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CONTENTS

100

KITH AND KIN

THE FAMILY STONE

How one ex-Brooklynite deepened her sense of community by moving into a 1770 house in Dutchess County, New York.

The scion of a renowned textiles empire has transformed an 18th-century French farmhouse into a warm, welcoming retreat.

BY ASAD SYRKET T HOMEOWNER ALYSE ARCHER- COITÉ

BY JAMES M C AULEY DESIGNERS PATRICK AND LORRAINE FREY

106

HIS NEXT ACT

IT’S ALL RELATIVE

SOCIAL STUDY

Apparatus’s new studio—and its CEO’s apartment—show off an audacious, theatrical vision.

In Milan, the descendants of legendary architect Piero Portaluppi live and work together in a centuries-old palazzo.

In their upper Manhattan townhouse, two writers entertain their friends and neighbors—and themselves.

BY CAMILLE OKHIO DESIGNER GABRIEL HENDIFAR

BY CHRISTOPHER GARIS ARCHITECT PIERO CASTELLINI BALDISSER A

BY K ATE BOLICK HOMEOWNERS JAMES FENTON AND DARRYL PINCKNEY

THE FAMILY ISSUE

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FR ANCESCO L AGNESE

The exterior of Alyse Archer-Coité’s Georgianstyle home, which dates to 1770, in Poughquag, New York (page 82).

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CONTENTS 34

EDITOR’S LETTER

TALENT

WHAT’S HOT

See how the Yee siblings are carrying on the design traditions of their mother

The best design discoveries. Plus: The relaunch of Fendi Casa

TRUTH IN DECORATING The principals of Me & General Design dish on the spiciest new dining chairs 44

SO COURANT Are dogs the new babies? In the design world, all signs—and snouts—point to yes 47

BUILDER The secret ingredient to living well at home? A dramatic, exceptionally equipped kitchen. BY JULIE L ASK Y

114

RESOURCES 116

MY KIND OF ROOM Why designer Christine Gachot loves an image of a children’s room by André Arbus

POINT OF VIEW This writer was raised as a hoarder. Now she ﬁnds beauty in the chaos of her home. BY SADIE STEIN

SHORTLIST Monica Khemsurov and Jill Singer of the online magazine Sight Unseen share eight things they can’t live without

SPOTLIGHT Six designers put their spin on the brand DNA of Italian furniture maker Poltrona Frau. PRESENTED BY POLTRONA FRAU

SHOWCASE A legacy of feline inspiration animates a new collection of hauts bijoux from Cartier 54

STUDIO VISIT A Hamptons house with an art-world pedigree is reborn as a gathering and exhibition space for creatives. BY JACOBA URIST

A view into a lounge in the Manhattan studio of design firm Apparatus, seen from cofounder Gabriel Hendifar’s office (page 70).

ON THE COVER The living room of Apparatus CEO and artistic director Gabriel Hendifar’s New York City apartment.

Scan the QR code below for exclusive digital tours of design-minded families at home!

PHOTOGR APH BY STEPHEN KENT JOHNSON

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MOSSI VASE $3,450. lalique.com

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EDITOR’S LET TER FROM FAR LEFT: The living room of Apparatus cofounder Gabriel Hendifar’s Manhattan apartment. ELLE DECOR

DESIGN THAT BINDS ASSEMBLING OUR FIRST-EVER FAMILY ISSUE GOT US THINKING

about what “family” means—and just what we wanted to include in these pages. Did the theme necessitate a focus on children? Would we turn the idea of what constitutes a family on its ear and highlight creative communities linked not by genetics but by a shared interest in, say, what good upholstery can do? And, as one editor implored, would we spare a thought for pets? The answer to all of those questions, it turns out, is “yes, and.” In this issue, we take a look at family in all its forms within the world of design—from siblings whose furniture line was inspired by Chinese craft traditions they learned from their mother, to a Milanese clan united by both blood and business across generations. And, of course, we have style tips for kids of all ages and for the pups in our lives. 34

ELLE DECOR

Our cover story, the New York City apartment of Gabriel Hendifar, artistic director and cofounder of the furniture and lighting supernova Apparatus, explores family through two lenses: passion and profession. After an amicable but inevitably challenging split from Jeremy Anderson, his partner in life and work, Hendifar set out to redeﬁne his living space—and the offices the close-knit Apparatus team calls home—for a new chapter. The result in both environments is a case study in restrained grandeur and a showcase for Hendifar’s stunning style, with its many familial and cultural inf luences, writes our senior design writer, Camille Okhio (page 70). The way that Hendifar’s parents, who immigrated to the United States from Iran in 1979 and built a new life in Los Angeles, impacted his sensibility and approach got me thinking about my own parents, four siblings, and the constellation of elders, aunties, and cousins who raised me—and who nurtured my love of home and of kinship. What a gift. ◾

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editor in chief Asad Syrkett with his mother, Mecca, in 1993.

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W H AT’S H OT

PLAYING FOR KEEPS These game-changing designs for family fun don’t skimp on style. BY

RIM A SUQI

HAAS CHESS SET The Haas Brothers score again, with a whimsical chess set featuring individually sculpted brass pieces on a blackand-white stone board. 19″ w. x 19″ d. x 3″ h.; $3,850. l-objet.com

ELLE DECOR

W H AT’S H OT

PING-PONG TABLE Crafted from a quartz material, this game table can also be ordered with a removable net to convert to a dining table and is available in almost 200 surface variations.

DELUXE BASKETBALL GAME

108″ w. x 60″ d. x 37″ h. (with net); price upon request. cambriausa.com

Mermelada Estudio’s haute interpretation of an arcade classic is a black-leather-clad wonder with a cast-brass backboard, hoop, and chain.

BLACK SMALL GLASS SPEAKER

30″ w. x 91″ d. x 91″ h.; $2,499. cb2.com

The aluminum-and-glass Bluetooth and cable speaker by Transparent produces serious sound from a compact, minimalist package. Compatible with Apple AirPlay, Sonos, Amazon Echo, and Google Cast. In black or white. 10.5″ w. x 3.5″ d. x 8″ h.; $550. ssense.com

Vibrant work by Miami-based artist and musician Lola Blu adorns these collectible paddles. 6″ w. x 10.5″ h.; $115. round21.com

HOOP DREAMS

90° MINUTO MATTE

In hand or on a plinth, these fun takes on the classic basketball are sure to make the design crowd go wild.

Death of St. Joseph Basketball This limited-edition ball features Kehinde Wiley’s 2017 work of the same name. 9″ dia.; $175. kehindewileyshop.com

ELLE DECOR

Barocco Print Basketball An allover botanical design displaying the house of Versace’s signature flair sets apart this standard-size ball. 9.5″ dia.; $250. versace.com

Globe Basketball A Swarovski collaboration with Market Smiley, this ball is embellished with about 15,000 colorful crystals. 9.5″ dia.; $15,000. swarovski.com

This ultramodern foosball table by Adriano Design comes in four colors, complete with a lacquered-beech frame, aluminum handles, and glass casing. 55″ w. x 46″ d. x 36″ h.; from $12,266. teckell.com

DEATH OF ST. JOSEPH: BR AD OGBONNA

OPENING MINDS PING-PONG PADDLE

W H AT’S H OT

CIAO, ROMA

FENDI IS ROMAN BY BIRTH, HAVING STARTED IN THE CITY AS A

fur and leather workshop in 1925. The striking Palazzo della Civiltà Italiana is its storied headquarters, the ﬁnancial and artistic command post of the company. It’s here that we’re introduced to the relaunched Fendi Casa, a marriage of sorts between Fendi and Design Holding, the owner of a number of legacy brands in the world of luxury furnishings and lighting. Newly joined, Fendi

Silvia Venturini Fendi, pictured at Fendi headquarters at Palazzo della Civiltà Italiana in Rome. ABOVE: A living room suite from the new Fendi Casa collection. fendi.com

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and Design Holding have birthed Fashion Furniture Design (FF Design), a venture focused on developing Fendi Casa’s business and strengthening ties between the house’s trend-driven fashion collections and its interiors arm. Silvia Venturini Fendi, the house’s artistic director of accessories and menswear, has signed on as creative director, taking over the interiors business that her mother, Anna Fendi, launched in 1987. The house codes are evident throughout the new introductions: Rugs feature the interlocking FF of the famous Baguette bag as well as the “Karligraphy” script logo, designed by the late Karl Lagerfeld; the armrests of one luxe sofa style are an outsize take on the house’s signature Pequin stripes. Collaboration is crucial at the new Fendi Casa, with contributions from Cristina Celestino, Atelier Oï, and Toan Nguyen, among others. “It’s key to engage with international talents who can add to the evolution of our aesthetics,” Venturini Fendi says. “Creativity should not be reined in.” To that end, April marked the opening of a new Fendi Casa ﬂagship in Milan, in the hopes that some of the brand’s next collaborators will be curious shoppers, eager to bring Fendi home. —Sean Santiago

TOP: ANDREA FERR ARI

Collaboration proves key for an iconic fashion family in the Eternal City.

LIGNE ROSET OUTDOOR IN-STOCK

Ottoman, Noé Duchaufour Lawrance

Shop the Outdoor Collection online or in stores

T RU T H I N D E CO R AT I N G

1 3

1. SORCEROUS BY CHRIS SCHANCK

PLEASE BE SEATED Design power couple General Judd and Cristina Casañas-Judd of Me & General Design dish on the spiciest new dining chairs. BY

RIM A SUQI

CRISTINA CASAÑASJUDD: There’s a richness, like an undiscovered treasure found on a sunken pirate ship. GENERAL JUDD: It’s the perfect combination of lavishness and deconstruction, bestowing instant swag as you swivel. 26″ w. x 21″ d. x 40″ h.; price upon request. friedmanbenda.com

2. HYDRO BY TOM DIXON GJ: This could be poolside in a lush Art Deco setting in Miami. CCJ: It’s so sexy but also practical because it’s light and stackable. 21″ w. x 24″ d. x 33″ h.; $2,021. tomdixon.net

3. DAISY DOO BY LAUREL HARRINGTON

CCJ: I like the attention to detail in the flower. GJ: These are vibrant and fun but seriously crafted. 19″ w. x 19″ d. x 38″ h.; from $6,300. honeydudley.com

4. EDITH BY MASSIMO BROGLIO GJ: It’s a classic shape that would work in most settings. CCJ: I could see a rainbow of these around a table. 18″ w. x 16″ d. x 30″ h.; $990. artemest.com

5. MADUO BY PETER MABEO CCJ: Fashion and furnishings collide. GJ: This pushes boundaries of traditional techniques to an extreme. 24″ dia. x 31″ h.; price upon request. fendi.com

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1: CL ARE GAT TO; 3: JOHN MERKL; 6: DAVID SIERR A; 9: JEAN - PIERRE VAILL ANCOURT

6. ORO BY CHRIS WOLSTON

CCJ: The craftsmanship is so intricate that this is an art installation for me. GJ: It feels like fashion. This chair is saying, “I’ve got the perfect outfit on, and I am comfortable.” 18″ w. x 17″ d. x 32″ h.; price upon request. thefutureperfect.com

7. MISS WOOD GJ: It has a lightness about it because it has no hard edges, only organic contours. For a simple chair it is quite effective. CCJ: I do love the ombré effect. There’s something pleasing about gradient color—it feels like sunrise.

20″ w. x 20″ d. x 30″ h.; $2,940, by special order. missoni.com

8. SUNNY 1 BY UCHRONIA GJ: The shape is natural and graphic. CCJ: This is striking. It has a really nice, patterned feel to it and redefines what a typical dining chair could be. 22″ w. x 24″ d. x 32″ h.; $5,880. theinvisiblecollection.com

9. HEXA BY PIERRE YOVANOVITCH CCJ: It’s a friendly piece that can fit in almost anywhere with that shape. GJ: Pierre revitalized a chair from a Swedish designer who died in 1959. It would be great at a large dining table.

20″ w. x 23″ d. x 35″ h.; price upon request. pierreyovanovitch.com

10. DULCES BY LAURA KIRAR FOR STACKABL GJ: I love the use of recyclable materials. CCJ: There’s something fun and crafty about the legs. 18″ w. x 24″ d. x 33″ h.; $9,500. maisongerard.com

ELLE DECOR

SO COURANT

The Théodore kennel by Maison Taillardat. Price upon request. emblemparis.fr

BEST IN SHOW Are dogs the new babies? In the design world, all signs—and snouts—point to a resounding yes. WRIT TEN AN D PRODUC ED BY

ELLE DECOR

SE AN SANTIAGO

PHOTOGR APHS BY

DAVID LE WIS TAYLOR

t some point over the past few months, my landlord, who lives above me, acquired a litter of puppies. I can’t quite remember when the yelps started coming in successive waves every morning, but that and approximately 1,000 scurrying footsteps are now a reliable feature of my daily routine. Being surrounded by new-dog energy feels like a sign of the times. If you didn’t have a dog pre-pandemic but could have, you probably do now. If you did have one before 2020, it has since become your de facto child. More than a cat—or, say, a goldfish—our bonds with dogs come closest to human companionship. And you don’t have to take my word for it. The designer Oliver M. Furth, who has a four-and-a-halfyear-old poodle named Murphy with his partner, admits: “We talk to him as if he’s another person in the room, which I guess makes us crazy dog people.” But is our old crazy the new normal? Designer Allison Caccoma, who got her French bulldog, Louis, during the pandemic, says, “I don’t have children, so he is truly my baby.” She describes the relationship between herself, her husband, and Louis as one of “mutual unconditional love.” Designer Sheila Bridges,

TAILS WAGGING

As family units evolve, our relationships with our dogs have to as well. who also characterizes her dog, a Mudi named Loki, as a “COVID puppy,” notes that “he’s the ﬁrst dog I’ve owned that I allow on furniture.” If indulgence is one keyword to pin on the current canine ascendancy, then mutual is surely its companion. Designer Bunny Williams’s two rescue dogs, Annabelle and Bebe, became accustomed to “chasing squirrels” in the Connecticut countryside during the pandemic. “I’m more attuned to them, but I think the bonding worked both ways,” she says. As family units morph and evolve, our relationships with our dogs have to as well. “They are the new children of our era,” says Aiden Bowman, cofounder of the lighting design studio Trueing and the proud co-parent of a pup called Enzo. “Who can afford human children anyway? They eat different food every day and go to college.” Ladies and gentlemen, I rest my case. ◾

Indulge man’s best friend (and maybe yourself) with a few of these choice accessories. BY

HELENA M ADDEN

2. MOGO BOWL AND STAND

1 2

Jay Sae Jung Oh elevates the canine culinary experience with this chic pairing from Boo Oh, her pet accessories brand. Bowl, $45; stand, $115. boo-oh.com

3. MEDOR LEASH 3

1. DOG BOWL 4

The refined pooch will appreciate the healthy dose of elegance this sleek sterling silver dish from Tiffany & Co. provides. $2,000. tiffany.com

The stud motif has appeared on Hermès belts, earrings, and now a graphic leash. It’s accented, of course, by the brand’s signature bridle leather. $770. hermes.com

4. PET COLLAR The Prada logo is unmistakable, and the pop of scarlet is eye-catching. $340. prada.com

ELLE DECOR

POINT OF VIEW

A mix of ephemera accumulated over decades by writer Sadie Stein.

BLESS THIS MESS Raised as a hoarder, one writer ﬁnds beauty—and family connection—in the knickknack chaos in her home. BY

SADIE STEIN

PHOTOGR APHS BY

ecently, a 17-year-old neighbor came by to babysit for the first time. As she was leaving, she said, shyly, “I love your decor. Can I ask where you got the old things in your apartment?” I was very ﬂattered but didn’t know how to answer: My family and stuff have a sort of complicated relationship. People have used a lot of words to describe the apartment where I’ve lived for the past 10-plus years, ﬁrst alone and now with a family: Layered. Maximalist. Quirky. Some assume—with the vintage-looking wallpaper, the gallery walls, old books, brass doorknobs stacked on the piano, and the mishmash of well-loved

DAVID LE WIS TAYLOR

furniture and china—that my family has been here for generations. In a way, they’re right. What I usually say is some variation of: “A lot of it comes from my parents.” Or, “I love ﬂea markets and prefer things with history and wear.” None of this is untrue, but the fact is, I come from a family of hoarders. I don’t use that word loosely; I’m talking about the clinical term, often accompanied by a constellation of other psychiatric abnormalities, which is the focus of deeply distressing reality programming and both a source and a symptom of great personal pain. Although many of us in subsequent generations ELLE DECOR

POINT OF VIEW

have been therapized, and often medicated, my grandfather was not. Today, it would be easy to ascribe a score of words to behaviors that seemed to a child alternately thrilling and terrifying. But his was a generation that had little money, few tools, and less inclination to treat the invisible, and he was proud of having avoided the horrors of “the bin” where each of his siblings had done stints and his mother had spent much of her life. He spoke openly and often about having married my grandmother partly so her stable genes would help counteract his own. Certainly, she did her best to counteract the accumulation of stuff, first a steady trickle, which could sort of be explained as a consequence of youthful poverty; then a f low, which people began to describe as an amusing eccentricity; and finally an undeniable proof that something was very, very wrong. By the time of my grandfather’s death, every inch of his property was a shantytown of sheds, A-frames, decrepit boats (one filled with pressure cookers), a trailer, mountains of moldering carpet, and debris. There was also a cement mixer that, when I was little, I thought looked like a huge cupcake. The genesis was not mysterious. From the time my mother and her four siblings were children, Saturdays were reserved for “the Rounds”: several hours devoted to hitting every tag sale, thrift store, and library discard container in the area. By the time I came along, it had become a daily ritual for them, and the house was filled with a mind-boggling collection of brass animals, broken bread machines, and expired food. Every summer visit started with a rummage through the sacks where my grandfather had been accumulating treasure for me: sailors’ uniforms and dolls with matted hair, crucifixes and old barrettes. T hese were some of my mot her ’s h appiest memories, and she quickly initiated my father and then me into the Rounds. Fridays we mark the paper and plot our route, and by 8 a.m. the next day we are out the door. The forays themselves are often stressful, punctuated by squabbles about money and haggling and driving; whether my father needs another typewriter

“Curation is a discipline, and not one I ﬁnd natural.” 48

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A flow blue–style cheese dome from Stein’s hoard.

and whether a McCoy vase is really worth $3. But that moment when my eye spots what might be the scalloped hem of a D. Porthault towel in a cardboard box of discarded linens or the dull, deep glint of a single Bakelite napkin ring is worth it. From where I sit I can see the beaten-copper Arts and Crafts–style bowl, the flow blue–like cheese dome, the pair of (maybe) Biedermeier chairs I carted home in triumph on our last foray. I know, intellectually, that things do not ensure security or happiness. If they’re neither needed nor used nor resellable, nothing is actually “a bargain.” And I know that the clutch of reflexive physical anxiety I feel when my husband wants to toss away something broken is not necessarily healthy. Curation is a discipline, and not one I find natural. Because one day I will need that squirrel-shaped nutcracker. And yet, I love my home. Working with the motley assortment of things I inherited, or scrounged, I long ago decided to lean into its eclecticism, creating a sort of private museum. The stories behind the things might not be what someone imagines at first glance: They are not heirlooms or pieces of commercial value. Maybe I even remember all the bad associations—the public fights, the tears. But they sit here, chosen, cared for, and loved. That is family history, too. ◾

Sadie Stein is an editor at the New York Times Book Review.

SHORTLIST Monica Khemsurov (left) and Jill Singer.

5. ORMAIE FRAGRANCES It sucks to fall for branding, but Ormaie is not just a beautiful bottle; Les Brumes is truly that good.

1. MAGNA CHAIR

ormaie.com

This is one of Charles Constantine’s original designs for our new line. It’s like a little bowl that scoops you up. bestcase.co

2. ORACLE OLIVE OIL The matte blue of this bottle is straight out of a Dutch painting. It looks very sophisticated on your counter.

3. BUTTERFLY LAMP The top of this vintage Flos lamp feels pretty and delicate, which is a neat contrast with the metal base. pamono.com

MONICA KHEMSUROV AND JILL SINGER With their ﬁrst furniture collaboration launching in May, the Sight Unseen founders share eight things that inspire them. AS TOLD TO

SE AN SANTIAGO

6. TETRA ASHTRAY This hand-sculpted glass ashtray could also work to hold your keys. It’s really a catchall. shop-tetra.com

7. CASA SHOP They always stock the perfect expression of whatever is trending, and it’s generally affordable. shopcasashop.com

4. VILLA STENERSEN House museums (this one’s in Oslo) give you ideas that you wouldn’t necessarily come across on Instagram. nasjonalmuseet.no

8. VOLUMETRIC SEGMENT DESK A work table that’s chunky or sculptural in one solid color is nice, because it can fit well into any interior. 1stdibs.com

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PORTR AIT: CHARLIE SCHUCK; 1: CHARLES CONSTANTINE; 3: PAMONO & MARCO CAPPELLO VINTAGE & DESIGN; 4: NASJONALMUSEET/ANNAR BJØRGLI; 5: L A MAISON ORMAIE

oracle-oil.com

SHOWC ASE

THE CAT’S PAJAMAS A legacy of feline inspirations animates this covetable new collection of hauts bijoux. BENOIT PAILLE Y

AMONG LOUIS CARTIER’S MANY CONTRIBUTIONS

to the legendary house founded by his grandfather was the introduction of animal motifs in jewelry, beginning with the Panthère de Cartier wristwatch, which debuted in 1914 and featured onyx and diamonds set in a pattern that mimicked a leopard’s spots. His inspiration was a panther-coat-clad Belgian ingenue named Jeanne Toussaint, who caught his eye, captured his heart, and became his muse. Louis originally hired his “Petite Panthère” (as he called her) to design handbags and accessories. In 1933 she became Cartier’s director of ﬁne jewelry, a position she would hold for almost 40 years. Louis is credited with leading the house out of its aesthetic comfort zone by incorporating bold combinations of colored stones 52

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in reds and greens—most notably coral and emeralds, accented with black and white diamonds—in designs considered quite avantgarde for their time. But it was under Toussaint’s reign that the Panthère collection expanded to include brooches, earrings, and a bangle, with the big cat front and center. The Panthère motif, as well as red and green stones in combination, both remain brand hallmarks to this day. Cartier’s Sixième Sens High Jewelry collection is a case in point. Ravishing coral is the undeniable star, but the leopard’s spots are ever present in onyx and brilliant-cut diamonds, the animal’s glistening eyes represented by cabochon-cut emeralds. It takes 227 hours to hand-craft the Panthère Spicy earrings, which feature 25 carats of coral, and 180 for the more than 75-carat drops on the Acraga earrings—powerful pieces whose real-life sightings will no doubt be as rare as the big cat that inspired them. —Rima Suqi The latest installment from Cartier’s Sixième Sens High Jewelry collection features the Panthère Spicy earrings (left) and the Acraga earrings, both in coral, onyx, diamonds, and emeralds. Prices upon request. cartier.com

ST YLED BY BERTILLE MIALLIER

PHOTOGR APH BY

STUDIO VISIT

Designer Lisa Perry (center) with a group of artists, designers, and gallery owners at Onna House in East Hampton, New York.

FRONT AND CENTER A Hamptons house with an art-world legacy is reborn as a gathering and exhibition space for creatives.

JACOBA URIST

ithout Instagram, it’s likely the Hamptons’ newest art haven, Onna House, would never have come to be—and a modernist landmark may well have vanished to the annals of time. “There is this fantastic real-estate agent I was following,” says Lisa Perry, the fashion and interiors designer and art collector. The glass structure in East Hampton, New York, that the agent posted reminded her of the midcentury house of her childhood in Riverwoods, Illinois. According to her broker, many buyers tear down vintage properties—and this one was in serious disrepair. But Perry, who has a weekend house in nearby North Haven, says she could “tell that the bones were 54

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great.” And it seemed the perfect setting for a new project: a center for woman-identifying artists and designers (on’na means “woman” in Japanese). It did not hurt that the house, designed in 1962 by the architect Paul Lester Wiener, is the stuff of art-world legend. The home was built for the taxi mogul Robert Scull and his wife, Ethel, who were major collectors of Pop and minimalist art. (Andy Warhol’s ﬁrst commissioned portrait, Ethel Scull 36 Times, was made in 1963 at Robert’s behest.) The Sculls’ Hamptons home was a nexus of the 1960s art world. “Just imagine all these people gathering there—Rauschenberg, de Kooning, Pollock,” Perry says. “I want to bring that back.”

JORDAN TIBERIO. FOR DETAILS, SEE RESOURCES

She enlisted Christine Harper, an architect with whom she had worked on several previous projects, to restore the home. The goal was to stay as faithful as possible to Wiener’s original vision, while making enhancements. For the kitchen and primary bathroom, however, Harper suggested adding new, larger windows to embrace the property’s recently landscaped garden. They also renovated the guesthouse, which Perry plans to offer to visiting artists. This spring the home will officially get its second life when Perry opens the doors of Onna House. She has been busy gathering a permanent collection of art, objects, and furniture by women. The works include Almond Zigmund’s site-specific, punchy wall decals, Linda Miller’s mini-Dubuffet sculpture, and furniture by designer Anna Karlin. On May 28, two inaugural solo exhibitions will open to the public: “Listening to the Thread,” a show of works by Mitsuko Asakura, a Japanese weaver whose practice melds traditional silk dyeing techniques and tapestry; and a look at designer and artist Ligia Dias’s jewelry, mirrors, and “Paper Dress” series, an ode to 1960s poster dresses. Between blue-chip gallery outposts and outdoor installations, the Hamptons has no shortage of art destinations. But Onna House brings something freshly

An artwork by Nina Munk hangs in a guesthouse for visiting artists. Bed, Haiku Designs; vintage Paul Secon pendant, Russ Steele.

ambitious—recognition for women, both acclaimed and emerging in their field. And it has already become a gathering space for local artists. “We all had a story about making art as a woman, and how it is different from being a man,” says Lisbeth McCoy, whose collage and wire works were acquired for the permanent collection, of one such get-together. Bastienne Schmidt was thrilled when Perry selected two of her hand-sewn multimedia works for Onna House. “It’s very inspiring and life-affirming just to be along for the ride with Lisa and with each other,” she says of the artists involved in the center. “It’s something that will grow—I’m certain of that.” ◾

The living room’s 1950s bench is by Charlotte Perriand, and the Anni Albers rug is from Christopher Farr.

TA LE N T

CARRYING ON A brother and sister take their mother’s design lessons to heart. PORTR AIT BY

Brother and sister on an original Maria Yee design, sized for them.

SE AN DAVIDSON

Antares (left) and Capella Yee with a dining set from the Sun at Six collection. BELOW: The Kiral nightstand, a new introduction, in the Sienna oiled finish. sunatsix.com

ANTARES AND CAPELLA YEE ARE SIBLINGS WHO HAPPEN TO BE NAMED AFTER

stars, which is ﬁtting when you consider that celestial bodies seem to have aligned to get them where they are today. Antares founded the furniture design studio Sun at Six in 2017, following in the footsteps of his mother, Maria Yee, who started her eponymous furniture business in China in the 1980s. Maria’s early work was traditional in style, referencing Ming dynasty designs. Her business took off when she innovated on a classical joinery technique that uses no nails or screws, allowing the pieces to withstand transport between disparate climates. It’s this carpentry technique that is the hallmark of Sun at Six today and the backbone of designs that mix Chinese intricacy with echoes of Japanese and Scandinavian minimalism. “I’m Chinese American. I grew up in California, I live in New York,” says Antares, who’s made the line available to the trade and direct-to-consumer. “I think that’s apparent in our work, that we have inﬂuences from everywhere.” 56

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In their youth, he and Capella, who joined the brand this year from Google Maps to lead development and operations, spent summers in their mother’s hometown of Guangzhou. (Maria even made scaleddown versions of her furniture speciﬁcally for the kids’ “time-outs.”) There, Maria established her factories with an eye toward sustainability—groundwork Antares can now leverage when sourcing hardwoods, employing many of the same tradespeople he remembers from his childhood. The signiﬁcance of being able to follow in their mother’s footsteps on their own terms is not lost on either sibling. “For my mom, it was a little bit more about survival than design sensibilities,” Capella says. Now, they’re able to build their business from a place of plenty, providing innovation in tandem with opportunity. —Sean Santiago

ARCHIVAL IMAGES COURTESY OF SUN AT SIX

Maria Yee in Beijing in the 1980s.

Since 1999

Upbeat design

wallpaperdirect.com Make your home your own Sanderson / Morris / Scion

J O I N U S I N L . A . F O R A M E R I C A’ S F A V O R I T E D E S I G N F E S T I VA L

CALIFORNIA HOMES

THE MAGAZINE OF ARCHITECTURE THE ARTS & DISTINCTIVE DESIGN

TRUE BLUE

Summer, Perfected Longer days, warmer nights and the ability to make memories alfresco. Find your place in the sun with the world’s best outdoor furniture. We didn’t invent summer, but we did perfect it.

Shop our new collection at frontgate.com/outdoor

BUILDER Commercial appliances contrast with majolica tiles and terrazzo in the kitchen of a villa on Capri, Italy, designed by Giuliano Andrea dell’Uva.

NATHALIE KR AG

NOW WE’RE COOKING The secret ingredient to living well at home? A dramatic, exceptionally equipped kitchen. BY

JULIE L ASK Y

ELLE DECOR

In Bronson Van Wyck’s idiosyncratic Manhattan home, a custom island clad in salvaged pine.

OUTDOOR KITCHENS 101 In a 2021 survey of kitchen trends conducted by the American Institute of Architects, outdoor kitchens topped the list of popular features. Advice for those hopping on the bandwagon:

Consider the Materials

Teak seems like a natural for cabinets, but it weathers and needs to be restained every year, designer Brittany Marom says.

Consider the Fun “I did one recently with a rosé tap,” Emma Beryl recalls.

Consider the Management

Will you be constantly schlepping supplies from inside? The outdoor kitchen that can store what you need may not have been invented yet, designer Ernest de la Torre says.

Polished stainless steel cabinetry in an apartment in Tbilisi, Georgia, designed by Eka Papamichael.

yellow. “You need contrast. If everything is light, you get no dimension.” “I th in k it’s cool to have a moody kitchen,” echoes designer Brittany Marom, who likes mixing wood accents like tambour doors and oak hoods into her kitchens. “It’s a bigger pain to constantly maintain your white cabinetry and marble.” We have been stuck on the wh ite kitchen because of a meetup of influences. There is the belief that because cuisines are so central to our lives, they should present no risk of getting on our nerves. There is the fear that a unique kitchen affects the home’s resale value. And there is the Instagram phenomenon of certain white ones taking on the totemic allure of the Parthenon. But now the needle is finally moving. After two years of confinement, people are thinking less about what the next owners might want in a kitchen and more about themselves. Or as Colding puts it: “They’re saying, ‘This kitchen is for me, and I want to enjoy it.’” This attitude yields not just greater visual daring but also less preciousness. Designer Ernest de la Torre persuaded the owners of an early-20th-century mansion in Tuxedo Park, New York, not to rip out the 1960s St. Charles k itchen but to paint the stainless steel cabinets turquoise. (The wood floor was painted, too.) “It’s their favorite room in the whole house,” he says. Emma Beryl says she sees her design

THIS PAGE, FROM TOP: FR ANCESCO DOLFO; PERNILLE LOOF. OPPOSITE PAGE, TOP: FR ANCESCO L AGNESE; LIGHTS: ALBI SERFAT Y

or more than a century, kitchens have evolved at a steady clip. Victorian models were no-nonsense workspaces buried downstairs or in the back of the house and managed by servants. During the ﬁrst half of the 20th century, they blossomed into cheerful rooms where housewives cooked three meals a day while keeping an eye on their children. After World War II, a hunger for sociability and a thirst for efficiency led to kitchens that opened to surrounding rooms, with islands holding the appliances as well as the storage space that had gone missing when walls were taken down. And that is pretty much the story of kitchens today. The question is, When is the white-kitchen trend ﬁnally going to die? “People are very attached to this light and airy thing, which is my ultimate pet peeve because not everything needs to be light and airy,” says designer Danielle Colding, who recently did one kitchen with cabinets painted in high-gloss saffron

BUILDER

clients gravitating to “living” materials like stone and wood “that will age with them.” These people have come to terms with stained and nicked marble and the idea that “your home should look more like a home.” For perfectionists seeking alternatives to natural stone, there is the evolving world of engineered quartz slabs from ﬁrms like Caesarstone and Cambria, which are highly resistant to stains and scratches and come in a variety of colors and ﬁnishes. Appliances from brands like Sub-Zero, Wolf, and LG are ever higher-tech. And for fans of color, Big Chill’s retro-style stove comes in pastel green with a brushed copper trim, and Bertazzoni’s ranges are coated in sleek automotive paint inspired by Italian racing cars. “It used to be that La Cornue was one of the only brands that did the fun, colorful ranges, and now that’s expanded tenfold,” Colding says. For all these advances, one kind of modern kitchen harks back to Victorian times. De la Torre says more of his clients are requesting discreet chefs’ kitchens for private cooks to prepare meals. Because these spaces often occupy a lower f loor, he added, “old-fashioned dumbwaiters are back.” ◾

Kitchen millwork gleams in high-gloss Red Wine by Fine Paints of Europe in a Manhattan apartment designed by Nick Olsen.

ALL THE FIXINGS

1. OG RANGE

Add a splash of something serene with a range in Pantone’s color of the year, Very Peri.

Turn up the heat in your kitchen with these colorful accoutrements. BY

HELENA M ADDEN

74″ w. x 29″ d. x 38″ h.; price upon request. officinegullo.com

2. TIGER LILY SLAB This onyx surface features a sage-green stone with orange veining for extra chromatic drama.

$126 per square foot. artistictile.com

3. VELOX FAUCET Isenberg’s stainless-steel faucet is available in a rainbow of hues. 5.5″ w. x 9″ d. x 17″ h.; $650. isenbergfaucets.com

4. TUBULAR PULLS Inspired by the clean geometries of the Bauhaus movement, this hardware adds vibrancy to your cabinets. Starting at $40. neststudiocollection.com

5. C4 AND C3 PENDANT LIGHTS Illumination from a sculptural piece with a shade made of vivid silk? Chic. 15″ dia. x 18″ h. and 16″ dia. x 13″ h.; $1,800 and $1,691. aquagallery.com

ELLE DECOR

PROMOTION

ELLE DECOR | LIFE

STYLE. DESIGN. CULTURE.

Infinity Cube Studios by Dave Cicirelli. Photographed by Jenna Bascom.

CHANTECAILLE

NYCxDESIGN’S 10TH ANNIVERSARY FESTIVAL

Chantecaille’s beach-ready Lip Tint Hydrating Balms glide sublime sheer, glossy color onto lips for optimal summertime style and ease. Infused with Rose and Cherry Fruit Extract to hydrate and nourish lips. chantecaille.com

New York City’s official celebration of design returns from May 10 to 20, 2022, for its tenth anniversary edition. Join the NYCxDESIGN Festival to celebrate creative accomplishments, share new ideas, and get inspired through hundreds of captivating design events taking place across the city’s five boroughs. festival.nycxdesign.org

SCAVOLINI Walk-in Fluida project by Scavolini, design by Vuesse: a modular furnishing system for creating the perfect wardrobe with maximum efficiency and functionality. Pictured: the corner configuration with the structure in Iron Grey finish, Pearl Grey Leather push-pull doors and transparent Smoked glass doors with Anthracite Grey finish frame and built-in handles. scavoliniusa.com

SPOTLIGHT

rs e n g i s Six de ir spin e put th brand on the f Italian o DNA re maker u furnit a Frau. n Poltro P R O D U C E D BY D O T I AG N A S Y B S E ATNO G R A P H SD M A N E O I PH P FR PHILI

TE WRIT

N AN

CESTLAVIE ACCESSORIES By GamFratesi

Inspired by traditional sewing baskets, these decorative storage solutions are handwoven using strips of Cuoio saddle leather. Supported by a lightweight aluminum structure, each piece can double as a side table, with spacious interiors and tops upholstered in Pelle Frau leather.

SET DESIGN: JOHN LINGENFELTER

All products available at poltronafrau.com.

PRESENTED BY

ELLE DECOR

ARCHIBALD ARMCHAIR By Jean-Marie Massaud

The Archibald Gran Comfort features a goose-down cushion upholstered in a removable Pelle Frau Safari leather. A beechwood seat is supported on a steel base offset by slim metal legs. 66

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REN SIDE TABLE LET IT BE SOFA By Neri&Hu

Part of a wider collection of complementary furnishings inspired by the Chinese character for “person” or “human being,” this versatile piece has a walnut-veneer base and a leather-upholstered-brass tray tabletop. A handle allows for easy rearranging.

By Ludovica and Roberto Palomba

A modular sofa system that takes its name from the Beatles song, the Let It Be is a testament to refined comfort. The die-castaluminum frame supports soft down cushions suspended on saddle leather straps—a cozy haven for the whole family.

SPOTLIGHT

ISADORA CHAIR By Roberto Lazzeroni

The solid wood structure of the Isadora chair is complemented by sumptuous Cuoio Saddle Extra leather, tailored to perfection with raw-edge seams and finished with tone-on-tone stitching. Inspired by the American dance icon Isadora Duncan, this special seat looks great in a pair—and is also available with armrests.

KYOTO TABLE

By Gianfranco Frattini Originally introduced in 1974, this understated table, a part of the permanent collection at Milan’s Triennale Design Museum, was reissued in 2020. It features a series of wood strips connected with 45-degree joints that form a square pattern and comes in multiple sizes.

PRESENTED BY

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A dining table on the terrace at the home of Lorraine and Patrick Frey in Provence. See page 100 for more.

JOANNA MACLENNAN

THE FAMILY ISSUE Five stunning and welcoming homes, from New York to Milan, that show how great design will keep us together. ELLE DECOR

HIS

The living room of the downtown New York apartment Gabriel Hendifar designed for himself in an interior created by the architect John Pawson. Sofas, ottoman, tables, pendants, and throw by Apparatus; rug by Stark; curtains in a Decortex velvet; antique Japanese embroidered artwork, Sutter Antiques. For details, see Resources.

NEXT 70

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In both his Manhattan apartment and his newly refreshed design studio, Apparatus’s Gabriel Hendifar shows the audacity and theatricality of his vision.

BY C A MILLE OKHIO PHOTOGR APHS BY STEPHEN KENT ST YLED BY MIC HAEL RE YNOLDS

JOHNSON

ACT

In the dining room, a bronze-mirrored wall reflects a panel sheathed in spicecolored velvet. Table, chairs, banquette, and pendants by Apparatus; Chinese bronze vase, Naga Antiques. 72

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igh above a cobblestone block in l owe r M a n h a t t a n l o o m s a Herzog & de Meuron residential building with a twisting castaluminum gate and a facade of mirror-polished stainless steel, glass, and pre-patinated copper in brilliant green. The grandeur (a nd sh i ne) of th is materia l palette gives the 11-story 40 Bond the feel of an urban fairy-tale palace. That would make Gabriel Hendifar, artistic director and CEO of the New York–based lighting and furniture design studio Apparatus, a rather buff, burly (and bald!) Rapunzel, peering down from a floor-to-ceiling window in his apartment. Hendifar, who has claimed an elevated perch not only in this building but also, increasingly, on the international design scene, moved into the apartment in 2019 with his former partner in life and work, Jeremy Anderson. After the couple split at the end of 2020, Anderson left both their shared home and Apparatus to focus on his burgeoning ceramics practice; since then, Hendifar has fully taken the reins at the company. He also put the finishing touches on the interiors of his apartment, turning it into both a design laboratory and a place to unwind; relaxation is as central to his creative practice as ideation. In the decade since cofounding Apparatus in 2012, Hendifar has spent quite a bit of time ideating—and building his brand. From the start, and owing largely to his creative direction, the studio was one to watch, with lighting and furniture designs that oozed sex appeal and boasted fine craftsmanship. No surface went unconsidered. No detail was overlooked. After the split with Anderson, Hendifar retreated inward. His home played a central role in this period of contemplation and experimentation. “After 10 wonderful years of living with someone, you start to understand what it means to be constantly negotiating space,” he says. “What I’ve allowed myself to do in this apartment is to let my brain go where it wants to go, to guard my time alone, and indulge in whatever feels inspiring.” Hendifar’s apartment was designed by the British minimalist architect John Pawson and has a tripartite configuration, divided by two floating panels. When you walk in, your eyes meet a wall of windows that extends the length of the space, with views into a series of New

York apartments straight out of Rear Window. Hendifar matched the floor-to-ceiling velvet curtains with the pistachio walls, drawing a line of continuity throughout the apartment. At the far right is the dining area, where a banquette in faux-bois velvet—dead stock discovered at Mood Fabrics in the city’s Garment District—is paired with a burl-and-brass oval table and olive wool sateen chairs of Hendifar’s design. There is a small kitchen, too, but Hendifar prefers takeout to cooking. (The evening I visited he served steak and artichokes ordered from Via Carota, a favorite West Village restaurant.) At the opposite end is his bedroom, a seductive den with plush bedding and a mirrored wall facing the bed. Tucked behind an almost invisible door is the bathroom, where a vintage marble bust overlooks a deep tub. These two spaces bookend the heart of the home, a living area with a curved sofa and an L-shaped tête-àtête that lends itself to conversation. Plush leopard-print carpeting reaches up and pulls you wholly into it. (Hendifar admits he spends many hours relaxing on the rug.) He is fond of creating a fully immersive sensory experience: At any given moment there are scents wafting, jazz playing, and candles casting shadows. Gabriel Hendifar, in the foyer, wears a Prada sweater and Nanushka leather pants.

Equally important are the finishing touches: a Larry Collins still life picked up in Provincetown, Massachusetts, which makes a contemplative composition of a pair of bread rolls and spilled cream; an antique incense burner used as an ashtray; an inlay-and-marble bowl inspired by a delicate khatam marquetry box inherited from his Persian grandmother. Every object, he explains, is part of the narrative he is consciously creating. “These micro moments,” as he calls them, “help tell the story.” Hendifar’s comprehensive approach to design is all-consuming. There is not a surface here he hasn’t embellished, from the hand-glazed finish he applied to Pawson’s panels in the living room to the languorous bronzed-mirror cladding on walls in the dining and sleeping areas. His eye never seems to stop, crafting spaces that are quietly cosmopolitan and filled with rich hues and opulent materials. Hendifar’s personal history is the font from which this creativity flows. His parents, who fled Iran in 1979 and settled in Los Angeles in the early 1980s, were both musical: When he was a child, he loved to watch his father perform on the Persian drums while his mother sang and played the piano. He inherited that sense of showmanship. “My currency is my ability to perform and create,” he believes. It’s fitting, then, that his first foray into design was 74

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as a teenager, when he concocted the most expensive theater set in the history of his high school in Pacific Palisades. The production he dreamed up for Guys and Dolls was so striking, it got him his first interior design client—a classmate’s mother. He was 17. Now 40, he is just as theatrical. Each Apparatus collection is treated as an all-encompassing production with titles that reference the structure of literature and drama. In 2018, for instance, the Act III collection of lighting and furniture was introduced with a short film, directed by filmmaker and photographer Matthew Placek, in which a boy perches high above a desert landscape. Hendifar’s mother sings a Persian song in the background. “There are always musical and f ilm references that provide the mood,” he says. “These are the mechanics of creating emotion.” Hendifar’s aesthetic is thoughtful and sumptuous, as influenced by the simple luxury of Pierre Cardin and Halston as it is by the modernist utilitarianism of the Wiener Werkstätte. In many ways, the design of his apartment represents a rediscovery of himself that embraces every version of who he was, who he is, and who he hopes to become. And so it is, too, with the objects he creates for others. “Through Apparatus I’m expressing a need for human connection,” Hendifar says. “The creative act is one of hope, ultimately.” ◾

A custom brass bed is topped with a bedcover and bolster in Zak+Fox fabrics. Pendant and nightstand by Apparatus; artworks by Peter Brooke-Ball (on pedestal) and Liam Pitts (over bed).

OPPOSITE: Panels carve out distinct “rooms” in the loftlike apartment. On the table, the brass candlesticks are from the 1970s; 1920s Chiavari chair (right); painting by Larry Collins.

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At their newly revamped midtown-Manhattan studio, the Apparatus team gathers in Hendifar’s velvet-swathed office. From left: Andrew Cinnamon, Robin Allstadt, Hendifar, Nick Grinder, Tara Carroll, and Tracey Walther. Desk, shelves, and pendant by Apparatus; walls in a Phillip Jeffries velvet; Edo period screen, Naga Antiques.

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SETTING THE STAGE

T TOP: A lounge in the studio is furnished with a table in hand-cast resin and a sectional in an Houlès fabric, both custom. Hand-painted canvas wall panels by Callidus Guild; carpet by Stark; curtains in a Pierre Frey moiré; artwork by Brenda Buck Riley. ABOVE: In the staff kitchen, a custom terrazzo table is surrounded by leather stools.

Pendant by Apparatus; backsplash in Cipollino Ondulato Verde marble; 1930s Indonesian bowl. OPPOSITE: In the studio’s Gallery I, the rug, a collaboration with CC-Tapis, is from the newest Apparatus collection, Act Four. Table and lighting by Apparatus; vestibule wallcovering by Élitis; 1920s Japanese screen, Naga Antiques.

he pumping heart of Apparatus lives on an unassuming block in midtown Manhattan, in a studio that had remained relatively unchanged in this location since its ﬁrst renovation in 2015. When the company opened its own factory in Red Hook, Brooklyn, last year, it provided the impetus for a reimagination. With space freed up, Hendifar set out to transform the studio into a communal spot where his tight-knit creative team could be inspired, while at the same time fashioning a dramatic space to make an outsize impression on visitors. “I wanted a feeling of arrival,” he says of the studio, which is unveiled here for the first time. A heavy patinatedmetal door leads through an arched hallway into a soaring gallery with steel-gray walls and chain-mail curtains. A series of more intimate exhibition rooms showcases new collections and past designs. There is also a mirrored dining room with a square dining table for eight where Hendifar plans to host salon-style dinners for creatives from different fields. Just beyond is a new staff kitchen, with an oversize terrazzo table. A leopardcarpeted hall leads to Hendifar’s private office. It’s like a modern-day memory-mill, with one foot in a Visconti ﬁlm and the other in Warhol’s Factory. ELLE DECOR

Hendifar’s aesthetic is thoughtful and sumptuous, as much inspired by Pierre Cardin and Halston as it is by modernist utilitarianism.

The studio dining room’s square table is set with Rosenthal china by Walter Gropius. Chairs, rug, and pendant by Apparatus; circa-1875 Japanese screen, Naga Antiques. OPPOSITE: An Apparatus Synapse pendant hangs above an antique reproduction of a painting by Claude Monet. Chair, sconce, and brass mesh wall panels by Apparatus. 80

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Through a door framed by Boston ivy, a view of design researcher Alyse Archer-Coité’s backyard in Poughquag, New York. OPPOSITE: The rear facade of the Georgianstyle residence, built in 1770 by Benjamin Noxon. For details, see Resources.

Moving full-time into an 18th-century house in Dutchess County, New York, deepened one ex-Brooklynite’s sense of community.

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Alyse Archer-Coité, in Totême, and her mother, Gloria, with ArcherCoité’s long-haired calico, Pip, in the sitting room. Antique Azande burial sculpture (left). OPPOSITE: Flowers in a vintage Venezuelan pitcher sit on a kitchen island. Plates (from left) by Gio Ponti, from Dudley Waltzer, and from Galerie Patricia Dorfmann.

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lyse Archer-Coité knows design. That much is evident in her work: as an editor at several independent print and digital art and interiors titles; as former programming director at the defunct Brooklyn architecture and urbanism incubator A/D/O; and, now, at Apple, where she leads research for the tech titan’s industrial design team. What she did not know, until recently, was just what moving herself full-time from Brooklyn to the hamlet of Poughquag, New York, two hours north of the city, would mean, beyond the evident allure of space and fresh air. “The day after I got the keys, we got a foot of snow,” says Archer-Coité, recounting her earliest days in her stately 1770 Georgian retreat, all hipped rooﬂine and elegant red brick. “When the snow stopped, I realized I didn’t have a shovel. It was a very quick initiation to life in the country,” she adds, laughing now, but with an air that indicates the story is only funny in retrospect. Before the storm, Archer-Coité had enlisted two friends—fellow “city-ots,” she jokes, using a local term of not quite endearment—to help her settle in overnight. With her car snowed into the garage and no way to dig themselves out, they decided to go on a run. Along the route, her nearest neighbors offered to plow her driveway; they struck up a conversation about the house, and an enduring friendship ensued. Easily forging genuine connections is something of a gift for Archer-Coité, a knack that seems to be inherited from her mother, Gloria, who lives an hour and a half north in Albany. It was Gloria who encouraged Archer-Coité to consider the anchoring beneﬁts of owning a country house away from the crush of the city. But leaving the wa r m em brace of fa m i l i a r connections—and, no less, for an aging house, the upkeep of which would demand a high level of time and effort—was daunting. “Buyer’s remorse set

in pretty quickly,” says Archer-Coité. “I was like, ‘Oh, my god, I’m a single person and I’m moving to a remote location. Is this the beginning of my Grey Gardens?’” A friend reminded her that she traveled to the world’s biggest cities on business and suggested that when she was home again, the house would be a place where she could spend quality time with friends over a weekend, rather than the kinds of quick drinks or meals typical in the city. That conversation got Archer-Coité questioning her ideas of family and community in new ways. And the house complicated her answers. “I found myself asking, ‘Who are your people, really? Who is your tribe, really? Who do you want to host? Who’s going to come?’ You just realize how much geography plays a part in community,” says Archer-Coité. Interactions with close friends willing to make the trip and commit to a weekend together felt “more nutritious,” she adds. “The city is a sugar high.” The house, which has the four-over-four ﬂoor plan and central staircase typical of Georgian homes of the period, was built as a tavern by the local Noxon family several years ahead of the American Revolution and later became a Noxon family homestead. Over the years, it passed ha nds a mong Noxon descenda nts a nd

Weekends with friends in the house feel “more nutritious. The city is a sugar high.” —ALYSE ARCHER-COITÉ

OPPOSITE: A vase passed down by Archer-Coité’s grandmother rests on a vintage dining table surrounded by Louie Isaaman-Jones chairs. Handwoven Indian jute rug; pendant, Ikea; wall paint, Wimborne White by Farrow & Ball.

ABOVE: The sitting room’s 1980s glass cocktail table is flanked by vintage club chairs and a Ligne Roset sofa by Pierre Paulin. Stool by Alvar Aalto; vintage wooden table lamp; Achille Castiglioni and Pio Manzu pendant, Flos; photograph by Joshua Woods.

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eventually became the fixer-upper project of a couple who took to the house’s period charms (and flaws). When the pair sought a buyer in 2020, they felt they had found the right steward for the place in Archer-Coité, who they sensed would keep the house “wei rd” as they i ntended rather tha n smoothing its rougher edges. With “nutritious” interactions as the goal, Archer-Coité’s urbane and relaxed decorating is a sort of mise en place: To play against the house’s symmetry and complement its original details, she layered furnishings and lighting in a mix of midcentury and modernist sensibilities alongside period-appropriate antiques and decorative objects. You may, for example, turn a corner and find a heavy, metal chair with a Surrealist f lair atop a section of wide-plank red-pine floor original to the house; in the second-level library a sleek Vitsœ shelving system sits feet away from a thrifted floor lamp with a rough-hewn wooden base. 88

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On a recent visit, two Shaker-style highback chairs were installed like art in the entry hall, mounted upside down on the pegs of a wooden wall rack Archer-Coité found in an upstairs closet during a cleaning spree. “It’s very clear the house is old,” she says, noting that she didn’t feel a need to underscore that in the furniture and accessories. “And if you forget, the occasional mouse will remind you.” Archer-Coité’s collection of contemporary photography—which includes works by Joshua Woods, Shaniqwa Jarvis, and Kate Friend—also helps cut through any potential preciousness. Rather than collecting with a specific aesthetic aim, she explains, she seeks out pieces that bring her joy, even if she doesn’t always know right away where they’ll end up. “I’ve moved that Shaniqwa Jarvis photo [of a swimmer] into every room in the house,” she says wryly. Now, it presides over her home off ice, where, she reports, it feels right to have work by a friend at her shoulder. ◾

ABOVE: In the library, a Vitsœ shelving system holds a selection of Archer-Coité’s books. Putnam oak stepladder; Studio Shamshiri rug, Christopher Farr; original wood beam ceiling; artwork by Matt Jones. OPPOSITE, CLOCKWISE FROM TOP: The guest beds are painted in Duck Green by Farrow & Ball and dressed in Jeanette Farrier for John Derian blankets; Moroccan rug (underneath beds), Form Atelier; Shaded White and Ash Grey wall paints by Farrow & Ball; photographs by Hiroshi Sugimoto (above bed) and Robbie Lawrence (on brickwork). ArcherCoité’s bed, a Michel de Blois design, is dressed in a Charvet Editions linen from John Derian. In the hallway, Pond Chair by Kendall LeCompte; vintage cabinet and bust; Dana Arbib vase, courtesy Tiwa Select.

IT’S The interior courtyard of Milan’s Casa degli Atellani, the Castellini family compound. The palazzo was renovated in 1919 and after World War II by architect Piero Portaluppi, and most recently by his grandson, architect Piero Castellini Baldissera, who lives in his grandfather’s former home on the property. For details, see Resources.

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In the center of Milan, the city’s quintessential design clan shares a centuries-old palazzo renovated by their forebear, the legendary architect Piero Portaluppi. ELLE DECOR

In Castellini Baldissera’s private apartment, a living room alcove is lined with mesh-fronted wooden shelves holding a rare collection of antique marble, including some pieces from ancient Rome, and the ceiling is decorated with a working sundial designed by Portaluppi.

he first time I met Piero Castellini Baldissera was at his home in Casa degli Atellani in the center of Milan. Nicolò Castellini Baldissera, his son and my partner, hadn’t provided much forewarning about his family palazzo—about its likely connection to Leonardo da Vinci while he was painting the Last Supper at Santa Maria delle Grazie church across the street, or about the attached apartment building filled with members of his extended family, or even about the museum and café run by his cousin in the middle of the compound’s courtyard. When Piero’s ancestor Ettore Conti purchased the 15th-century palace in 1919, he enlisted the help of the legendary architect Piero Portaluppi (the husband of Conti’s niece Lia Baglia, whom he later adopted) to restore it. He engaged him a second time to repair the complex following damage incurred from shelling during World War II. Portaluppi reimagined the crumbling Renaissance architecture in the neoclassical style while incorporating such 20th-century Milanese references as geometric mosaic floors and an elaborate butterfly window. The afternoon we visited, the courtyard was buzzing with activity. “Ciao, Nicolò!” called his aunt, Letizia Castellini Baldissera, who has her own apartment here and who came over to let us know about an event that evening. “Dior rented the garden for dinner; the table stretches all the way down to the vineyard. By the way, have you seen your cousin?” she asked as we started to go. “No, but I’m sure we will,” Nicolò responded. Even in Italy, where children (especially boys) sometimes choose to live at home well into their 30s, it is unusual to have such a concentration of family all living and working together. “How many are you?” I overheard someone ask at a party. “We came from many, and now we are more,” was the response. In his nearly six-decade-long career, beginning in 1911, Portaluppi helped define modern architecture in Italy. His magnum opus, Villa Necchi Campiglio, was a revolutionary work of Art Deco set in a private garden in the center of Milan. His unique style can be seen all over the city and beyond—from his civic planetarium to the Piedmont power plants he designed for Conti’s electric company. Portaluppi’s house—the section where his grandson Piero Castellini Baldissera now lives with his partner, Paola Reggiori—sits within the courtyard of Casa degli

Atellani and looks out over the garden. It is the most eccentric section of the property, with verdant frescoes in the entryway and a working sundial painted on the ceiling. While Portaluppi preferred a restrained decorative style, Piero—himself a renowned architect and interior designer—has filled the apartment with collections of coral branches, contemporary art, books, and anything that sparks his unrestrained curiosity. He has also added his own touches, such as the trompe l’oeil door he tucked under an arcade in the courtyard. Portaluppi’s influence is ever present: His former workplace, around the corner from Casa degli Atellani in his 1939 Casa Portaluppi building, is now a foundation and also holds the offices of the architectural firm Piero runs and collaborates on with Nicolò. The palazzo and nearby buildings serve as a home base to any number of businesses owned by this family that lives and breathes design. When Piero and his cousin Emanuele Castellini started their luxury fabric brand C&C Milano in 1996, they worked out the details in the palazzo’s communal dining room. Piero brought with him a history of design and style, while Emanuele had managerial experience from running the family’s former textile factory. Meanwhile, a discovery of grapevine roots in the courtyard was traced to Leonardo da Vinci’s 16thcentury vineyard here; a matching vine was found in Emilia-Romagna, replanted, and first harvested in 2018. I n a m e mor a ble op e n i n g s ce n e f rom L uc a Guadagnino’s 2009 cult film I Am Love, Piero himself toasts the fictional Recchi family, who in the movie celebrates the passing of the torch from one generation of fabric producers to the next. It was a bit part, the kind a producer might give to a friend, or an in-law, but in Milan the casting spoke volumes: a nod by the director to the world his characters inhabited and the type of family to which they belonged. Throughout the movie more clues are dropped—Tilda Swinton, in the role of the Recchi family matriarch, sports a C&C Milano bag, for instance—to show that the visual vocabulary and enterprising spirit of the film’s Recchi family owes a great deal to Milan’s Castellini clan. T he mov ie was la rgely shot at Villa Necch i Campiglio, which was restored by Piero shortly before filming began, as well as in his own apartment at Casa degli Atellani. In scene after scene, we see C&C’s stripes and chevrons, in the creamy colors and linens that are characteristic of the brand. A decade later, the company’s success has led to an expansion, with showrooms in New York, Paris, and London. Both Nicolò and his cousin, the fashion designer Gigliola Castellini Curiel, have been enlisted to help out. For the Castellinis, the design conversation continues across the generations. ◾ ELLE DECOR

In the dining room of Castellini Baldissera’s house, 17th-century Italian chairs surround an 18th-century French mahogany table. Seventeenthcentury Sicilian chandelier; palegreen boiserie walls. 94

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OPPOSITE, CLOCKWISE FROM TOP: In the entry, the garden frescoes and Venetian-style seminato mosaic floor were designed in 1930 by Portaluppi. The Louis XVI canopy bed in Castellini

Baldissera’s bedroom is dressed in a quilt from the fabric firm he co-owns, C&C Milano. A guest room features twin Louis XVI headboards, and bedcovers in a Braquenié toile de Jouy.

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The family gathers in the boiserie-paneled drawing room in a communal section of the house, the former living quarters of Count Ettore Conti. From left: Nicolò Castellini Baldissera, Letizia Castellini Baldissera, Gigliola Castellini Curiel, Piero Castellini Baldissera, and Emanuele Castellini.

In a meeting room at the Portaluppi Foundation, the floor is made of various marble tiles that the architect used as options to show clients.

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RIGHT: Castellini Baldissera’s architecture studio, also in Casa Portaluppi. On display are 17th-century models of an altar and a church.

OPPOSITE, TOP: An omnibus mapleand-briar desk with rotating drawers at the Portaluppi Foundation.

In the entrance of Casa Portaluppi, the renowned architect’s descendants (from left), Filippo Taidelli, Piero Castellini Baldissera, and Nicolò Castellini Baldissera.

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THE In France’s picturesque Luberon region, Lorraine and Patrick Frey, scion of a renowned textiles empire, have refreshed an 18th-century farmhouse and turned it into a warm and welcoming retreat.

BY JA MES M C AULE Y PHOTOGR APHS BY JOANNA

FAMILY M AC LENNAN

A view from the garden of an 18th-century farmhouse in Provence, France, which was restored by its owners, Patrick and Lorraine Frey. For details, see Resources.

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elcome to the Luberon—la France profonde, the mythic France of the imagination. This is the heart of the particular section of Provence that unfolds over rolling hills and into fields of lavender, dotted with ancient stone villages that time has forgotten. Think red poppies, olive trees, and purple skies at dusk. The Luberon is not a fancy place in the way of the Côte d’Azur to the south, but it is a luxurious one: tranquility being the most elusive luxury of all. For precisely that reason, the interior designer Patrick Frey and his wife, Lorraine, have made the Luberon their country home. Patrick runs the firm founded by his father, Pierre Frey, which designs traditional fabrics, carpets, and furniture. In a centuries-old stone house that previously belonged to Lorraine’s parents, the couple has created both a retreat and a refuge, one that celebrates the colors and textures of Provence with some signature touches of the family brand. “You have to keep in mind that this house is a maison paysanne at its core—it was a farm in the beginning,” Lorraine says. “I believe that houses should preserve their true history and should remain in their simplicity.” Patrick agrees. “We’ve done it in a style that’s somewhat minimalist, but it’s not a precious or fragile house,” he says. “It’s what I call a true house. Of course it’s contemporary and full of color, as we love color, but really it’s timeless.” The house is built of ancient stone, and you can see the weight and strength of its construction throughout. Built to withstand the so-called mistral, the frigid blast of arctic wind that comes down from the north, the

Patrick and Lorraine Frey on the terrace.

structure affords a sense of protection and warmth—or cooling, depending on the season. “The house has very strong walls; that’s really its charm,” says Lorraine. Patrick was adamant that air-conditioning be banned here, even in the languorous heat of summer. In every aspect, the couple has maintained the rustic nature of the house: They have left the rough stone walls a s t hey h ave a lways been— eit her ex p osed or whitewashed—and they’ve kept the original ﬂoor plan of small, intimate rooms. The way they enliven that style is through textiles and fabrics, Patrick’s passion. In the living and dining room, for instance, the white walls are complemented by wooden furniture and fabrics in various shades of green—sofas upholstered in mint for the living room, curtains in sage for the dining room. There is a wooden dining table in the same color, surrounded by wicker chairs. The effect is impromptu elegance. Textiles, as one might expect, bring the house to life. “I only used linen, cotton, piqué—things that are very natural,” Patrick explains. “We played very much with the color, using old hues, to preserve as much of the charm as we could. The same goes for the ceramics, which are painted and rustic. Taken together, it’s all meant to feel a little outside of time.” Upstairs, the bedrooms maintain a sense of calm: white walls again, but with beds decorated in some of Pierre Frey’s more playful designs—patterns in mustard yellow and magenta pink, and even a red toile. The furniture is meant to honor the region, to remind you of where you are. “We started a collection of Provençal fauteuils—always elegant,” Lorraine says. “If we are in Provence, we should use Provençal furniture.” Outside, the house has a stunning garden, in keeping with the landscape of the Luberon, which is insistently wild. The gardens are well groomed but not manicured, left alone in their unkempt beauty. Patrick tends to the olive trees: “We cultivate our own olive oil here—just for the family, of course. Every November, we have them all come down and get the oil we make.” One of his favorite corners of the property is an open-air room next to the pool, built in the original stone, where they installed an enormous banquette covered by a translucent canopy that cascades down from the high ceiling. “It’s a place where you can take a nap after lunch or read a book,” Patrick says. “It’s like our very own radassier.” The word is fitting—a radassier is a type of long sofa whose name comes from an old Provençal word meaning “to chat.” The point here is being together: For the Freys, conversation is part of the art of life. “We have many children and grandchildren,” Patrick says. “This is a family house, a very happy house.” ◾

A tinted concrete staircase leads from the living room to the second floor. Philippe Hurel sofa in a Pierre Frey fabric; vintage iron table and straw lamp.

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The curtains, pillows, and custom daybed in the sunroom are all in Pierre Frey fabrics. Vintage side table; photographs by Johanna de Clisson.

A sitting room features the original stone vaulted ceiling. Custom sofa in a Pierre Frey fabric; chairs by Guillaume Delvigne for Pierre Frey; console by Julie Prisca; photograph by Hans Silvester. BELOW LEFT: In a guest room, the bed cover, canopy, and pillows are all in Pierre Frey fabrics; vintage rattan trunk; rug by Pierre Frey. BELOW: A garden path leads to the swimming pool.

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SOCIAL In the Harlem townhouse they lovingly restored, an intellectual couple has created a dramatic environment for entertaining their friends and neighbors. BY K ATE BOLIC K PHOTOGR APHS BY STEPHEN KENT ST YLED BY BEBE HOWORTH

JOHNSON

The living room of James Fenton and Darryl Pinckney’s 1890s Harlem townhouse, which was designed in the NeoRenaissance style by Frank Hill Smith and renovated by the couple with architect Samuel G. White. Regency mirror by Thomas Fentham; walls in Benjamin Moore’s Sunshine. OPPOSITE: An English desk anchors a library dedicated to books on the decorative arts. Decorative wall painting by Jane Warrick; artworks by Claude Mellan (left) and Jacques Callot (right). For details, see Resources.

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A view into the living room from the second-floor landing, which features original oak trim. Nineteenth-century German armchairs; sofa, Crate & Barrel; antique piano, Steinway & Sons; rug, Peter Pap.

he musical and literary salons that the British poet James Fenton and the American writer Darryl Pinckney host in their Harlem townhouse are a delight not only for their guests, but also for passersby. Temperatures willing, they throw open the widepaned windows so that the gentle strains of a Chopin sonata can sound out from two grand Steinway pianos in their living room. When the couple first viewed the residence, in 2010, they had no way of knowing that music would be central to their lives there, as neither of them is a musician. Instead, they are both belletrists: Between them, they’ve written poetry, essays, and novels as well as reported from war zones. (They both have books forthcoming: a memoir by Pinckney and a collection of 108 E L L E D E C O R

classic essays on interior design edited by Fenton.) The house was designed by Boston architect Frank Hill Smith and built in 1890 for a founder of Arm & Hammer. Its aesthetic is a riff on the Lombardo Romanesque style, with a column of four oval rooms adjoining a f ive-story rectangle with an ornate arched NeoRenaissance-style entryway. Ten thousand square feet, 18 rooms (including two kitchens), all of it wrapped in a rosy facade of thin Roman bricks. But time had not been kind to the place. After that original owner sold the building in the 1930s, it became a medical facility, a home for the Harlem Community Art Center, a place of worship, and an indeterminate number of single-room-occupancy units, until falling vacant for nearly a decade. Those wide-paned windows were boarded up with plywood and plastic, concealing a ﬂooded interior chopped up beyond recognition.

James Fenton (left) and Darryl Pinckney in the latter’s study.

Fenton and Pinckney added modern appliances to the kitchen, but kept the patina of the room’s existing subway tile. Chairs, made from recycled Coca-Cola bottles, by Emeco; floor paint, Black Forest Green by Benjamin Moore.

With the help of architect Samuel G. White, Fenton and Pinckney restored the building’s many treasures. Beneath decades of paint and plaster they discovered vivid stained-glass windows as well as marble and onyx fireplaces. Fenton ran wild with wall coverings, choosing bold wallpapers for some rooms and painting others in rich jewel tones. His love of striking colors was encouraged by his old friend, the late British painter Howard Hodgkin, who preferred them to plain white walls as a backdrop for artworks. The decorative painter Jane Warrick emblazoned several rooms with intricate faux finishes, faux bois, and friezes. For their quieter salons, 14 or so people will gather in the kitchen around a long table— harvested from an old farmhouse in Hudson, New York—to give readings, while Fenton tends to five or more pots bubbling on the burners. “James has a magical visual sense,” says Pinckney, who happily defers to his partner in all things domestic (including cooking). “His first playground was between the flying buttresses of Lincoln Cathedral in England. He brought up this great wreck from the urban deep and saved it.” The couple finally deemed the house ready for a warming in April 2014, when 120 friends came to celebrate Fenton’s 65th birthday, the first of their musical events—Champagne at seven, concert at eight, catered supper at nine. The pianist Jeremy Denk was among the renowned musicians on the lineup. “There were people f loating around the library, up and down the stairs,” Denk recalls. “The place never seems to end.” Nor do the books, which number around 10,000, organized according to language and subject in a sprawl of many rooms. A s for t hei r beloved g uests , t he couple’s intellectual passions have attracted a loose-knit, multigenerational “family” of New York creatives including writer and critic Joan Acocella, ballet star Mikhail Baryshnikov, and Booker Prize–winning novelist Salman Rushdie, to name just a few. “Listening to live music in a smallish group of people who knew one another, I felt like one of Mozart’s friends, or his patrons’ friends,” Acocella says. “The music seemed more personal, acute, something I’d better pay attention to—almost like speech.” Now all of that is over. The pandemic put a stop to the concerts, and growing division in the country ended Fenton and Pinckney’s desire to stay here. Earlier this year, the couple put their home on the market. Once they find a buyer, they’ll pack up and look for a new house in England. “I hope the new owner will be as happy here as we’ve been,” Pinckney says. ◾ E L L E D E C O R 109

The stucco ceiling and mahogany walls in the dining room are original to the home. Chairs, Robert Kime; Turkish tablecloth; pendant, Fortuny. OPPOSITE: An oak staircase leading to the fourth floor. Lithograph by George Grosz.

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A third-floor bedroom features a Breccia marble fireplace. Bedding, Missoni; rug (at foot of bed), antique Indo-Persian carpet fragment.

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RESOURCES

Inside the dining hall at Casa degli Atellani, the Castellini family compound in Milan (page 90).

Items pictured but not listed are from private collections.

TRUTH IN DECORATING PAGES 42–43: Me and General

Design, meandgeneraldesign.com.

SHORTLIST PAGE 50: Sight Unseen,

sightunseen.com.

STUDIO VISIT Interior design: Lisa Perry, lisaperrystyle.com. Exhibition space: Onna House, onnahouse.com. PAGE 55: Bed: Haiku Designs, haikudesigns.com. Rug: Christopher Farr, christopherfarr.com.

HIS NEXT ACT Interior design: Gabriel Hendifar, apparatusstudio.com. PAGES 70–71: Sofas, ottoman, tables, pendants, and throw: Apparatus Studio, apparatusstudio .com. Rug: Stark, starkcarpet.com. Curtain fabric: Decortex, decortex .com. Artwork: Sutter Antiques, sutterantiques.com. PAGES 72–73: Table, chairs, banquette, and pendants: Apparatus Studio. Vase: Naga Antiques, nagaantiques.com. Sweater: Prada, prada.com. Pants: Nanushka, nanushka.com. PAGES 74–75: Bedding: Zak+Fox, zakandfox.com. Pendant and nightstand: Apparatus Studio. 114 E L L E D E C O R

Artwork: Peter Brooke-Ball, peterbrooke-ball.com. PAGES 76–77: Desk, shelves, and pendant: Apparatus Studio. Wallcovering: Phillip Jeffries, phillipjeffries.com. Screen: Naga Antiques. PAGES 78–79: Sectional fabric: Houlès, houles.com. Wall panels: Callidus Guild, callidusguild .com. Carpet: Stark. Curtain fabric: Pierre Frey, pierrefrey.com. Pendant: Apparatus Studio. Rug: Apparatus Studio; CC-Tapis, cc-tapis.com. Table and lighting: Apparatus Studio. Wallcovering: E’litis, elitis.fr. Screen: Naga Antiques. PAGES 80–81: China: Rosenthal, rosenthalusa-shop .com. Chairs, rug, and pendant: Apparatus Studio. Screen: Naga Antiques. Pendant, chairs, sconce, and wall panels: Apparatus Studio.

KITH AND KIN PAGES 84–85: Top and shorts set: Totême, toteme-studio .com. Plates: Dudley Waltzer, dudleywaltzer.com; Galerie Patricia Dorfmann, patriciadorfmann.com. PAGES 86–87: Pendant: Ikea, ikea .com. Wall paint: Farrow & Ball, farrow-ball.com. Sofa: Ligne Roset, ligne-roset.com. Pendant: Flos, flos .com. Photograph: Joshua Woods, joshuawoodsphotography.com. PAGES 88–89: Shelves: Vitsœ, vitsoe.com. Rug: Christopher Farr, christopherfarr.com. Artwork: Matt Jones, studiomattjones.com.

IT’S ALL RELATIVE Architecture: Piero Castellini Baldissera, pierocastellinibaldissera .com. Design: Nicolò Castellini Baldissera, nicolocastellinibaldissera .com. To tour Casa degli Atellani: casadegliatellani.it. PAGES 94–95: Quilt: C&C Milano, cec-milano.us.

THE FAMILY STONE Interior design: Patrick and Lorraine Frey, pierrefrey.com. PAGES 102–103: Sofa: Philippe

Hurel, philippe-hurel.com. Sofa fabric: Pierre Frey, pierrefrey.com. PAGES 104–105: Curtains, pillows, and daybed fabric: Pierre Frey. Sofa fabric: Pierre Frey. Chairs: Guillaume Delvigne, guillaume delvigne.com. Bed cover, canopy, pillow fabrics, and rug: Pierre Frey.

SOCIAL STUDY PAGES 106–107: Wall detailing:

Jane Warrick, janewarrickstudios .com. Wall paint: Benjamin Moore, benjaminmoore.com. PAGES 108–109: Sofa: Crate & Barrel, crateandbarrel.com. Piano: Steinway & Sons, steinway .com. Rug: Peter Pap, peterpap.com. Wall paint: Benjamin Moore. Chairs: Emeco, emeco.net. Range: Bluestar, bluestarcooking.com. Floor and wall paint: Benjamin Moore. PAGES 110–111: Chairs: Robert Kime, robertkime.com. Pendant: Fortuny, fortuny.us. PAGES 112–113: Bedding: Missoni, missoni.com.

ELLE DECOR (ISSN 1046-1957) Volume 33, Number 4, May 2022, is published monthly except for combined issues in December/January/February and June/July/August, by Hearst, 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Mark E. Aldam, Chief Operating Officer; Catherine A. Bostron, Secretary. Hearst Magazine Media, Inc.: Debi Chirichella, President & Treasurer; Kate Lewis, Chief Content Officer; Kristen M. O’Hara, Chief Business Officer. © 2022 by Hearst Magazine Media, Inc. All rights reserved. ELLE and ELLE DECOR are used under license from the trademark owner, Hachette Filipacchi Presse. Periodicals postage paid at N.Y., N.Y., and additional mailing offices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription prices: United States and possessions: $15 for one year. Canada: $41 for one year. All other countries: $60 for one year. Subscription Services: ELLE DECOR will, upon receipt of a complete subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within 4–6 weeks. For customer service, changes of address, and subscription orders, log on to elledecor.com/service or write to Customer Service Department, ELLE DECOR, P.O. Box 37870, Boone, IA 50037. From time to time, we make our subscriber list available to companies who sell goods and services by mail that we believe would interest our readers. If you would rather not receive such offers via postal mail, please send your current mailing label or exact copy to Mail Preference Service, P.O. Box 37870, Boone, IA 50037. You can also visit preferences .hearstmags.com to manage your preferences and opt out of receiving marketing offers by email. ELLE DECOR is not responsible for unsolicited manuscripts or art. None will be returned unless accompanied by a self-addressed stamped envelope. Canadian registration number 126018209RT0001. POSTMASTER: Please send address changes to ELLE DECOR, P.O. Box 37870, Boone, IA 50037. Printed in the U.S.A.

FROM LEFT: FR ANCESCO L AGNESE; SIMON UPTON

A vintage table and chairs on the back patio of Alyse Archer-Coité’s upstate New York home (page 82).

Bed paint: Farrow & Ball. Blankets: John Derian, johnderian.com. Rug: Form Atelier, form-atelier.com. Wall paints: Farrow & Ball. Photographs: Hiroshi Sugimoto, sugimotohiroshi.com; Robbie Lawrence, robbie-lawrence.com. Bed linens: John Derian. Chair: Kendall LeCompte, kendall lecompte.com. Vase: Tiwa Select, tiwa-select.com.

ELLE DECOR COLLECTION elleboutique.com/elledecor|#parisiananywhere Follow us on Instagram: @elledecor_collection

MY K I N D O F RO OM

A children’s room designed by André Arbus for the 1937 Paris exhibition “Arts et Techniques dans la Vie Moderne.”

THE KIDS ARE ALL RIGHT

“THIS CHILDREN’S ROOM BY ANDRE’ ARBUS HAS ALWAYS BEEN

inspiring to me. It has a balance of sophistication and playfulness—I like it when an elegant room doesn’t take itself too seriously. The two perfectly made twin beds are so charming, and I love how the inner edge of each bed is aligned with that narrow tall window. The primary design gesture is that tree house–like platform lined with netting for safety and accessible by rope ladder. 116 E L L E D E C O R

The whole setup encourages a sense of imagination. When I ﬁrst saw the house by Paul Rudolph where I am now living with my husband and my sons, I immediately went to this image. Rudolph liked light and air and openness. That’s how we approached Boris and Jack’s multilevel room in our home. We try to encourage our sons’ interest in the design of their rooms and to create space for exploration.” —As told to Rima Suqi

Designer Christine Gachot delights in an image of a room by André Arbus that, with its sophisticated lines and Jack-in-theBeanstalk design, is in regular rotation on her mood boards.