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C O N T E N T S SEPTEMBER 2018
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P. 136
STRICTLY TOWNHOUSE For the muchdecorated duo Baz Luhrmann and Catherine Martin, their New York manse is another notch in their expansive oeuvre.
DESIGNER CATHERINE MARTIN
ELLE DECOR
JAMES MERRELL
BY VANESSA LAWRENCE
C O N T E N T S
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P. 128
P. 144
P. 152
P. 158
P. 164
SOLID GOLDSTEIN
OASIS OF COLOR AND CALM
LOCAL COLOR
RAE OF LIGHT
SOUTHERN CHARM
Dutch fashion designer Sander Lak chats with a friend about his Chelsea loft, his passion for bold hues, and making Manhattan home.
In an airy TriBeCa duplex, jewelry designer Beth Bugdaycay and her real estate–developer husband, Murat, have built a sanctuary of creative and spiritual fulfillment.
Whether crafting her signature printed dresses or decorating her Cartagena vacation home, fashion designer Johanna Ortiz puts her own stamp on Colombian chic.
When Isaac Mizrahi visits fellow QVC fashion star Lori Goldstein’s new, Joe D’Urso–designed TriBeCa apartment, there is tea—and just a whif of jealousy.
Yves Saint Laurent’s most beloved house and garden live on in the heart of Marrakech. BY MARIAN McEVOY
BY INGRID ABRAMOVITCH DESIGNER JOE D’URSO
ELLE DECOR
DESIGNERS JACQUES GRANGE, BILL WILLIS, AND MADISON COX
BY ELIZABETH PEYTON DESIGNER SANDER LAK
BY LESLIE CAMHI DESIGNER MURAT BUGDAYCAY
BY VANESSA LAWRENCE DESIGNERS JOHANNA ORTIZ AND PATRICIA MEJÍA
TINA BARNEY
FEATURES
STAIN-RESISTANT DREAM, DESIGNED BY MARTYN THOMPSON
perennialsrugs.com
P. 34 D E PA RT M E N TS
EDITOR’S LETTER P. 36
CONTRIBUTORS P. 38
POV An Instagram-famous floral confectioner, London’s new hotels, a moment with Vincent Van Duysen, and more
C O N T E N T S
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P. 46
WHAT’S HOT Dispatches from the world of design P. 54
MAKER Mariana Pussacq of Casa Almacén creates artisanal fabrics. P. 58
TALENT Pasquale Junior Natuzzi aims to modernize his family’s furniture empire. P. 60
TALENT Matthias Vriens-McGrath turns his lens to design. P. 62
TRUTH IN DECORATING To try on new September looks, you need the perfect screen. P. 68
MOOD BOARD ED editor at large Sophie Pera’s eye is always traveling. P. 70
JEWELRY BOX A cleaned-up take on 1980s decadence P. 74 P. 62 The Paris Paname screen by Roche Bobois.
CLOSET CONFIDENTELLE A peek inside stylist Lori Goldstein’s dream closet
SHORTLIST The 10 things Marco Zanini ON THE COVER
Inside Marrakech’s Villa Oasis, the home of fashion gods Yves Saint Laurent and Pierre Bergé, the library features 19th-century French armchairs upholstered in kilim rugs, a Syrian desk, and a carved, painted cedar ceiling. PHOTOGR APH BY MIGUEL FLORES-VIANNA
can’t live without P. 82
ART SHOW The ’90s are back with a vengeance. BY DAN DURAY
ELLE DECOR
TOP: GERÓNIMO FAVALORO
P. 78
P. 90
GREAT IDEAS From the ED archives: a roundup of some of our favorite homes P. 98
the astrologically minded P. 100
ED DESIGN HOTELS The Lanserhof Tegernsee embraces a new social currency: health. P. 106
DANIEL’S KITCHENS Tartines are the greatest thing since sliced bread. BY DANIEL BOULUD
P. 110
SHOWCASE Bottega Veneta’s palace of home design BY JOAN JULIET BUCK
P. 118
EDTV Inside Andy Cohen’s new greenrooms P. 122
TALENT Alina Cho infuses her home with personal style. P. 172
RESOURCES Where to find it TOP: PHILIP FRIEDMAN/STUDIO D
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ZODIAC TABLESCAPE A lush celebration for
P. 176
NOT FOR SALE De Le Cuona and Oscar de la Renta design a cape-back strapless gown.
Enter Our Lenox Giveaway Set a beautiful tablescape with the Season’s Radiance dinnerware collection by Lenox, featuring watercolor palettes and gold accents, in your choice of season: Winter, Spring, Summer, or Fall. The winner will receive 10 place settings, including a dinner plate, an accent plate, a bowl, and a mug, as well as a matching platter, serving bowl, and pitcher—a $3,200+ value. See page 172 for sweepstakes rules, and visit lenox.elledecor.com for your chance to win. Visit service.elledecor.com to order a print subscription, pay your bill, renew your subscription, update your mailing and e-mail addresses, and more. Or write to: Customer Service Department, ELLE DECOR, P.O. Box 37870, Boone, IA 50037. One-year subscription rate $15 for U.S. and possessions, $41 for Canada, and $60 for other international. To purchase digital back issues, please go to backissues.elledecor.com. ELLE DECOR
Th e flo o r a t its f ines t. feat. T H E I D R I S C O L L E C T I O N
Rugs for the thoughtfully layered home.
EDITOR IN CHIEF
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JENNIFER DONNELLY “I love how September marks the end of summer and the beginning of fall. I’m looking forward to wearing sweaters again and taking my annual trip to visit friends in London.”
EVA FEHREN RING “Fehren’s jewelry is simple, geometric, and beautiful for everyday wear. I plan to mark a career milestone with the Wrap Claw ring.” $6,985. evafehren.com
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the eye of art photographer Tina Barney (who shot his apartment for us) and artist Elizabeth Peyton, who put down her brush and picked up her pen (page 152). Johanna Ortiz made her name designing dresses for the global jet set that are based on vintage textiles. In her native Colombia, her house is a riot of color and pattern (page 164). Back in New York, Beth and Murat Bugdaycay have created a sanctuary that is reflected in the materiality of their TriBeCa home (page 158), furnished with equal parts love and much-loved emporium BDDW. Finally, Baz Luhrmann and Catherine Martin’s Gramercy townhouse, filled with Martin’s exquisite fabrics (page 136), is a backdrop worthy of the most beautiful blockbuster. Speaking of, I’m most excited about the exquisite gown Oscar de la Renta designers Laura Kim and Fernando Garcia designed, using Bernie de Le Cuona’s teal cotton velvet upholstery fabric, on our monthly back page, Not for Sale. In other words, what unifies this issue isn’t really fashion after all, but the idea that style is style and design is design, whether it’s the hemline of a pant, the tilework on a fireplace, or shells on a glue-gunned mirror (here’s looking at you, Marian). Fashion and home: not such strange bedfellows, indeed. Thank you all for an amazing year. There’s so much more to come.
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E D I T O R ’ S
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n the world of design, there is perhaps no one more zealous about home than fashion designers. Really. Maybe it’s because like so many things in life, when it’s not your day job, you have the mental space to experiment and create free from day-to-day constraints. Or maybe the link is more fundamental than that (more on this later). After all, ELLE DECOR was born out of a fashion magazine, and we’ve been going strong for nearly 30 years. The past year in particular has been one of amazing transformation for us. We’re pushing the boundaries of design globally, through the largest and most established international design network. That’s real influence. So what better time than my one-year anniversary as editor, as we prepare for our 30th in 2019, to get a new look? (I’ve also gone through a little personal transformation myself, as some of you have noticed.) It’s been 17 years since ED’s last refresh, so we’ve trod carefully, thanks to the eminent graphics professionals Robert Priest and Grace Lee. The intention: to look as if we’ve been to the best plastic surgeon on Park Avenue (I want you to read these pages and say, “Did they have something done?”) but retain our commitment to covering the best in design, wherever and everywhere it happens. It’s no secret that ED’s fierce and fabulous ranks are filled with some of my favorite people. Like Marian McEvoy, our fearless former editor, who was the first person I called when I took the job last July. Last year, I was granted permission to enter the private Villa Oasis that Yves Saint Laurent and Pierre Bergé called home in Morocco, adjacent to their famed Majorelle Garden. While the house had been photographed years before, Bergé’s death has brought a renewed focus (and a much-heralded YSL museum, and more plans for the future). I knew it was time to revisit it, as we do on page 144. And I knew Marian, part of the Saint Laurent circle since the 1970s, had to write it. Then there’s my friend Lori Goldstein’s amazing pad at the Robert A.M. Stern–designed Four Seasons hotel tower in downtown New York (page 128) that is one part Auntie Mame, two parts Blondie. Lori is a master of reinvention, not only in her signature fashion aesthetic but also in the iconic pictures and campaigns for which she has been known for three decades, and now as a fashion mogul herself, having conquered QVC. Over the years, collaborating with the brilliant Joe D’Urso, she has amassed an encyclopedic knowledge of design. Sander Lak’s covetable, colorful clothes evoke a youthful nostalgia that attracted
MARIAN MCEVOY Writer, “Oasis of Color and Calm,” p. 144 COLLAGE CHOICES:
“Flowers, leaves, acorns— i.e., nature’s bounty.” WORD TO THE WISE:
“Hot glue hurts like hell if your aim is of. Flowing long sleeves are not recommended.”
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MIGUEL FLORESVIANNA Photographer, “Oasis of Color and Calm,” p. 144 HQ: London OUT OF OFFICE: “Greece is everything that I love in the summer: warm and sunny, delicious food, and easy living.”
TINA BARNEY Photographer, “Local Color,” p. 152 KEEP DREAMING:
Interviewer, “Solid Goldstein,” p. 128 HQ: New York City Fork in the Road: “The biggest risk I ever took was ceasing to make couture and focusing on my career in show business.” Performance: “My favorite project right now is my nightclub show. It’s simultaneously fun and terrifying—my horrible stage fright always turns into a great rush!”
ELIZABETH PEYTON Writer, “Local Color,” p. 152 HQ: New York City STUDIO NECESSITY:
“I can’t live without my stereo in the studio.” COME TO ME: “I don’t choose my subjects. They just become inevitable.”
JOE D’URSO Designer, “Solid Goldstein,” p. 128 OUT OF THE DARKNESS:
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“No satisfying space can be created without skillful manipulation of my favorite material: light.” BIG CHALLENGE:
“A 30,000-squarefoot private club in Hong Kong.”
MIZR AHI: JASON FR ANK ROTHENBERG; McEVOY AND FLORES-VIANNA: BRET T WOOD; PEY TON: INEZ AND VINOODH; D’URSO: TOM BURKE
ISAAC MIZRAHI
“I wish New York could be quieter.” SAND TRAPS: “The biggest challenge I’ve had to overcome is playing golf.”
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To inaugurate our new section POV, the visionary oristcum-baker Natasja Sadi of Cake Atelier Amsterdam designed this arrangement just for us. Continued on page 40.
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Decor Rapport Beauty and inspiration in three hits. 1. Great News This year, the Cambridge Judge Business School, whose joyously loony interiors were designed by John Outram, was among 17 U.K. postmodern buildings added to the National Heritage for England list. School is now forever in session. 2. Noticing Patterns To dress up Kartell furniture, J.J. Martin of La DoubleJ sourced the 1970s Geometrico Rosa print from the archives of Italian textile manufacturer Mantero. 3. Inventing Colors Dario Argento’s 1977 gore fest, Suspiria, is known not only for its violence and haunting soundtrack by Goblin, but also for its psychedelic colors, specifically a bright neon red. (Luca Guadagnino’s remake opens November 2.) If you’re looking to paint a trippy accent wall, we suggest a Suspiria red.
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Sadi at her Amsterdam studio.
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FLOWER ZONE
GARDEN OF E.D. In Natasja Sadi’s realm, no idea—or flower—is half-baked. The Amsterdam-based floral confectioner has built a sizable Instagram following with her dramatic bouquets, which appear to have fallen out of a Jacob Vosmaer still life. Her secret is that some are real and others are made of sugar. The creations are so uncanny that, unless you saw Sadi making them yourself, your eyes would never know the difference. @cakeatelieramsterdam
WILD TILE
One of Sadi’s sugar flowers.
The Patek Philippe Calatrava is the classic dress watch. Known for its round case shape and smooth bezel, it’s often considered to be understated. However, you can, from time to time, find examples featuring a little bit of extra oomph. Cue the Azulejos—an enameldialed wristwatch with a blue-and-white trompe l’oeil pattern inspired by the iconic Iberian tiles. It’s for the Patek Philippe collector who wants simple elegance and playfulness at the same time. Price upon Santa Marinha request; patek.com. church in Corte—Cara Barrett and gaça, Portugal, Stephen Pulvirent, by photographer hodinkee.com Markus Brunetti.
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F E LT R I C H A I R C A S S I N A X C A LV I N K L E I N
1987 20 100 The year the Feet of fabric Feltri chair, used to designed by upholster Gaetano Pesce, each chair was introduced
G I S E L A’ S L I S T
New Fire in the Old Smoke Three exciting new hotels in London to book immediately. The Academy
White City House
New Road Residence
Designer Alexandra Champalimaud just finished a stylish topto-bottom makeover of the Academy Hotel in London’s West End. Not far from the British Museum, the series of five elegant, connected 18th-century Georgian brick townhouses has 50 rooms, a library bar redolent of the neighborhood’s literary past, a garden restaurant, and just the right mix of fresh touches, like gorgeous arrangements from Bloomsbury Flowers. With jewel-toned walls, brass fixtures, and wood details, the interiors are both clubby and contemporary. From $250 per night; theacademyhotel.co.uk.
Just when I think I am over Soho House, they do it again! This time, it’s White City House, in the former BBC building in Shepherd’s Bush. The 45-room property feels intimate but is really its own universe, with multiple restaurants, a massive gym with a hammam, and a cinema. Interiors are inspired by the Graham Dawbarn– designed midcentury building itself. When the sun is shining, members and hotel guests gather on the 10th floor, an indoor/outdoor space with a rooftop pool and ’60s-style sun loungers. Price upon request; whitecityhouse.com.
If I had to stay in Whitechapel, I would book the New Road Residence from James Brown and Christie Fels, owners of the newly opened Blue Mountain School. After a dose of East London cool, New Road, with its three bedrooms, wide pine floorboards, and private garden, is the ideal place to retreat. There are no TVs, but there is Wi-Fi, a curated selection of wine, Pierre Jeanneret writing desks, and working fireplaces on every floor. And if you fancy any of the objects on display, the Blue Mountain School staff will help you find them. From $980 a night; bluemountain.school. —Gisela Williams
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Limitededition pieces created
ON THE SPOT
“I’LL TAKE A LITTLE LESS STYLING AND MORE STYLE.” Charlotte Moss tells us what interior decorating is missing, before boarding a flight to Saint-Tropez.
LA CORNUE X KONGO COOKER For the person who likes to look at a stove rather than cook on it. This one, decorated by French graiti artist Kongo, certainly makes a statement—and will likely cost more than the rest of the kitchen. Price upon request; lacornueusa.com. —Carisha Swanson
MOSS: FR ANCESCO L AGNESE
The rooftop restaurant at White City House.
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You designed a new Manhattan flagship for Molteni & C (above) and have been appointed art director of Sahco. How did you celebrate? There’s been very little time to party. I’ll book a table in a restaurant or celebrate at my place. It’s being planned—my whole team and me. What’s the first product you’re going to make for Sahco, which Kvadrat acquired recently? We’re going to launch the first selection of fabrics under my direction in January 2019 at Maison et Objet. I’m revisiting archival patterns and then creating two entirely new collections.
CRAZY RICH ASIANS Five years ago, Kevin Kwan left readers in stitches with Crazy Rich Asians, his comic novel a b out Si n g ap ore ’s upper crust. On August 15, it ’s headed for t he si lver s c re en . I n t h i s world of fabulous wealth, luxury is taken to the limits of outrageousness w it h Bentleys chopped up into pool tables and prized fish enhanced with plastic surgery. “T he movie had to have enough oomph to lo ok bel ieva ble to t he real c ra z y rich Asians,” Kwan assures me. Fans will be most curious to see Tyersall Park, the sprawling ancestral home of the Crazy Rich family matriarch, Shang Su Yi, and one of the story’s central settings. The film’s Tyersall Park was inspired by a now-demolished palace near the Singapore Botanic Gardens and created at Carcosa Seri Negara, in Kuala Lumpur, Malaysia. Until recently, the former luxury hotel was home to feral dogs and a bat colony, but the produc-
Who are four people from history you’d take out for a beer? I drink wine. I’ve never had a beer. You’re a bad Belgian! OK, wine then. [Laughs] Ooh la la! Picasso, Louise Bourgeois, Jean-Michel Frank, and Coco Chanel. What would be your icebreaker at this table? I’d show them a picture of my dog, Pablo. ELLE DECOR
An interior from the set of Crazy Rich Asians.
tion team successfully transformed it into a stately home that bears the patina of generations. For the interiors, designer Nelson Coates installed intricately patterned tile floors and hardwood antiques bedecked with mother-of-pearl. Pattern play continues with wallpapers and embroidered silks, all in a dreamy palette of greens and jewel tones. While the younger generations live in ever more contemporary settings, Tyersall Park is the linchpin, a house of life. —Emily Evans Eerdmans
J A N E ’ S TA K E
TRUE BRIT
Are you obsessed with symmetry? Judging by your work . . . It’s not pure symmetry. I’m no Palladio. It’s more about balance. Which design trends do you avoid? I will never follow trends.
A Kevin Kwan family photo.
CLOCK WISE FROM ABOVE: An X-ray of a honeysuckle plant; Jo Malone London’s Honeysuckle & Davana; a Cotswolds cottage.
Back in the 1980s and early ’90s, before the advent of Ancestry.com, my father used to make an annual excursion to England, whereupon he’d plant himself in the British Library and search for relatives living in the motherland. At one point, I joined Dad on his mission. For about a week we toured the country, knocking on the door of every Larkworthy from Coventry to the Cotswolds. So it was with melancholic delight that I found myself back in the Cotswolds for the introduction of Jo Malone London’s newest fragrance, Honeysuckle & Davana (from $68; jomalone.com). A night-blooming version of honeysuckle was used for its added sensuality, then layered with chypre, patchouli, moss, and the eponymous davana. “Davana is a very interesting note,” says Celine Roux, global head of fragrance at Jo Malone London. “It’s an herb, but it has that kind of after-dinner-digestif quality, like grappa.” —Jane Larkworthy
CR A Z Y RICH ASIANS: WARNER BROS., SANJA BUCKO; THE COTSWOLDS: AL AMY; HONEYSUCKLE: GET T Y IMAGES; VAN DUYSEN: K ASIA GATKOWSK A
VINCENT VAN DUYSEN
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H O T DI SPATCH E S FROM THE WORLD OF DESIGN
In honor of our new look, de Gournay designed this Jardin Marrakech wallpaper inspired by our September cover story. From $1,786 per panel. degournay.com
PRODUCED BY BENJAMIN REYNAERT W R I T T E N BY VA N E S S A L AW R E N C E
Atelier Oï interpreted Louis Vuitton’s signature monogram motif through the lens of origami to create these hand-stitched leather Flower Field cushions for its Les Petits Nomades collection.
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16″ sq., also available in white-and-gray and as a rectangle, prices upon request. louisvuitton.com
If Daenerys Targaryen had exquisite taste in stemware, she might drink wine from La DoubleJ’s Dragon Tipetto, an ornamental goblet artisanally crafted by Salviati and based on designs from Murano’s glass museum. 11″ h., $4,525. ladoublej.com
With its sliding trinket tray and multifunctional rail, Ligne Roset’s steel Geofrey mirror—meant to be mounted on a wall—has all the witty industriousness of the butler in The Fresh Prince of Bel-Air, for whom it was named. 58″ w. x 12″ d. x 76″ h., $1,275. ligne-roset.com
ELLE DECOR
Cappellini’s fabric-slipcovered Hard Dress Dragon chair melds Chinese-style embroidery with a zipper inspired by Schott’s 1980s Perfecto jacket. 22″ w. x 20″ d. x 31″ h., also available in red and leather, $3,165. cappellini.it
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Bitossi enlisted Memphis Group cofounder and artist Nathalie du Pasquier to dream up seven abstract ceramic sculptures for its Grandi Ceramiche collection. From left: F.2, 27″ h. x 8″ w.; F.1, 33″ h. x 11″ w.; F.5, 28″ h. x 9.5″ w., $1,300 each. bitossiceramiche.it
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It takes 19 Hircus kid goats to produce enough fibers for one sweater, so Loro Piana’s ultrasoft Baby Cashmere blanket in Zen— woven from the rare material and trimmed in suede— is about as luxurious as it gets. 90″ x 102″, also
Etro Home Interiors’ wood-and–polished brass Woodstock sofa in Carnival combines a lively printed-velvet upholstery with the deep comfort of a mattress-style seat. 114″ w. x 44″ d. x 27.5″ h., available in other colors and as two- or three-seaters, $27,800. etrohomeinteriors.jumbogroup.it
ELLE DECOR
BL ANKET: STUART T YSON/STUDIO D
available in Dark Zen and Biancore, and twin and king sizes, available to the trade. loropiana.com
Theodore Alexander / Selby Chair
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CC-Tapis collaborated with designer Bethan Laura Wood on this Super Round rug, a stylized take on the rock form. It is hand-knotted in Nepal, employing a variety of Tibetan weaving techniques, and combines cotton, Himalayan wool, silk, and linen. 8′ dia., size is customizable, $9,817. cc-tapis.com
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Heritage and whimsy meet in this Wagasa pendant by Servomuto from Wiener GTV Design: The woven-cane trim nods to the Austrian brand’s early furniture designs, while the colorful patterned fabric exudes playfulness. 20″ h. x 25.5″ dia., available in other colors, $2,645. gebruederthonetvienna.com
Richard Ginori’s porcelain Iris vase celebrates Florence’s symbolic bloom with hand-painted decoration that takes its cue from the naturalist painter Maria Sibylla Merian.
Inspired by the American Tramp Art movement of the late 19th and early 20th centuries, which used discarded wood and other materials to create objets, Marian McEvoy—our illustrious former editor—crafted the frame of this Corkillage mirror from wine corks and acorns. 16.5″ sq., $1,800. krbnyc.com
ELLE DECOR
FR AME, VASE: STUDIO D
16.5″ h., $5,055. richard ginori1735.com
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GROUNDPIECE SECTIONAL SOFA
Mariana Pussacq in her own designs for Casa Almacén.
Argentine Rose With her textile company Casa Almacén, Mariana Pussacq is creating artisanal fabrics with a soul of their own. BY VA N E S S A L AW R E N C E P R O D U C E D BY S A B I N E R O T H M A N AND BENJAMIN REYNAERT
GERÓNIMO FAVALORO
M A K E R
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1. A fabric with a hand-painted
emblem of the province of Misiones, in northeastern Argentina. 2. Dyed textiles hanging in an original window of the factory in Jáuregui. 3. A stack of Casa Almacén sample books. 4. Archive books of textiles. 5. Pink velvet and yellow-striped cushions. 6. Designing a new project by hand. 7. Color development. 8. The Little Prince coat in velvet number 126. 4 5
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ELLE DECOR
OR MARIANA PUSSACQ,
the founder of the Argentine textile company Casa Almacén, colors aren’t merely a decorative tool: They’re the heart of a space. “Each color has its own vibration and makes you feel one way or another,” explains Pussacq, an architect and artist who started her line of artisanal creations in 2011, after developing her own fabrics and hues for interiors projects. “I use color to heal people and environments.” Based in Jáuregui, in the Luján partido of Buenos Aires
Province—known for its textiles since a Belgian immigrant built a factory there in 1928—Casa Almacén offers 1,500 varieties (and more than 1,300 hand-painted ones) in 141 hand-dyed colors dreamed up by Pussacq. The resulting linens, velvets, and cottons, all historically Argentine, bear the depth of texture and tone that comes from being steeped in the history of local craft. “Most of what we do is finding a bond between the old and the new, the ancient and the modern,” says Pussacq, who also designs clothing using her materials. “[This represents] what I call the DNA of a whole society.” ◾
1, 2, 3, 5, 6, 7, 8: GERÓNIMO FAVALORO; 4: AMY VICTORIA DACHS. FOR DETAILS, SEE RESOURCES
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BY E M M A B A Z I L I A N P R O D U C E D BY C H A R L E S C U R K I N
Pasquale Junior Natuzzi with the Torsion table, supported by an olive-wood base.
The quilted design on Natuzzi’s Crate sideboard echoes olive leaves, a symbol of Puglia.
The Icon sofa reinterprets a 1980s classic.
ELLE DECOR
W
bespoke suits, slickedback hair, and peripatetic lifestyle, Pasquale Junior Natuzzi seems tailor-made for a life of Instagram fame. In fact, cultivating a social-media presence is the 27-year-old’s job—or at least part of it. As chief creative officer and chief marketing officer of Natuzzi, his family’s furniture company, Pasquale Junior has been tasked with revitalizing the 60-year-old Italian firm’s image to attract a new generation of consumers for whom experiences outweigh product. “The relevant brands are the ones that create a community that people can feel they’re part of,” Natuzzi says. “When you go to the Gucci store in SoHo, it’s not just about buying clothes, it’s about the music and the Champagne.” Translating Natuzzi into that same sort of instantly recognizable lifestyle brand is top of mind for Pasquale Junior, who has doubled down on using buzzy, shareworthy events to drum up excitement around new debuts— from a line of furniture designed by Marcel Wanders to a “smart” sofa created in collaboration with LG—as well as employing unexpected mediums, like animation, to tell the story of the company’s history and Puglian roots. And at the center of it all, of course, is Pasquale Junior himself, appearing at events and in videos. It’s a role he’s happy to embrace: “It’s something I’ve been preparing for since I was just a kid.” ◾ I T H H I S S I G N AT U R E
PORTR AIT BY
Matteo Carassale
FOR DETAILS, SEE RESOURCES
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Heir and a Chair Pasquale Junior Natuzzi aims to bring his family’s furniture empire into the 21st century.
Zimmer + Rohde Showroom (New York) | D&D Building | 979 Third Avenue | Suite 932 | (212) 758 - 7925 | info.us@zimmer-rohde.com Ainsworth-Noah (Atlanta) | Webster & Company (Boston) | John Rosselli & Associates (Chicago) | George Cameron Nash (Dallas, Houston) | Shanahan Collection (Denver) | Hines & Company (District of Columbia) | KDR Designer Showrooms (Kansas City, Minneapolis, St. Louis) | Thomas Lavin (Laguna Niguel, Los Angeles/Las Vegas) | KDM Atelier (Philadelphia) | De Sousa Hughes (San Francisco/Hawaii) | Palavela Home (Scottsdale) | Jennifer West (Seattle) | Jeffrey Michaels (Florida)
T A L E N T
Best in Shop Fashion polymath Matthias Vriens-McGrath turns his lens to design. BY S A M A N T H A S W E N S O N
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UTC H DE SIGNE R
Matthias VriensMcGrath is adding “shop owner” to his long CV with the opening of Atelier MVM in Los Angeles. After cutting his teeth as a fashion photographer, the creative director for Giorgio Armani, and a senior art director for Gucci Group, Vriens-McGrath surely has
a keen eye for design—and a knack for using found objects. From shell-encrusted antique mirrors and platinum-glazed head vases to an African-mask sconce, the little shop of curiosities is equal parts antique and original. Atelier MVM is the retail equivalent of a greatest-hits album, filled with the collections and creations that Vriens-McGrath describes as the best of himself. ◾
P R O D U C E D BY S A B I N E R O T H M A N A N D B E N J A M I N R E Y N A E R T
Antiques and VriensMcGrath’s own original pieces infuse the store with a curious blend of old and new.
MAT THIAS VRIENS-McGR ATH. FOR MORE DETAILS, SEE RESOURCES
The stairs at Matthias Vriens-McGrath’s Atelier MVM are lined with hand-painted white and platinumglazed Mientje head vases. Vriens-McGrath also designs custom lampshades with antique textiles.
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P OR T M A N BY DE G OU R NAY 78″ w. x 84″ h., $9,295. degournay.com
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High Division To try on new September looks, you need the perfect screen. better left unseen. Enter the folding screen—since the fourth century b.c., it has provided both privacy on demand and a clever way to cover up interior design mishaps. Fashion power couple Kristopher Brock and Laura Vassar Brock, cofounders of the CFDA award–winning Brock Collection, came in to take stock of the year’s most exciting examples. “I like the idea of a screen in the bedroom to maintain an open environment, but to also have some privacy,” Kris says. “There’s something so romantic about it.” Who said secrets can’t be healthy for a relationship? SOME THINGS ARE
BY C H A R L E S C U R K I N P R O D U C E D BY L U C Y B A M M A N
KB: The craftsmanship behind this—all hand-painted on silk taffeta—makes it really special.
LVB: I love de Gournay. This has a feeling of nostalgia and romance. I would love to see it mounted onto a wall. PHOTOGRAPH BY
Philip Friedman
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red mahogany c 9
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LVB: I can picture an antique travel case sitting next to it. Maybe in a retail setting, or in a beachside hotel lobby.
98″ w. x 75″ h., price upon request. nilufar.com
1 G L AC I E R BY S T U DIO G R E Y TA K 56″ w. x 72″ h., $76,500. studio greytak.com
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M E T IC U L OU S BY M A R S IC A F O S SAT I F OR N I LU FA R
KB: This would stand out in a living room with a more minimalist aesthetic. It’s a centerpiece to live around. Special, but not overwhelming.
LVB: It would be very cool in a pink room. It’s an element of fun to be mixed in with French antiques.
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KB: It could work in so many different settings. This could be the one dark piece in a room with a light palette.
R AY U R E S BY RONA N & E RWA N B OU ROU L L E C F OR G L A S I TA L I A 109″ w. x 79″ h., $8,388. ddcnyc.com
LVB: This makes a big impact. It’s hard to nail simplicity. I can imagine it in a naturally lit bathroom with a big porcelain tub.
4 PA L A DI N BY L I A IG R E 47″ w. x 49″ h., $11,700. liaigre.com
4: PHILIP FRIEDMAN/STUDIO D
KB: Love the color palette—and the idea of red heels alongside it.
LVB: You almost want to wear it because it looks like a piece of jewelry. The colors complement one another so well.
The opinions featured are those of ELLE DECOR ’s guest experts and do not necessarily represent those of the editors. All measurements and prices are approximate.
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KB: It reads masculine and reminds me of old Hollywood romance. Very Rear Window, but in a modern way.
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F OL DI NG S C R E E N BY J E A N - M IC H E L F R A N K F OR H E R M È S 79″ w. x 59″ h., $43,900. hermes.com
6 R A DI A N T BY T HOM A S PH E A SA N T F OR BA K E R 60.5″ w. x 96″ h., $14,700. baker furniture.com
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LVB: Gorgeous. This is my favorite. So intricately done. Perfect for a men’s dressing room.
LVB: I! Love! This! Screen! Very sleek and sexy. I see it in a room full of dark wood, under an antler chandelier.
KB: Such a bold piece. The way the light hits the velvet creates so much depth and texture. It reminds me of a fabric that we would use in our collections.
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LVB: Wow! Beautiful. It’s important to have fun when decorating, and I could see this in a living room with a coral-pink velvet sofa.
G R AY BY E LYS E GR AHA M F OR F U R T H YA S H A R &
KB: Great colors. I can imagine it at the top of a stairwell. It would also work next to a bar cart.
LVB: It’s really cool. Definitely worth hanging on a wall as an art piece. I’d put this in a child’s room. Great for the imagination.
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A L I S E O I I BY M A RC O C OR T I F OR B L AC K T I E 71″ w. x 77″ h., $5,840. artemest.com
5, 6, 8: PHILIP FRIEDMAN/STUDIO D. FOR DETAILS, SEE RESOURCES
60″ w. x 70″ h., $12,000. furth yashar.com
U R B A N N O M AD available exclusively to the trade
sharris.com 800.999.5600
Chanel Coromandel perfume.
B O A R D
68 An Eichholtz Trapezium chair. A look from Alexandre Vauthier fall 2018.
A handcarved Italian sconce.
An iron-and-crystal chandelier.
A Maison Gerard console.
A look from Attico fall 2018.
Coco Chanel’s Paris flat.
Boudoir Faire From marabou feathers to a mirrored console, louche is the word.
A Gucci fall 2018 headpiece.
Channel your inner Greta Garbo and create a space that is your own decadent sanctuary. Plush velvets, twinkling lights, shining mirrors, and a rich, louche vibe is what I’m feeling these days. If you take yourself out for the evening, why not swathe yourself in marabou feathers and flattering lamé? It’s about soft, delicate, unapologetically feminine pieces and indulgent interiors. An antique sunburst mirror.
Palmette Art fabric by Misia.
A Manolo Blahnik mule.
A carved Anglo-Indian screen.
PRODUCED BY SOPHIE PER A
GARBO: GET T Y IMAGES; FASHION: VOGUE.COM. FOR DETAILS, SEE RESOURCES
M O O D
Greta Garbo as Mata Hari, 1931.
™
Design + Performance and Legendary Performance Fabrics are trademarks and Sunbrella is a registered trademark of Glen Raven, Inc. ™ ®
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1. ASYMMETRICAL RAIN LAPIS EARRINGS BY PAMELA LOVE $4,600. barneys.com 2. GOLD-AND-LAPIS INLAY SWIVEL EARRINGS BY RETROUVAÍ $3,910. retrouvai.com 3. CERAMIC-AND–ROSE GOLD PEBBLE EAR CLIPS BY JAMES DE GIVENCHY FOR TAFFIN Price upon request. taffin.com
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4. MOBILE EARRING LAPIS DOUBLE BY JESSICA WINZELBERG $295. jessicawinzelberg.com
Blue Order Sculptural lapis lazuli earrings accented with gold are a cleaned-up take on 1980s decadence. P R O D U C E D BY C L AU D I A M ATA G L A D I S H PHOTOGRAPH BY
Horacio Salinas
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Power Dressing Inside celebrity stylist and fashion designer Lori Goldstein’s dream closet. BY I N G R I D A B R A M OV I T C H
C L O S E T
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E AR THE TOP OF
Lori Goldstein’s wish list for her new Joe D’Urso– designed New York City apartment (see page 128): a closet large enough to house her ever-expanding wardrobe. That was a tall order. The former fashion stylist for such brands as Prada and Versace, now a QVC star with her own LOGO label, has a burstingat-the-seams collection of clothes, shoes, jewelry, and designer purses. (Jokes her friend Isaac Mizrahi: “Lori has four handbags for every day she’s been alive on earth.”) D’Urso collaborated with California Closets to convert a hallway and smaller closets into a made-to-order boudoir. The tops of the shelving units were finished with mahogany, and a dressing table and built-in drawers were topped with white marble. “That really jazzed it up,” D’Urso notes. What’s more, Goldstein says, using rich materials in the closet helps it feel of a piece with the design of the rest of the apartment. Aesthetics aside, Goldstein’s goal was a hyper-organized space where she could easily locate all of her clothes and accessories (“I like to see everything I have, so I remember I have it”), as well as an area for dressing. “Everything hangs in its own category,” she says. “All of my tanks and layering pieces are LOGO; I get them in every color. I have Victorian eyelet tops by every favorite designer of mine,
Lori Goldstein in her master bedroom’s custom walk-in closet, which was designed by Joe D’Urso with California Closets. The shelves hold her collection of Hermès handbags, including a Shark Bolide bag (top right).
PHOTOGRAPHS BY
Joe D’Urso
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Adjustable California Closets hanging racks hold Goldstein’s dresses and tops, including pieces from her LOGO line. The top shelf is mahogany.
The closet incorporates floorto-ceiling shelving for shoes and handbags. The Mongolian wool ottoman is by Bourgeois Bohème Atelier, and the George Nelson clock is from Vitra. For details, see Resources.
White marble from ABC Stone tops a custom dressing table. The vintage Karl Springer bench is from Lobel Modern, the pendant is from 2Modern, the photograph of John Lennon and Yoko Ono is by Annie Leibovitz, and the artwork (top right) is by Aaron Favaloro.
and Hermès bags are an obsession. But since I love shopping, I do get rid of things too. It’s an ebb and flow.” To create continuity with his client’s exuberantly decorated home, D’Urso furnished the closet to the nines. “There are six lamps, from Kartell to Apparatus, and there is wall-to-wall leopard carpeting and a gorgeous pouf,” Goldstein notes. “I love my closet as much as any other room in the apartment. Sometimes more. I’ve finally got the closet of my dreams.” ◾ ELLE DECOR
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Footwear becomes an extension of your body in terms of volume and body language.
The look book for my second collection referenced his marble collection.
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His Sister’s Knitwear
I really like my sister Miki’s hand-knitted jumpers. They’re an eclectic, personal mix of diferent northernEuropean techniques (Aran, Shetland lace, Fair Isle, etc.), all with yarns imported from the countries of origin.
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Cartier Stationery
My ultimate indulgence in the stationery department is the custom-made engraved notepaper from Cartier’s Fifth Avenue store in New York City.
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Piero Portaluppi
Marco Zanini and 10 things he can’t live without. Cutting through the noise of a saturated retail environment is no small task. But that’s just what Marco Zanini set out to do in 2017 when he designed a taut ready-to-wear collection— the first ever—for the classically Milanese footwear brand Santoni. “It’s about things that feel real and authentic to me,” says the Italian-Swedish designer, an alumnus of Rochas and Schiaparelli, of the understated, luxurious staples he has created for Santoni Edited by Marco Zanini. Equally important are the evocative settings in which he chooses to photograph them, including Villa Borsani, a residence by architect Osvaldo Borsani. For fall, Zanini enlisted the German artist Ingar Krauss to shoot models in his designs on the nocturnal streets of his hometown. Says Zanini: “It really speaks to the mystery of Milan—you can never fully know the city.”
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The Smiths
Seeing them perform on TV when I was a teenager was like love at first sight. I learned English by studying their lyrics.
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Hästens Beds
I love to watch movies in bed—and if the bed is Hästens, then it’s heaven!
VA N E S S A L AW R E N C E
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Arrow (1983) by Robert Mapplethorpe
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Effector Eyeglasses
This brand specializes in the most awesome retro-style frames. And you can get them only in Tokyo.
ELLE DECOR
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Marta MaasFjetterstrom
An incredible Swedish textile designer from the 1920s. Her carpets are highly collectible today.
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Biographies
I find life so much more entertaining—and inspiring—than fiction.
When I was around 20, Mapplethorpe became a hero to me in the way he devoted himself to his art—it takes guts to do things in the kind of uncompromising way he did. I’ve collected his Polaroids and self-portraits since the very beginning.
PORTR AIT: SANTONI; PORTALUPPI: DSL STUDIO; SHOE, SWEATER, EYEGL ASSES: COURTESY OF MARCO Z ANINI; CD: AL AMY; ART WORK: ARROW, 1983 © ROBERT MAPPLETHORPE FOUNDATION, USED BY PERMISSION. FOR DETAILS, SEE RESOURCES
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Santoni Shoes
ARTWORK: MAJOR VISUAL
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EXTRAORDINARY is a significant word; it carries a great deal of responsibility, high expectations and untethered optimism. These are characteristics that exist when I embark on a new project with a client. We are all a team and we want to create something exceptional together. Working with Miele products assures that however beautiful the form is in the surrounding environment, the function will be equally as extraordinary. The Miele suite of appliances are highly sophisticated— as high powered as they are high design. There are over 100 automatic MasterChef programs integrated into the Miele Range and with the availability of M Touch controls —navigation is as intuitive as a smartphone.
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A 2015 work by Laura Owens, Untitled, earlier this year at the Whitney Museum of American Art in New York City.
The Wonder Years It’s hard to believe that people born in the 1990s are now adults. It was only a matter of time before artists began to mine the decade that brought us Pogs and MiniDiscs and the X-Files.
A
nostalgia in art is bad. It’s a gimmick that makes people like your art more than they should, because it’s familiar, and it is never seriously critical. Nostalgia is an intellectual and aesthetic crutch that prevents cultural artifacts from reflecting their own epochs. But there’s a recent trend being made and shown that I support, and it’s not just because of my weakness for Seinfeld and Vaporwave music. It’s a whole host of new art that uses the aesthetics of ’90s graphic design to become beautiful and new. You know what I mean because you’ve noticed this yourself: It’s in the denim of Korakrit Arunanondchai’s work, for example, and in the Lisa Frank–esque neons of Alex Da Corte and the later work of Peter Saul. It’s also in Sam McKinniss’s portraits of Prince and Michelle Pfeiffer’s Catwoman, and in Kerstin Brätsch’s gradient-heavy loops, reminiscent of a broken Magic Eye repeating itself in the wrong way. S A GENER AL RULE,
Untitled (History Painting), Korakrit Arunanondchai, 2013.
OWENS: COLLECTION OF THE ARTIST, COURTESY OF CAPITAIN PETZEL, BERLIN, © L AUR A OWENS, RON AMSTUTZ; ARUNANONDCHAI: COURTESY OF THE ARTIST AND CLEARING GALLERY. FOR DETAILS, SEE RESOURCES
BY DA N D U R AY
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ELLE DECOR
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“THE 1990S DIDN’T HAVE AS COHESIVE A LOOK AS THE ’70S AND ’80S DID.” 1. Michael Jackson, Sam McKinniss, 2017. 2. Untitled, Ruth Root, 2014–15. 3. Hedge Yer Bets (Baby, I’m a Maze), Christina Quarles, 2017.
Might this trend have something to do with the fact that we’ve had to stare at two ’90s characters, Hillary Clinton and Donald Trump, for the last three years? The ’90s, after all, were the last time we thought of society as something that would keep getting better and better. The end of the decade was almost the end of optimism itself, because after that came 9/11, and we’re still living out the reality that followed. If artists are returning to the ’90s, it may be that they suspect, like the rest of us, that things have gone downhill culturally ever since. There’s clearly some hope here. It’s thin, and it’s fragile. And for some, it’s Day-Glo— but it works. ◾
McKINNISS: COURTESY OF THE ARTIST AND TEAM GALLERY; ROOT: COURTESY OF THE ARTIST AND ANDREW KREPS GALLERY, NEW YORK; QUARLES: COURTESY OF THE ARTIST AND DAVID CASTILLO GALLERY
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All of it is wholly deep-fried in that decade. Take Laura Owens’s untitled top-f loor installation at the Whitney Museum of American Art in New York, which closed in February. Those giant notebook pages embossed with graphics and scented markers build to a humble, Expressionist still life in the corner, retaining the garish Zack Morris palette. That piece happened to be a re-creation of her young son’s notebook, but there’s a childlike quality to all such art. Ruth Root makes her own spandex with children’s pajama–like designs and wraps it around canvas, and Christina Quarles sneaks such colors and graphic-design elements into her otherwise dark scenes of body dysmorphia. Quarles is young, and most of the people creating this kind of art today were children in the ’90s, which helps inspire the feeling of play. So is it nostalgia? This new wave feels different than the usual culture mining that goes on 20 to 30 years after a decade has ended, the way the cool people of the 2040s will probably try to mimic our tragic current era. For one thing, it’s so widespread. For another, the 1990s didn’t have as cohesive a look as the ’70s and ’80s did. Instead of Halston bias cuts and bell-bottoms, the outfits ranged from grunge to Hackers to dorky dad. And, like the Rachel haircut, all of it has aged terribly. (Ninetiesinspired looks have been appearing on the runways for some time now.) “Since the beginning of her career in the mid-’90s, Laura Owens has been actively challenging our assumptions about what counts as beautiful or ugly in art—and beyond,” says Scott Rothkopf, who curated Owens’s show at the Whitney. “Her assault on the conventions of good taste is why many of her paintings don’t settle into chic interior decor. But for me, this is part of their strange and lasting power.” The ugliness adds something here, a certain liberation. Perhaps that’s one of the reasons the raver colors of the era have been associated with the new psychedelia: It’s transgressive to borrow aesthetic elements of our recent past that many would rather forget. Some people I overheard at the Whitney sounded like they thought the goal of the museum, in hosting the Owens survey, was the same as the Nazis’ in the Degenerate Art Exhibition of 1937. I’m not sure that tracks. What does it all mean? This is good art, so you can’t really generalize about it. It all says something unique about itself, about the looks it’s borrowing, and about our current era. But for the portion of it that’s been made in the past couple of years, I do have a question:
Your Dream Oasis Awaits You.
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P R O M OT I O N
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4. A JOURNEY TO “INFINITY” Swarovski Lighting’s Infinite Aura collection brings brilliance, luxury, and precision to the lighting experience by enabling the user to showcase the chandelier as a work of art through customized light patterns that send a never-ending refl ection into infinity and create an illusion of untold beauty. To see more of this exquisite craftsmanship, go to swarovski-lighting.com/infi niteaura
2. KERRY JOYCE TEXTILES introduces his refreshingly retro Petaluma textile, hand screened in Los Angeles on the finest Irish linen. Available in eight cool colors, including indigo, water, paprika and moss. kerryjoycetextiles.com
5. BENJAMIN MOORE Century is the world’s first Soft Touch Matte paint with a neverbefore-seen depth of color and a soft touch finish. Century is where color becomes an experience. experiencecentury.com
3. ROCKY MOUNTAIN HARDWARE Ore collection bronze cabinet hardware featuring chiseled facets that beg to be grasped. Ore is hand-cast from art-grade bronze and available in a choice of 10 fine finishes. rockymountainhardware.com
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DIANE VON FURSTENBERG
Clothes to Home When they’re not influencing how we dress, these fashion designers have inspired us with their personal spaces. Here, some of our favorite homes from the ED archives. ELLE DECOR
FERNANDO BENGOECHEA
“Here on Harbour Island, I feel like I’m playing at life,” the designer said of her Bahamas vacation retreat in the August/ September 1997 issue.
2017 Dellarobbia, Inc. All rights reserved .
The Felix Collection
To find an authorized dealer visit www.dellarobbia.com Made in USA info@dellarobbia.com
ELIE SAAB The Lebanese designer’s Beirut house was a study in white interiors when Elle Decoration Middle East stopped by in March 2015. Here, an Ottoman-inspired chandelier mingles with Levantine arches.
REEM ACRA In the dining room of the bridalwear and couture designer’s Beirut apartment, which Elle Decoration Middle East visited in November 2015, the Plexiglas dining table and chairs are decorated with pieces of lace from Acra’s past collections.
LISA PERRY “White with splashes of yellow, a little bit of turquoise... I wanted it to be easy here, not precious,” is how Perry described her 6,000-square-foot Palm Beach home to us in December 2013.
CLOCKWISE FROM TOP LEFT: HD PRODUCTIONS (2); OBERTO GILI
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JULIAN CHICHESTER
J U L IA NCHICHESTER.COM NEW YORK
| LONDON
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TAMARA MELLON
KARL LAGERFELD “My apartment is not a house— it’s a spaceship for the city where you don’t feel bound by the earth,” Lagerfeld told Elle Decoration UK in April 2009 when the magazine featured his Parisian flat.
CAROLINA HERRERA BAEZ In October 2012, we visited the antiques-filled Madrid home of Herrera Baez, the daughter of designer Carolina Herrera, who works for her mother’s eponymous company. ELLE DECOR
CLOCKWISE FROM TOP: WILLIAM WALDRON; KARL LAGERFELD; WILLIAM WALDRON
The fashion creative director embraced a relaxed take on her signature, sexy 1970s aesthetic when decorating her Shingle Style Bridgehampton beach house, as seen in our October 2014 issue.
featuring
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A palette to inspire your passions. With beauty that emboldens and strength that endures, the Metropolitan Collection features new quartz surfaces like Excava that celebrate a love for design. View the collection at caesarstoneus.com/newcolors.
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Heavenly Fare A lush and luminous celebration of the zodiac is sure to please detail-oriented Virgos. PRODUCED BY ROBERT RUFINO
PHOTOGRAPH BY
Jens Mortensen
FOR DETAILS, SEE RESOURCES
Starry Artel Champagne flutes, NasonMoretti gold glasses, silver Tifany & Co. cups by Elsa Peretti, Bernardaud bread-and-butter plates, Laboratorio Paravicini zodiac plates from Artemest, Alain Saint-Joanis flatware, Création Galant candlesticks, and Creel and Gow crystal balls—evocative of the planets—sit atop an inlaidbrass star-map walnut table by Asher Israelow. Custom napkins are in a Jim Thompson fabric.
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The balcony outside a room at Lanserhof Tegernsee.
BY W H I T N E Y R O B I N S O N
ELLE DECOR
I
t’s no secret that design can do a lot of things. It can make you happy, transform the way you look at the world, inspire, and amuse. But can it help lower your blood pressure? Can it heal? That’s what I set out to find in March, when I visited the idyllic countryside outside Munich, Germany, and checked in to Lanserhof Tegernsee, a James Bond–like
ALEX ANDER HAIDEN
Über-Well A journey to ultimate health puts ED’s editor in chief at the center of design.
www.misia-paris.com
steel-and-bronze compound, whose architectural rigidity matches that of the immunityboosting programs prescribed within. If it’s true that the home trends of tomorrow are inspired by the hotels of today, then the trend of the moment in hospitality is certainly wellness—whether that means a fullfeatured Technogym (as at the Bulgari hotel in Beijing), a “run concierge” (at many Westin hotels), or an Ayurvedic doctor (available at Amangalla in Sri Lanka). ELLE DECOR
CLOCK WISE FROM TOP LE F T: The fire
pit in the living room; one of the dining nooks; the exterior of the building.
As our collective conversation veers toward a new concept of “wellth,” one that emphasizes living longer over living with more stuff, a spate of properties has opened up catering to clients who want more out of their vacation than a tan or a photo in front of a monument. These travelers want to accomplish something: lose weight, detox, or even learn a new skill. In my case, I wanted to press the reset button after a year I’d dubbed as “one of magical eating and drinking.” Lanserhof, whose
BOT TOM: ALEX ANDER HAIDEN
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which feature larch wood–slatted balconies for taking in the spectacular sunsets. I spent a total of 10 days on the property, and I learned a lot about what is good, and not good, for my body. My own solutions included eliminating carbs and sugar; opting out of drinking water during meals, which is said to dilute your digestive enzymes; and eating only during an eight-hour period each day. The result: It’s been four months, and I’m down 50 pounds. I can’t say for sure whether it was the design, the sunsets, or the chewing, but as evidenced on page 34, I am now ready for many, many close-ups. lanserhof.com ◾
“THE WELLNESS BEGINS WITH THE DESIGN OF THE PLACE.”
The main structure is built around a landscaped courtyard that mirrors the surrounding countryside.
The swimming pool at night.
ALEX ANDER HAIDEN (2)
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client list comprises A-list tycoons and Russian oligarchs, offers the popular FX Mayr method, which uti li zes i nter m ittent fasti ng, chewing techniques, and “internal cleansing,” among other strategies, to achieve results. Detox clinics are nothing new, of course; they’ve existed since the turn of the 20th centur y, when people “took the waters.” However, the “medispa” of today is actually a much more barebones affair, even if the prices are in line with those of five-star hotels. The settings are mostly gorgeous (such as the Ashram in Calabasas, California), but many of the living quarters are more like high-end dorm rooms. Not so at Lanserhof, where the wellness begins with the design of the place, conceived by Ger ma n architect Christoph Ingenhoven. The neutral tones and natural materials, such as linen—with furnishings by modern masters like Vitra a nd Flexform—a re i ntended to h a r mon i ze w it h nature. The high design continues in the luxurious guest rooms,
ELLE DECOR
Shop this room, from the paint to the furniture, at homedepot.com/homedecor.
Foreground: BEHR MARQUEE® Meteorological N430-6 Background: BEHR MARQUEE Rainy Afternoon N430-4
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Open-Face Kiss The French always know where to find romance— even when it’s served on sliced bread. BY DA N I E L B O U L U D P R O D U C E D B Y A DA M S AC H S
ELLE DECOR
A Walk in the Garden porcelain tart platter from Hermès.
T
OA ST IS HAVING
a moment in America now, especially the biggest star, avocado toast. But in France, we’ve always loved tartines. And why not? An open-face delivery system for all kinds of delicious things, a tartine—from the verb tartiner, to spread—can be anything you want it to be. My favorite tartine in Paris is layered with duck fat and shaved black truffle with a sprinkle of sea salt. So, while a tartine can be simple, it needn’t be humble. It’s not dinner food, but with a little salad, a tartine can make a very good lunch. The most important thing is to start with good bread. Look for a good, solid twoto three-pound French sourdough loaf. A baguette will do in a pinch, but you really want something more substantial as your base. Don’t worry if the bread is a few days old; it’s better with a little character. Once you have a firm base of nicely toasted good-quality bread, it’s all about what you want to do with it. I have my own version of avocado tartine that I think you’ll enjoy (right). After the bread is toasted, I like to rub it with a clove of garlic to add subtle flavor. Then I top it with dollops of Greek yogurt, whole olives, and fresh, ripe figs. What truly distinguishes a tartine from a simple piece of toast is style—what you put on it, the freshness of the ingredients, how they’re layered, the focus on tasty simplicity. And, of course, the fact that you can drink a bottle of wine with it.
1. Preheat the broiler and FIG, OLI V E & AVO C A D O TA R T I N E
toast the bread. Rub each side of the bread with the garlic clove. Set the bread slices on a platter. 2. Split the avocados
SERVES 4
4 thick-cut slices of bread 1 clove garlic, peeled 2 avocados Olive oil 2 lemons Salt ⅔ cup Greek yogurt 20 Kalamata olives 4 figs, quartered 4 French Breakfast radishes, washed and quartered Piment d’Espelette or freshly cracked black pepper
in half and spoon into a bowl. Drizzle with olive oil and the juice of one lemon. Season with salt, then lightly mash the avocado with a spoon. 3. Gently spread the sea-
soned avocado on the bread in an even layer, and add three dollops of yogurt on top. Distribute 5 olives on each slice of bread and place the figs and radishes, alternating, on each tartine. 4. Drizzle the tartines with olive oil. Season with the zest and juice of the remaining lemon, a pinch of salt, and a sprinkle of either piment d’Espelette or black pepper.
WHAT TO DRINK Domaine de Cala Coteaux Varois Rosé 2017 ($17), a refreshing Grenache rosé with great minerality. Its savory salinity and fruitiness are perfect with the figs and olives. —Raj Vaidya, head sommelier, Daniel
TARTINE: NICOLE THOMAS. FOR DETAILS, SEE RESOURCES
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All Fresco Milan’s eternal flair is found at Bottega Veneta’s palace of home design on Via Borgospesso. BY J OA N J U L I E T B U C K
Rudi club chairs in suede flank the Arches oxidized oak–and-metal table in the “living room” of the Bottega Veneta home boutique. P R O D U C E D BY CHARLES CURKIN PHOTOGRAPHS BY
Cyrill Matter
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H E PAV I N G S T O N E S I remember from Milan are not the small convex humps that you see in other cities—unstable and dark as mussel shells—but big, pitted recta ngles of pa le stone, so wide and heavy that each one seemed to have required a specific and very particular effort. The high heels of my boots would dodge and dance around the pits and dents, and I’d take a little breath before fording the channel of sand between one paving stone and the next. They were as block-like as the palazzi of Milan, their ornamental pits as strange and perversely whimsical as the giant bronze ear set into the wall of an apartment building on Via Serbelloni. The Surrealisticlooking ear, turned green by time and the varied particulate matter in the Milanese air, was originally designed in 1927 by the sculptor Adolfo Wildt as access to an intercom. When I lived in Milan, I tried to understand what made its style so distinct from that of the rest of Italy. Unlike Rome, there were no comforting red walls, and instead of ruins, there were the remaining structures of the 15th-century Lazzaretto complex; instead of curls on the facades of Baroque churches, Milan’s Duomo rose vast and lonely from the middle of its big empty square, its back and buttresses bristling and spiked so that it looked like a monumental hybrid of pregnant mountain and irritated dinosaur. The long, straight streets weren’t cozy or romantic or inviting, but as I slogged along, breathing in car exhaust, past the closed
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“MILAN’S STYLE IS REFLECTED IN THE PALAZZO GALLARATI SCOTTI.”
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1. Suede fringe on the Rudi 2 Seater sofa. 2. Brushed-steel hardware on the Two Drawers desk. 3. A leather-wrapped bar on the Reading Pic floor lamp. 4. Floating Square cocktail table in White Marble.
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“FINE PORCELAIN IS HAND-PAINTED WITH CROSSHATCHES.”
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OVM Hang Lamp featuring Bottega Veneta’s signature intrecciato motif. BV Tre leather sofa by Bottega Veneta in collaboration with Poltrona Frau. For details, see Resources.
plate-glass windows of cafés without terraces, I’d sometimes catch the heavy doors on one of the looming palazzi cracking open. Through them, I could see an inner courtyard with walls covered in flowered vines so delicate, so gentle, so disconnected from the heavy stones around them that they looked like drawings or hallucinations. And just when I thought all visual relief would be light and evanescent, more massive bronze forms would assert themselves, such as Arnaldo Pomodoro’s hulking great disc in the center of Piazza Meda. I eventually decided that the Milanese style came down to the tension between overscaled volumes anchored by the weight of bronze, a perverse etherealness, and a glancing, mobile wit. This style is impeccably ref lected in the relationship between the Palazzo Gallarati Scotti, on Milan’s Via Borgospesso, and the Bottega Veneta home furnishings within. The palazzo dates from the 18th century, with frescoes by Giovanni Battista Tiepolo, while the contemporary chandelier over the dining table—which looks like the same delicately braided leather as the brand’s handbags—is, in fact, made from dense, heavy bronze by jeweler Osanna Visconti di Modrone. Some sofas are upholstered in shades so muted—pale peach, hushed green, vanishing taupe—that they seem to cancel out their own bulk. Fringes along the bottom match the colors perfectly in strips of suede. The silverware is exhibited as spills of cutlery in three patinas: sterling silver, sterling silver with a rhodium finish, and stainless steel. All of the pieces are etched with a fine crosshatch pattern. Fine porcelain is also hand-painted with crosshatches, blurred so that the pattern here is recessive rather than assertive. It takes skill, craft, and imagination to create the bold madness that flourishes, I think, only in Milan, where paving stones become rafts across a sea of sand. ◾
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Watch What Happened Inside Andy Cohenâ&#x20AC;&#x2122;s new greenrooms, designed by ED A-Lister Eric Hughes. BY C H A R L E S C U R K I N P R O D U C E D BY R O B E R T R U F I N O PHOTOGRAPHS BY
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Andy Cohen’s greenrooms cou ld ta l k , they’d probably ask for a stiff drink. Considering who they were recently redesigned to house—celebrities and catfighting Real Housewives, for example—they might take some abuse. Cohen brought in decorator and frequent collaborator Eric Hughes to spruce up the three “clubhouse” backstage VIP areas at the Watch What Happens Live with Andy Cohen studio, on Hudson Street in Manhattan. “After nine years, it was time for a refresh,” Cohen says. Hughes had his work cut out for him: “The rooms were just basic white boxes with leftover stray furniture,” he says. Over a five-day period, Hughes filled those white boxes with furniture and accessories from the likes of Jonathan Adler, Kartell, and ModShop—all sourced from Perigold— and covered the walls in wacked-out patterns (blue camo, anyone?) from his own company, Wallshoppe. The result is a beautifully manic explosion of colors, patterns, and objects. Hughes also took into account who might end up hanging out backstage someday. (Bravo fans might recall the time New York housewife Ramona Singer drunkenly tore the sconces right off the walls of a castmate’s guest room.) “The walls have a vinyl coating,” he says. “If anyone with too much tanner or makeup bumps into them, they can easily be cleaned up.” ◾
Pratt ottoman by Arteriors, 007 velvet sofa by ModShop, Camo wallpaper by Wallshoppe, Parker Pendant sconce by Jonathan Adler, Vignelli bench by Heller, Abaco cofee tables by Pianca, Formosa lamp by Bungalow 5, and Icelandia rug by Dash & Albert.
Pacifico Palm wallpaper by Wallshoppe, Fallon mirror by Arteriors, Reanna console by AllModern, and Ibiza armchair by ModShop.
Ten Karat wallpaper by Wallshoppe, Francois Ghost mirror by Kartell, Geordi cherry sculpture by Arteriors, Clic barstool (left) by Arktura, Real Good counter stool by Blu Dot, and rug by Loloi. All furnishings sourced from perigold.com. ELLE DECOR
Eric Hughes (left) sharing a belly laugh with Andy Cohen in a greenroom.
FOR DETAILS, SEE RESOURCES
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Cho Business Journalist and fashion lover Alina Cho brings her stylish work home.
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BY J A N E L A R K W O R T H Y P R O D U C E D BY C Y N T H I A F R A N K
Alina Cho in the living room of her prewar Central Park South apartment in New York City. The vase at far left is by Paul Arnhold; the other two are from Frette. The mirror is from Liz Oâ&#x20AC;&#x2122;Brien.
PHOTOGRAPHS BY
Douglas Friedman
In the dining room, the chairs are by Knoll, and the tablecloth is custom made from a Ralph Lauren fabric. The photograph is by Marilyn Minter, and the plates are by Fornasetti. The paint is Little Piggy on the walls and Decorator’s White on the ceiling, both by Benjamin Moore.
“ALINA REPRESENTS THE IDEA THAT YOU CAN BE SMART AND CHIC,” SAYS MICHAEL KORS.
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N THE WORLD
of broadcast jou r na lism , Alina Cho s t a nd s out . A n a d m i tted fashion zealot since she first saw Olivia NewtonJohn’s skintight black pants i n t he f i l m Grea se, Cho has been largely responsible for bringing fashion to mainstream news. When Michelle Obama walked into her first inaugural ball, Cho was the correspondent who revealed that a young upstart named Jason Wu had designed her gown. As
editor at large at Ballantine Bantam Dell, she wrangles memoirs out of legends like Donna Karan and Tommy Hilf iger. More recently, she produced prof iles of designer Stella McCartney and model Maye Musk on CBS Sunday Morning, as well as a revealing look at fashion influencers. Cho’s own closets are a veritable costume institute unto themselves. She cuts th rough her pieces li ke an archivist (“early Marc Jacobs Vuitton, old Alber [Elba z] La nv i n, Ma nolo [Blahnik] Mary Janes from
A Poliform credenza in the dining room is topped with lamps bought at auction and totems by Ashley Hicks. The rug is by Stark, and the artwork is by Renato Freitas. ELLE DECOR
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In the guest bedroom, the headboard, covered in a fabric by Holly Hunt, is by Avery Boardman, the pillows are in Pierre Frey and Holland & Sherry fabrics, and the vanity is from Rachel Ashwell. The lamp is by Celine Cannon, the wallpaper is by Hinson, and the artwork is by Gloria Vanderbilt.
The bedding in the master bedroom is by Frette, and the bedside tables are from David Duncan. The armchair is by Moooi, and the lamps are from Mecox. The portrait of Cho (left) is by Will Cotton, the mirrored sculpture above the bed is by Curtis JerĂŠ, and the photograph is by Willy Rizzo.
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Cho with Michael Kors.
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126 In the living room, the sofa is by Vladimir Kagan, the cocktail table is by Karl Springer, the table between the armchairs is from Ralph Pucci, and the other side table is by Harvey Probber. The lamp is by Curtis Jeré, the rug is by Luke Irwin, and the curtains are in a Rogers & Goigon fabric. The artwork is by Adrian Albino. For details, see Resources.
that Sex and the City era . . .”). To house it all, she reconfigured the two bedrooms in her Central Park South apartment with wallto-wall closets. “Alina represents the idea that you can be smart and chic,” says longtime friend and designer Michael Kors. “She puts a modern spin on the classically chic style of women like Grace Kelly, Audrey Hepburn, and Jackie Kennedy.” Dresses with lively prints from Duro Olowu, Erdem, Altuzarra, and her friend Kors spill from her closet, and Cho wanted the rest of her home to have a similar “joie de vivre.” Well on her way there already with a tricolor Vladimir Kagan sofa, Ashley Hicks totems, and vivid paintings by Renée Demsey, she tapped decorator Bibi Monnahan to complete the job. “Like all of us gals who express ourselves with what we put on our shoulders, Alina wanted that to carry over in her home,” explains Monnahan, who maintained Cho’s love of intense color with a raspberry velvet–cushioned ottoman and added playful touches, like the framed vintage Vogue photographs of Goldie Hawn and Jane Birkin that line the foyer. Says Cho: “I love [to be] happy, and I want to be surrounded by things that make me happy.” ◾
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In the living room of Lori Goldstein’s apartment in New York City’s TriBeCa, designed by Joe D’Urso, the Piero Fornasetti cabinet is from Palazzetti, the Tom Dixon table (foreground) is from YLiving, and the vintage Ettore Sottsass for Memphis floor lamp is from Urban Architecture. Through the pocket doors, the kitchen’s custom table is surrounded by a vintage Federico Munari sofa and BDDW chairs. The tapestry is by Niki de Saint Phalle.
When Isaac Mizrahi visits fellow QVC fashion star Lori Goldstein’s new, Joe D’Urso–designed TriBeCa apartment, there is tea—and just a whiff of jealousy. BY INGR ID A BR A MOV ITCH PHOTOGR APHS BY JOE D’URSO PRODUCED BY ROBERT RUFINO
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Lori Goldstein, dressed in Marni, relaxes on a vintage Pierre Paulin chair from Circa20c in her master bedroom. The table is from Suite NY, the Poul Henningsen pendant is from Design Within Reach, and the artwork is by Ann Craven.
In the yoga room, the Jacques Adnet daybed is vintage, the Gerrit Rietveld armchair is by Cassina, the stool is by Kelly Wearstler, and the tall Le Corbusier lamp is from 2Modern. The curtains are in a Twigs fabric, and the rug is from ABC Carpet & Home.
ISA AC MIZR AHI: It’s about time you invited me over. Wait. What is this place. Seriously? LORI GOLDSTE IN: It’s a Stern and Silverstein building, 30 Park Place. They built it from the ground up. And it’s attached to a Four Seasons hotel, so it comes with all the hotel amenities. I always wanted to live like Eloise at the Plaza. Now I can. IM: Oh my God. What am I doing wrong? LG: You get attached to things, Isaac. Didn’t you live in the same house forever when you were a kid? ELLE DECOR
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IM: We moved once when I was little, and then it was over. We never moved again. It’s true, I get attached. I’ve been in my place in the Village for 24 years. LG: Well, we moved a million times when I was a kid, so I never get attached. For me, it’s all about release and catch. IM: Lori, that view is everything! Just everything on earth. LG: Yeah, it is. Let me give you a tour. Joe D’Urso, who built my Hamptons house, helped me with the design. In the kitchen, he had the idea of hiding the bottom of the cabinetry with black metal strips. Otherwise, we did almost nothing. This room makes me feel like I’m in suburbia. IM: And you have the opportunity to cook a little something if you ever need to. LG: I’ll never need to do that. Never. IM: But you might have a cute waiter or caterer come by? LG: True. Now step into my yoga room. I like the proportions: It’s as high as it is wide. IM: What I love is that there’s so much stuff in here, there is no room to do any yoga. LG: Barely. You do it by putting your legs up on the wall. Do you know Joseph Carini? He’s an old punk rocker, and he made all the rugs and had them decorated by graffiti artists. Here is the master bedroom, where Joe and I combined two rooms into one. Go sit in that chair, Isaac. IM: It’s covered in fur, like all the seating in your apartment. It’s all either Fornasetti or fur. LG: Do you like my divan? IM: It’s a divine divan. I notice you also have a few crystals around. Just a few. LG: Honey, if it helps. Now let’s go back to the living room. I ordered room service. Tea and croissants.
The divan and pillows in the master bedroom are by Francesco Binfaré for DDC. A vintage mirror from Galere in West Palm Beach hangs over a Tommi Parzinger chest. The custom cabinet is by Mira Nakashima, the Piero Fornasetti side table (right) is from Jung Lee, the chandelier is by Ivan Lolli and Mario Memmoli, and the room is painted in Benjamin Moore’s Galveston Gray.
The bed is by Natuzzi, the vintage bookcase is by Jacques Adnet, and the pendant (center) is by Ingo Maurer; the carpet is by Bellbridge, and the rugs are by Joseph Carini Carpets. Painting by Cleve Gray.
I’m not eating a damn thing. Did you say peppermint tea? Chamomile. IM: Whatever you’re having. Let’s talk. Lori, remember when we first met? LG: Of course! I got a call out of the blue: “Isaac would like you to meet him and style one of his shows.” IM: I was ready to hate you. I can’t stand most stylists. But we instantly bonded. You understand how to create something that is beautiful and of the moment without it feeling strangulating in its fashion trendiness. LG: And you taught me something really important: how important it is to keep trying every option. You would never stop trying, and then you would say, “Just looking.” You were never afraid of the style police. IM: You have to keep looking. LG: I always say that the clothes will tell you what they want to be. And similarly, a table tells you where it wants to be— and when it needs to come home with you. IM: It’s been fun to see you emerge as a style icon. You’ve got your own clothing line, LOGO, on QVC. What’s your mantra? IM: LG:
LG: I like texture. Walk in here, and you immediately notice the beautiful golden fabric of the curtains. And comfort is so essential: I can’t imagine having a couch that does not feel amazing to lie on. Proportion is important in both fashion and decorating a room. I like to fill up a space. I learned that from working with Annie Leibovitz. She would always want to fill up a picture with something to look at—a coat thrown over the shoulders, for example, to get a sense of drape. IM: And then you added this layer of fearless color. What were you thinking? LG: Why not? People are too afraid of color. They play it safe at home and in what they wear. You know: Keep it beige, keep it neutral. I like surprises. More is more. It just is. IM: When did you move in here? LG: About six months ago. The interesting thing is that I had recently purchased another apartment that I thought was my dream home. A lot of the furniture here was bought for that place. But then I moved in and felt disappointed. IM: It was more like a dress rehearsal. ELLE DECOR
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The Angelo Mangiarotti console in the entry is from Bernd Goeckler. The vintage stool is by Warren Platner, the Fornasetti umbrella stand is from Barneys New York, and the coatrack is by Ligne Roset. The rug is by Joseph Carini Carpets, the wall is painted in Benjamin Moore’s Charcoal Slate, and the artwork is by Michael Corrine West.
In the hallway to the master bedroom, the John Widdicomb desk, Thonet chair from Miguel Saco, and Jacques Adnet side table are all vintage. The lamp is by Artemide, and the framed photograph is by Sally Mann. For details, see Resources.
LG: Right. What happened is, I was just finishing a marathon at QVC. It was Saturday night, I was in bed with the computer, and this cookie pops up that says 30 Park Place. I knew right away I wanted to live here. IM: I know you are not sentimental, but is there anything in your home that you’re really super attached to? One thing you could not live without? LG: I always say as long as I have insurance, everything can blow up. But I do have one picture of my mother and father that I would never part with. I also have my late father’s chai that he wore around his neck. I never saw him without it. IM: What do you think is the providence of this particular ELLE DECOR
apartment? How many years do you intend to stay? The rest of my life. I call it my first step to assisted living, which I’ve kind of wanted forever. There is a great restaurant downstairs, Cut, that will send food up. And if I’m exhausted from QVC, I can get a massage. IM: Is there a pool? I’m going to kill you if there is. LG: There is a 75-foot pool. And a major gym. And just look at this view overlooking the whole city! IM: What? Are there any apartments still available? I’m not kidding. LG: I think you should move here. IM: But then you would have to see me in a Speedo, which is terrifying. ◾ LG:
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PHOTOGRAPHS BY JAMES MERRELL PRODUCED BY ROBERT RUFINO
For the much-decorated duo Baz Luhrmann and Catherine Martin, their New York townhouse is another notch in their expansive oeuvre. B Y VA N E S S A L AW R E N C E
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In the second-floor White Room of their downtownManhattan townhouse, Baz Luhrmann wears a Gosha Rubchinskiy suit with a turtleneck and sneakers by Prada, and Catherine Martin is in an Isabel Marant dress and Vanessa Bruno boots. A pair of West Elm sofas are covered in a fabric from Martin’s collection for Mokum. The chandelier is original to the house, and the wall photograph (right) is by Rex Dupain. OPPOSITE: The house’s grand staircase. The walls are painted in Benjamin Moore’s Simply White.
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The 1940s chairs in the White Room are in Martin’s Bengal Tiger fabric for Mokum, the cocktail table is by West Elm, the rug is by Designer Rugs, and the home’s original windows are fitted with Hunter Douglas honeycomb blinds. The Annie Leibovitz book Sumo and its stand are from Taschen.
“They are just so innately artistic that the way they live their life is art itself,” says Nicole Kidman. B A Z L U H R M A N N A N D C A T H E R I N E M A R T I N a re known for their dazzling and meticulously researched work on films like Moulin Rouge and Romeo + Juliet and a daring 2002 Broadway staging of the opera La Bohème. It’s little surprise, then, that their New York City townhouse entailed a high-scale production value. There is the background check that Martin, a costume and set designer, did on both the house—built in 1852 by a Brooklyn-based merchant—and the surrounding Stuyvesant Park neighborhood— she can quote statistics about the college education level, racial diversity, linguistic skills, and single-sex parentage of the demographic. There are the four months it took for the couple to move from their Greenwich Village rental into their new home (during which time Luhrmann, a director and writer, would regularly invoke Waiting for Godot). And then there are the Photoshop mock-ups, 3D drawings, sample boards, and interiors presentations that Martin and her team assembled for her husband’s sign-off. “I have to be able to communicate it to Baz in a way that he understands as a director,” says Martin of her creative partner of 30 years. The award-winning Australian couple—who jointly run a production company, Bazmark— moved to New York City from Sydney while working on their 2013 blockbuster The Great Gatsby. After losing out on a bid to purchase their Greenwich Village rental and outgrowing another home—they have a teenage daughter, Lillian, and son, William—they sought to plant firm roots in the city by purchasing this Anglo-Italianate-style house. “I have a bit of a philosophy: Dream in Paris, have fun in London, work in Los Angeles, Sydney is home, but live in New York,” says Luhrmann. And despite Martin’s vast experience overseeing expanses far larger than a 28-foot-wide
FROM TOP: A top hat from the set of Moulin Rouge,
a Douglas Kirkland photograph, and an antique Indian sculpture are displayed on a West Elm console. Inside the cocktail table, the wood hand and matchboxes are by Jayson Home, and the vase is by CB2. ELLE DECOR
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The antique Thonet table in the entry came from the set of Australia. The wallpaper is from Martin’s Mokum line, the sconces in the stairwell are by RH Modern, and the runner is by Louis de Poortere. The door, stairs, and banister are in Benjamin Moore’s Space Black. ELLE DECOR
In the first-floor Green Room, the RH, Restoration Hardware sofa and armchair, vintage chaise, custom ottoman, and pillows are all covered in fabrics from Martin’s Mokum collection. The leather chair is by Anthropologie, the cocktail table is by Tracey Boyd, and the chandelier is by Jonathan Adler. The mantel is original, and the painting is by Anthony White.
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In the master bedroom, the bed is by Tracey Boyd, the bedside lamps are by Rejuvenation, and the planter is by Anthropologie. The wallpaper, bedspread, and cushions are Catherine Martin for Mokum.
brownstone, she admits that decision-making in one’s own space can prove more daunting. “When I’m working on sets, it’s easier to make mistakes,” says Martin, known as CM, who designed the house herself. “You’ve got to keep perspective that it’s not going to kill anyone if you make the wrong paint choice.” The couple’s theatrical sensibilities are evident throughout. A darkly dramatic entry plays up the house’s Victorian heritage with a red Louis de Poortere stair runner and an antique Thonet side table, nabbed from the set of their 2008 film Australia. The Green Room’s verdant, rubyaccented decor was inspired by the original green tiles framing the fireplace. A leopard-printed vintage chaise mixes with an English-style sofa and armchair from RH, Restoration Hardware; an abstract painting by friend Anthony White grounds one wall while a brimming acacia bookcase anchors another. The emerald-patterned wallpaper and all the upholstery fabrics are Martin’s own designs for the New Zealand–based textile and wallcoverings company Mokum, with whom she has collaborated since 2011. On the second floor, Martin and Luhrmann sought a more serene setting. There, the space they call the White Room boasts 16-foot ceilings and is furnished with icy-hued vintage armchairs and curving sofas, offsetting the original antique chandelier and windows overlooking Stuyvesant Square Park. “It’s where CM and I will go to sit. It’s very clean and has a great deal of civility about it,” notes Luhrmann. The master bedroom, meanwhile, takes its warm, tropical cues from an Indochina-style Tracey Boyd bed frame that Martin purchased while she and Luhrmann were working on the redesign of the Deco-themed Faena hotel in Miami. “Their life is like an artwork. They are just so innately artistic that the way they live their life is art itself,” says actress Nicole Kidman, who starred in Moulin Rouge and Australia and is a close friend of the couple. “I would call them both Renaissance people—they know so much about everything.” “We are very focused on trying to make life a premium experience. It’s not about elitism: It’s trying to find the best, most quintessentially authentic moment in everything,” explains Martin. “I sit in my bed and think, Oh my God, I am a big grown-up girl in a beautiful room. This feels really good.” ◾
Vintage chairs, a Tracey Boyd bench, and a CB2 console are ofset by an antique French mirror and art by Anthony White.
In a powder room, the sink is from Toledo Architectural Artifacts, the sconces are by RH, Restoration Hardware, and the pendant is by Anthropologie. The mirror is by RH Teen, and the wallpaper is Catherine Martin for Mokum. For details, see Resources.
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A colonnade of Washingtonia palms leads to the entrance of Villa Oasis, the 1930s home of French painter Jacques Majorelle, which was purchased and famously restored by Yves Saint Laurent and Pierre Bergé, who lived there until their deaths (Saint Laurent in 2008, Bergé in 2017). Madison Cox, a longtime friend of the couple and Bergé’s widower, created the property’s landscape design. The path is paved with Moroccan terra-cotta bejmat tiles.
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Yves Saint Laurent’s most beloved house and garden live on in the heart of Marrakech.
BY M A R I A N MCEVOY PHOTOGRAPHS BY M IGU EL FLOR E S -V I A N NA
during my 70 (yikes!) years, but houseguesting within the confines of the Majorelle Garden rates right up there with stellar friendships, intense romance, a gratifying career, and the delights of owning a small, white house with a big, wet view. From 1975 until now, I’ve traveled 45 times to this florid, mysterious, impossibly exotic, and assiduously maintained North African compound, owned and made famous by the late French couturier Yves Saint Laurent. Hidden within the hustle of urban Marrakech (Morocco’s fabled “pink city”), the Majorelle Garden—along with its colorful, multifaceted crown jewel, the Villa Oasis—is a world-class landmark. The backstory of the Majorelle compound is a Franco-American saga revolving around six gifted and visionary men: French Orientalist painter and plant collector Jacques Majorelle; legendary rebel fashion designer Yves Saint Laurent; YSL’s partner in life and business, the feisty French industrialist, collector, and philanthropist Pierre Bergé; cool, sophisticated French decorator Jacques Grange; salty, stylish bohemian American expat and architect Bill Willis; and publicity-shy powerhouse American garden designer Madison Cox. In 1923, Majorelle bought the property that became the core of the six acres that comprise the compound today. Starting then, and throughout the 1930s, he constructed the home known as Villa Oasis. It was his choice to paint the house a vibrating shade of blue, and to plant the grounds with an eccentric array of shrubs, vines, and trees, which he both gathered locally and brought back from his frequent travels. The son of the acclaimed French furniture designer Louis Majorelle, Jacques is best known for his realist oil paintings depicting the native peoples and landscapes of North Africa. But he was also skilled in the colorful, curvy style of Art Nouveau decorative arts. Several of the handpainted doors and a console he created have been successfully preserved in Villa Oasis’s entry hall and grand salon. Majorelle opened a large section of the garden to the public in 1947. When Saint Laurent and Bergé bought the property in 1980, they continued this democratic policy. An estimated 850,000 people visited the Majorelle Garden last year. What they did not get to see is what’s pictured on these pages—the private side of Majorelle. I’VE HAD GOBS OF GOOD LUCK
A 1975 photograph of Saint Laurent and the author having tea after lunch in the Majorelle Garden.
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CLOCK WISE FROM ABOVE: A nook in the entrance hall was designed for musicians to serenade visiting guests; lemons from the garden ďŹ ll a bowl from the village of Tamegroute. Jacques Grange furnished the rooms with custom upholstery. A hand-carved and hand-painted cedar door. Bougainvillea shades the outdoor terrace.
Architect Bill Willis helped Saint Laurent and Bergé refine the architecture of the blue salon, while Grange decorated the interior. The love seats’ blueand-green stripe coordinates with the palette of the tiled fireplace.
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In Saint Laurent’s bedroom, the walls, ceiling, and shutters are hand-decorated in red, black, and gold. The antique bench came from the Château de Ferrières, Baron Guy and MarieHélène de Rothschild’s Henri Samuel–restored former home outside Paris. The armchairs, covered in Persian rugs, and the French crystal chandelier are from the 19th century, and the rug is a 17th-century Isfahan. OPPOSITE: The headboard is hand-carved and hand-painted to match the space, and the floor is in green marble.
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Inspired by his travels throughout Morocco, Majorelle designed the elaborate tilework and wall decorations in the grand salon. The 1920s console (right) is the villa’s sole remaining piece hand-painted by Majorelle. The early-20th-century armchairs and desk are French.
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Discreetly connected through several locked wooden doors, Majorelle’s public and private domains are equally lush, shot with color, poetic, and amazingly well cared for. Both are tucked behind thickets of tall bamboo. One is less crowded. While they were alive, Saint Laurent and Bergé, who died last year, worked with architect Bill Willis to transform the original painting studio into a Berber museum. They also constructed a café/restaurant, a bookshop, and a gift shop that is impossible to leave with just one handbag, shawl, or hand towel. Garden designer Madison Cox helped to restore all the existing pavilions, balustrades, rills, ponds, platforms, and paths, while also adding new ones. Grass was replaced with less thirsty crushed red gravel. Today, there are staff offices as well as a commissary and showers for the property’s gardening staff. Meanwhile, back at the Oasis, the only beings one might run into are a flock of delicate gray doves or nesting sparrows, along with the many extended families of frogs and fish whose home is the pond surrounding the villa’s main pavilion. Cooing, chirping, croaking, and splashing does seem a perfect background soundtrack to the Muslim call to prayer. Life at Villa Oasis was not always this tranquil. When Saint Laurent and Bergé were in residence, there was plenty of social action. Marella Agnelli, Betty and François Catroux, Bernard-Henri Lévy, and Loulou de la Falaise and her husband, Thadée Klossowski, were frequent guests at the lunches, teas, cocktail parties, and dinners hosted by the couple. So was Jacques Grange, who decorated the rooms inside the two-story villa, and Willis, who renovated and/or built from scratch many of its walls, windows, staircases, ceilings, fountains, terraces, and floors. The architect also designed the Majorelle’s much-photographed white stucco–and–glazed green tile pavilion, which became party central in the warmer months when the moon, moonflowers, and hundreds of blinking lanterns appeared. In winter, the intricately tiled fireplaces blazed for drinks in the grand and blue salons; dinner in the Russian-themed dining room; coffee, tea, and nightcaps in the densely detailed Moorish library; and dancing in the large, square entry hall. Flagrant/fragrant yellow, red, pink, orange, and white roses picked from the villa’s gardens filled vases. Musicians, cooks, and waitstaff were dressed in tailored Moroccan garb designed by Saint Laurent. Everything here was always impeccably choreographed: sumptuous, sometimes simple, always colorful, but never glitzy. Bergé was, and will forever be, Villa Oasis’s last resident. Cox, who is president of the Fondation Pierre Bergé–Yves Saint Laurent in Paris and also president of the Fondation Jardin Majorelle, has now decided to unite the three acres of off-limits Majorelle with the three acres of currently accessible Majorelle next door. Cox, who is Bergé’s widower and was a close friend of the YSL clan for 40 years, plans to start to fuse the private with the public realms of the property next year. (He will also transform an adjacent Majorelle residential structure, Dar Es Saada, into a library and research center.) The current roster of nearly 200 Majorelle employees will be expanded. There are plans to conduct small tours through Villa Oasis’s interior. The pristine, redtinted concrete paths will now be used by hundreds of thousands of curious visitors as opposed to dozens of insider houseguests. Yves Saint Laurent established his aesthetic mark via expensive, one-of-a-kind couture clothes, but his legacy is largely based on affordable, mass-produced, ready-towear fashions. So it is with the designer’s beloved Villa Oasis: Here amid the gardens and flowers, the future is inclusive. ◾
Saint Laurent personally designed and painted the top ďŹ&#x201A;oor of Villa Oasis, which he called the Minzah. He sketched his fashion collections at the 19th- century French bamboo table at the center of the space. The antique chair (right) is by Adolf Loos, and the pair of chairs is by Bonacina. The vintage Akari lights are by Isamu Noguchi. For details, see Resources.
LOCAL COLOR Dutch fashion designer Sander Lak has taken New York by storm since showing the debut collection for his line, Sies Marjan, in 2016. The recent Council of Fashion Designers of America award winner chats with a friend, the artist Elizabeth Peyton, about his Chelsea loft, his passion for bold hues, and making Manhattan home. BY ELIZABETH PEYTON PHOTOGRAPHS BY TINA BARNEY
I was wondering if you ever use your home as an incubator, like a private incubator for what you bring into your studio. S A N D E R L A K : Every day. It’s not like, Oh, when I go home, I read my books and my magazines and then take pictures, and that’s what I take to work. It’s never that direct. There is an energy that I recharge myself with when I’m home, which is very precious. And it’s very specific to me, considering my background and considering that I’ve lived all around the world and in so many different houses and apartments. So for me, this space where we are now is the first time really in my life that I have felt home. E P : When you’re designing clothes, do you imagine the interiors that people who are wearing your clothes will be in? S L : I imagine the clothes in a closet. I imagine them also combined with clothes that are not ours. I never see, Oh, this woman is wearing this, and she’s sitting on a pink couch. No, no. I do see it with, OK, so she’s hanging this garment next to her jeans or next to her this and that. E P: A lot of fashion designers eventually move into making things for the home, in either a branding way or a real way. Do you have an interest in that? SL: I would love to. When we started Sies Marjan, I really wanted to, in a very short time, make sure that we had an identity that isn’t just applied to clothes and what is around that. I really wanted it to be something that you can also apply to E LIZ ABE TH PE Y TON:
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Fashion designer Sander Lak, wearing his line, Sies Marjan, relaxes in a vintage Bruno Mathsson chaise longue in his loft in New York’s Chelsea neighborhood. Bookshelves from CB2 are backed by an of-white wall; others are painted to match the pale pink hue of a Sies Marjan shirt.
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anything else that we surround ourselves with. And that includes furniture. It includes any objects, really. Like even technology. I would love to have a Sies Marjan phone case.... E P: Great. I would too. S L : I’ve always had this fantasy of doing my own version of what Ralph Lauren does, where you create a world. And Ralph has done it in such a ginormous way. You can really look at anything that’s Ralph Lauren, and it’s his, it’s complete. And I think that’s something that I would love to get into, because I know myself. At some point, clothes are not gonna be enough for me to express. And I already have a million ideas. Whoever’s gonna call me, know that it will be a short meeting, and I’ll have a lot of ideas. [Laughs] E P: Is there a philosophy of life behind your bringing so much color to your work? SL: As a kid, my mom used to always dress me and
Lak collects books on art, fashion, and photography. The cane Thonet dining chair is one of four he purchased from a friend.
In the living area, the chairs in front of the fireplace are by Hans Wegner for Getama. The chair and ottoman at left are by Shigeru Uchida. The art above the marble mantel includes a postcard from a Julian Rosefeldt show (top left), a poster for Woody Allen’s Alice (bottom left), a framed scarf designed by Raf Simons (top right), and photos of Kurt Cobain by Youri Lenquette (bottom center). On the back wall is a Thomas Ruf portrait.
my brothers up in really bright colors. When we were living in Africa, in the middle of the rain forest, or in Malaysia [my father worked as an engineer on oil platforms], my mom would dress us in bright reds to be able to see us in nature. Color can have the function of a cover-up of sorts. I have always loved the idea of dressing in one color. It’s on the one hand about standing out, and on the other about hiding or camouflaging. So as a kid, I started realizing that color is not only the thing that is on top of everything else as a surface. It is also something that fights or hides—there are all of these layers to color. And it was only when I was working on fashion that I realized that all of these sensibilities I had with color are not something that everyone else has. It was only then that I realized, like, Oh, OK, I think very differently about color, and I can really be emotionally connected to a color. ELLE DECOR
In Baudelaire’s time, wearing black was an affront to society in a way. Because you were saying “no.” Now it seems like wearing color is more of an affront. S L : Fashion in any form is a reflection of the zeitgeist. So there is something in the fact that people want to wear color in these days of, well, let’s call it darkness. There is definitely something very gloomy and very heavy and dark happening in our world and in our part of the world. And nobody can deny it. And I think that there is something there where a lot of people actually don’t want to look like they’re going to a funeral. They want to wear color. And they want to wear things that have a positive note to them and show beauty as opposed to darkness. Because if you want darkness, you just open your news app. You’ll get it in boatloads. [Laughs] ◾ EP:
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A marble-topped cocktail table purchased at a New York flea market holds a vintage planter bowl by UPCO. The rug is a vintage Turkish Tulu.
In the dining area, the table was purchased in Hudson, New York, and the leather dining armchair was found in Antwerp. The plants include schefflera and dragon tree. For details, see Resources.
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In the living room of Beth and Murat Bugdaycay of Foundraeâ&#x20AC;&#x2122;s TriBeCa apartment, the sofa, cocktail table, and side table are by BDDW, the chair is vintage, and the ottoman is by Poltrona Frau. The chandeliers are by Lindsey Adelman, the rug is by Fort Street Studio, and Murat designed the Calacattamarble mantel. The room is painted in Farrow & Ballâ&#x20AC;&#x2122;s Wevet. OPPOSITE: Beth, a jewelry designer.
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RAE OF LIGHT IN AN AIRY TRIBECA DUPLEX, JEWELRY DESIGNER BETH BUGDAYCAY AND HER REAL ESTATEâ&#x20AC;&#x201C;DEVELOPER HUSBAND, MURAT, HAVE BUILT A SANCTUARY OF CREATIVE AND SPIRITUAL FULFILLMENT. BY LESLIE CAMHI
PHOTOGRAPHS BY VICTORIA STEVENS ELLE DECOR
EVERYTHING HERE FEELS AT ONCE PRECISELY CALIBRATED AND EASY; IT IS LAYERED WITH PERSONAL MEANING YET UNCLUTTERED. 160 the former CEO of Rebecca Taylor clothing and now the cofounder and designer of the über-chic Foundrae jewelry line, was six years old when she decided she wanted to work in fashion. She grew up Quaker in Brownsville, Texas—a city just north of the Mexican border with one of the highest poverty rates in the country—so the choice was not an obvious one. Where did she get such an idea? “It was from watching Green Acres!” the designer says, laughing. In that 1960s-era TV sitcom, a socialite played B E T H B U G D AYC AY,
In the second-floor hallway, a display of Beth’s collection of vintage German biscuit porcelain and modern biscuit artwork, including pieces by M. Frey and Kate MacDowell.
A custom desk by Tyler Hays and a Philipp Mainzer cocktail table in Murat’s home oice. The landscape puzzle painting, wingback chair, love seat, and side table are all by BDDW. The rug in the foreground is by Fort Street Studio. ELLE DECOR
by Eva Gabor leaves her glamorous New York City life behind when her husband becomes a farmer. “We didn’t know anyone who had ever been to New York,” Beth explains. “They showed Eva on the terrace of her Manhattan penthouse, and I thought, I want that!” In fact, what Beth has built for herself is something far richer and more satisfying: a life that melds creative work with a deep commitment to family and spirituality, unfolding in a home that combines all three. We’re seated in the living room of her light-filled TriBeCa penthouse, a duplex she designed with her husband of 18 years, restaurateurturned–real estate developer Murat, where they live with their children (Gem, 14, and Ayla, 7). Porcelain-and-bronze light fixtures by Lindsey Adelman hang like the inverted canopy of a tree from the double-height ceiling. A ninefoot-high glass door, set into a wall of windows, leads to the terrace, where a whimsical pair of ’60s wire chairs by John Risley, in the form of a man and woman, keep company with boxwoods and Japanese maples.
A Rodger Stevens sculpture and a BDDW rug anchor a hallway leading up to the bedrooms. The custom staircase is in brass and wood.
In the master bathroom, the bathtub is by Victoria + Albert, and the Calacattamarble floor is heated.
Artworks—a portrait of Gem as a wide-eyed little boy by painter Anh Duong, an ethereal tulle collage of a woman’s face by Turkish artist Irfan Onurmen, vintage brass sculptures by Carl Auböck, of the Viennese design house—share space with flea-market finds and childhood mementos. Shelves in the upstairs mezzanine are filled with vintage biscuit porcelain. “I’m the gatherer,” Beth explains, “but the orderliness comes from Murat. He likes clean lines.” Everything here feels precisely calibrated and easy; it is layered with personal meaning yet uncluttered, open and airy. The seven-story building is Murat’s first residential project; he combined and gutted two adjoining, landmarked cast-iron structures, creating full-floor condo-
miniums that reflect his attention to detail and sensitivity to light and volume. Unique pieces by furniture designer and master craftsman Tyler Hays of BDDW are studded throughout the apartment. “Smart and eclectic” is how Hays describes the couple’s aesthetic. “Their home looks very casual,” he explains, “but they put a lot of thought into everything they are doing there.” In fact, that eclecticism is a natural outgrowth of the couple’s ancestral history. Beth’s father’s family hails from eastern Kentucky, while on her mother’s side, her Quaker roots stretch back 15 generations, all the way to the founding members of the Society of Friends in England. Murat, on the other hand, was born in a village in eastern Turkey. ELLE DECOR
“I’M THE GATHERER. BUT THE ORDERLINESS COMES FROM MURAT. HE LIKES CLEAN LINES.”
Murat and Beth relax on their master bedroom terrace. The custom curtains are by Fort Street Studio.
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The master bed and leather side table are by BDDW; the bedding is from ABC Carpet & Home, and the throw is a Moroccan wedding blanket. The sconce is by Lindsey Adelman, the rug is by Fort Street Studio, and the wallpaper is by Jannelli & Volpi.
Beth spent her adolescence in Chicago, while Murat’s was spent in Istanbul, where he later studied both architecture and urban planning. Beth was working as an assistant designer at Cynthia Rowley when the couple met and fell in love. A few years later, when Beth and her best friend, fellow Cynthia Rowley assistant designer Rebecca Taylor, decided to found their own line, Murat put up the money: $40,000. The company, Rebecca Taylor, was sold to a private equity firm for considerably more in 2011. “We were successful before that, but suddenly, our financial status changed completely,” Beth muses. “And then Murat did an incredible job of developing these two buildings, and that trumped any money we had made through the sale of the company. Every day,” she adds, “we feel like it’s a miracle that we live here.” Abandoning the CEO mantle and returning to her roots as a designer with Foundrae has also felt like coming home. Launched in 2015, the brand has developed a
cult following with rings of 18-karat gold and champlevé enamel based on the form of Victorian cigar rings, and medallions set with tiny diamonds and embossed with mystical and alchemical symbols, such as arrows, stars, crescent moons, and snakes. These are not your mother’s charms. Instead, they denote key character traits and ideals, from strength and passion to wholeness, resilience, and protection. And they’re meant to be layered and bundled in “stories,” reflective of each wearer’s complex history and identity. “They’re not talismans,” Beth says. “They’re more like reminders to call forth the strength that is inside us.” It’s no wonder the line has found its most devoted fans among a highly unusual demographic—women buying jewelry for themselves, often for the first time. “It’s an incredible experience for me to be a part of that,” Beth says. “So often I hear people say, ‘This is the first piece of jewelry that I’ve ever bought for myself. But I think it’s time, and this is for me.’ ” ◾
A dish overflowing with Foundrae jewelry.
In a hallway, the pendants are by Lindsey Adelman, the custom rug is by BDDW, and the wall is clad in black walnut by Henrybuilt. The wall sculpture is by Mieko Yuki, and the artwork (far left) is by Jill Moser. For details, see Resources.
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SOUTHERN
Fashion designer Johanna Ortiz (second from left) in the salon of her 16th-century Spanish Colonial villa in Cartagena, Colombia. She and her colleagues—from left, Johanna Isaac, Paola Ortiz, Catalina Londono, and Maria Isabel Guzman—are all wearing dresses and kimonos from Ortiz’s collection.
PHOTOGR APHS BY RICARDO LABOUGLE PRODUCED BY CYNTHIA FRANK
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Whether crafting her signature printed dresses or decorating her Cartagena vacation home, fashion designer Johanna Ortiz puts her own stamp on Colombian chic. B Y VA N E S S A L AW R E N C E
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“She captures the sultry,
sophisticated South American spirit,” says Lauren Santo Domingo. in New York, the sepia-toned, buzzy French bistro Augustine was aglow with tropical warmth, thanks to Colombian fashion designer Johanna Ortiz, who chose the restaurant as the setting for the presentation of her 2019 Resort collection. The tables were set with baskets of mini pandebonos (Colombian cheese bread), buñuelos (South American fried dough), quinoa arepas, and bowls of uchuvas (gooseberries). Each seat had a panama hat and a floral silk pouch of lipsticks, a collaboration between Ortiz and Aerin Lauder that drops this November. And as the models ambled by wearing artfully draped dresses and separates in marigold, terra-cotta, and green prints, you couldn’t help but be captivated by Ortiz’s talent for seamlessly infusing her Colombian aesthetic into any environment or garment she touches. Ortiz’s love of fashion actually stems from her passion for interiors, which is evident in both her clothing creations—she is known for her pattern choices and often sources fabrics from vintage textiles—and her Cartagena vacation home of 13 years. Born and based in Cali, Colombia, an hour-and-a-half flight away, she grew up around her decorator mother’s reams of fabrics. Even today, she always begins her collections by first selecting materials—say, a f loral Italian silk— before transforming them into her signature flirty silhouettes. “She captures the sultry, sophisticated South American spirit,” says Lauren Santo Domingo, a family friend and founder of the fashion site Moda Operandi. Five years ago, Santo Domingo spotted Ortiz’s designs on Instagram and promptly picked up her line, exclusively launching her brand globally (Ortiz founded her company in 2003 but had previously sold only domestically). “What struck me about Johanna’s collection was its authenticity,” Santo Domingo adds. “She stays true to herself.” That sense of genuineness permeates every corner of Ortiz’s house in Cartagena, the picturesque Colonial town she travels to seven times a year. It is also where she met Santo Domingo—whose husband, Andres, comes from a prominent Colombian family—more O N A G R AY J U N E M O R N I N G
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than a decade ago. Ortiz and her husband, Cesar Caisedo, president of the candy brand Colombina, had been vacationing in Cartagena for years when they purchased the 16th-century Spanish Colonial–style house in 2005. At the time, Ortiz was pregnant with their second son, Joaquin (they also have Lukas, 18, and Lorenzo, nine). The two-story, high-ceilinged villa of carved wood and painted concrete is situated in the city’s walled Old Town, a UNESCO World Heritage site that dates back to at least the 1500s. “Because Cartagena is so near the [Caribbean Sea], things get ruined in such a short time. Something will look old, but it’s actually new,” says Ortiz, who spent 11 months working with architect Patricia Mejía on the renovation. The home’s original hand-painted tile floors and wooden details were restored, while a swimming pool was added to the terrace. In the salon, Ortiz enlisted Eloin Rivera, a muralist from Cali, to paint a stunning palmlandscape tableau inspired by the local botany, which Ortiz had researched. A menagerie of chairs from Spain, India, and Vietnam— products of her love of travel and furniture shopping—mix with white porcelain vases from Casa Chiqui, the impeccably curated Cartagena boutique owned by Chiqui de Echavarria, the legendary Colombian hostess. T h e m a s te r b e d r o om , which is a fantasia of blue and white (“blue is peaceful, and you never get bored of it,” Ortiz notes), is crowned by a raffia-and-seashell pendant. Printed ikat, suzani, and Otomi textiles mingle in the room. Venezuelan artist Mariet Vergara painted a mural in a corner based on a tropical fabric that Ortiz used in her spring/summer 2016 collection; Vergara also created a trompe l’oeil bamboo motif for a guest room’s headboard. Ortiz loves entertaining and invites close friends over for poolside barbecue lunches on her terrace, featuring the catch of the day. Afterward, she often goes for meandering walks with her kids. For her, the appeal of Cartagena is not unlike the charm of her flirty, colorful ruffled dresses—which, despite their refined beauty, are meant to be lived, eaten, and danced in. As she puts it, “Cartagena is a real city. It has this magical sense of not being perfect that I love.” ◾
Ortiz, in one of her own designs, gets a visit from a basket artisan outside the Colonial carvedwood door to her home.
In the salon, the fauxbamboo chairs are from the 1960s, the rattan trunk is vintage, and the side table and ceramic vase are from Morocco. Colombian artist Eloin Rivera painted the mural.
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The master bedroom’s headboard is covered in a Brunschwig & Fils fabric, the built-in side table is custom, and the vase is Chinese.
In the entry, the Colonial table is from El Arcon, and the mirror has a frame made from an antique window. The custom chandelier incorporates 16th-century French crystals, the floors are Mexican cement tiles, and the artwork is by Miguel Böhmer. ELLE DECOR
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The guest room’s chaise longue and Uzbek print pillows are from LP Decor; the red pillows are from Hechizoo. The headboard mural is by Mariet Vergara.
“Blue is peaceful, and you never get bored of it.” The master bedroom’s chaise seat cushion is covered in a French fabric. The Indonesian shell pendant is from Casa Chiqui, and the recycledplastic rug is by Mad Mats. For details, see Resources. ELLE DECOR
In the master bedroom, the chaise longue is in a Johanna Ortiz print from her spring 2018 collection.
On the original vaulted terrace, the Spanish Colonial dining table is from the antiques shop El Arcon, the slipcovers on the chairs are of a silk ikat, the table linens are by Ortiz, and the fan is from Fanimation.
Items pictured but not listed are from private collections. MAKER PAGES 54–56: Mariana Pussacq,
Heller bench; Pianca cofee tables; Dash & Albert rug; AllModern console; Kartell mirror; Arktura barstool; Blu Dot counter stool; and Loloi rug: Perigold, perigold.com.
Casa Almacén, casaalmacen.com. TALENT TALENT PAGE 58: Table, sideboard, and sofa: Natuzzi, natuzzi.com. PAGE 60:
R E S O U R C E S
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Matthias Vriens-McGrath, Atelier MVM, ateliermvm.com. TRUTH IN DECORATING PAGES 62–66: Kristopher Brock and
Laura Vassar Brock, Brock Collection, brock-collection.com. MOOD BOARD PAGE 68: Perfume: Chanel, chanel
.com. Chair: Eichholtz, oroa.com. Alexandre Vauthier look: Alexandre Vauthier, alexandrevauthier.com. Headpiece: Gucci, gucci.com. Console: Maison Gerard, maisongerard .com. Fabric: Misia, misia-paris.com. Attico look: Attico, theattico.com. Mule: Manolo Blahnik, fwrd.com. CLOSET CONFIDENTELLE PAGES 74–76: Closet: California Clos-
ets, californiaclosets.com. Tabletop: ABC Stone, abcworldwidestone.com. Pendant lamp: 2Modern, 2modern .com. Bench: Lobel Modern, lobel modern.com. Ottoman: Bourgeois Bohème Atelier, bobointeriors.com. Clock: Vitra, vitra.com. SHORTLIST PAGE 78: Shoes: Santoni, santoni
shoes.com. Stationery: Cartier, cartier.com. Bed: Hästens, hastens.com. Eyeglasses: Efector, effector-eyewear.com. ZODIAC TABLESCAPE PAGE 98: Champagne flutes:
Artel, artelglass.com. Gold glasses: NasonMoretti, tableartonline.com. Silver cups: Tifany & Co., tiffany.com. Bread-and-butter plates: Bernardaud, bernardaud.com. Zodiac plates: Laboratorio Paravicini, artemest.com. Flatware: Alain Saint-Joanis, thesilverpeacock.com. Candlesticks: Création Galant, creation-galant.com. Crystal balls: Creel and Gow, creelandgow.com. Table: Asher Israelow, asherisraelow .com. Napkin fabric: Jim Thompson Fabrics, jimthompsonfabrics.com. ED DESIGN HOTELS PAGES 100–104: Lanserhof
Tegernsee, lanserhof.com. DANIEL’S KITCHENS PAGES 106–108: Daniel Boulud of
Restaurant Daniel, danielnyc.com. PAGE 108: Platter: Hermès,
hermes.com. SHOWCASE PAGES 110–114: Bottega Veneta
Home, bottegaveneta.com. EDTV
Interior design: Eric Hughes, Eric Hughes Design, erichughesdesign.com. Furnishings: Perigold, perigold.com. PAGES 118–120: Wallshoppe wallpaper; Arteriors ottoman, mirror, and cherry sculpture; Bungalow 5 lamp; ModShop sofa and armchair; Jonathan Adler pendant sconce; ELLE DECOR
Interior design: Bibi Monnahan, bibimonnahan.com. PAGE 122: Blue vase: Paul Arnhold, paularnholdglass.com. Other vases: Frette, frette.com. Mirror: Liz O’Brien, lizobrien.com. PAGE 123: Dining chairs: Knoll, knoll.com. Photograph: Marilyn Minter, marilynminter.net. Plates: Fornasetti, fornasetti.com. Paint: Benjamin Moore, benjamin moore.com. Credenza: Poliform, poliform.it. Totems: Ashley Hicks, ashleyhicks.com. Rug: Stark, stark carpet.com. Artwork: Renato Freitas, renatofreitas.com. PAGE 124: Headboard fabric: Holly Hunt, hollyhunt .com. Pillow fabrics: Pierre Frey, pierrefrey.com; Holland & Sherry, hollandandsherry.com. Lamp: Celine Cannon, celinecannon.com. Bedding: Frette. Armchair: Moooi, moooi.com. Lamps: Mecox, mecox.com. Photograph: Willy Rizzo, willyrizzo.com. PAGE 126: Sofa: Vladimir Kagan, vladimirkagan.com. Round side table: Ralph Pucci, ralphpucci.net. Rug: Luke Irwin, lukeirwin.com. Curtains fabric: Rogers & Goigon, rogersand goffigon.com. SOLID GOLDSTEIN
Interview: Isaac Mizrahi, isaacmizrahi.com. PAGES 128–129: Cabinet: Palazzetti, palazzetti.com. Table: YLiving, yliving .com. Dining chairs: BDDW, bddw .com. Floor lamp: Urban Architecture, urbanarchitecture.us. PAGES 130–131: Armchair: Cassina, cassina.com. Stool: Kelly Wearstler, kellywearstler .com. Lamp: 2Modern, 2modern.com. Curtain fabric: Twigs, johnrosselli associates.com. Rug: ABC Carpet & Home, abchome.com. Chair: Circa 20c, circa20c.com. Table: Suite NY, suiteny.com. Pendant: Design Within Reach, dwr.com. PAGES 132–133: Divan and pillows: DDC, ddcnyc.com. Side table: Jung Lee, jungleeny.com. Paint: Benjamin Moore, benjamin moore.com. Mirror: Galere, galere .net. Cabinet: Mira Nakashima, nakashimawoodworker.com. Bed: Natuzzi, natuzzi.com. Chandelier: Ivan Lolli and Mario Memmoli, lollimemmoli.it. Pendant: Ingo Maurer, ingo-maurer.com. Rugs: Joseph Carini Carpets, josephcarinicarpets .com. Carpet: Bellbridge, bellbridge .com. PAGES 134–135: Console: Bernd Goeckler, bgoecklerantiques.com. Umbrella stand: Barneys New York, barneys.com. Coatrack: Ligne Roset, ligne-roset.com. Rug: Joseph Carini Carpets. Paint: Benjamin Moore. Lamp: Artemide, artemide.com. STRICTLY TOWNHOUSE
Interior design: Catherine Martin, catherinemartin.com. PAGE 136: Paint: Benjamin Moore, benjaminmoore.com. PAGE 137: Turtleneck and sneakers: Prada, prada.com. Dress: Isabel Marant, isabelmarant.com. Boots: Vanessa Bruno, vanessabruno.com. Sofas: West Elm, westelm.com. Sofa fabric: Catherine Martin Mokum, jamesdunloptextiles.com.
Photograph: Rex Dupain, rexdupain .com.au. PAGE 138: Chairs fabric: Catherine Martin Mokum. Cocktail table: West Elm. Rug: Designer Rugs, designerrugs .com.au. Blinds: Hunter Douglas, hunterdouglas.com. Book stand: Taschen, taschen.com. PAGE 139: Photograph: Douglas Kirkland, douglaskirklandphotography.com. Console and cocktail table: West Elm. Wood hand and matchboxes: Jayson Home, jaysonhome.com. Vase: CB2, cb2.com. PAGE 140: Wallpaper: Catherine Martin Mokum. Sconces: RH Modern, rhmodern .com. Runner: Louis De Poortere, louisdepoortere.be. Door, stairs, and banister paint: Benjamin Moore. PAGE 141: Sofa and armchair: RH, Restoration Hardware, rh.com. Fabrics: Catherine Martin Mokum. Leather chair: Anthropologie, anthropologie.com. Cocktail table: Tracey Boyd, aboydbazaar .com. Chandelier: Jonathan Adler, jonathanadler.com. Art: Anthony White, anthonywhite.art. PAGE 142: Bed and bench: Tracey Boyd. Lamps: Rejuvenation, rejuvenation.com. Planter: Anthropologie. Wallpaper, bedspread, and cushions: Catherine Martin Mokum. PAGE 143: Console: CB2. Art: Anthony White. Sink: Toledo Architectural Artifacts, coolstuffiscoolstuff.com. Pendant: Anthropologie. Sconces: RH, Restoration Hardware. Mirror: RH Teen, rhteen.com. OASIS OF COLOR AND CALM
Landscape design: Madison Cox, Madison Cox Associates, madisoncox.com. Jardin Majorelle: jardinmajorelle.com. PAGE 151: Armchairs: Bonacina, bonacina1889.it. Akari lights: Isamu Noguchi, noguchi.org. LOCAL COLOR
Interior design: Sander Lak, Sies Marjan, siesmarjan.com.
PAGES 152–153: Bookshelves: CB2, cb2.com. PAGES 154–155:
Armchairs: Getama, getama.dk. RAE OF LIGHT
Interior design: Beth and Murat Bugdaycay, Foundrae, foundrae.com. PAGE 158: Sofa, cocktail table, and side table: BDDW, bddw.com. Ottoman: Poltrona Frau, poltronafrau .com. Chandeliers: Lindsey Adelman, lindseyadelman.com. Rug: Fort Street Studio, fortstreetstudio.com. Paint: Farrow & Ball, farrow-ball.com. PAGE 160: Ceramics: Kate MacDowell, katemacdowell.com. Cocktail table: Philipp Mainzer, philippmainzer .com. Painting, wingback chair, love seat, and side table: BDDW. Rug: Fort Street Studio. PAGE 161: Sculpture: Rodger Stevens, rodgerstevens.com. Rug: BDDW. Bathtub: Victoria + Albert, vandabaths.com. PAGE 162: Curtains and rug: Fort Street Studio. Bed and side table: BDDW. Bedding: ABC Carpet & Home, abchome.com. Sconce: Lindsey Adelman. Wallpaper: Jannelli & Volpi, jannellievolpi.it. PAGE 163: Jewelry: Foundrae. Pendant lights: Lindsey Adelman. Rug: BDDW. Wall paneling: Henrybuilt, henrybuilt.com. Wall sculpture: Mieko Yuki, miekoyuki.com. Artwork: Jill Moser, jillmoser.net. SOUTHERN CHARM
Interior design: Johanna Ortiz, johannaortiz.co. PAGE 168: Headboard fabric: Brunschwig & Fils, kravet.com. PAGE 169: Art: Miguel Böhmer. PAGE 170: Uzbek print pillows: LP Decor, lpdecor.co. Red pillows: Hechizoo, hechizoo.com. Chaise longue fabric: Johanna Ortiz. Shell pendant light: Casa Chiqui, casachiqui.com. Rug: Mad Mats, madmats.com. PAGE 171: Table linens: Johanna Ortiz. Fan: Fanimation, fanimation.com.
NO PURCHASE NECESSARY TO ENTER OR WIN. ELLE DECOR Lenox Sweepstakes. Sponsored by Hearst Communications, Inc. Beginning July 31, 2018, at 12:01 A.M. (ET) through September 3, 2018, at 11:59 P.M. (ET), go to lenox.elledecor.com on a computer or wireless device and complete the entry form pursuant to the on-screen instructions. One (1) Winner will receive ten (10) 4-piece place settings (choice of any 4 Season’s Radiance patterns), one (1) matching platter, one (1) serving bowl, and one (1) pitcher. Total ARV: $3,202. Important Notice: You may be charged for visiting the mobile website in accordance with the terms of your service agreement with your carrier. Odds of winning will depend upon the total number of eligible entries received. Sweepstakes open to legal residents of the 48 contiguous United States or the District of Columbia who are 18 years or older at time of entry. Void in Puerto Rico, Alaska, Hawaii, and where prohibited by law. Sweepstakes subject to complete oicial rules available at lenox.elledecor.com.
ELLE DECOR (ISSN 1046-1957) Volume 29, Number 7, September 2018, is published monthly except bimonthly in January/February and July/August, 10 times a year, by Hearst Communications, Inc., 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief Executive Oicer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Catherine A. Bostron, Secretary. Hearst Magazines Division: David Carey, President; John A. Rohan, Jr., Senior Vice President, Finance. © 2018 by Hearst Communications, Inc. All rights reserved. ELLE DECOR is a registered trademark of Hearst Communications, Inc. Periodicals postage paid at N.Y., N.Y., and additional mailing oices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Oices: 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 service.elledecor.com 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 ofers 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 ofers by e-mail. ELLE DECOR is not responsible for unsolicited manuscripts or art. None will be returned unless accompanied by a selfaddressed 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.
PROMOTION
If These Walls Could Talk:
AN ALL-STAR GREENROOM MAKEOVER The Watch What Happens Live with Andy Cohen Greenrooms Get a Chic Makeover with Designer Eric Hughes and Perigold.com When ELLE DECOR partnered with A-List designer Eric Hughes and online home furnishings retailer Perigold to glamify the Watch What Happens Live with Andy Cohen greenrooms, a bold and fabulous redesign was created worthy of its colorful cohost and eccentric guests. Starting with the blank canvas of two sparse greenrooms, Hughes worked to create an inviting space for celebrity talent exuding eclectic luxury. Hughes shopped Perigold for everything he needed, from a midcentury style credenza to pop-art sculptures. Perigold, the go-to online retail destination for luxury home furnishings and dĂŠcor, gives shoppers the ability to browse a curated selection of more than 150,000 items from over 400 top brands, including Schumacher, Hubbardton Forge, Sferra, and ModShop.
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1. JOHNATHAN ADLER PENDANT
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The Parker Pendant light features a classic Nixon pattern in a sleek, laser-cut metal iteration, illuminated by the clean backdrop of the frosted white cased glass interior shade.
2. INTERLUDE CAMILLA END TABLE Showcasing a sleek stainless steel base and a round glass top, the contemporary Camilla drink table is a classic.
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3. MODSHOP NAPLES CREDENZA This credenza with lucite legs has a delightful chevron pattern.
4. MODSHOP ART DECO CHAIR The modern take on this classic furniture favorite makes ample use of curves, and comes in the most luxurious velvet for an opulent seating experience.
5. MODSHOP TROUSDALE BAR CART Entertain in style with the Trousdale Bar Cart, featuring a lucite frame, glass, and shiny brass accents.
6. ARTERIORS GEORDI SCULPTURE 6
The red lacquer of the Geordi Cherry sculpture is complemented by a bright brass etched stem.
VISIT PERIGOLD.COM TO SHOP ALL OF THESE PRODUCTS, AND SO MUCH MORE!
DISCOVER THE ELLE DECOR COLLECTION ON elleboutique.com/elledecor
is a trademark owned by HACHETTE FILIPACCHI PRESSE SA, Paris, France.
Though she started her textiles company, de Le Cuona, by elevating humble linen to the far reaches of elegant finery, South African–born Bernie de Le Cuona is clearly just as adept at coaxing untapped beauty out of traditionally glamorous velvet. Her cotton-blend Liquid Teal fabric has the sheen of, as she puts it, “an exotic cat”—a quality that inspired Fernando Garcia and Laura Kim, the creative directors of the fashion house Oscar de la Renta, to make this dramatic cape-back strapless gown. At once streamlined and plush, restrained and decadent, their dress glows like a moonstone, becoming more complex with each flicker of its wearer’s movement. —Vanessa Lawrence delecuona.com
oscardelarenta.com
P R O D U C E D BY B E N J A M I N R E Y N A E R T
PHOTOGRAPH BY
Each month, ELLE DECOR asks an artisan to create a unique item for us. At the end of the year, these pieces will be auctioned off to benefit the charity of each maker’s choice.
Philip Friedman
HAIR & MAKEUP ARTIST: NATALIA MEIJA . MODEL: ANGE-MARIE MOUTAMBOU
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