our hope is to provide a platform for their work to be celebrated and their story to be told in an authentic way. We want to help preserve traditional techniques that otherwise may be in danger of dying out, like this glazed terra-cotta waterpot handmade in Bristol (shown) that is based on a 16th century design. Why does craft have an enduring appeal? There is a growing audience who wants a more emotional connection to the objects in their home and to the person behind their creation. An increased awareness of our environment and a rejection of “mass” has meant we are choosing to buy less and selecting long lasting and meaningful objects. The recently launched Toast Renewed provides an iteration of this idea. It’s a unique collection of creatively repaired, one-of-a-kind pieces that have been given a new lease on life, increasing their longevity and progressing our circular approach to reducing waste. Where do you find inspiration? In stillness. It’s abou t being with people and things that bring joy and make you slow down. us.toa.st

Ecru

Founded by three childhood friends raised in Kuwait, lifestyle brand Ecru draws upon the ethos and cultures of Arab and Indian hospitality for inspiration. With a dazzling shopfront in Jaipur, Ecru collaborates with craftspeople in India, Syria, Lebanon and Sri Lanka who specialize in textiles, woodworking, glass, ceramics and metalwork. Creative Director Nur Kaouji discusses the company’s roots.

How did Ecru start? Growing up (with co-founders

Noor Al-Sabah and Hussah Al Tamimi) in Kuwait, we were surrounded by expats, particularly Arab and South Asian families. We were raised with an emphasis on the importance of hospitality and tradition, including sharing meals with loved ones. Our desire to carry on these rituals led us to launch Ecru, a br and that comprises beautiful handmade objects that elevate these interactions. Talk to us about your homewares. What excites us is the incredible legacy of craft around the world. We get to work with artists who keep traditions like block printing and metalwork alive. At Ecru, we are always looking to expand our artisan directory and I’m constantly on the hunt for inspiring people. How can design make a positive impact on our lives? Life has a way of throwing things at you, sometimes turning things upside down. One of our greatest salvages is nature and through nature, design. ecruonline.in

Sanayi313

Brothers Enis and Amir Karavil helm the interdisciplinary design brand Sanayi313 in Istanbul, where they have their hands in a number of exciting initiatives: a retail store, design studio, canteen, bi-annual magazine, atelier for unique projects and a newly launched furniture line that promotes their mantra, “move forward to the future with respect to the past.”

Why is it important to champion craft today? I prefer working with local craftsmen because what they create is always unique, and in the era of non-stop production this is a di erentiator. That human touch is essential because it gives a soul and special language to the work. Talk to us about your new furniture pieces. The Oblong Collection consists of so lid

maple burl and burned oak wood designs defi ned by massive, bulky forms and rounded corners, which echoes our “maximalist expressions in minimalist details” approach. Comprising stools, consoles, low co ee tables, side tables, and a dining table, the collection is made by hand in Istanbul, adhering to the city’s artisanal traditions where woodworking dates back thousands of years. It must be inspiring to be surrounded by so much history. Turkey’s location is at the crossroads of East and West, the vast lands once dominated by the Ottomans and home to many di erent civilizations with a rich legacy of craft since ancient times. These age-old traditions and techniques are still being practiced and lauded in many areas, but I believe new ideas come from studying the past. The solutions are there, you just need to reinvent them to create something inspiring. sanayi313.com

Jomo Tariku

Jomo Tariku, African culture has

for and the contemporary of American craft.

For Virginia-based, Ethiopian American industrial designer Jomo Tariku, African culture has always played a role in what he creates. As an advocate for change, Tariku co-founded BADG (Black Artists and Designers Guild) and continues to help move the needle forward for global design and the contemporary interpretation of American craft. The trailblazing talent’s work has even landed in major institutions including the Metropolitan Museum of Art.

Where did you learn to love design? Our home in Ethiopia was fi lled with beautiful objects. My dad was an avid collector of interesting pieces from Africa and around the world. During summer break, I would sketch these objects not knowing it would eventually lead to a career in design. How do African traditions play into your work? I did my undergraduate thesis on creating a modern line of African furniture and I have never wavered from that even though it has not been easy. Design is supposed to be a global language but until recently you would be hard pressed to fi nd a contemporary African design by a Black designer. I am always referencing my heritage. Even the inspiration for my Nyala chair (shown) are the horns of shy, an elusive mountain antelope from the Bale Mountains in Ethiopia. jomofurniture.com

The Last Craft

AT THE LE CRIN WORKSHOP IN THE FRENCH COUNTRYSIDE, MÉTAPHORES IS KEEPING THE SACRED ART OF HANDWEAVING HORSEHAIR ALIVE.

WRITTEN BY MARY JO BOWLING

It seems as if a heartbeat courses through the Le Crin workshop in Challes, a village in Northwestern France. The rhythmic whooshing sound filling the space comes from the movement of looms that have been weaving horsehair into lustrous fabrics since 1814. Although this is the last outfit of its kind, the pulse isn’t slowing.

Inside, artisans sit at the looms creating textiles. Wearing earplugs to muffle the sound, their focus is total as their hands thread hairs one by one into a shuttle with seeming superhuman rapidity, turning out roughly eight feet of fabric per loom each day. After the raw material arrives from Mongolia, it undergoes a series of meticulous steps including brushing, dying and pressing. The job calls for fast-moving minds as well as dexterous fingers, since

counting and tracking the number and color of strands is essential to creating such complex patterns.

The result is a product with glossy texture and depth— qualities Le Crin executives say attracts designers worldwide. “Horsehair is as soft as silk, but extremely resistant, showing little wear after decades of use,” explains workshop manager Nicolas Pioger.

Métaphores, the fabric company producing Le Crin under Hermès’ textile division, sees new horizons for this traditional craft. “We are working with designers to create modern furniture and accessories—anything is possible,” Pioger notes. “What doesn’t change is the expertise and unique savoir faire that goes into producing the material.” metaphores.com

Make space for me time.

Page-turners are even better when read in inspired corners filled with natural light. At Marvin, we help make space for moments like these with thoughtfully designed windows and doors. Each is custom crafted with an eye toward beauty and performance for all of life’s chapters.

Explore the many ways we can help make space for what matters most to you.

marvin.com

CHANGE IS THE TREND

Join the industry pros on Las Vegas Market’s Ahead of the Curve panel as they share a peek into their trending revelations: color is back, new shapes are favored and dedicated rooms must function like never before.

WFH WORLD

Homes are now primary work spaces, not secondary. Therefore, we need to adjust for the increased use. They also require individual work spaces for all members of the household, so no longer is it one formal home study. As its use is more frequent, the office is also getting oriented to main views.

Erik Peterson | PHX Architecture Scottsdale, Arizona | phxarch.com

Hubbardton Forge Ume Collection Pendant Lights

Global Views Oslo Etagere

Charleston Forge Kennedy Desk

THE NEW NUDE

We are finally getting away from nude living spaces that are limited to a sea of shades of gray. Now, we’re introducing pops of color in blush, peach, mint, gold, black and white that are much more interesting and less monochromatic. While this trend was popular living through the pandemic, clients are embracing color again, which I believe serves as a gentle reminder that life is precious so we should live it out loud.

BRILLIANT HUES

We always love a good neutral environment, but are embracing more color this year in rich and subtle tones. Wallpaper, fabrics, cabinetry and paint are going deeper than we have been using in the past. Committing to color is exciting and pairs well with mixing and matching patterns and textures.

VEGAS MARKET AT WORLD MARKET CENTER IS OPEN TO THE TRADE ONLY, JULY 30 – AUGUST 3, 2023. REGISTER ONLINE AT LVMKT.COM/LUXE.

Diann Valentine | Exhilarate Experiential | Studio City, California | exhilaratexp.com

LAS

Global Views Bubbles for Brains in Brass ins

Sagebrook Home Modern Sofa in Blush

Platin Pavilion Custom Wall and Mural Painting Vanguard Beckett Desk

Sean Lavin for Visual Comfort Collier 48 Pendant ollier

Alder & Tweed Audrey Occasional Chair Occasional Chair

Sarah Latham | Latham Interiors Ketchum, Idaho | lathaminteriors.com

Walls

MARKET

Luxe explores innovative rug makers, unique floral designs and the next wave of Latin American creatives.

Completely Floored

FOUR AU COURANT BRANDS CHAMPION AN ARTISANAL APPROACH TO MODERN-DAY RUG MAKING.

PRODUCED BY KATHRYN GIVEN AND SARAH SHELTON

WRITTEN BY GRACE BEULEY HUNT AND SARAH SHELTON

LIVING HISTORY RHYME STUDIO

“The driving force was to tell a story of authentic Irish craftsmanship with an international, contemporary twist,” shares Claire McGovern of her studio. For the New Yorker by way of Dublin, the spark that led to her foray into the rug industry was hiding in plain sight: wool—a material indelibly linked with her home country—was a dying trade, accounting for just two percent of fibers sold or traded in the synthetics-dominated market. “Wool is extraordinary. It’s nature’s miracle fiber,” McGovern says. “Here is a material t hat you can bring into your home and it will literally purify the air and last you a lifetime.” With heritage and sustainability as founding principles, Rhyme Studio was born. Today, the atelier collaborates with historic Irish mills

to process native wool before it’s tufted by hand at their farmhouse workshop near Avoca in Wicklow. Ireland’s rich cultural tapestry imbues the brand in motif as well as material, with most designs offering modern riffs on tradition. Om, a collection defined by linear patterns, was inspired by a 1,600-year-old tree alphabet found on standing stones in the countryside. Works from the Báinín line feature pure Galway wool bedecked with motifs that evoke the stitching of an Aran sweater. And in M odernity, a series of minimalist geometrics in primary colors pays tribute to artist Kazimir Malevich and prolific Irish designer Eileen Gray. “I’ve always bemoaned the idea that a rug must be beige,” McGovern says. “Art should not be limited to any one media.” rhymestudio.com

HEIRLOOM QUALITY VERDI

Tomás Vera grew up idolizing his father Carlos Vera Dieppa, who wore his hair long, rode a motorcycle, enjoyed recreational aerobatics and didn’t start a traditional nineto-five until the age of 42 when inspiration struck to create a Japanese tatami-style mat from fibers found in his native Colombia. In time, the designs progressed to include latex backing, a leather border and later, pigments, patterns and ribbon-thin strands of metal. “It was the first rug of its kind and a revolutionary concept at the time,” shares Vera, who moved home to launch Verdi, a new business built upon his father’s vision after his passing. Verdi now employs an in-house team of 75 in addition to 30 families who harvest their marquee material, fique: a soft yet resilient vegetable fiber from

the Andean region. “We have a huge natural fiber catalogue because of the Amazon,” Vera says. “We’re always discovering new materials and exploring how to weave them for a contemporary ambiance.” Recent experiments at the Bogotá headquarters have seen Colombian fibers like plantain, cumare and worm silk woven with copper, stainless steel and silver-plated metals to mesmeric effect. “We consider our rugs to be art in their uniqueness and in the way they reflect light,” he adds. That the fastexpanding studio’s moniker pays homage to Vera Dieppa’s nickname underscores the next generation’s commitment to celebrating cultural and familial le gacies alike. “Verdi is not a brand, it is a story,” Vera says. “And this is just the beginning.” intl.verdi.com.co

photo: courtesy verdi.

Modern Forms offers effortless, uncomplicated lighting and fan designs created from the finest upscale materials and innovative technology. Our designer collections refresh and redefine luxe spaces.

CULTURE OF CRAFT STARK

No rug brand has its tentacles so deeply spread, linking master craftspeople all over the world with top designers and consumers alike. From artisans in Nepal trained in Tibetan knots to weavers in India working on looms, rug seekers have access to products made by mills specializing in authentic techniques unique to their region. “We have a handful of key vendors who each have their own flavor and aesthetic,” says Stephanie Muller, Stark’s vice president of product development and strategy. “They’re artists in their own right.” Not married to one look, Stark rather does it all: from their material inventory (silk, sisal, wool, and a new proprietary performance fiber, among others) to techniques both hand-crafted and mac hine-woven, to endless styles, like striking geometrics, painterly pastels, stripes, animal prints and traditional motifs.

“It’s always exciting to see their new technical developments and creativity,” Muller says. While the third-generation family-run operation recently marked 85 years in business, their commitment to artisanship remains at its core. Take the rug shown here: a recent collaboration with German company Rug Star is inspired by desert and urban landscapes and crafted in India using hand-knotted techniques. Think of them like a great connector—a connector of craftsman to consumer, a connector of inspiration to trends, and a connector of the past to the present. starkcarpet.com

AMERICANA ETHOS MERIDA RUGS

In the mid-19 th century, Fall River, Massachusetts, was the Silicon Valley of America’s textile manufacturing industry. Fastforward through decades of shifting global economies, and few active mills remain today. But one self-described counterculture company decided to put down roots in the storied area as some of the last big mills were shuttering. “We’re not going to survive in the United States unless we’re doing something extraordinary,” admits Merida Rugs CEO Catherine Connolly. That something extraordinary, for starters, is that each of the company’s rugs is made of all-natural materials sans chemicals. Another revolutionary idea? Empower local craftsmen by creating a workplace where weavers find joy and pride in their craft. Merida R ugs HQ is part production lab and part innovation hub, where skills are honed and techniques tested. The goal is to create an environment where weavers push the bounds of their creativity in hopes it carries through to the finished product. Leading the charge is artistic director Sylvie Johnson who approaches design with the curiosity of an art student (she has been known to study out-of-print books on pigments to find fresh hues). The brand releases one new collection a year, each marking a new chapter in the Merida Rugs’ story. Their latest collection, Arte Povera, is inspired by the Postwar 1960s Italian arts movement, the story of which is as rich as the rugs themselves. “They have presence,” says Connolly. “The rugs contribute to the conversation in a sophisticated way.” meridastudio.com

photo: rug, angel tucker; spools, richard powers courtesy merida rugs.

FANCY FLEURS

Unrestricted the bounds of a vase, three oral

Unrestricted by the bounds of a vase, three oral designers conceive artful compositions.

WRITTEN AND PRODUCED SARAH SHELTON

Sweet Spot

Name: Anastasia Kolesnichenko @vaasialis.

Home base: Cyprus. Origin story: I always wanted to work with flowers and objects. I practiced everyday and posted to Instagram. Overtime, I got my first orders. Style notes: Dreamy, fun and playful. Known for: Creating something new and turning flowers into my own unique species. Ethos: Flowers are emotions. They are alive, agile and have the ability to be reborn. Pick a favorite: Poppies. In the works: A commission for a jewelry brand.

A commission for a brand.

Clockwise from top right: Akoya Pendant in Vermilion / From $781 / rbw.com Belmondo Fabric in Corallo / Price upon request / dedar.com Bardi’s Bowl Chair in Orange / Price upon request / arper.com

Nama Sneaker in Green-Orange / $795 / chloe.com California Table by Elyse Graham / Price upon request / cultureobject.com Memphis Raku Mosaic Tile / Price upon request / newravenna.com

Small Hooks Coat Rack by Nathalie du Pasquier / $375 / store.moma.org

Natural Progression

ID: Aiste Kuchta @aikufloral. Coordinates: Global nomad. Approach: Floral arranging inspired by the seasons. Something to reconsider: Dying flowers are beautiful; imperfect blooms are unique. Tip to try: Let flowers move in their natural direction. Memorable experience: Foraging for icicles and arranging them alongside flowers. Manifesting: The film industry is something I’d be happy to be a part of! In the works: Events and floral subscriptions. Remember to…Enjoy the process.

Clockwise from top right: Arc Handle in Travertine by Bjorn x Lo & Co Interiors / $218 a pair / sandiegohardware.com Small Teak Opal Bookcase

Panel

Shelter Cove / Price upon

Dinner Plate in Green by Pottery & Pottery / $240 set of four / abask.com

PHOTO: DENIS KUCHTA.

The Oceana Collection by Bannenberg & Rowell Design Oceana Dining Arm and Side Chairs. Cushions in Perennials

Romantic Revival

Moniker: Natasja Sadi @cakeatelieramsterdam.

Sadi @cakeatelieramsterdam. and

HQ: Amsterdam. Specialty: Arranging and photographing real flowers with sugar flowers in the Dutch still life tradition. Modus operandi: Romantic, lavish and classic with a twist—more is more. Currently inspired by: The Vermeer Exhibition in Amsterdam. I’m obsessed with his use of light. Rule to break: Let go of color charts. When it is created by nature, it’s always complementary. Proud moment: Writing my new book A Sweet Floral Life

Clockwise from top right: Paloma 2-Light Sconce / $148 / maximlighting.com Roses Pompadour Wallpaper in Blue / $140 a roll / antoinettepoisson.com Blue Fluted Full Lace Cream Jug / $340 / royalcopenhagen.com Issima Velvet Fringe Cushion in Ladakh Ceder / $90 / theitihaascompany.com Priya Table / Price upon request / butlerspecialty.net Floral Jacquard Armchair in Pink Moire / $7,500 / gucci.com Scalloped Ceramic Fluted Door Lever in Le Jardin Blue / Price upon request / sherlewagner.com 14 kt Gold Black Velvet Pearl Chocker / $780 / mateonewyork.com PHOTO:

Sacred Storytelling

AT THE RENOVATED HISPANIC SOCIETY MUSEUM & LIBRARY, LATIN AMERICAN MAKERS SHOWCASE WORKS HONORING THEIR HERITAGES AND INSPIRATIONS.

PRODUCED BY KATHRYN GIVEN AND SARAH SHELTON

HALLOWED HALLS

Founded in 1904, the Hispanic Society Museum & Library has emerged from a yearslong renovation at the hands of Selldorf Architects. The storied institution houses an extensive collection of art and artifacts from Spanish- and Portuguese-speaking countries. The museum aims to amplify and uplift Hispanic heritage and creativity, including Latin American artists forging their own multicultural identities.

Nestled under an ornate terra-cotta archway in the Main Court, Juliana Lima Vasconcellos’ eucalyptus wood Giraffe chairs flaunt their angular silhouettes. The Brazilian architect and designer cites her home country’s rich cultural mix— specifically African and Portuguese colonial influences—as sources of inspiration. hispanicsociety.org, theinvisiblecollection.com

WRITTEN BY KHADEJAH KHAN PHOTOGRAPHED BY THE INGALLS

GEOLOGICAL GEMS

José Miguel Schnaider considers himself part designer and part explorer of the mineral world. As the founder of Mexico City’s Sten Studio, he leans into local lapidary traditions when conceiving his designs. “I am proud to be Mexican and Latino, but I do not necessarily need to follow a specific aesthetic,” Schnaider remarks. Rather, he offers

fresh interpretations of cultural heritage. His VSII.I and VSV.III stools—placed on a stairway adorned with 3rd-century Roman mosaics from Spain—are composed of dark lava stone and red travertine and blue calcite, respectively, acting as a visual metaphor for volcanos and a tribute to Mexico’s volcanic belt region. stenstudio.com

STITCHED TOGETHER

Rhode Island School of Design alumna Alexis Tingey spent her childhood summers in Mexico where she learned embroidery from her grandmother. Tingey’s Don’t Remind Me hammock—showcased in front of Spanish artist Joaquín Sorolla’s Vision of Spain (1912-1919) in the Sorolla Gallery—speaks to the physicality of memory. The hand-welded

patinated steel base supports a hand-pleated linen fabric collage depicting “personal items intended to be forgotten.” Tingey, whose first studio collection launches this year, is eager to see more women of Latin American origin represented in design to usher in rich storytelling, new ideas and unheard voices. alexistingeydesign.com

ORGANIC STATE

Since founding Studio Galeón in 2017, Lula Galeano has watched the design landscape evolve to include more awareness around non-Eurocentric craft. A multidisciplinary designer who splits time between New York, London and her home country of Argentina, Galeano frequently collaborates with skilled artisans to enhance the beauty of natural materials used in her work. For Lampara 1 and Lampara 2, shown

here, Galeano joined forces with millworker Christopher Gatton to achieve the lamps’ perfectly unrefined shape. The bases are remnants of stone boulders sourced from Mexico which retain their jagged forms, save for polished edges. Each one-of-a-kind piece is outfitted with sleek brass hardware and a smooth blown glass opal bulb. studiogaleon.com

We understand the importance of a statement. Our extensive collection of marble, quartzite, granite, soapstone, and quartz are sourced through our trusted partners across the globe. Every material’s path to your project ensures more than a statement piece – it’s an entire story in itself.

BOTANICAL BEAUTY

Artist Lufti Janania’s childhood growing up on a rural bioreserve between the mountains and rainforests in Honduras continues to inform his eye today. Working out of a Brooklyn studio, he creates fantastical objects, sculptures and installations from botanicals and flora. His latest collection, a series of mirrors fitted on custom wood frames draped in woven

palm fiber, like the Tela, seen here, features hand-sewn, delicately pleated curled rosettes. Janania counts Latin America’s indigenous heritage and colonial history—specifically in Honduras where Mayan ruins and Baroque architecture meet—as additional sources of inspiration, taking in the visual romance and ornate decoration to inform his work. rosalila.co

CURVY CHARACTER

“I adapt and take from wherever I go,” explains artist Giovanni Valdeavellano of where he pulls inspiration. For the New York–based talent, and founder of Studio Poa, that includes fashion street style, his childhood in Guatemala and the ways in which information is readily shared and consumed. The Santiago Chair 1 and Santiago Chair 2, shown here,

are made of solid ash, stained and then finished in hard wax oil. The design explores how a seat can make one feel transformed into a different character—like how a king feels on a throne or a defendant feels in a courtroom. This particular pair are shaped like guitars, intended to make the sitter feel like a rockstar. lovehouseny.com

KRYSTA RODRIGUEZ

Actress, Stage & Screen

Founder, Curated by Krysta Rodriguez

DRESS IN: TAMBOURINE TRAPS

NEW YORK CHICAGO DALLAS NASHVILLE BOSTON SAN FRANCISCO GREENWICH PALM BEACH SHORT HILLS CANNES JAKARTA

LIVING

From Texas to the East Coast, revel in welcoming kitchens and baths that channel a sought-after joie de vivre spirit.

Worldly Appeal

BEHOLD KITCHENS AND BATHS WHERE OLD-WORLD ELEGANCE IS ON FULL DISPLAY.

WRITTEN BY ALYSSA BIRD | PRODUCED BY SARAH SHELTON

For a Georgian-style home in Maryland,

Winsome Interior Design outfitted the kitchen with cabinetry from their line with Unique Kitchens & Baths and a custom cherrywood island. The pendant light is by Il Fanale.

CHARM CITY

WINSOME INTERIOR DESIGN

The homeowners of this Churchville, Maryland, residence couldn’t resist its Georgian-style architecture, but the dated 1980s kitchen was in need of a refresh. They called on Arianna Pannoni and Kasey Bedford of Baltimore-based firm Winsome Interior Design to reimagine the space. The result is strikingly elegant and in harmony with the structure’s traditional bones.

What were the project mandates?

Our clients wanted the kitchen to feel lived in, cozy and historic. They are casual people, but they also like a bit of formality.

Tell us about the major design elements. We kept the existing brick range niche but limewashed it and added more grout to give an ol der appearance. The cabinets are a simple, elevated shaker style that has been around for hundreds of years. We designed the island to look like a piece of furniture since kitchen islands weren’t a thing back in the day, and we also incorporated hand-distressed ceiling beams. The open shelving acts as a display area for the client’s collection of vintage china.

What other details lend to the charming feel? Hanging wood and copper pots adds warmth, while a new milk-glass fixture exudes a vintage ambiance. We also used finishes that will only get more beautiful with time: the unlacquered brass will develop a patina and the marble will gain character as it stains.

Arabescato Corchia marble countertops make a dramatic statement. The faucet is from Newport Brass and the sconces are from Visual Comfort & Co. photos: stacy zarin goldberg.

In keeping with the revamped kitchen, Pannoni and Bedford also turned their attention to the home’s mudroom and powder room, replacing dated elements to highlight the abode’s historic feel. “We wanted to have some fun in these spaces and bring out the drama,” Bedford says. They enveloped the mudroom—

including the walls, trim and ceiling—in a deep oxblood shade from Farrow & Ball and carried it through to the adjacent powder room trim. Meanwhile, a whimsical wallpaper from Osborne & Little featuring birds and lush foliage enhance the striking red tone. “The vintage-inspired console sink harkens back to

Georgian style, the classic floret penny tile is also a nod to old-world design, and the antiqued brass touches tie to the kitchen finishes,” Pannoni notes. “Our client allowed us the creativity to think outside the box,” Bedford adds. “Every space is dramatic in its own way.” winsomeinteriordesign.com

A Rejuvenation sconce illuminates the powder room, which is swathed in Osborne & Little’s Netherfield wallpaper and accented with Farrow & Ball’s Preference Red. The Vintage Tub & Bath sink console is fitted with a House of Rohl faucet.

TILE TALK

A CROP OF NEW COLLECTIONS MELDS AGE-OLD STYLE WITH MODERN-DAY FUNCTION.

FLUTES OF FANCY

Part Art Deco and part 1970s Milanese glam, the Lapidary collection from clé incorporates three di erent styles: rough-cut mosaics, smooth-cut ovals and sculpted curves (shown). Perfect for wall treatments, these concave and convex designs come in two sizes and a variety of stones, including travertine, Carrara, Calacatta and Verde marbles. cletile.com

IN BLOOM

House of Hackney teamed up with British tile manufacturer Craven Dunnill Jackfield to introduce a line of handmade ceramic tiles that evoke Victorian-era drama. The collection features 19 th -century reproductions of two Jacobeaninspired fl orals—in both monochromatic relief and vivid screen-printed versions—as well as an a rray of solid-colored square and brick tiles in addition to flat and raised dados. houseo ackney.com

GOING WITH THE GRAIN

The Helene porcelain tile collection from Ann Sacks—o ered in three oak-inspired shades and both three-inch-wide planks and 24-inch-square parquetry forms—can be used everywhere from floors and fireplace surrounds to walls and backsplashes (and even outdoors in certain climates). Better yet, this revival style synonymous with European allure is made of 40 percent recycled material. annsacks.com

ENGLISH LE SSON

MAESTRI STUDIO | GALLERY

When Dallas clients tapped local firm Maestri Studio | Gallery to rework the kitchen in their Tudor-style home, the design team kept the structure’s existing architecture top of mind. “The residence was built during the 1970s to look older than it is,” notes architect Eddie Maestri. “It’s inspired by old English estates, and there were already some nice details including arches, moldings and leaded-glass windows.” In addition to relocating the space from the back of the house to the front, Maestri’s team also added a dining nook that separates the main kitchen from a pantry and storage area. “The nook serves as a statement at that end of the room,” continues Maestri, whose team designed a custom banquette with a dramatic arch that mimics the nearby doorways. “We wanted to play up the original architecture and make the space feel cohesive. It’s like it has always been there.” maestristudio.com

For the breakfast nook, interior designer Katie Paulsen of Maestri Studio | Gallery selected a custom oak banquette stained in walnut and topped with an upholstered cushion of performance velvet and vinyl by Wolf-Gordon. The light fixture overhead is Visual Comfort & Co.

DISCOVERIES

CHRISTOPHER PEACOCK

VISUAL COMFORT & CO.

The Cristol small double sconce by Aerin is shown here in hand-rubbed antique brass with white glass. Priced at $579. visualcomfort.com

COSENTINO USA

Cosentino’s newest collaboration with designer and architect Daniel Germani decodes three timeless Italian stones: Vicenza, Travertine and Ceppo di Gré. The collection recasts them into versatile Dekton surfaces for today—indoors or out. cosentino.com

Christopher Peacock introduces The Hudson Collection. A clean aesthetic with special details, hardware and material selections, this more modern style is perfect for an urban apartment or a large contemporary, suburban home. Custom colors and hardware finishes available. peacockhome.com

STARK

The Koa ivory rug features lush texture matched with performance. Made of 100percent STARK performance acrylic, this beautiful rug can withstand any lifestyle. Braided soumak weaving combines with high-pile shag for coziness and character alike. starkcarpet.com

PAUL FERRANTE ERRANTE

Paul Ferrante introduces a polished uces a twist on an old classic. With copper c. With copper banding, the timeless Eternity meless chandelier is elevated to a new height. to a new Item 2099-C, it can be customized. be customized. Price available upon request. e upon request. paulferrante.com ulferrante.com

WEATHEREND ESTATE FURNITURE

As durable as it is beautiful, the Westport swivel chair by Weatherend is constructed for the outdoors and finished with Weatherend’s Yacht finish. Generouslyproportioned and topped with plush cushions for extra comfort, it is available in any color or natural woods.

weatherend.com

LEGNO BASTONE WIDE PLANK FLOORING

St. Moritz-G1 is a handcrafted, select-grade finish from the European Elegance collection. This is more than just a product; it is a passion that becomes “custom-designed furniture for your floor.”

legnobastone.com

BOKARA RUG

This rug showcases a contemporary pattern of blue, ivory and black tones. Hand-knotted from the highest quality wool and silk, it provides an elegant foundation for any space. bokara.com

Interior Design: Celerie Kemble, Samantha Stephano and Mindy Griffith, Kemble Interiors

Truer Colors

A classic home on the coast of Connecticut gets dressed to thrill.

WRITTEN BY KATHRYN O’SHEA-EVANS

PHOTOGRAPHY BY BRITTANY AMBRIDGE

STYLING BY PHILIPPA BRATHWAITE

y any measure, the house was a knockout: a Colonial-inspired grande dame with Palladian windows and a cinematic perch over a glassy harbor with undulating meadows rolling in the distance. And yet, it didn’t quite fit designer Celerie Kemble’s clients. “It was very traditional New England, ” notes the owner of the tastefully furnished Southport, Connecticut, home that she raised her children in before deciding it was time for “a major rejuvenation” better suited to her style.

“We inherited amazing sight lines and views, but there were no cartwheels, no backbends, no disco moves,” Kemble recalls. A fix came swiftly after the first design meeting, which transpired in an unusual room. “She brought us into her closet and said, ‘You’re not going to get to know me walking through my house right now, but this should give you a good sense.’ ” Indeed, bold prints, bright embroidery and beaded details—all archival quality—filled the stacks. “Even her yoga pants were animal print!” designer Samantha Stephano adds. “The interiors did not match her personality.”

Another muse for the ensuing makeover came courtesy of the clients’ impressive art collection, which includes works by Calder, Léger and Lichtenstein, to name a few. Against this curation, anything standard issue wouldn’t do, and the challenge became hunting for unique design elements to “bring a special energy into the house,” designer Mindy Griffith shares. Walking through the residence now, the trio’s rarified finds go off like fireflies on a summer night, from the great room’s pair of custom rugs designed to look like antique Swedish flat weaves, to the zinc-top dining table chosen to patinate in the sea air, to the den’s coffered ceiling, whose recessed panels were given a russet wallpaper patterned like an antique quilt. Even the powder room off the entry received a heavy dose of wonder thanks to an inky-black holographic wallcovering depicting exotic flora and fauna from passion flowers to conch shells. “We wanted something that would pop and create a mood,” Griffith continues. “It’s

almost like we chose that wallpaper to contrast the formality of the architecture, which is essentially what we did throughout the house.”

The newly christened “morning room”—a client request that trades the former and seldom used dining room for a place to sip coffee and read while overlooking the water—provides another playful antidote. Sheathed in an emerald wallpaper with flitting birds and butterflies, the space is an instant mood booster. “The family has a very large German shepherd, and it looks like someone sent him out into a fictional meadow where he scared every bird and butterfly up into the air!” Kemble says. “We wanted that room to be happy and bright,” Stephano adds, noting that the ceiling was painted a warm pink hue to coordinate precisely with the tone of one of the butterflies’ wings. “We love the glow that it gives coupled with the reflection of the light off the harbor.” The whimsical mélange, Kemble adds, “is supposed to feel like a sunny day when you lay back in the grass and the sky spins over you.”

Daytime hues spill into the adjoining great room, where, tempered by crisp white walls, a rainbow of blues, greens, ochres and burgundies plays to vistas beyond the windows. “I originally had some trepidation about adding lots of color, having been taught that nothing should compete with the water,” the client admits. “But as time went on, I realized the views will always be a showstopper and that color would only enhance that experience.”

And nowhere is this truer than in the primary bedroom suite, where the sherbet tones of sunset inspired a soft palette of terra cotta, plum and raspberry. “She would regularly text us photos of the sun going down from her bedroom balcony, just for inspiration,” Stephano notes. With its peachy grass-cloth wallcovering and undulating, wave-shaped headboard, the space celebrates its coastal setting in wholly original fashion.

The result of all this design sorcery? A perfect match. “We love absolutely every detail,” the client says. “It is impossible to be grumpy surrounded by so much color and light.” That lack of grump factor came through loud and clear for Kemble and her team, too. In her own words, “This is a house where we all had fun.”

In the foyer, artwork by Howard Finster and Frank Stella meets traditional millwork. The lines of the Design Frères console table and vintage chair from Fenestella play to the curves of the staircase. The golden sconce is Rosie Li Studio.

Above: Groundwork crafted the dining area’s zinc-top table set with Celerie Kemble for Chairish glassware and ringed with Harbinger chairs. The Paul Marra Design chandelier sports Canterbury Roseart shades and the Teste di Moro are by Italian artist Paolo Sandulli.

Opposite: A flat-weave rug by Tailor-Made Textiles grounds the living area, where chairs wearing a Pukka Print linen join the clients’ own coffee table. A bench covered in Rule of Three’s Bird of Paradise leather offers additional seating without obscuring the views.

Opposite:

Left: Pierre Frey’s holographic Curiosities wallpaper transformed the formerly prim powder room into an otherworldly experience. The team wrapped the existing candlestick sconces in the same pattern and added new painted brass shades for a seamless effect.

The morning room is sheathed in Schumacher’s Queen’s Flight wallcovering. A Sputnik-inspired chandelier by Arteriors hangs above the midcentury coffee table with a floral-motif top and Hickory Chair swivel chairs in a pink Romo linen.

In the downstairs office, a Zoë Design quilt-patterned wallpaper was applied within ceiling coffers. Chic seating additions include an egg chair from Sarreid and Nuevo Living bench with an integrated drinks table. The Marc Phillips rug references the Evil Eye.

Above: The primary bedroom seating area boasts an Elizabeth Dow grass-cloth wallpaper and a vintage hand-knotted rug. Artistic Upholstery re-covered the chairs and ottomans in a Pindler fabric. The vintage brass table is a Chairish score.

Opposite: A Luisa Caldwell piece hangs above a headboard of Helene Blanche fabric. Fornasetti lamps sit atop Bennett To The Trade nightstands. An RT Facts Design & Antiques plaster chandelier glows against Benjamin Moore’s Pensacola Pink on the ceiling. The rug is Marc Phillips.

Rough Touch

Through sheer force, artist Kristin Kelly Colombano shapes natural fibers into soft, supple home accessories.

WRITTEN BY DEBORAH BISHOP PHOTOGRAPHY BY ALANNA HALE

Making felt by hand is not for the weak. Just ask Kristin Kelly Colombano, who employs a version of the intense, 5,000-year-old technique to press, pound and pummel wet wool into a soft, dense and evocative fabric. Unlike flat, industrial felt, Colombano’s blend of animaland plant-derived fibers thrum with pattern and texture—whether used to make pillows, cozy throws, bed-size blankets or wall hangings. The name of her San Franciscobased company, Fog & Fury, is a nod both to the local atmospheric conditions and the force required to make handcrafted felt. She discovered the material in a Mongolian shop selling felted objects. “I was charmed, and I resolved to learn how to make it,” says Colombano. Over time, she has refined the process that makes her wares so covetable and incorporated an array of natural fibers into her practice.

The labeled boxes of wool in Colombano’s studio read like a who’s who of the sheep set—Merino, Manx, Rambouillet, Polworth, Targhee, Bluefaced Leicester, Corriedale— with natural colors ranging from cream to carbon. Colombano also incorporates fibers from other animals (camel, yak, alpaca, goat) and plants (flax, pineapple and seaweed). Especially prized are silk rovings, which add sheen and color.

Colombano begins a composition by overlapping small sections of carded wool and adding embellishments. After building several layers, she sprinkles the pile with warm soapy water, which encourages the microscopic fiber scales to tangle. Next, she agitates the fibers with a textured tool, then rolls the mass over bubble wrap hundreds of times before scooping it into a ball and slamming it repeatedly onto the table. Eventually, the fabric shrinks (like a sweater in the dryer) and acquires the desired texture. Colombano eschews dyeing and seeks to evoke natural phenomena with her designs. “I love textures on trees, ripples in sand, cloud formations, animal skins, salt deposits, rock strata, and the tangles of seaweed after a storm,” Colombano says. “The world is stressful, homes should be grounding and calming—places to feel enveloped. My work embodies how I want to live, and what I want to give back.”

Kristin Kelly Colombano's studio contains natural objects inspiring her felt-making practice (opposite). The process begins with her sprinkling hot water on natural fibers (left) and ends with beautiful textiles and home accessories (below). Tubs contain raw materials that are transformed into fabric after intensive work using a variety of techniques and tools (bottom).

LAVENDER HAZE

Plush with personality, a remixed Charlotte residence layers unexpected color atop antique hallmarks.

WRITTEN BY MICHELLE BRUNNER | PHOTOGRAPHY BY BRIE WILLIAMS | STYLING BY FRANCES BAILEY

Interior Design: Laura Stanley and Lizzie Bailey, Story Street Studio Home Builder: Ben Collins, Salins Group, Inc.

A Vicki Sher painting sets a cheerful tone near the back entry, where Nobilis’ Paillotte wallcovering lends a neutral foil to Benjamin Moore’s Lafayette Green on the door. The octagonal mirror is from John Rosselli & Associates.

Arteriors’ Selma pendant shines overhead.

aura Stanley and Lizzie Bailey’s clients are the kind most interior designers dream of having. When the duo presented initial design schemes to the homeowners, a young family in Charlotte, the most daring ideas were the ones that resonated. “From the very beginning, we clicked,” the wife recalls. “We had similar thoughts about the use of space, and they understood my desire to use a lot of color.”

Having outgrown their home in Myers Park, the couple consulted general contractor Ben Collins for advice about their next chapter. Just as they were contemplating new construction for their family of five, Collins learned a house he’d recently renovated would soon become available for purchase. Built in the 1910s, the antique manse was located less than a mile from the clients’ existing home. It also exerted an almost gravitational pull on the wife—she had driven by it many times, admiring its stately brick countenance and green-tiled roof. Upon making it their own, the couple understood and appreciated the responsibility of ushering it into a new era.

“We knew we didn’t want to take this old house and make it look modern,” the wife notes. At the same time, though, she vetoed the idea of stuffy, overly formal rooms where you can’t kick up your feet and relax. “I wanted our family to use every inch of the home.”

On the heels of Collins’ previous updates— which involved revamping the kitchen and adding a family room—the residence would require only minimal tweaks. And everyone agreed that respecting the home’s age and history was paramount. Because he already knew the house intimately, “Ben let us know what was possible,” the wife says. “He remembered every detail, so he understood each barrier and was a wonderful problem solver with endless ideas.” Once architect Piper McKee Warner drew up plans for minor revisions, Collins confidently oversaw the cosmetic upgrades. These included a new bathroom on the second floor, converting another from a Jack-andJill design to an en suite version, and installing built-in bookcases throughout the house.

For the interiors, the wife wanted Stanley and Bailey to inject a bit of pizzazz. “She envisioned warmer colors. She loves coral,

aubergine and teal, which we knew would add a ton of personality,” Bailey says. The designers learned just how bold their clients were willing to go when their suggestion of an adventurous geometric rug based on a vintage Swedish design—with purple as the predominant hue— emerged as the favorite option for the family room. “We also presented a green-and-blue scheme, and really thought this one would be the outlier,” Stanley recalls. But the fact of that enthusiastic reception gave the designers the encouragement to forge ahead fearlessly.

In the dining room, for instance, the scenic silk wallpaper was a holdover from previous owners; but where the home’s prior stewards had zigged with subdued finishes, Stanley and Bailey zagged with exuberant teal trim and chartreuse curtains. “That color was risky, but beautiful with the light coming through,” Stanley says. “And it’s such an exclamation point in a room where everything was so lovely already.”

The bar’s blue lacquer also was retained, though the ceiling gained new oomph from patterned wallpaper and a starburst fixture. In the primary bedroom, the clients’ antique Oushak rug laid the foundation for a fanciful fabric adorned with flowers and birds on the settee, corralling a palette of rich sapphire and terra cotta. It’s just another example of how the designers blended old and new, allowing inherited pieces to continue telling their stories in a fresh setting.

Weaving an array of seemingly disparate elements—from treasured family heirlooms to striking finds that designer Barrie Benson chose for the owners’ previous home—into a cohesive tapestry was a challenge the designers greeted happily. “When a client has such stellar pieces, we’re delighted to incorporate them,” Stanley says. So, working with existing elements became a benefit for the design duo, rather than an impediment. “When you have a completely blank slate, the question often becomes, ‘Where do you even start when the sky’s the limit?’ ” Bailey explains. “It was fun to create within a framework that gave us a little something to push against.”

The result is an appropriately historical abode shaken up by glorious, livable color. “When I walk through the house, I feel warmth and a lot of joy,” the wife shares. And for the purple-peppered Charlotte home that’s become very much her family’s own, “That’s such a welcoming feeling.”

Thomas Hayes Studio counter stools complement the kitchen’s cream fluted cabinetry completed by general contractor Ben Collins. Benjamin Moore’s Grape Juice coats the pantry. The family room’s swivel chairs wear TylerGraphic’s Pomegranate textile.

Above: Softened by Benjamin Moore’s Misty Air, the front entry displays a ceramic candelabra from R. Runberg Curiosities atop the clients’ midcentury table. A sculptural brass ceiling fixture from Chairish hangs above the Charlotte Rug Gallery-sourced Oushak-style rug.

Opposite: Benjamin Moore’s Dragonfly graces the dining room’s millwork as draperies of Pierre Frey’s Naomie fabric in Mimosa drive home its Technicolor reinvention. Century Furniture’s Crossback chairs join the French Empire-style chandelier.

Above: The bar’s lacquered walls and cabinets brandish Benjamin Moore’s New York State of Mind. Designers Guild’s Delahaye wallpaper on the ceiling and a Visual Comfort & Co. Dickinson pendant add to the jewel-box effect. The Page Jones Davis painting at left is from Hidell Brooks Gallery.

Opposite: Farrow & Ball’s Off-Black provides a dramatic backdrop for a Chris Hayman painting in the lounge. Arteriors’ Griffith chandelier injects a dash of midcentury cool to the space, made cozier by an O. Henry House sectional, Stark’s Ellipse wool carpet and a custom ottoman.

Michelle Nussbaumer’s Cartagena textile covers a settee in the couple’s bedroom. Schumacher’s Antique Strie velvet on the custom bed accompanies draperies of Claremont wool and Scalamandré grass cloth on the walls.

Reverse

Opposite:

Right: Quadrille’s Arbre de Matisse

wallpaper in French Blue envelops the youngest daughter’s bathroom. The rattan urn is from Terrain, while the framed Kamie Rudisill mixed-media works are from Isabella.

For the eldest daughter’s bedroom, Collins constructed streamlined cabinetry painted Sherwin-Williams’ Rhythmic Blue. Modern Matter hardware and a Capiz-shell pendant from Anthropologie pair with shades of Peter Fasano fabric.

British Dialect

Designer Holly Hollenbeck thought she’d finished this Northern California Victorian a decade ago, but fate gave her an opportunity to refine the project.

Interior Design: Holly Hollenbeck, HSH Interiors Home Builder: Rich Dowd, Hennessey Construction, Inc. Landscape Architecture: Scott Lewis, Scott Lewis Landscape Architecture

WRITTEN BY CHRISTINE DEORIO | PHOTOGRAPHY BY PAUL DYER

Taking cues from Victorian and Edwardian pattern books, designer Holly Hollenbeck created the front door along with Sabina Frank Stained Glass Studio. Jean de Merry’s Trigo mirror, which pairs a frame of hand-cut beveled-wood baguettes with antiqued mercury-edged glass, hangs above a 19th-century English console from 1stdibs.

wo years ago, interior designer Holly Hollenbeck received a call from a well-known tech visionary asking for her help. He and his wife had purchased a historic Victorian home in the heart of Mill Valley, and he wanted to furnish it in a way that would honor its period details and his taste for English style. He was hoping she would assist. Hollenbeck’s jaw dropped because the home he was speaking of had once been hers. Years ago, she had painstakingly remodeled the 1892 dwelling—one of just 20 original and historically protected homes left in the small town—to its original splendor. After living in it for several years with her family, she sold it, and now it had been sold again.

“I remember saying that I’d be happy to meet with him, and that I was sure he’d be talking with other designers as well,” Hollenbeck recalls. “But he said, ‘You reimagined this house; it was your vision. You’re the one to do it.’”

Upon revisiting the residence, which she had originally renovated with architect Wendy Posard, Hollenbeck was delighted to discover that the period fixtures she had meticulously sourced were largely intact: fish- and chevronpatterned shingles hand-cut to match the original siding; custom doors and windows fitted with hand-rolled and leaded glass; original brass hardware; antique English cast-iron fireplaces; and the kitchen’s encaustic floor tile, which was salvaged from a 19th-century boarding school in the Belgian countryside.

Although the new owner had no intention of altering these details, he did need help adjusting some rooms to reflect his lifestyle. Working with builder Rich Dowd, the designer got to work. “They are a small family with no use for a formal living room, so he asked me to turn that space into a media room and library,” Hollenbeck says. The primary suite’s office area became his Zoom room, and a secondary bedroom was transformed into a craft room reflecting his wife’s love of nature.

Throughout the house, Hollenbeck honored the homeowner’s Anglophilia. “We both love English history, architecture and design, which were touchstones for me when I originally renovated the house,” she says. New custom pieces like the library’s peacock-blue tufted

sectional takes style cues from Victorian-era designs. Other furnishings, like a restored English mahogany bookcase from the mid-1800s and an antique mahogany grand piano, are the real deal. “When my client initially contacted me, he said they wanted to relocate in something like four months, which in the design world is lightning-fast,” Hollenbeck recalls. “I agreed, but with the caveat that he’d have to be okay with most pieces being vintage or antique, because I could get those immediately.”

During the project’s first month, Hollenbeck sourced antique rugs for nearly every room, “which provided the jumping-off point for the color palette,” she says. “Even when I did this house in 2010, I did not want any white; I wanted it to feel more period appropriate. The colors have a complexity to them, from deep eggplant on the dining room walls to dark peacock in the butler’s pantry.”

Though Hollenbeck shied away from patterned upholstery fabrics—relying instead on mohairs, leathers and wool bouclés “to catch the light in interesting ways”—she embraced eye-catching wallpapers with enchanted forest motifs that nod to the home’s backdrop of towering redwoods: a twilit tangle of trees on the primary bedroom’s fireplace wall, a midnight woodland in another bedroom, and a flutter of butterflies in the powder room.

Such moody scenes are balanced by moments of lightness, from chandeliers seemingly held aloft by bubble-like glass orbs to multiple sets of French doors that open onto wide porches and, just beyond, a hydrangea hedge bordered by a frothy groundcover. “Our intent was to provide an appropriate setting for the house and its charming proportions and detailing,” landscape architect Scott Lewis says of the garden details. “We kept the elements simple and refined, as we felt that this approach would enhance the character of the historic house.”

Hollenbeck’s commitment to historical accuracy didn’t make this project easy—“It’s a rare contractor who can put up a compound molding or plumb an antique sink,” she notes— but it did make it authentic. “I have this sense of responsibility for historic homes,” she says. “These are beautiful places that deserve to be saved and brought forward into a new century— and it was incredibly gratifying to have a second crack at this one.”

The family room is filled with antiques, including a 1909 mahogany baby grand piano from Antique Piano Shop and a circa-1930 Belgian leather gym bench from 1stdibs. Vintage sconces from Obsolete illuminate an artwork by Sharon Beals. The Tabriz rug is from Marc Phillips.

Right: The pantry’s deep-tealpainted cabinetry was crafted by Keith Bruns Woodworking and the antique mirror backsplash is by Paige Glass Co. A Waterworks brass sink is inset into a countertop of flamed black granite.

Opposite: The dining room’s walls are lacquered in Farrow & Ball’s Pelt. A light fixture from Coup D’Etat hangs above a table from Big Daddy’s Antiques. The sepia tones of an artwork by Georgina Reskala complement the French chairs from 1stdibs.

Above: Blue hues are found in the kitchen’s reclaimed encaustic floor tile sourced through L’Antiquario as well as in the cabinetry made by Keith Bruns Woodworking. A pendant from Bourgeois Bohème Atelier hangs over a marble-topped dining table.

Opposite: The gray color of the ceiling by American Tin Ceilings ties to the ceramic backsplash tile by Waterworks, perimeter countertops of flamed black granite and island surface of reclaimed wood. The antique chairs are reupholstered in fabric from De Sousa Hughes.

Right: Hollenbeck opted to outfit the upstairs hall bathroom with an uncommon, circa-1930 barber’s sink. A wall clad with Waterworks tile holds a pair of Robern medicine cabinets and an antique light fixture from Obsolete.

Opposite: The designer transformed a bedroom into a craft room, which is furnished with a 1930s wallpaper hanger’s folding table, and a patinated stool and chair from 1stdibs. Walls are painted Farrow & Ball’s Light Blue and the rug is from Nido Living.

Above: Rebel Walls’ The Swedish Forest wallpaper sets a peaceful tone in a bedroom. The antique English cast-iron bed found on 1stdibs is dressed with Serena & Lily linens. A vintage wood lamp from Hollenbeck’s personal collection rests atop a nightstand from Pottery Barn Teen.

Right: In the primary bedroom, House of Hackney’s Plantasia wallpaper surrounds an antique English cast-iron fireplace that’s retrofitted with a gas insert. The antique shield mirror is from 1stdibs and the antique sconces are from Obsolete. The armchairs are from SummerHouse.

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