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CONTENTS september

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16 Editor’s Letter

AN INVITING ALCOVE AND A WELL-LAID TABLE (BOTTOM) AT CORDELIA DE CASTELLANE’S COUNTRY HOME.

18 Object Lesson

Looking into the Ettore Sottsass mirror that gets stylesetters preening.

25 Discoveries

AD visits Nathalie Farman-Farma in Lake Tahoe… Artist Sam Moyer unveils a monumental stone work in Central Park...

Jason Wu and Brizo reunite for a sleek line of kitchen faucets...

Our favorite pendant lamps...

Christiane Lemieux’s latest home collection... Hermès turns Gianpaolo Pagni’s artworks into embroidered rugs… Taking inspiration from Giorgio Armani’s seaside retreat… and more!

54 Sitting Pretty

Far from the dizzying lights and throbbing beats of the runway, supermodel Kendall Jenner finds refuge in a serene Los Angeles home. BY MAYER RUS

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CONTENTS september

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66 Estate of Grace

On weekends, Dior Maison and Baby Dior artistic director Cordelia de Castellane escapes to an idyllic retreat. BY GAY GASSMANN

80 Cultural Capital

As locals and expats alike hone their craft in Mexico City, a thriving design scene is coming into its own. BY HANNAH MARTIN

86 Coming of Age

Fifteen years after buying a 19thcentury Manhattan town house, filmmaker Maggie Betts crafts a new scene. BY JANE KELTNER DE VALLE

KENDALL JENNER, IN A RICK OWENS DRESS AND YEEZY SHOES, AT HER LOS ANGELES HOME. “SITTING PRETTY,” PAGE 54. PHOTOGRAPHY BY WILLIAM ABRANOWICZ. STYLED BY AMY CHIN. FASHION STYLING

BY MARNI SENOFONTE.

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92 Lush Life

Legendary Italian couturier Federico Forquet’s greatest creation just may be his exquisite house and garden in Tuscany.

BY HAMISH BOWLES

96 Office Hours

Working with Rapt Studio, Gwyneth Paltrow and the team at Goop dream up an unconventional corporate headquarters. BY MAYER RUS

100 Feast for the Eyes

Carolina Herrera creative director Wes Gordon and glassblower Paul Arnhold fashion a colorful tableau of design treasures and family heirlooms.

BY JANE KELTNER DE VALLE

110 Resources

The designers, architects, and products featured this month.

112 Last Word

In Harlem, a powerful street mural honors the Black Lives Matter movement.

BY DAVID C. KAUFMAN

TOP: TREVOR TONDRO; COVER: SCORPIUS, 2019, © JAMES TURRELL

GWYNETH PALTROW, WEARING A SAMANTHA ENGINEERED-RIB TANK AND DIANDRA MAXI SKIRT, BOTH BY G. LABEL, AT THE GOOP OFFICE IN SANTA MONICA.

THE INTERNATIONAL DESIGN AUTHORITY VOLUME 77 NUMBER 8

Amy Astley

EDITOR IN CHIEF

EXECUTIVE DIRECTOR, DIGITAL Keith Pollock EDITORIAL OPERATIONS DIRECTOR Diane Dragan EXECUTIVE EDITOR Shax Riegler FEATURES DIRECTOR Sam Cochran INTERIORS & GARDEN DIRECTOR Alison Levasseur STYLE DIRECTOR Jane Keltner de Valle DECORATIVE ARTS EDITOR Mitchell Owens WEST COAST EDITOR Mayer Rus CREATIVE DIRECTOR

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editor’s letter

2

1. A CHARMING MOMENT IN CORDELIA DE CASTELLANE’S ROMANTIC COUNTRY HOUSE OUTSIDE PARIS. 2. PEACING OUT WITH KENDALL JENNER IN HER L.A. HOME. 3. PAUL ARNHOLD AND WES GORDON’S NEW YORK CITY BEDROOM AND 4. ME WITH ARNHOLD AND GORDON PRE-COVID.

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The AD team spends a year planning our September Style issue. No sooner is one closed than we are thinking about how to top it the following year.

Seriously! It was satisfying to see the true sophistication with which 24year-old supermodel Kendall Jenner approached her understated, lovely L.A. house and art collection. (That’s a James Turrell light sculpture on the cover.) “I like a house that has character. When I walked into this place, I was immediately drawn to the peaceful Spanish-y, farmhouse-y vibe,” says Jenner, accurately describing the cozy allure of what she calls “the first home I’ve done completely.” For sheer enchanting beauty, you can’t really beat Cordelia de Castellane’s ravishing country house outside Paris.

De Castellane, who hails from an illustrious line of French aesthetes, has the plum position of artistic director of Baby Dior and the highly coveted Dior Maison home collection—certainly the prettiest wicker baskets and lily-of-the-valley tableware in the world! Long available only at the Paris flagship on Avenue Montaigne, Dior Maison has finally arrived Stateside, and both personally and professionally this editor/shopper/fan could not be more thrilled.

In New York City, we visit Wes Gordon, creative director of Carolina Herrera, in the very beautiful Chelsea apartment he shares with Paul Arnhold; AD also swings by the stunning town house of filmmaker Maggie Betts. Wrapping our foray into fashion: a socially distanced stop at Gwyneth Paltrow’s Goop headquarters in Santa Monica and a swoon-worthy moment in Cetona, Italy, with Federico Forquet, a historic maestro of couture, interiors, and landscape design. Ciao!

AR CHDI GE ST.COM

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MAKING THEIR AD DEBUT...

Paris Grant, head of interiors for NYC architecture firm Reddymade, took on the NYC town house of filmmaker Maggie Betts after several collaborations with Betts’s parents. A graduate of the New York School of Interior Design, Grant worked with AD100 designer Jamie Drake for several years before going out on her own.

Sam Farhang, president and creative director of Rapt Studio, is an expert at crafting innovative work spaces. With clients like HBO, Dropbox, Venmo, and more, Farhang was ready when Gwyneth Paltrow called on the firm to design Goop’s new headquarters. “Our job was to translate the Goop DNA in the design,” he says.

AMY ASTLEY Editor in Chief @amyastley

1. MATTHIEU SALVAING; 2. WILLIAM ABRANOWICZ; 3. STEPHEN KENT JOHNSON; 4. ANGELA PHAM/BFA.COM; KEENON PERRY; COURTESY OF RAPT STUDIO

“I’m not a huge party person. There aren’t a lot of ragers going on here. I like turning on music, lighting the fireplace and candles, and watching NBA games with my friends.” —Kendall Jenner

Introducing the New Bond Collection.

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object lesson

THE STORY BEHIND AN ICONIC DESIGN

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1. A RADIANT ULTRAFRAGOLA IN A 14TH-CENTURY ITALIAN CONVENT TURNED HOME, DECORATED BY L.A. STUDIO. 2. AN ECLECTIC BRUSSELS HOME. 3. RAQUEL CAYRE’S NEW YORK APARTMENT. 4. ULTRAFRAGOLA BY POLTRONOVA. 3

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Reflective Glory

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t Milan’s Eurodomus 3 trade show in 1970, Florentine manufacturer Poltronova unveiled Mobili Grigi, a far-out bedroom collection that had been designed by architect embraced the mirror ($10,500; now available in Ettore Sottsass. Fashioned from slick, LED), still made using the original 1970 mold. vacuum-molded plastic and cast fiberglass, it was “We’re trying to keep the history alive,” says Raquel part of the brand’s mission to bring novel industrial Cayre (raquelcayre.com), the furniture adviser materials—which had already revolutionized nautical behind Instagram’s @ettoresottsass. She placed an and automobile design—into the home. The radical Ultrafragola in her 2018 exhibition, “Raquel’s range was produced in a very limited edition, with Dream House”; it sold to artist Katherine Bernhardt. one exception: the neon-lit pink mirror called Since then, Lena Dunham and Bella Hadid have Ultrafragola, or “the ultimate strawberry.” each acquired one. “All my clients want one,” designer The thermoformed plastic reflector (which debuted Sasha Bikoff says. “It’s the ultimate selfie mirror.” a decade before Sottsass established the Memphis That’s not to say that Ultrafragolas are off-limits for Group) celebrated femininity—the curves of a woman’s men: Frank Ocean and Nicolas Ghesquière are fans, body; the waves of her hair; some other choice too. As Keith Johnson of Urban Architecture elements of her anatomy. Today we might call that (718-349-3837), Poltronova’s U.S. retailer, explains, objectification. But women the world over have “They’re the antiques of the future.” —HANNAH MARTIN

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1. BELEN IMAZ; 2. NICOLAS MATHÉUS; 3. NICOLE COHEN; 4. PIETRO SAVORELLI

Looking into the Ettore Sottsass mirror that gets style-setters preening

REFLECTIONS ON HOME

Connect with a designer in our stores or virtually, and shop anytime online at mgbwhome.com.

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CHARLES EDWARDS EXCELLENCE IN LIGHTING 1. GATEAU CEILING LIGHT IN BRASS 2. ROUND STEPPED DECO CEILING LIGHT IN BRASS 3. HANGING PAGODA GLOBE LANTERN IN DISTRESSED GILT LACQUER OPPOSITE PAGE: HANGING PAGODA LANTERNS IN COMBINATION FINISHES

Charles Edwards started his career as an antique dealer approximately 50 years ago, building an extensive knowledge of antique lighting and developing an eye for interesting and significant pieces. In 1992, following a conversation with renowned designer David Easton, Edwards agreed to replicate one of his lanterns, leading to the design and manufacturing side of the business. Since then, the permanent catalog collection has evolved to include more than 400 designs.

Today, the in-house design studio, based in the London workshop, collaborates with design professionals around the world to achieve individual specifications across the product range.

Each light is handmade to order and can be customized in size, design detail, finish, and electrification—ensuring you can achieve the desired look for your lantern, from traditional to contemporary. Each piece bears the hallmarks of authenticity, quality, and craftsmanship.

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Russian Dressing

DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY SAM COCHRAN

At her family home on Lake Tahoe, Nathalie Farman-Farma celebrates the style of the steppes TURKEY RED, ONE OF DESIGNER NATHALIE FARMAN-FARMA’S FAVORITE COLORS, ACCENTS THE BEAMED LIBRARY AT HER FAMILY’S CAMP OVERLOOKING LAKE TAHOE IN NORTHERN CALIFORNIA.

ARCHDIGEST. COM

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DISCOVERIES 1

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1. FARMAN-FARMA’S ÉTÉ MOSCOVITE FABRIC FRAMES FRENCH DOORS. 2. TEATIME OUTSIDE. 3. ZÉNAIDE (LEFT) AND VÉRA FABRICS

BY DÉCORS BARBARES. 4. THE DESIGNER IN HER LONDON STUDIO.

“I was really interested in having East-meetsWest spaces”—Nathalie Farman-Farma

A

sk Nathalie Farman-Farma to identify a few of her favorite things, and the founder of Décors Barbares, the little fabric studio with an AD100 cult following, responds with an idiosyncratic short list. Japanese baskets. Russian Arts and Crafts furniture. Oxford frames. Swedish flat-weave carpets. Eastern Orthodox icons. Add to that Lake Tahoe and its sweeping landscape of towering evergreens, spiky mountains, and shimmering water, a combination of elements that helped to foster her Russophile aesthetic.

“The power of nature plus my reading of classic Russian novels— I just put two and two together in my head,” says Farman-Farma, who has spent many summers enjoying a California compound of wood cabins that has belonged since the 1960s to her American mother’s family. (Her banker father was French, and she lived in Europe until she was 16 and moved to Connecticut.) “I don’t want to be foolishly romantic about Russia or patronizingly romantic about it,” continues Farman-Farma, who has a master’s degree in classics, “but the American West and Siberia make up one continuous ecosystem. Native Americans

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FABRICS: ANDREW STEEL

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DISCOVERIES

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COURTESY OF BENJAMIN MOORE

came from Siberia as well, so there’s something fundamental in that connection. Russia was a bit of a frontier for our generation, because of the Iron Curtain, so it was sort of mysterious.”

The ancestral getaway is unpretentious, as much American cabins in appearance as they could be modest dachas out of tales by Ivan Turgenev or Leo Tolstoy—the same stories that influenced one of Farman-Farma’s idols, French tastemaker Madeleine Castaing.

She’s outfitted its wood-paneled rooms with her own sprigged cottons, Turkey-red painted furniture, and framed studies of Russian traditional clothing. See them in Décors Barbares: The Enchanting Interiors of Nathalie Farman-Farma (Vendome Press), a new book that costars her personal spaces, from the atelier at her London residence to an 1890s house in Greenwich, Connecticut. The addresses may be far-flung, but each celebrates her Silk Road chic with a spirited marriage of the vibrant palettes of Central Asia to the plump silhouettes of 19th-century Europe, a wildly pretty horror vacui that is leavened with doses of airy wicker.

“When I married Amir, I was really interested in having East-meetsWest spaces, and I felt that this was a way that wasn’t clichéd and which had a lot of nobility to it,” the designer explains, referring to her husband and father of their two children, Amir Ali Farman-Farma, an investment adviser with royal Persian roots. “Go to Central Asia and you’ll see that it all works together; I don’t know how they do it,” she adds, noting that what appeals to her, and to her smitten followers, is the region’s aesthetic spirit. “It’s exuberant, it’s happy, and it doesn’t have many rules.” decorsbarbares.com —MITCHELL OWENS

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DISCOVERIES 1

ART SCENE

Making an Entrance

At a storied corner of Central Park, artist Sam Moyer reminds us that doors are best left open

S

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1. SAM MOYER AT A PENNSYLVANIA QUARRY ATOP ONE OF THREE STONE PORTALS SHE IS CREATING FOR HER PUBLIC ART FUND PROJECT. 2. SUN ON SUNSET, 2019.

when the world feels particularly fragile. “These stones all come from different places and connect us to different cultural identities,” she says. “New York is this amazing place, which despite many hostilities and complications has historically been a haven for immigration.” Viewers, of course, can enjoy the installation at face value, passing through the fixed doors and weaving among the portals, a kind of cosmopolitan Stonehenge.

“There’s this brilliant connection between the local and the global, but because of its abstract quality the work doesn’t prescribe a specific meaning,” says Public Art Fund curator Daniel Palmer.

Though, as Moyer notes, it’s hard to resist the hopefulness of an open door. “I am trying to hold on to what’s good right now.

Public art is good; public parks are good. In general, I am an optimist.” —SAM COCHRAN

PHOTOGRA PHY BY CHRIS MOT TALINI

COURTESY OF KAYNE GRIFFIN CORCORAN

am Moyer has long found energy where edges meet. “Bringing two things together, creating a vibration—that vibration is the art,” says the Brooklyn-based artist, best known for her mesmerizing compositions of shaped paintings and jagged stone pieces, which she fits together tightly like puzzle pieces. Now, in collaboration with Public Art Fund, Moyer is generating that same creative friction on an urban scale. On September 16, she’ll unveil a monumental new work on Doris C. Freedman Plaza, at the southeast corner of Central Park. Comprising three portals, each fitted with a door, the installation both finds and creates meaning at the intersection of two worlds.

“It’s this place where the industrial matter that is Manhattan ends and a controlled but natural environment begins,” explains Moyer, who quickly became interested in revolving doors while generating ideas for the site. “I wanted to create something that was a transition between those two spaces but also echoed them, marrying a physical representation of the city and a physical representation of the park.”

In homage to local nature, the arches themselves are built from large hunks of indigenous granite, quarried not far from the city. The doors, on the other hand, feature her signature stone remnants, all leftover from countertops, lobbies, and other hallmarks of the built Big Apple. She mapped these out on her studio floor before having 2 them set in massive concrete pours.

“Often when you work at this scale, there’s no way for you as the artist to be involved with the production physically,” reflects Moyer. “I’ve enabled this so that I’m making a very large portion of the sculptures myself.”

The remnants themselves spark conversations about inclusivity, globalization, privilege, and politics at a time

DISCOVERIES

FASHION DESIGNER JASON WU IN HIS KITCHEN WITH ONE OF HIS NEW FAUCETS FOR BRIZO.

DEBUT

“I’ve never thought about the Jason Wu woman in a white box,” he says. “I think about her in an environment. How does she live? Where does she travel?”

(Beyond Brizo, Wu has a furniture collection for Interior Define and recently became the new brand ambassador for 1-800-Flowers.com, with whom he had collaborated on two fashion shows, introducing wilder, more modern bouquets into its repertoire.)

The white-powder-coated finish of his latest faucets is the yang to the yin of his originals, though he approached both with the same eye toward timelesshen Jason Wu partnered with ness. The new pieces also come with customizable Brizo in 2007, enlisting the levers in brushed nickel, teak, or matching white, luxury faucet brand to sponsor offering optimum versatility. his first fashion show, many Wu, an avid chef who documents his culinary didn’t understand the chemistry. creations via the Instagram account @mrwueats, is “A lot of people gave me the particularly excited about living with this latest side eye,” he recalls. Such a partnership “was highly collection himself. “I am the first one in the world unheard of back then.” But over the past 13 years, to have it,” he says. “As someone who cooks and the marriage has proved a winning match. Since the entertains a lot, I feel like the kitchen is where it all 2011 debut of the Jason Wu for Brizo Bath Collection, lies. It’s where everyone gathers.” Luckily for Wu, its matte black finish has performed so well that “it’s always been important to me that everything has the same treatment has been applied throughout the beauty, form, and function.” brizo.com Brizo library. Now he is adding to the company’s offerings, unveiling his first designs for the kitchen.

—JANE KELTNER DE VALLE

Jason Wu and Brizo reunite for a sleek new line of kitchen faucets

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PHOTOGRAPHY BY MAX BURKHALTER; STYLED BY DAVID DE QUEVEDO

Tapping Into Creativity

A DV E R T I S E M E N T

JASON WU FOR BRIZO™ KITCHEN COLLECTION

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DISCOVERIES DEBUT

Healthy Obsessions

“ ‘How does this make me feel?’ That is what people will ask themselves going forward. Not ‘Is this the latest trend?’ ” So says Christiane Lemieux, whose new furniture collection, Lemieux Et Cie, offers a harmonious marriage of comfort and high design.

Launching at Anthropologie, the line ranges from plush bedding to swoon-worthy seats, all in mood-lifting fabrics and forms. anthropologie.com —GABRIELA ULLOA

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1. PERNELLE CHAIRS AND CLICHY DINING TABLE BY LEMIEUX ET CIE. 2. NAVIER TABLE AND ROUEN SOFA.

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LEFT: COURTESY OF THE COMPANIES; RIGHT: ADRIAN GAUT

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DISCOVERIES

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STYLE

In these uncertain hours, the classic cool of a gentleman’s watch endures 6

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PRODUCE D BY JANE KELTNE R D E VAL LE

PHOTOS COURTESY OF THE COMPANIES

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DISCOVERIES

TREMPLIN (LEFT) AND ESCALATOR EMBROIDERED COTTON RUGS BY GIANPAOLO PAGNI FOR HERMÈS.

DEBUT

Hermès turns Gianpaolo Pagni’s graphic artworks into meticulously embroidered rugs

S

tamps are tools that allow me to draw and compose endlessly,” explains Italian artist Gianpaolo Pagni, who uses the age-old printing implements to arrange punchy patterns. “First I create a personal, graphic vocabulary made up of shapes, lines, and materials. Then these elements are turned into stamps.” Over the years, with the help of French luxury brand Hermès, his compositions have been splashed across beach towels, blankets, scarves, and wallpapers. Now he and his

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longtime collaborator have transformed his art into rugs. Titled Escalator and Tremplin, the two new designs (part of Hermès’s Cordélie collection, available this month) feature architectural motifs that nod to escalators and diving boards. Hermès realized Pagni’s designs using a technique never before applied to rugs, in which fine cotton cords are embroidered atop a strong linen backing, requiring thousands of hours of work by hand for a single floor covering. The labor-intensive process, which lends itself to curved lines and wide swaths of color, was a perfect match for Pagni’s work—and for Hermès. “Gianpaolo enjoys, like us, telling stories,” says Florence Lafarge, the brand’s creative director for home textiles. “He knows how to enrich our archives without ever taking them too seriously.” hermes.com —HANNAH MARTIN

STUDIO DES FLEURS, COURTESY OF HERMÈS

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DISCOVERIES

LEFT FURNITURE AND LIGHTING BY GIORGIO ARMANI FURNISH THE LIVING ROOM AND LIBRARY OF HIS HOUSE IN FORTE DEI MARMI, ITALY, WHICH WAS FIRST PUBLISHED IN AD’S MAY 1983 ISSUE (INSET). BOTTOM A RECENT IMAGE OF THE DESIGNER IN THE LIVING AREA. FOR ACCESS TO ALL 100 YEARS OF THE AD ARCHIVE, JOIN AD PRO, THE MEMBERS-ONLY COMMUNITY FOR DESIGN PROFESSIONALS, AT ARCHDIGESTPRO.COM.

THEN AND NOW

By George

W

ith apologies to the Bible, Giorgio Armani’s house has many mansions. There’s the palazzo in Milan, the New York City penthouse, the island compound off Tunisia, and the chalet near St. Moritz, along with plush perches in Paris, Lombardy, Antigua, and beyond. But the address that possesses great sentimental value is the former farmhouse that he smartly remodeled in the 1980s, and still owns, in Forte dei Marmi, a seaside hot spot on Tuscany’s Versilia Coast. “I’ve changed very little in the house since then, and it has lived incredibly well over the years,” says the fashion designer, who celebrated his 86th birthday and the 45th anniversary of his company this past July. The stucco-clad residence, which first appeared in AD’s May 1983 issue, features faultless white aluminum panels that rise up interior walls and across ceilings like ultramodern shiplap, interrupted here and there by virtual pilasters of polished wood. “The natural element is important,” Armani observes, “because sterile colors or materials do not allow the transmission of emotions.” The staircase follows the ziggurat profile of a storage unit that recalls a stepped kaidan-dansu chest. “I have a particular predilection for the 1920s and 1930s, that is to say the Art Deco period, as well as Japanese and Chinese styles from the same cultural scene,” he continues. “Beauty is delivered with sophisticated materials and workmanship of the highest quality.” Much like his home, which remains simple in finishes, strict in palette, and free of superfluous objects, other than discreet souvenirs (“even silly things like seashells”) that remind him of a person or a place.

Some updates have been made: a steam bath, the gym, some sofas. “But nothing else,” he admits. “I feel very comfortable with the way it is.” —MITCHELL OWENS

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PHOTOGRAPHY BY JAIME ARDILES-ARCE; PORTRAIT COURTESY OF GIORGIO ARMANI

Giorgio Armani’s first-ever private getaway is still the fashion legend’s most beloved escape

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From editor-in-chief Amy Astley and Architectural Digest, AD at 100 celebrates the most incredible homes of the past century, showcasing the work of top designers and offering rare looks inside the private worlds of artists, celebrities, and other fascinating personalities.

Marc Jacobs, Jennifer Aniston, Diana Vreeland, India Mahdavi, Peter Marino, Kelly Wearstler, Oscar Niemeyer, Axel Vervoordt, Frank Lloyd Wright, Elsie de Wolfe,

abramsbooks.com/AD100

FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI

A CENTURY OF STYLE

SITTING PR

Far from the dizzying lights and throbbing beats of the runway, supermodel Kendall Jenner finds refuge in a serene Los Angeles home bathed in warm, neutral tones and organic textures TEXT BY

MAYER RUS

PHOTOGRAPHY BY

WILLIAM ABRANOWICZ

ETTY

STYLED BY

AMY CHIN

KENDALL JENNER, WEARING A PRADA JACKET, TOP, AND PANTS, AND NEVERNOT EARRINGS, IN THE SITTING ROOM OF HER BEDROOM SUITE. FASHION STYLING BY MARNI SENOFONTE. OPPOSITE IN THE ART STUDIO, A 19TH-CENTURY FRENCH CHAISE LONGUE FROM LEE STANTON SITS ATOP A PAINTED FLOOR CLOTH BY KAKI FOLEY. FOR DETAILS SEE RESOURCES.

k

THE KITCHEN CABINETS ARE PAINTED IN A BENJAMIN MOORE TEAL; WATERWORKS FIXTURES; PIERRE JEANNERET TEAK STOOLS FROM GALERIE HALF.

endall Jenner’s design team— the mother-and-son duo Kathleen and Tommy Clements, plus the inimitable Waldo Fernandez— didn’t know quite what to expect from their 24-year-old superstar client. “Her taste was surprising, more bohemian and funky than the rest of her family. The mood she described was totally understated and down-to-earth,” Tommy recalls of the team’s initial meetings with Jenner, reportedly the highest-paid model in the world. “Being who she is, we thought Kendall might gravitate toward something more flashy, more va-va-voom. I think we were all thrilled to discover that she has taste beyond her years,” adds Kathleen. Fernandez punctuates the sentiment: “There are plenty of people we know who have traveled extensively and been exposed to so much but don’t absorb anything. Kendall is different. She takes everything in and is confident about the things that resonate with her,” he says.

“I like a house that has character. When I walked into this place, I was immediately drawn to the peaceful Spanish-y, farmhouse-y vibe,” Jenner notes, nicely summing up the hybridized, pan-Mediterranean architecture that proliferates in Los Angeles. “My life involves a lot of chaos and travel and high energy, so I wanted a home that feels serene, a place where I can simply zone out and relax,” she continues.

Jenner made few structural changes to the existing architecture, instead repurposing two of the five bedrooms

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into a pair of proper glam and fitting rooms. The living room perhaps best epitomizes the young model’s predilection for warm, organic textures, earthy tones, and eminently comfortable furnishings. With a cozy fireplace anchoring one end of the space, two broad sofas, stocked with a range of pillows in vintage textiles, offer ample room for visiting friends and family. “I’m not a huge party person. There aren’t a lot of ragers going on here,” Jenner says of her entertaining style.

“I like turning on music, lighting the fireplace and candles, and watching NBA games with my friends.”

Cooking, too, is an essential part of the Jenner hosting program. “This house has prompted me to spend more time in the kitchen. I’m always in there trying to up my chef game.

At this point, I’m a pretty good cook,” she avows. “Kylie and I were super-lucky to have guidance from our older sisters and a mom who really has her s**t together. They all gave me solid advice on how to set up my kitchen and bath for maximum efficiency. They also taught me that a house is always a work in progress,” she adds, referring to her siblings Kim, Kourtney, and Khloé Kardashian, as well as her high-powered mother, Kris Jenner, the matriarch of the clan.

In contrast to the subdued palette of the furniture and finishes, Jenner’s collection of contemporary art—which includes works by Barbara Kruger, Richard Prince, Raymond Pettibon, and Sterling Ruby—adds some serious jolts of color to the mix. Just off the entry, a signature James Turrell ovoid wall sculpture, animated by shifting, computer-programmed LED lights, greets visitors with a dreamy chromatic display.

“I’ve always been a huge Turrell fan. I was introduced to his

THE LIVING ROOM IS OUTFITTED WITH CUSTOM SOFAS COVERED IN A THREADS LINEN; VINTAGE PILLOWS FROM RICHARD SHAPIRO STUDIOLO, PAT MCGANN, AND BRENDA ANTIN; SHAG RUG FROM WOVEN.

“I like a house that has character,” says Jenner.

“When I walked into this place, I was immediately drawn to the peaceful Spanish-y, farmhouse-y vibe.”

ABOVE A PAIR OF 18TH-CENTURY PANELS PRESIDE OVER JENNER’S BEDROOM SITTING AREA; VINTAGE FRENCH LOUNGE CHAIRS FROM GALERIE HALF COVERED IN ROSEMARY HALLGARTEN ALPACA BOUCLÉ; CURTAIN FABRICS BY HOLLY HUNT AND STEVEN HARSEY TEXTILES.

ABOVE A WALDO’S DESIGNS IRON CHANDELIER HANGS ABOVE A WALNUTAND-OAK DINING TABLE; 1930s AXEL EINAR HJORTH CHAIRS FROM LIEF. LEFT A PAIR OF BARBARA KRUGER PRINTS COMMAND A HALLWAY.

work by [my brother-in-law] Kanye [West], who collaborates with him,” Jenner explains. “I wanted this piece to be a focal point of the house, and I’m so hyped to have it here.”

ALTHOUGH JENNER CONFESSES that she’s still new to the

contemporary-art world, Fernandez emphasizes that her interest is far from superficial. “Kendall wasn’t just checking off names on a list or blindly following the advice of an adviser.

She picked things that meant something to her, things she had a gut reaction to,” the designer notes.

In the sitting area of her bedroom, a Tracey Emin neon sculpture faces off unexpectedly with a pair of 18th-century Italian painted door panels. “I grew up with those panels in the various homes we lived in. I asked for them when my mom was cleaning out one of her storage spaces. They bring me back to my childhood,” Jenner says. Nostalgia notwithstanding, the designers weren’t immediately convinced about the suitability of the doors. “We all gave each other this ‘I don’t know’ look because they didn’t seem to fit in. But when the room finally came together, we loved how it turned out.

It’s really a testament to Kendall’s eye,” Tommy insists.

For Jenner, who has spoken publicly about her battle with anxiety and panic attacks, the panels, like the arts-and-crafts room she installed in the home’s erstwhile home theater, are simply one more facet of her efforts to fashion a soothing refuge from the hurly-burly of her professional life under the harsh spotlight of runway shows and paparazzi. “I’m really proud of what we accomplished here. This is the first home I’ve done completely, and I think it’s a genuine reflection of who I am and what I like,” she says. “In the end, I’m still a young female in L.A., just trying to have some fun.”

ARCHDIGEST. COM

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© 2020 TRACEY EMIN. ALL RIGHTS RESERVED, DACS, LONDON / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

“My life involves a lot of chaos and travel and high energy, so I wanted a home that feels serene, a place where I can simply zone out and relax.”

ABOVE A VINTAGE MALAYER RUG FROM LAWRENCE OF LA BREA COVERS THE FLOOR OF THE FITTING ROOM.

ABOVE PERENNIALS FABRIC COVERS THE DAYBED ON THE TERRACE. RIGHT A WATERWORKS MIRROR AND FIXTURES GRACE THE POOL BATH; MOSAIC TILE BY BADIA DESIGN; VINTAGE GIUSEPPE OSTUNI COPPER SCONCE FROM GALERIE HALF. BELOW A TRACEY EMIN SCULPTURE HANGS IN THE BEDROOM SITTING AREA.

★ EXCLUSIVE VIDEO KENDALL JENNER AT HOME, ARCHDIGEST.COM. ARCHDIGEST. COM

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THE HEADBOARD IN JENNER’S BEDROOM IS UPHOLSTERED IN A DE LE CUONA LINEN; TABLE LAMP BY ROSE TARLOW; ANTIQUE RUG FROM BRENDA ANTIN.

HAIR BY JEN ATKIN USING OUAI HAIRCARE; MAKEUP BY MARY PHILLIPS

A BRASS TUB BY CATCHPOLE & RYE ANCHORS THE MASTER BATH; WOOD STUMP CHAIR FROM WALDO’S DESIGNS; ANTIQUE GHIORDES RUG FROM WOVEN.

ARCHDIGEST. COM

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design notes

THE DETAILS THAT MAKE THE LOOK PAVEL LIGHT BY JASPER; TO THE TRADE. MICHAELSMITHINC.COM

A HERB RITTS PHOTOGRAPH HANGS OVER THE FIREPLACE IN JENNER’S OFFICE.

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I’ve always been drawn to color in art.

My taste in furniture is more peaceful.”

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PRODUCE D BY MAD ELINE O’MA LL EY

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CLOTHILDE FREESTANDING BATHTUB; $52,107.

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I love having people over. My mom instilled that in me.”

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estate of A BRAQUENIÉ PRINT ENVELOPS THE BOUDOIR. CORDELIA DE CASTELLANE OFTEN DRAWS AT A DESK THAT BELONGED TO HER GRANDMOTHER. OPPOSITE AN INVITING TABLE IS SET WITH VINTAGE DIOR CHINA, BIOT GLASSWARE, AND AN HEIRLOOM TABLECLOTH. FOR DETAILS SEE RESOURCES.

grace On weekends, Dior Maison and Baby Dior artistic director Cordelia de Castellane and her family escape to an idyllic retreat north of Paris TEXT BY

GAY GASSMANN

PHOTOGRAPHY BY

MATTHIEU SALVAING

STYLED BY

GIANLUCA LONGO

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LEFT DE CASTELLANE IN AN EFFLORESCENT ALCOVE NEXT TO HER BOUDOIR. ABOVE WELLIES LINED UP IN THE MUDROOM. OPPOSITE IN THE MAIN SALON, A BLEND OF VINTAGE FURNISHINGS, INCLUDING A VIBRANT RUG FROM THE PARIS FLEA MARKET, MIX WITH A BESPOKE SOFA. MOROCCAN STOOLS.

collection of kids’ fashion. Five years later, they tapped her t’s a bit mix and match, but every piece to become the first artistic director for Dior Maison. Long has a story,” says Cordelia de Castellane of available only at the Dior flagship on the Avenue Montaigne the eclectic assemblage of treasures inside her enchanting country house about an hour in Paris, the home collection has been a favorite of design cognoscenti for decades. So it was exciting news for U.S. fans north of Paris. Although she hails from an aristocratic family that counts numerous when the collection became available here, launching last December at Dior’s Miami Design District location. Plans are statesmen and aesthetes in recent generanow under way to open corners in Houston, Washington, D.C., tions, the artistic director of Dior Maison New York City, Beverly Hills, and Vancouver stores. and Baby Dior is anything but stuffy and Situated on about five acres, the bijou estate, parts of old-fashioned. So it comes as no surprise to which date back to the 15th century, was a place of refuge for find that her personal retreat, festooned de Castellane and her husband long before they bought it. with climbing pink roses and chock-full of For years, the couple rented a small cottage on the grounds family heirlooms and flea-market finds, from the family friends who owned the property. “My husband is a dreamy, effortlessly chic getaway. plays golf and I ride, so this is the perfect place for both of us,” De Castellane has been steeped in the fashion world since de Castellane says. Slowly the space became more than just youth. She went to work at 16, cutting her teeth with fashion legends Emanuel Ungaro and Giambattista Valli. “I started out a landing pad for weekend getaways. The owners were often abroad, so she began taking care of the garden with their as an intern, and I did everything,” she recalls. “I picked up blessing. De Castellane’s father loved to visit and, recognizing the needles and learned it all—from working with the press to its bucolic appeal, encouraged his daughter to try to buy doing fittings.” In 2012, after she had helmed her own chilthe property. dren’s clothing line for 10 years, Dior enlisted her to design its

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DE CASTELLANE AND HER SON VADIM IN THE KITCHEN. BACKSPLASH OF VINTAGE TILE. OPPOSITE THE KITCHEN’S COZY EATING NOOK IS LAYERED WITH SIMRANE FABRICS. CHAIRS FROM ASIATIDES.

ABOVE AN ALFRESCO SEATING AREA BECKONS FROM THE HOUSE. RIGHT A WICKER STAND ADDS TEXTURE TO A CORNER IN A SALON SHEATHED IN SIMRANE FABRIC.

LEFT HEIRLOOM LINENS AND SIMRANE FABRICS IN A GUEST ROOM. BELOW AN ENGLISH CLAW-FOOT TUB AND FLEA-MARKET FINDS DRESS UP DE CASTELLANE’S BATHROOM.

De Castellane has been steeped in the fashion world since youth. She went to work at 16, cutting her teeth with fashion legends Emanuel Ungaro and Giambattista Valli.

“And then, as things would have it, he passed away, and one week after his death, our friends told me they were going to sell,” de Castellane explains. “I saw this as a sign that this was the house for me.”

CONSTRUCTED OVER SEVERAL centuries, the three-story main

house features six bedrooms and six baths. Upon being handed the keys, de Castellane launched a major renovation. With four children, she knew that the home’s functional spaces needed practical changes. “One of the salons was the dining room, and I hate dining rooms! I must have spent too much time at

the table growing up,” laments de Castellane. “We eat in the kitchen, which is not very French, but I love to cook and have everyone together.” For more formal occasions, like Christmas, a salon can be rearranged so that 18 can sit around a table brought in for the festivities. The dwelling she used to rent has been revamped into an inviting three-bedroom house whose rooms are swathed in toile de Jouy.

De Castellane counts her mother and Emanuel Ungaro’s wife, Laura, as her decorating influences, namely for their fearless pattern-mixing. “They told me to always do things totally and not halfway,” she says. Indeed, the spaces are

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IN DE CASTELLANE’S BEDROOM, THE 19TH-CENTURY ITALIAN BED IS DRESSED IN A BLUE-AND-WHITE BLOCK-PRINTED COVER FROM SIMRANE. OPPOSITE IN THE MAIN SALON, A MOROCCAN BENCH STANDS IN FRONT OF AN ANTIQUE ITALIAN SECRETARY.

Recognizing its bucolic appeal, de Castellane’s father encouraged her to try to buy the property. composed with a well-chosen mix of fabrics and papers. Much of the furniture was plucked out of her family’s many other homes. Engravings from the château of famed architect Emilio Terry—her grand-uncle—hang throughout the house.

Still, de Castellane points out that there’s more work to be done. A tireless improver, she recently renovated the third floor and converted a room under the eaves into a media room and library. Its walls have been painted strawberry, with the sofas covered in a jumble of patchwork fabrics. She also has her eye on the “donkey shed,” an unused structure on the property that she is turning into a cozy spot for afternoon tea.

With work and school centered in Paris, the family uses this place on weekends year-round and spends the entire month of July there. The vivacious chatelaine delights in opening it up for guests. “Sometimes friends come out on Sunday for the day with their kids,” she says. “They play tennis, and there’s a lake nearby for swimming. It’s always full.” Like its mistress, this family-friendly place is brimming with life.

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OPPOSITE A VERDANT PATHWAY. BELOW IN A SITTING ROOM, THE FURNITURE WEARS A FLORAL TEXTILE DESIGNED BY EMANUEL UNGARO FOR ETRO. 18TH-CENTURY CABINET FROM GALERIE STÉPHANE OLIVIER; FLEA-MARKET MIRROR AND RUG.

design notes A COLEFAX AND FOWLER FLORAL FABRIC ENVELOPS DE CASTELLANE’S DAUGHTER’S ROOM. LINENS AND BEDSIDE LAMP FROM ZARA HOME.

THE DETAILS THAT MAKE THE LOOK HAPPY HOUR, JASMIN DES ANGES, AND GRIS DIOR FRAGRANCES BY MAISON CHRISTIAN DIOR; $220 EACH. DIOR.COM DIOR JOAILLERIE: THE A TO Z OF VICTOIRE DE CASTELLANE

BY VICTOIRE DE CASTELLANE; $150. DIOR.COM

In designing the home collection, my goal is coherence with the House of Dior, to reference what’s happening globally now as well as its history.”

SABINE KEY TASSEL; TO THE TRADE. SAMUELANDSONS.COM

FLEURS ETRANGES COTTON

BY BRAQUENIÉ; TO THE TRADE. PIERREFREY.COM

GLASS BOX BY DIOR MAISON; $350. DIOR.COM

LILY OF THE VALLEY DESSERT PLATE BY DIOR MAISON; $110. DIOR.COM GREEN LEAF-SHAPED DECORATIVE PLATE

BY DIOR MAISON; $190.

DIOR.COM PORCELAIN ASPARAGUS

BY PENKRIDGE CERAMICS; $535. JOHNDERIAN.COM

GREEN LILY OF THE VALLEY STRIPED DECORATIVE GLASS CARAFE BY DIOR MAISON; $850. DIOR.COM

INTERIORS: MATTHIEU SALVAING; SIMRANE: ALEXIS COTTIN; ALL OTHERS COURTESY OF THE COMPANIES

LILY OF THE VALLEY GLASS CARAFE BY DIOR MAISON; $420.

DIOR.COM

A KITCHEN CUPBOARD DISPLAYS SOME OF DE CASTELLANE’S COLLECTION OF COLORFUL DISHES.

TOLE FLORAL-ANDLEAF CHANDELIER; $2,800. 1STDIBS.COM

CAMDEN COTTON CHECK; TO THE TRADE. FSCHUMACHER.COM BLUE FLOWER GLASS BY DIOR MAISON; $140. DIOR.COM

My mother was a decorator, and she is a painter. My grandmother taught me needlepoint.

I grew up surrounded by artists.”

A COLORFUL ALFRESCO TABLE.

TEAK SLING CHAIR; $398. SERENAAND LILY.COM

COMMANDERIE LIGHT ON WALL BRACKET; TO THE TRADE. HECTOR FINCH.COM

TULIPIER BABY QUILT BY R. SINGH FOR SIMRANE; $209. SIMRANE.COM

P RODUCE D BY M AD ELI NE O ’M ALLEY

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CULTURAL CAPITAL The design scene is booming in Mexico City, invigorated by locals and expats putting a fresh spin on traditional craft and production TEXT BY

HANNAH MARTIN

PHOTOGRAPHY BY

ANA HOP

VIDIVIXI Soon after Mark Grattan (far right) moved to Mexico City

(CDMX) from New York four years ago, he met Londonborn Adam Caplowe at a birthday party. They promptly joined forces on a range of furnishings that Grattan calls “provocative, mysterious, and sexy—this world of Studio 54.” An upholstered platform bed with a curved silhouette got people’s attention. (Fashion designer Kerby JeanRaymond recently commissioned a bedroom suite.) And they’ve worked with CDMX artisans and manufacturers on a second collection in wood, leather, and chrome.

Inspiration comes from local buildings, some as near and dear as the abandoned Art Deco cinema opposite their new showroom in Colonia San Rafael. vidivixi.com

Fernando Laposse Studying product design at Central

Saint Martins in London, Laposse (born in Paris and raised in Mexico) had an epiphany. “I realized I preferred to design with Mexican materials, for a Mexican reality,” explains the designer, who started by incorporating everyday loofah into elegant furnishings. Later came heirloom corn. Working with a community in Puebla, he now transforms their colorful husks into marquetry veneer. Laposse has also collaborated with a collective of female weavers and other artisans to create cochineal-dyed sisal surprises like the pink hammocks and furry beasts he installed in Miami’s Design District last year. “I like to transform humble materials into something luxurious.” fernandolaposse.com

Anndra Neen As children in Mexico City, sisters Phoebe (above left)

and Annette Stephens idolized their grandmother, a jewelry designer who crafted treasures collected by the likes of Peggy Guggenheim and Frida Kahlo. In 2009, they followed in her footsteps, launching Anndra Neen, an accessories brand that works with a traditional Taxco metalsmith to realize their designs using local silver, stones, and shells. “These are techniques that, if someone doesn’t protect them, are going to be lost,” says Phoebe.

Rings, cuffs, and clutches have since expanded into bowls, napkin holders, and mirrors, with the possibility of chairs and lamps to come. “We want to make things you can’t find anywhere else,” says Annette. “It’s in our DNA.” anndraneen.com

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Fabien Cappello

“Everywhere I looked, someone was making something,” the French designer recalls of his first visit to Mexico City.

Objects he assumed were industrially produced, he discovered, were actually made in small workshops. He wanted to delve deeper. Relocating from London in 2016, he has worked with a company that makes CDMX’s public bus upholstery to design graphic textiles; he has stacked decorative plastic fruit into table lamps; and he has conceived color-blocked lighting with a local glassworker. Many of those pieces starred in his solo show at the CDMX gallery AGO Projects earlier this year (shown here), for which Cappello aimed to “confuse the genres of craft and industry.” Mission expertly accomplished. fabiencappello.com

Brian Thoreen

“Part of moving here was the chance to do more working and building with my hands,” says the California-born designer and artist, who arrived in Mexico City almost three years ago after making his name in Los Angeles. “I just felt better here, more alive.” He has since gotten back to his fabrication roots, experimenting with industrial materials like rubber, silicone, tar paper, and wood glue. Along the way, he and some friends founded Masa, a traveling exhibition program, in response to the city’s growing art-and-design scene. “There are some common threads here,” he explains. “The materials, the processes, the influence of local architecture. When you fall in love with Mexico you fall in love with that stuff.” brianthoreen.com

Tezontle Founded in 2015 by Mexican

architects Lucas Cantú (above left) and Carlos Matos, Tezontle is named after the indigenous volcanic rock used for construction since the Aztec era. The duo work at the intersection of art, design, and architecture, much like their predecessors Diego Rivera, Luis Barragán, and Mathias Goeritz.

Totem-like sculptures and furnishings showcase material experiments, while ground-up residences in Oaxaca and Quintana Roo suggest a more elemental approach to living. Endlessly inspired by their neighborhood, Centro Histórico (a bustling city center, home to many hardware stores, built atop the Aztec city Tenochtitlán), their work melds pre-Columbian aesthetics with contemporary material culture. “We see Mexico City as an archaeological site that is still being unearthed,” says Matos. instagram.com/__tezontle__

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Emma Gavaldon van Leeuwen Boomkamp After the Dutch-Mexican designer traveled to San Miguel de Allende to

TEZONTLE PORTRAIT: SOPHIA VAN DEN HOEK

collaborate with a local glass factory in 2013, she says, “I wanted to see what else I could explore in terms of craft.” An internship with textile designer Maddalena Forcella introduced her to the weaving traditions of Oaxaca, and she began working with artisans in the area to produce her own graphic wool rugs. Putting her economics degree to work, she’s also investigating sisal, a Yucatán cash crop. “What can be done with this fiber? How can it become more sustainable economically?” wonders Boomkamp, who has been weaving braided strips, traditionally used for bags, into large wall hangings. A selection of these will go on display at Garde in L.A. this October. emmaboomkamp.com

COMING OF AGE

Fifteen years after buying a 19th-century Manhattan town house, filmmaker Maggie Betts crafts a new scene TEXT BY JANE KELTNER DE VALLE PHOTOGRAPHY BY MAX BURKHALTER STYLED BY COLIN KING

MAGGIE BETTS UNWINDS WITH HER FRENCH BULLDOG, DUCHESS, IN THE LIVING ROOM OF HER MANHATTAN TOWN HOUSE, WHICH WAS RENOVATED WITH THE HELP OF HER MOTHER, LOIS BETTS; ARCHITECT JAMES G. ROGERS III; AND DESIGNER PARIS GRANT; ANTIQUE FRENCH SETTEE IN COLEFAX AND FOWLER SILK.

THE EAT-IN KITCHEN FEATURES AN ANTIQUE CHERRY DINING TABLE AND THE HOUSE’S ORIGINAL CHANDELIER; CHAIRS AND CHEST FROM CUPBOARDS & ROSES SWEDISH ANTIQUES. FOR DETAILS SEE RESOURCES.

“It was very much like a sitcom. But then the house’s problems beat me to the ground.”

RIGHT IN THE LIVING ROOM, A KATHERINE BERNHARDT PAINTING HANGS ABOVE A SOFA AND BENCH CLAD IN A PETER FASANO VELVET; 1850s CHANDELIER FROM CARLOS DE LA PUENTE ANTIQUES AND 19TH-CENTURY AUBUSSON CARPET. BELOW BETTS ADDED A GLASS-ENCLOSED EXTENSION AND BALCONY TO THE HOUSE.

ABOVE THE LIBRARY’S ANTIQUE FRENCH SEATING IS COVERED IN A STRIPED PETER FASANO FABRIC.

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complex. “He’s a real estate guy, so he’s my adviser,” she says, hen Maggie Betts bought noting she grew up in the same Upper West Side brownstone a multifamily town house in that her dad purchased as a young man in the 1970s and later Greenwich Village 15 years renovated into a single-family home. (Her parents live there to ago, she did what any recent this day.) “He was like, ‘The only way to do it is to gut it now.’ ” college grad would do: She Out went the roommates and in came architect James G. invited her friends to move in.

Rogers III of Rogers McCagg, her father’s trusted associate; Barbara Bush settled into one unit. Model Jessica Joffe, Paris Grant, the Betts family’s longtime interior designer; and, at the helm, Maggie’s mother, Lois, a decorator by passion restaurateur Kyle Hotchkiss Carone, and AD100 architect if not profession. “The idea was to restore the town house to its authentic Victorian self,” Maggie notes of the mid-19thWilliam Sofield rotated century Anglo-Italianate building, one of two twin structures through others. Maggie herself occupied the garden duplex, erected by a stonemason for his daughters. Over the years it playing landlady and hostess-in-chief. “It was very much had been subdivided, but original carved-stone mantels, like a sitcom,” she recalls. “But then the house’s problems inlaid mirrors, and paneling remained. The rest Maggie and beat me to the ground.” the team have faithfully replicated—with some liberties taken.

In 2015, the filmmaker—who was nominated for a Grand Jury Prize at Sundance and currently has projects in the works A balcony and glass-enclosed extension, for example, were added to the rear façade, while the kitchen moved into what for HBO and Amazon—returned from a business trip in L.A. was the dining room’s traditional spot on the parlor level. to discover that a pipe had burst. She fell to the floor weeping And they installed a dumbwaiter that’s so generous and sturdy, and immediately phoned her father, Roland, a developer Maggie says, “I could climb in if I wanted to.” who cofounded Chelsea Piers, the sports-and-entertainment

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BELOW THE ALPHA WORKSHOPS ENLIVENED THE MASTER BATH’S WALLS WITH VENETIAN PLASTER AND BENJAMIN MOORE’S SUMMER BLUE PAINT; CABINET, MIRROR, AND SCONCES ALL BY RH; CHAIR BY POTTERY BARN; PHOTOGRAPH BY WILLIAM KLEIN. OPPOSITE BETTS TAKES IN THE VIEW FROM THE DINING ROOM’S BALCONY.

hen it came to decorating, her mother and Grant took charge, pulling pieces from the family’s Berkshires estate. “We took stock of everything, then determined what we needed to buy,” notes Grant. “Lois loves French neoclassical, Empire, and Restoration furniture, so her style melded perfectly with Maggie’s house.”

It’s no accident that there’s an air of timeworn chic. When Maggie asked Lois about the plans for the living room, she replied: “I’m going to move my living room here and give myself a new one.” And so she did, reupholstering the furniture in custom Peter Fasano fabrics. When, at Lois’s behest, Grant found an antique Aubusson carpet with the right dimensions that also dated to the same year as the house,

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they took it as an omen. Grant worked with the team to select a ceiling medallion that mirrors the carpet’s pattern and tapped the artisans at The Alpha Workshops to finish the walls in complementary Venetian plaster. “Not only is it beautiful but you’re supporting the careers of people in need,” says Grant, who sits on the board of the nonprofit, which provides decorative-arts education to adults with disabilities.

While Maggie is the first to admit she took a hands-off approach to the project, her own point of view comes into focus through the art. “I wanted modern, edgy, somewhat confrontational stuff to balance out the formality,” she says. Provocative pieces by female artists (Marilyn Minter, Katherine Bernhardt, Mona Kuhn) take the forefront, along with a number of images by photographer and filmmaker Gordon Parks. “It takes a long time to build a collection,” notes Maggie, who, having started so young, has time on her side.

WILLIAM KLEIN

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“The idea was to restore the house to its authentic Victorian self.”

A TUFA-STONE GARDEN PATH FLANKED BY HERBACEOUS BORDERS AND PARTLY SHADED

BY A WISTERIA PERGOLA AT THE TUSCAN RETREAT OF FEDERICO FORQUET. OPPOSITE A COLLECTION OF FRAMED 19THCENTURY DRIED FERNS IN THE SUMMER ROOM OF THE GUESTHOUSE.

lush Legendary Italian couturier Federico Forquet’s greatest creation just may be his exquisite house and garden in Tuscany TEXT BY

HAMISH BOWLES

PHOTOGRAPHY BY

GUIDO TARONI

life

in

AN ALLÉE OF MALUS RED SENTINEL TREES UNDERPLANTED WITH NEPETA AND PACIFIC PANORAMA AND INTRIGUER IRISES. OPPOSITE CLIMBING ROSES COVER A PERGOLA.

the course of his long and extraordinary life, the protean Federico Forquet has enjoyed successful careers as a designer of fashion, interiors, and gardens, and enjoyed another fruitful vocation as a discriminating collector of rare and beautiful objects, furnishings, and pictures that all somehow conspire to evoke the flamboyant classicism of his native Naples, where he was born in 1931.

In 1954, the young aesthete met Cristóbal Balenciaga and so impressed the great couturier that he was invited to work alongside him in his Paris atelier for several seasons.

A few years later, with the master’s blessing, Forquet returned to Italy, where he held design positions with a couple of high-profile firms in Rome before establishing his own maison de couture in 1961. From his elegant salons, Forquet dressed the swans of Italian and international jet-set society in clothes whose consummate style, wit, and élan helped define the era of La Dolce Vita.

But a decade later, Forquet, mindful of the seismic societal changes that were imperiling his sequestered world of costly

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custom-made clothing, and disinterested in seriously pursuing branding and licensing opportunities or in developing a ready-to-wear line that would involve employing additional designers, shuttered his house while still at the top of his game. “If you create an empire,” he told the New York Times in 2014, “you become an emperor. But I prefer being a private and happy citizen of the world.”

After disbanding, he brought his taste to bear on a series of remarkable interiors for himself, and then to a pangenerational constellation of admiring friends and clients.

As a decorator, his projects have been lauded for bravura effects achieved through fine Italian craftsmanship combined with an intrinsic sense of comfort and practicality, all subtly imbued with the creator’s joie de vivre.

Forquet’s interest in garden design was nurtured in turn by his partner of 45 years, the dynamic entertainmentindustry press agent Matteo Spinola, with whom he created an Edenic retreat in the rolling Renaissance landscape of Cetona in Tuscany—a project that ultimately engendered yet another career as a landscape architect. Dubbed Valle Pinciole (meaning “medlar valley” in Tuscan dialect), the modest farmhouse and barn is set on a hillside overlooking mystic Monte Cetona, famed for the healing properties of its thermal water.

Through Marella Agnelli, a longtime client for his couture and later collaborator in interior design, Forquet met and

befriended the revered landscape architect Russell Page and commissioned him to design a scheme for the terrace of his apartment in Rome. Page became a frequent visitor to Valle Pinciole and would dispense advice as an informed friend.

Among Page’s suggestions were that beautiful and fragrant plants be grown in beds raised a foot off the ground to be closer to eye and nose level, and to build a wall between farmhouse and barn to create an enclosed courtyard where Forquet made a lemonary and installed a fountain. The plantings marry classical Tuscan landscape with the blowsy charm of the classic English gardens that Forquet and Spinola admired, including Sissinghurst, Hidcote, and those of Gertrude Jekyll, famed for her shimmering impressionistic herbaceous borders.

Spinola died in 2006, and thenceforth, as Forquet says, “Cetona became the reason for my life.”

Forquet has now bequeathed Valle Pinciole to Fondo Ambiente Italiano, the Italian national conservation trust.

Even so, the indefatigable designer continues to embellish the property, which remains a living, evolving entity as dazzling, chimerical, and entertaining as the host himself. As such it will prove his enduring legacy, a testament to the warmth of his friendships and the refinement of his taste.

— Excerpted from The World of Federico Forquet: Italian Fashion, Interiors, Gardens (Rizzoli).

ABOVE FORQUET AND MATTEO SPINOLA AT THE GARDEN GATE, C. 2005.

OFFICE HO

PALTROW, WEARING A NICOLE PUFF-SLEEVE BUTTON-DOWN WITH COLLAR AND ALEXANDRA SLIT TROUSER SKIRT, BOTH BY G. LABEL, IN HER PERSONAL OFFICE. CHAIRS BY RH. OPPOSITE HEATED OUTDOOR FURNITURE BY GALANTER & JONES ALLOWS YEAR-ROUND ENJOYMENT OF THE TERRACE. FOR DETAILS SEE RESOURCES.

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HAIR BY LORENZO MARTIN AT THE WALL GROUP; MAKE UP BY GEORGIE EISDELL AT THE WALL GROUP

URS

Working with Rapt Studio, Gwyneth Paltrow and the team at Goop dream up an unconventional L.A. corporate headquarters predicated on inclusion and empowerment TEXT BY MAYER RUS PHOTOGRAPHY BY TREVOR TONDRO STYLED BY LAWREN HOWELL

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here’s so much more to Goop than a candle that smells like a vagina. While media coverage of the online lifestyle oracle loves to focus on outré merchandise—like the aforementioned candle or its new companion, This Smells Like My Orgasm—Goop has, in the 12 years since Gwyneth Paltrow founded the company, expanded into a dizzying multiverse of products and platforms focusing on wellness, fashion, beauty, travel, food, social-justice issues, and myriad other subjects.

“We were at a natural inflection point,” Paltrow says of the impetus behind Goop’s move to a new home base in Santa Monica. “We’d outgrown our old offices [AD, June 2017], which were spread out in a bunch of rustic little barns. We needed to have more than one toilet for 80 people. It was time to grow up.”

After surveying, and rejecting, a series of offices that felt too traditionally corporate and antithetical to Goop’s determinedly inclusive culture, Paltrow settled on a nearby building that offered floor-to-ceiling windows, broad, airy spatial expanses, and outdoor terraces that catch the ocean breezes and scents wafting off the Pacific. “We still wanted to keep the California feeling and build on the energy and character of the old office,” Paltrow says.

The Goop team found a sympathetic collaborator in the multidisciplinary firm Rapt Studio. “The first thing we asked was not about square feet or the number of desks. It was about the brand,” recalls Rapt president and creative director Sam Farhang. “We talked to Gwyneth about what Oprah means to her, what yoga means to her. She thinks of Goop as her extended family, so the office had to be warm and inviting, with a vaguely residential feel,” he continues.

Rapt’s design solution was built on three pillars—connectivity, transparency, and empowerment. “We thought about the intersection and overlap of those ideas, and how to balance people’s need to gather and retreat,” Farhang explains. Those concepts take shape in the lofty reception area, where the pleasing curves that proliferate throughout the office are introduced in the form of ample rounded furnishings, notably a lithe open shelving unit that gently demarcates the boundary of the space without inhibiting sight lines or natural light.

The lofty social zone connected to the primary outdoor terrace likewise provides plenty of room to breathe. With scooped niches lined with crescent-shaped banquettes and round dining tables, the space is utilized for all-hands company meetings, dining, and individual or group brainstorming sessions. Elsewhere, the Goop ethos rings loud and true in a pair of test kitchens (one for video production and the other for messier, behind-the-scenes work); a wellness lab for research and development; a proper fashion closet; recording studios; and a mini Goop store/showroom where VIP clients get an up-close look at the brand’s latest offerings.

“My one diva-ish request was for a shower because I’m always coming to the office fresh from exercising, and I need to do a lot of hair and makeup for asset creation,” Paltrow says of the handy bath attached to her relatively modest private quarters. “Outside my office there’s a big area for the executive team to hash out ideas. It reminds me of the kitchen table we sat around when we started the company. That’s where the inspiration happens.”

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ABOVE RAPT STUDIO’S CUSTOM RECEPTION DESK ECHOES THE ROUNDED FORMS OF THE GOOP LOGO.

LEFT IN THE MEETING/ DINING AREA, ROLL & HILL PENDANTS HANG ABOVE MASSPRODUCTIONS TABLES AND RESIDENT CHAIRS. RIGHT MODUS STOOLS AND HEM CHAIRS ARE EASILY REARRANGED FOR ALL-TEAM MEETINGS.

ABOVE A SINUOUS RAPT STUDIO SHELVING SYSTEM SCREENS THE RECEPTION AREA. CARPET BY THE RUG COMPANY; SOFA BY MASSPRODUCTIONS. BELOW THE ON-AIR KITCHEN HAS KOHLER FIXTURES AND APPLIANCES BY SIGNATURE KITCHEN SUITE.

“Gwyneth thinks of Goop as her extended family, so the office had to be warm and inviting, with a vaguely residential feel,” says designer Sam Farhang.

WES GORDON AND PAUL ARNHOLD AT HOME IN MANHATTAN. OPPOSITE HEIRLOOM MEISSEN IS DISPLAYED IN THE DEN; GEORGE SPENCER DESIGNS WALLPAPER, 1950s BRAZILIAN CHAIRS. FOR DETAILS SEE RESOURCES.

FEAST FOR THE EYES

In their West Chelsea apartment, Carolina Herrera creative director Wes Gordon and glassblower Paul Arnhold fashion a colorful tableau of design treasures and family heirlooms.

TEXT BY

JANE KELTNER DE VALLE

PHOTOGRAPHY BY

STEPHEN KENT JOHNSON

STYLED BY

MIEKE TEN HAVE ARCHDIGEST. COM

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IN THE DINING AREA, A BAGUÈS CHANDELIER ONCE OWNED BY YVES SAINT LAURENT AND 1950s CHARLOTTE PERRIAND CHAIRS. LEFT CAROLINA HERRERA X CABANA PLATES JOIN PAUL ARNHOLD GLASSWARE AND CHRISTOFLE FLATWARE.

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efore I reach the door to Wes Gordon and Paul Arnhold’s West Chelsea apartment, the couple’s dog, Bird, bounds down the hall to greet me. It is just a few days since Gordon, the lauded young creative director at Carolina Herrera, presented his latest runway collection. And hours later, he and Arnhold, a real estate developer and celebrated glassblower, will zip off to Puerto Rico for a well-deserved getaway—Bird in tow. COVID-19 is still but a faint concern.

Inside their entry hall, a symphony of serene and joyous colors draws the eye in. Straight ahead, the High Line’s allée of trees reveals itself through floor-to-ceiling casement windows—a lush green canopy under which the couple sip coffee on their terrace in the mornings. An elegant blush hue coats the walls and ceiling, casting a flattering glow all around. And who could miss the vermilion-lacquered front door—the same vibrant shade that spells out the Herrera name on the labels stitched inside every garment Gordon dreams up. Upon taking the reins at the heritage brand two years ago, the fashion designer immediately replaced the house’s brown-and-cream branding

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with lipstick red and petal pink, declaring the Carolina Herrera woman bold, confident, and exuberant.

The same could be said of him and Arnhold. The aesthetically minded duo are as known for their creative prowess as for their social calendars—donning Marie Antoinette wigs with Martha Stewart at the Frick Collection one night, fêting the American Ballet Theatre on another. They are gifted entertainers as well. At their weekend home in Roxbury, Connecticut, legendary summer soirées unfold against the pastoral backdrop of horse fields and cow pastures spiked with the occasional mechanical bull. To know Gordon and Arnhold is to know that they live in a wonderfully vivid and richly layered world— warm, fun, elegant, and without pretension.

Yet until recently, their apartment didn’t quite reflect that. “We’d done it in bits and pieces,” Gordon concedes, “but never fully committed.” After four years in situ, they briefly

paint colors.” To hear the AD100 designer tell it, it was love considered moving uptown, pounding the pavement in search at first sight when the couple walked into his office eight years of a prewar gem, but ultimately they kept returning to this space. “It combines my love of older, patinaed things with Paul’s ago: “Two really handsome young men who I couldn’t resist.

They were charming beyond belief.” of the modern, spacious, and sleek,” says Gordon, highlighting the fact that, while newly constructed, the building is clad in traditional limestone, and the apartment features a classical WHEREAS THE COUPLE’S COUNTRY PLACE is a historic piece of floor plan where you walk into a foyer instead of a kitchen. Adds Americana, their city residence freed them up “to approach it Arnhold: “What makes the home so special is that it sits right with a blank slate,” Arnhold explains. The mandate was color on the High Line. We have three walls of windows that look and boldness. “Nothing greige, nothing boring,” notes Gordon. out onto greenery.” As such, “it almost feels like a house in the They set about the furnishings with an eye toward “pieces we country,” Gordon continues. would want to live with forever,” adds Arnhold. The result is a Once they committed to staying put, they called on Stephen sophisticated mix that spans eras with aplomb. “The ceilings Sills, with whom they had collaborated on their Connecticut are painted, there’s wallpaper anywhere that wallpaper can be, saltbox to great success. “I think of Stephen as more an artist clashing prints, and irreverence when it comes to periods— than a decorator,” says Arnhold. “He’ll sit in an empty room we took risks and had fun,” says Gordon. In the entryway, an and watch the light change throughout the day before choosing 18th-century robin’s-egg blue-and-gold console sits under a

WASSILY KANDINSKY © 2020 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; ALEXEJ VON JAWLENSKY © 2020 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

“It combines my love of old, patinaed things,” Gordon says, “with Paul’s of the modern, spacious, and sleek.”

THE LIVING AREA FEATURES ART BY WASSILY KANDINSKY, ALEXEJ VON JAWLENSKY, AND HENRY MOORE; FRANK GEHRY CARDBOARD CHAIR, CUSTOM-TILED FIREPLACE SURROUND, 1970s SWEDISH CARPET.

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LEFT: © 2020 BRUCE NAUMAN / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; EDDIE MARTINEZ; CARROLL DUNHAM; RIGHT: WILLI BAUMEISTER © 2020 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / VG BILD-KUNST, BONN; JUNE LEAF; WILLIAM WEGMAN

it being lived with and enjoyed “floor to ceiling, wall to wall,” a tradition he and Gordon are now carrying on. “I think the biggest sacrilege to Henry would be if these pieces ended up in his grandchildren’s apartments behind a glass vitrine,” notes Gordon. “So we put them in a room we spend a lot of time in.”

The open living, dining, and kitchen areas lend themselves well to entertaining, such as when the couple hosted a group of 25 the night before the Carolina Herrera show. A geometricTHE JEWEL BOX OF A DEN reveals a deep eggplant sofa alongpatterned Swedish rug from the ’70s lays the groundwork, side midcentury Brazilian chairs. But the pride and joy of with its soft shades of blue, green, and pink echoed throughout the room is a wall of rare early Meissen porcelain the couple the home, including a mantel exquisitely framed with handinherited from Arnhold’s late grandfather Henry, a patron of the arts. “Wes and I are lucky enough to have a small display painted Florentine tiles. Guests can take their pick of seating, from a Gustavian sofa to a Frank Gehry cardboard lounger, here at home,” he says. The pieces are rich with sentimentality: Arnhold’s great-grandparents started the collection in Dresden, or the Charlotte Perriand dining chairs that get pulled over to the living room during parties. “It’s never a seated dinner,” and his great-grandmother saved it from Nazi destruction says Gordon. The kitchen island becomes a buffet, and plates— when she escaped to America; Henry Arnhold preserved and such as the Carolina Herrera x Cabana ones he designed— expanded on it, donating the lion’s share to the Frick. Yet despite its miraculous existence, the young Arnhold remembers end up on people’s laps. “It’s a credit to Stephen that this room

contemporary Andrew Kuo painting the couple purchased at Art Basel a few years ago. It is flanked by two Renaissance works depicting hunting scenes. Opposite that, there’s a photograph from Laurie Simmons’s Love Doll series, for which Gordon traded clothing back when he had his own label.

“The best thing he ever did,” Arnhold quips.

LEFT AN ELIZABETH DOW WALLPAPER STRIPES THE KITCHEN; PAUL ARNHOLD GLASSWARE, 1950s PIERRE JEANNERET STOOLS. RIGHT BENJAMIN MOORE SHADES OF PINK AND RED WARM THE ENTRANCE HALL, WHERE A 1970s ALDO TURA TABLE CENTERS THE VESTIBULE; CLAUDE LALANNE CHAIR, ANTIQUE ITALIAN BENCH, WILLI BAUMEISTER PAINTING.

RIGHT IN THE GUEST ROOM, WILLIAM WEGMAN PHOTOGRAPHS OF THE COUPLE’S DOG, BIRD, COORDINATE WITH THE MAHARAM-FABRIC CURTAINS; MARIA PERGAY TABLE, ANTIQUE SHAWL ON BLU DOT BED.

Gordon describes the mix-master decor as “clashing prints and irreverence when it comes to periods— we took risks and had fun.”

LEFT SNAPSHOTS FROM THE COUPLE’S TRAVELS SURMOUNT THE TUB; DIRECTOIRE TABLE, CIRCA1810 RUSSIAN CHAIR. OPPOSITE IN THE MAIN BEDROOM, A MAHARAM WOOL UPHOLSTERS THE HEADBOARD; DANIEL W. FREEMAN ART, FARROW & BALL CEILING PAINT, NIGHTSTAND FROM BLACKMAN CRUZ.

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ONE VIGNETTE THAT THEY ALL CAN AGREE on is an antique side

table laden with Arnhold’s bright glassware. “It’s the prettiest part of the dining area,” says Gordon, noting the way the light shines through the transparent, elegantly crafted vessels during the day. When Arnhold brings new creations home from his studio in Red Hook, Gordon is tasked with styling them.

“It’s hard,” the fashion designer sighs, “because once I make a perfect arrangement, some of the pieces inevitably sell.”

Sills likens the wondrous mix of it all—Art Deco, Jeanneret, Lalanne, contemporary treasures—to “a new vibe. The mismatch of different things is hard to do successfully, but if you manage to,” the decorator explains, “it’s magical.” For Gordon and Arnhold, their rooms are also deeply personal. “Being in a space that brings you joy and feels like you is so important,” says Gordon. “This apartment is our oasis, our spot of tranquility in our busy New York lives. When we open the front door, we really feel like we’re home.”

DANIEL W. FREEMAN

feels just as lovely if it’s the two of us as when we’re having a big group over.”

The couple’s far-flung travels also inform the mood. In the cabana-striped kitchen, a windowsill with a view of a Romanesque Revival church is lined with pottery assembled on various sojourns: jugs from Comporta, Portugal; a vase picked up in Morocco; a Picasso pitcher. They admit that the ever-evolving nature of their collecting style keeps Sills on his toes. “We’re on a constant text thread,” says Arnhold. Adds Gordon with a laugh: “He has to try to put a leash on us.”

“What’s wonderful about the two of them,” Sills asserts, “is that they have different tastes and perspectives. Wes is romantic and loves old-school decorating while also being hip. And Paul is a modernist who appreciates contemporary glass houses and blows that beautiful modern glass. I think the combination of the two of them works very well, and I’m kind of the mediator to pull it all together.”

resources All products listed have been identified by the designer of each residence.

Contact information was up to date at time of publication.

SITTING PRETTY PAGES 54–65: Interiors by Clements Design; clementsdesign.com; and Waldo’s Design; waldosdesign.com.

PAGE 54: In the bedroom’s sitting room, custom sofa upholstered in a vintage linen from Brenda Antin Antiques; 323-934-5247. Antique silk pillows from Richard Shapiro Studiolo; studiolo.com.

PAGE 55: In the art studio, 19th-century French chaise from Lee Stanton; lee stanton.com. 1930s French woodworker’s stool from Galerie Half; galeriehalf.com.

Vintage adjustable painter’s easel and 1950s Industrial Clamp Lamp by Jean Louis Domecq for Jielde Lyon; both 1stdibs.com. Painted floor by Kaki Foley; instagram.com/kakifoley.

PAGE 56: Kitchen cabinets painted in Benjamin Moore’s Garden Cucumber; benjaminmoore.com. Sink fittings in unlacquered brass by Waterworks; waterworks.com. Copper pots from Nickey Kehoe; nickeykehoe.com. Pierre Jeanneret bleached teak stools from Galerie Half; galeriehalf.com.

PAGE 57: Custom sofas covered in Lee Jofa’s Jarah fabric in cocoa; leejofa.com.

Vintage pillows from Richard Shapiro Studiolo; studiolo.com; Pat McGann; patmcganngallery.com; and Brenda Antin Antiques; 323-934-524. Antique pine tabletop from Oz Shop; ozshop.design.

Ottoman with ebonized wooden frame and burlap upholstery, aluminum and leather chairs by Mats Theselius, and 18th-century Swedish hutch all from Galerie Half; galeriehalf.com. Antique metal wall sconce with glass shade from Rose Tarlow; rosetarlow.com. Merino wool shag rug in Ivory from Woven; woven.is.

PAGE 58: 18th-century hand-painted Italian panels from John Nelson Antiques; johnnelsonantiques.com. Custom sofa upholstered in a vintage linen from Brenda Antin Antiques; 323-934-5247.

Antique silk pillows from Richard Shapiro Studiolo; studiolo.com. Vintage French lounge chairs from Galerie Half; galeriehalf.com; covered in an alpaca boucle from Rosemary Hallgarten; rosemaryhallgarten.com. Custom curtains of Flight of Fancy in alabaster by Holly Hunt; hollyhunt.com; and Colfosco in cream by Steven Harsey; harsey.com.

PAGE 59: In dining room, a Portuguesestyle walnut and oak dining table from Lucca Antiques; luccaantiques.com.

Console table and 1930s Axel Einar Hjorth chairs from Lief; liefalmont.com.

Antique Kerman rug from Lawrence of La Brea; lawrenceoflabrea.com.

In hall, 18th-century Swedish bench from Galerie Half; galeriehalf.com.

Vintage Malayer wool rug in blue and beige from Lawrence of La Brea.

PAGE 60: In fitting room, vintage

Malayer rug from Lawrence of La Brea; lawrenceoflabrea.com.

PAGE 61: On terrace, custom teak double daybed in a Perennials fabric; perennialsfabric.com. French iron dining table with slate top from Lucca Antiques; luccaantiques.com. Late 19th-century chairs from La Maison Francaise; lmfantiques.com. In bedroom sitting area, Kender rug in ivory from Lawrence of La Brea; lawrenceoflabrea .com. In bath, mirror and fixtures by Waterworks; waterworks.com. Mosaic tiles by Badia Design; badiadesign.com.

Vintage Giuseppe Ostuni copper sconce from Galerie Half; galeriehalf.com.

PAGE 62: In bedroom, headboard upholstered in Primitive Linen in garlic by de Le Cuona; delecuona.com.

Custom bed pillow in Sandra Jordan fabric; sandrajordan.com. Cylinder Moderne Lamp with off-white Vellum Shade by Rose Tarlow; rosetarlow.com.

Swedish 18th-century bench from Galerie Half; galeriehalf.com. Sheepskin lounge chair from Lief; liefalmont.com.

Leather foot stool from Waldo’s Designs; waldosdesigns.com. Custom curtains of Flight of Fancy in alabaster by Holly Hunt; hollyhunt.com; and Colfosco in cream by Steven Harsey; harsey.com.

Antique rug from Brenda Antin Antiques; 323-934-5247.

PAGE 63: In bath, brass tub by Catchpole & Rye; catchpoleandrye.com. Wood stump chair from Waldo’s Designs; waldosdesigns.com. 19th-century Chinese bookshelf from Lief; liefalmont.com.

Antique Ghiordes rug from Woven; woven.is.

PAGE 64: In office, English mahogany wing chair covered in Spitalfields Silk by Clarke and Reilly from Blackman Cruz; blackmancruz.com. Carved marble stool from Orange Furniture; orangefurniture.com. Mashhad antique wool rug with medallion motif in beige and blue from Lawrence of La Brea; lawrenceoflabrea.com.

PAGE 65: In art studio, custom shelves designed by Clements Design; clements design.com; and Waldo’s Designs; waldosdesigns.com. Antique sycamore country house table on original double iron wheels from Obsolete; obsoleteinc .com. Ebonized library ladder from Galerie Half; galeriehalf.com. Armchair

by Axel Einar Hjorth from Lief; liefalmont.com. In outdoor sitting area, concrete garden chair and Willy Guhl Loop Chair, both from Galerie Half; galeriehalf.com. Custom fountain made of antique French stone architectural elements from Oz Shop; ozshop.design.

VOLUME 77, NO. 8. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published

monthly except for combined July/August issues by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007.

Roger Lynch, Chief Executive Officer; Pamela Drucker Mann, Global Chief Revenue Officer & President, U.S. Revenue; Mike Goss, Chief Financial Officer.

Periodicals postage paid at New York, NY, and at additional mailing offices.

Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001.

POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2) NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.

ARCHDIGE S T.COM

COMING OF AGE

PAGES 86–91: Interiors by Paris Grant;

parisgrant.com. Architecture by Rogers McCagg Architects; rm-arch.com.

PAGE 86: In living room, antique sofa upholstered in a Colefax & Fowler silk; cowtan.com.

PAGE 87: In kitchen, antique cherry dining table; susansilverantiques.com.

Chairs and chest from Cupboards & Roses Swedish Antiques; cupboards androses.com.

PAGE 88: In library, antique French seating in a striped fabric by Peter Fasano; peterfasano.com.

PAGE 89: In living room, sofa and bench in a Peter Fasano velvet; peterfasano.com.

19th-century Aubusson carpet; warp andweft.com. 1850s chandelier from Carlos de la Puente antiques; delapuente antiques.com. Ceiling painted in Ecru by Benjamin Moore; benjaminmoore.com.

Curtains in a Christopher Hyland fabric; christopherhyland.com.

PAGE 90: In bath, Venetian plasterwork walls by Alpha Workshops; alpha workshops.org; painted in Summer Blue

by Benjamin Moore; benjaminmoore.com.

Palazzo antiqued-glass mirror, Edison milk glass vanity sconces, and Annecy metal-wrapped bath cabinet all by RH; rh.com. Lucas dining chair by Pottery Barn; potterybarn.com.

OFFICE HOURS PAGES 96–99: Interior architecture and design by Rapt Studio; raptstudio.com.

PAGE 96: In Paltrow’s office, Tower Dining Table from West Elm; westelm.com. Buckle Desk Chair and Rossi Desk Chair by RH; rh.com.

PAGE 97: On terrace, heated outdoor furniture by Galanter & Jones; galanterandjones.com.

ESTATE OF GRACE PAGE 66: On boudoir walls, fabric

by Braquenié; pierrefrey.com.

PAGE 67: On table, plates by Dior Maison; dior.com; glassware by Biot; verreriebiot.com.

PAGE 68: On alcove bed and walls, fabric by Braquenié; pierrefrey.com.

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2020 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A.

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PAGE 69: On salon walls, fabric by Simrane; simrane.com.

PAGE 70: In kitchen, chairs from Asiatides; asiatides.com; fabrics by Simrane; simrane.com.

PAGE 72: In garden, deck chairs by Tectona; tectona.net. On salon walls, fabric by Simrane; simrane.com.

PAGE 73: In guestroom, fabrics by Simrane; simrane.com.

PAGE 75: Bedcover by Simrane; simrane.com.

PAGES 76–77: In sitting room, on upholstered furniture Emanual Ungaro for Etro; etro.com. Cabinet from Galerie Stéphane Olivier; stephaneoliver.fr.

PAGE 78: On daughter’s bedroom walls, fabric by Colefax and Fowler; cowtan.com. Linens and bedside lamp from Zara Home; zarahome.com.

FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE INQUIRIES: Please write to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA

50037-0641, call 800-365-8032, or email subscriptions@archdigest.com. Please give both new address and old address as printed on most recent label.

SUBSCRIBERS: If the Post Office alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. If during your subscription term or up to one year after the magazine becomes undeliverable, you are ever dissatisfied with your subscription, let us know. You will receive a full refund on all unmailed issues. First copy of new subscription will be mailed within eight weeks after receipt of order. Address all editorial, business, and production correspondence to ARCHITECTURAL DIGEST, 1 World Trade Center, New York, NY 10007.

FOR REPRINTS: Please email reprints@condenast.com or call Wright’s Media, 877-652-5295. For reuse permissions, please email contentlicensing@condenast. com or call 800-897-8666. Visit us online at archdigest.com.

PAGE 98: In meeting/dining area,

Odette tables by Massproductions; massproductions.com; Half & Half Hemisphere pendants in brushed brass from Roll & Hill; rollandhill.com.

PAGE 99: In seating area, Odette tables by Massproductions; massproductions.com; Bob stools by Modus; modusfurniture .co.uk; Hai chairs by Hem; hem.com.

In reception area, Dandy 4 Seater sofa

by Massproductions; rug by The Rug Company; therugcompany.com. In kitchen, sink fittings by Kohler; kohler.com; builtin kitchen appliances by Signature Kitchen Suite; signaturekitchensuite.com.

FEAST FOR THE EYES

PAGES 100–109: Interiors by Stephen

Sills Associates; stephensills.com.

PAGE 101: In the den, George Spencer wallpaper; georgespencer.com.

1950s Brazilian chairs. Heirloom Meissen porcelain.

PAGE 102: Carolina Herrera x Cabana plates; cabanamagazine.com. Paul Arnhold glassware; paularnholdglass .com. Christofle flatware; christofle.com.

PAGES 102–3: In dining area, Baguès chandelier and 1950s Meribel Rush chairs

by Charlotte Perriand. Custom plaster floor lamp by Stephen Sills Associates; stephensills.com. Vases by Paul Arnhold glassware; paularnholdglass.com.

PAGES 104–5: In living area, Frank Gehry cardboard chair; foga.com.

Custom slipper chairs upholstered in custom fabric by Pintura Studio; pinturastudio.com. Sofa covered in green mohair velvet by Rogers & Goffigan; rogersandgoffigan.com. Gustavian sofa by Ephraim Stahl. 1970s Swedish carpet.

PAGES 106–7: In kitchen, wallpaper

by Elizabeth Dow; elizabethdow.com.

Custom cabinets by Stephen Sills Associates; stephensills.com. 1950s Pierre Jeanneret stools from Galerie Half; galleriehalf.com. Paul Arnhold glassware; paularnholdglass.com.

PAGE 107: In entrance hall, walls painted in Amber winds and ceiling in Orchid Pink, both from Benjamin Moore; benjaminmoore.com. 19th-century Italian Baroque bench. Williamsburg chair by Claude Lalanne. 1970s Aldo Tura table.

Hand blown glass by Paul Arnhold; paularnholdglass.com.

PAGE 107: On guest room walls, vintage acanthus print wallpaper. Ceiling painted in Nutmeg by Benjamin Moore; benjaminmoore.com. Curtains of Remix

by Kvadrat; maharam.com. Bed by Blu Dot; bludot.com.

PAGE 108: In bath, Paul Arnhold glass; paularnholdglass.com. Directoire table.

Russian chair.

PAGE 109: On bedroom walls, Alpine II vinyl wallcovering in hickory by Wolf Gordon; wolfgordon.com. On ceiling, Farrow & Ball’s Smoked Trout; farrowball.com. Headboard covered in Divina wool by Kvadrat; maharam.com. Bedding from John Derian; johnderian.com.

Nightstand from Blackman Cruz; blackmancruz.com.

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last word View From Above

Perhaps no stretch of pavement feels more ideally suited for the monumental murals honoring Black Lives Matter that have appeared around the world than the corner of 125th Street and Adam Clayton Powell Jr. Boulevard, in the heart of Harlem.

There, in the shadow of the historic Hotel Theresa—once known as the Waldorf of Harlem—eight local artists came together this summer to transform the movement’s now-iconic 16 letters into a grandly meaningful artwork nearly two blocks long. The mural’s design is as precise as it is powerful.

“Each of the letters is perfectly aligned and stands exactly 21 feet tall,” explains artist and curator LeRone Wilson, who worked with Harlem Park to Park and Got to Stop on the project. “It was crucial that nothing felt uneven or out of place.” Much of that exactness is thanks to Rockwell Group, which lent its urban planning and architecture expertise to the mural’s initial, stenciled text—laid down with the help of United Scenic Artists Local USA 829 union. Once each letter’s outline and base coat was in place, the artists added their own distinctive marks to salute the struggle for racial and social justice both in Harlem and across the globe. “The mural has already become a place of healing,” said Wilson, whose L in the word Black features the names of 24 victims of police brutality.

“Amadou Diallo’s mother called me crying after seeing his. She was so happy to know that her son had not been forgotten.”

ALON SICHERMAN FOR NEW KINGSTON MEDIA

—DAVID C. KAUFMAN

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