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Let’s Get Personal THE DESIGNERS-AT-HOME ISSUE

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A P RI L 2022

CONTENTS

THE DESIGNERSAT-HOME ISSUE

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72

84

98

CLIFF’S NOTES

DRAMA DOWN UNDER

NOMAD LAND

From vintage furniture to a koi pond and orchid garden, this designer’s Los Angeles home checks every box.

In Sydney, a meticulously restored historic home sets the stage for interventions that are as fashionable as they are theatrical.

Inveterate traveler Vicente Wolf brings the world home with him to his quietly evolving Manhattan loft.

BY CAMILLE OKHIO DESIGNER CLIFF FONG

BY MARY HOLL AND DESIGNER TAMSIN JOHNSON

BY JULIE L ASK Y DESIGNER VICENTE WOLF

78

90

104

ÎLE DE RÊVE

SECOND SHIFT

HOP TO IT!

Jean-Louis Deniot brings mainland flair and charm to his family’s dreamy refuge off the Atlantic coast of France.

See how a doctor’s family legacy informs his burgeoning interior design practice in Milan. Case study? His own apartment.

One designer transforms a Pittsburgh landmark into a dynamic home for her two children, two dogs—and two bunnies.

BY IAN PHILLIPS DESIGNER JEAN - LOUIS DENIOT

BY L AUR A MAY TODD DESIGNER PAOLO CASTELL ARIN

BY L AUREN MECHLING DESIGNER R AMSEY LYONS

Subscribe to ELLE DECOR at elledecor.com/join

FR ANCESCO DOLFO. FOR DETAILS, SEE RESOURCES

A view through a “porthole” into the living room of Paolo Castellarin’s Milan apartment (page 90). The vases (center) on the baby grand piano are by Gaetano Pesce.

CONTENTS Designer Ramsey Lyons’s pet rabbits rest on a custom sofa in the second-floor TV room of her Pittsburgh home (page 104). The artwork is by Hunt Slonem.

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EDITOR’S LETTER 27

WHAT’S HOT The best design discoveries 30

TRUTH IN DECORATING Designers Danielle Fennoy and Poonam Khanna weigh in on the latest outdoor furniture options 34

SO COURANT Look no further for a guide to the buzziest terms in the world of waste. Plus: Trash bins for a brighter tomorrow 39

POINT OF VIEW What’s the difference between a decorator and a designer?

Experts debate a question for the ages.

BY STEPHEN WALLIS

42

HOUSE CALL How did Ghislaine Viñas create the ultimate fun house at her rural Pennsylvania getaway?

Mischievously, of course 48

SHORTLIST The Los Angeles–based architect and designer Jerome Byron shares eight things that enrich and enlighten him 50

SHOWCASE See how the orchid’s legacy as a hot commodity has borne a collection of today’s most coveted gems.

BY TANYA DUKES

52

STUDIO VISIT

54

TALENT In Brooklyn, a jewelry designer brings her boundless curiosity to pieces inspired by the arts and the earth

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NICOLE FR ANZEN

A forward-thinking Italian design duo unveil a shelving system that’s sure to stand the test of time

CONTENTS 59

BUILDER Here’s why more homeowners are living and building sustainably, taking a crucial step to help curb the effects of climate change.

BY IAN VOLNER

112

RESOURCES 114

MY KIND OF ROOM A red-drenched Parisian living room delighted Sheila Bridges more than 25 years ago—and still hits the mark

RIGHT: The garden patio of designer Cliff Fong’s Los Angeles home (page 72) features a Van Keppel-Green table surrounded by Mathieu Matégot chairs. The pendant is by Louis Poulsen.

BELOW: Lift Every Voice: A Celebration of Black Lives, a new book from Hearst (page 28).

ON THE COVER The kitchen of a Milan apartment designed by the homeowner, Paolo Castellarin.

PHOTOGR APH BY FR ANCESCO DOLFO

Visit elledecor.com/ exclusive-house-tours or just scan the code below to see even more designers at home!

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LIDO CORD OUTDOOR SOFA BY GAMFRATESI Price upon request. minotti.com

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I N T E R N ATI O N A L A D SA LE S H O US E : L AGA RD ÈR E G LO BA L A DV E R T I S I N G SVP/INTERNATIONAL ADVERTISING Julian Daniel jdaniel@lagarderenews.com

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YOUR SOURCE FOR MODERN LIVING | 1.800.944.2233 | WWW.DWR.COM

A kitchen in Milan designed by Paolo Castellarin (page 90) features a Verde Guatemala marble countertop and sink and Valcucine glass cabinets.

LET’S GET PERSONAL READER, I HAVE A CONFESSION TO MAKE, AND IT PROBABLY WON’T COME AS A

surprise: I’m nosy. Luckily, an insatiable curiosity is especially useful when you’re a design editor and your work entails barging into someone’s private world and asking, “What’s this, and where’s it from?”

For our annual look at designers’ own homes, we didn’t have to elbow our way in too forcefully—talents from Sydney to France to New York City graciously flung their doors open and invited us to take a look around. And there’s plenty to see. A vintage furniture dealer’s serenely handsome lair in Los Angeles, complete with an orchid garden and koi pond? Check. A grand Pittsburgh house for a rambunctious family, plus their terriers and bunnies? Check! Our cover story is a doctor-turned–interior designer’s apartment in a 19th-century palazzo in Milan. He gave the glorious space a color-drenched overhaul after earning his degree from the city’s revered Polytechnic University. In other 24

ELLE DECOR

words, there’s a doctor in the house—and he decorates.

Speaking of decorating, in a report for this month’s Point of View column, Stephen Wallis wonders, “What’s in a name?” He weighs in on an ongoing and sometimes contentious debate—the divide between industry talents who deem themselves decorators and others who prefer the term interior designer.

Finally, with spring on the horizon, we are of course also thinking about the promise of warmer weather and keeping an eye on Earth Day, which falls on April 22. In this issue, in addition to stories about sustainability, recycled materials, and eco-minded design, we also explore Mother Nature as the ultimate source of inspiration in interiors, jewelry, and so much more. Our Earth remains the designer par excellence; we’re all just trying to keep up.

As I write this editor’s letter, Russia’s invasion of Ukraine is the latest reminder of the immense fragility of a sense of security and safety at home for so many.

The importance and basic human right of shelter is universal. And so we take seriously our responsibility to tell stories that both inspire and inform. We’re grateful to you for coming along for the ride. ◾

@as4d

INTERIOR: FR ANCESCO DOLFO; PORTR AIT: NAIMA GREEN

EDITOR’S LET TER

Pablo Outdoor, design Vincent Van Duysen. bebitalia.com

W H AT’S H OT

(NOT YOUR) GARDEN VARIETY These artful vessels, planters, and plinths will help raise your foliage to bold new heights.

ST YLED BY REBECCA BARTOSHESK Y

BY

RIM A SUQI

PHOTOGR APHS BY

DAVID LE WIS TAYLOR

WANDERING FIGURE I AND II PLANTERS Brooklyn-based artist Gary Fernández individually casts these one-of-a-kind planters in layers of stacked concrete.

14″ w. x 11″ d. x 26″ h. and 17″ w. x 11.5″ d. x 30.5″ h.; $4,000 and $4,500. cultureobject.com

ELLE DECOR

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W H AT’S H OT

1. BRICKWORK AND ACCORDION VESSELS Peter Lane hand-builds everything from ceramic walls for Chanel stores to this glazed stoneware.

Brickwork (left), 17″ h. x 9″ dia., and Accordion, 22″ h. x 12″ dia.; $9,000 each. maisongerard.com

2. RECYCLED PVC PLANTER

3. SHERAZADE BASKET

It takes up to seven hours to weave each durable Mo’s Crib planter, using PVC water pipes collected from construction sites and landfills. Available in several colors.

Simona Cremascoli’s pliable design for Poltrona Frau is braided and sewn in performance fibers and comes in three colors and two sizes.

22″ w. x 15″ d. x 16″ h.; $109. moscrib.com

14″ h. x 16″ dia. and 22″ h. x 23.5″ dia.; $930 and $1,310. janusetcie.com

4. MURNI STOOL The Murni cast-resin stool from Made Goods has tonal, cloudlike swirls that create a nuanced, semitranslucent finish.

Shown here in pearl white, with five other colors available.

18″ h. x 14″ dia.; $1,125. madegoods.com

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4

3

2

Four new tomes offer design inspiration—and escape.

GARDENS

The updated edition of Beatrix Farrand: Garden Artist, Landscape Architect (Monacelli) celebrates the work of the renowned garden designer, the only female founder of the American Society of Landscape Architects, with brand-new photographs and watercolor sketches.

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ARCHITECTURE

Piero Portaluppi (Rizzoli) enthralls with visits to the iconic Milanese architect’s most vital projects, from the city’s lush Villa Necchi Campiglio (committed to the screen in Luca Guadagnino’s 2009 film I Am Love) to the facade of Cadarese, a hydroelectric power plant in the Val d’Ossola region.

PROFILES

Architect Bob Wesley, sculptor Paula Whaley, and Olympian Lillian Greene-Chamberlain are just three of the 54 Black elders highlighted in Lift Every Voice: A Celebration of Black Lives (Hearst Home), a compelling new book that includes a foreword by Oprah Winfrey.

BY

BEBE HOWORTH

INTERIORS

Rose Tarlow: Three Houses (Vendome) gives readers an intimate glimpse at three of the ELLE DECOR A-List interior designer’s own family homes in California and Provence, France, with photography by Miguel Flores-Vianna, François Halard, and Fernando Montiel Klint.

BOOK: COURTESY OF MONACELLI PRESS

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

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EXTERNAL AFFAIRS Designers Danielle Fennoy and Poonam Khanna on the best new outdoor furniture.

BY

4

HELENA M ADDEN

1. TEMPS CALME SOFA POONAM KHANNA: I want to put a pair of these around a massive fire pit.

DANIELLE FENNOY: I’m loving its clean lines and flexibility.

162″ w. x 116″ d. x 34.5″ h.; price upon request. roche-bobois.com

2. DR. JOHNSON TENNIS UMPIRE CHAIR DF: This could work even if you don’t have a court.

PK: It’s genius! I love the story of Dr. Johnson and his legacy of opening tennis up to players of color.

24.5″ w. x 53″ d. x 80″ h.; price upon request. mckinnonharris.com

3. OBJET NOMADES LOUNGE CHAIR

BY FRANK CHOU PK: The graceful lines and that curving gesture are perfectly balanced.

DF: This is that piece that’s off in the distance and draws your eye near.

39.5″ w. x 34″ d. x 31″ h.; price upon request. louisvuitton.com

DF: Cork is a great neutral that works with nearly any color.

PK: It feels either like a minimalist sculpture or a playful take on a classic architectural form.

34″ w. x 17″ d. x 16″ h.; $5,300. goodcolony.com

5

5. BOREA SUNBED LOUNGE BY PIERO LISSONI PK: This reminds me of a ladybug—so joyful.

DF: The deep red metal frame is anything but boring.

83″ w. x 59″ d. x 13.5″ h.; $8,890. bebitalia.com

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

6. NISSWA SOFA 96 DF: This fun piece just needs some bold printed pillows to soften its boxiness.

PK: I like how this refers to traditional outdoor teak furniture and reinterprets it.

6

94.5″ w. x 31.5″ d. x 28″ h.; $3,595. lolldesigns.com

7. GRANDE ARCHE DINING TABLE PK: It’s great how the detail of the legs adds a bit of a twist to the design.

DF: The color is muted and divine, which is a welcome feature for an outdoor table.

87″ w. x 39″ d. x 29″ h.; $9,295. janusetcie.com

8. MURTOLI SETTEE BY CHRISTIAN WERNER

7

DF: The sinuous curves would beautifully anchor a larger seating group.

PK: It feels like a social piece that wants to be used in multiples.

95″ w. x 47″ d. x 32″ h.; $6,320. ligne-roset.com

9. IQUO CAFÉ ARMCHAIR BY INI ARCHIBONG PK: The perfect chair when you have space constraints.

DF: This is giving me some super midcentury vibes.

23.5″ w. x 22.5″ d. x 31″ h.; $435. knoll.com

10. DINE OUT TABLE BY RODOLFO DORDONI DF: I would put it in a clean, modern environment.

PK: The green terrazzo is my personal favorite.

8

55″ dia. x 28.9″ h.; $6,950. cassina.com

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

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

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

SO COURANT

ONE MAN’S TREASURE Musings on waste, from today’s buzziest terms to better bins for a brighter tomorrow.

WRIT TEN AN D PRODUCED BY SE AN SANTIAGO PHOTOGR APH BY DAVID LE WIS TAYLOR

Sustainable

Recycled plastic seating, mushroom-leather upholstery, vegan silk—oh my!

Mitigating the depletion of natural resources (and harm to the ecosystem) is a worthy reason to look into material substitutes with a low environmental impact.

Salvaged

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ST YLED BY REBECCA BARTOSHESK Y

Supply Chain

Remember the Ever Given?

The Suez Canal–clogging container ship made headlines in 2021 for disrupting the international transport of goods. It also sparked conversations around vintage and secondhand sales, hopefully signaling a shift in consumer spending habits.

Upcycling is the new recycling. The trend for finding value in discarded materials is a great development for both preservationists and eco-minded homeowners alike.

SO COURANT

“Buy with longevity in mind.

There is nothing chic about disposable anything.”

F

rom disca rded fabric scraps to supply-chain inefficiencies, waste is top of mind for all of us these days. It is built into the systems we rely on, affecting the vulnerable environments we live in, and yet, at the end of the day, is not being addressed fast enough.

Thankfully, design is becoming an important part of the solution, with individuals and brands alike working to offset their carbon footprints and develop low- impact production methods. As a consumer, though, I have to come clean: I really love purging.

I don’t think I’m alone in finding catharsis by letting things go. And while I don’t understand supply and demand, or where exercise bikes go when they die, it seems I could at least try to be more intentional with what I toss. How hard could it be?

So I asked a few designers how they deal with waste at home. Many, like E L L E DECOR A-List architect Michael K. Chen, point to integrated systems for

—MICHAEL K. CHEN recycling, trash disposal, and composting from brands like Häfele that offer sleek fittings and finishes. “We like reducing visual and actual clutter,” says Chen.

If that’s not an option for you, others offered up a few bins that can double as sculpture once the concept of trash is finally rendered obsolete. In the meantime, consider toss tracking as the new carb counting. And if you have a bike to unload? I do not envy you. ◾

CANNED HEAT

Trash is never in style, but these designer-approved bins most certainly are. Go ahead, flaunt your can.

FAUST LINOLEUM Civilian Projects’ Nicko Elliott is into the “Freitag bag”–esque Roll-Up Bin S. faustlinoleum.com

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INDIA MAHDAVI

PERIGOT

ADDISON ROSS

Darren Jett loves the graphic qualities of the Acapulco Basket for a powder room.

LAUN’s Rachel Bullock splurges on the Frisbee Trash Bin when custom isn’t an option.

White Arrow’s Keren Richter likes this duotone Scalloped Lacquer Bin.

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addisonrossusa.com

ELLE DECOR

Long, lazy weekend. A calm, cool breeze. Your oasis awaits.

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Sunbrella® is a registered trademark and Give Life Texture™ is a trademark of Glen Raven, Inc.

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POINT OF VIEW

WHAT’S IN A NAME? When it comes to the difference between decorator and interior designer, maybe everything.

BY

STEPHEN WALLIS

TREVOR TONDRO/OT TO (DESIGNED BY MARIO BUAT TA)

A penthouse apartment in New York City designed by the late American decorator Mario Buatta.

WHAT DO YOU CALL THE INTERIORS SPECIALIST

who designs, revamps, or simply refreshes rooms in your home? The answer might not be as straightforward as you think.

“I prefer decorator,” says Miles Redd.

“The word is a bit faded, but I align myself with Syrie Maugham, John Fowler, and Nancy Lancaster, and I don’t think any of t hem c a l le d t hem selve s a n i nter ior designer, which for me—and I hope I don’t offend people I admire—feels the tiniest bit pretentious.” Hold that thought.

“If somebody calls me a decorator, nothing is more annoying,” says designer Ghislaine Viñas (see page 42). “It’s a dated term that conjures this image of a lady who shops with people, picks out trim, and zhuzhes things. It doesn’t hold the clout that an interior designer has, because we go to school for years.”

Ask interiors professionals to discuss their feelings about decorating versus designing and it can call to mind those old Miller Lite commercials with the arguments over “tastes great” and “less filling.”

Yet, despite some passionate taking of sides, this isn’t really an either/or debate. Ultimately it’s about differences in perception and usage, which have evolved in ways that people outside of the design world don’t always grasp.

Today, most in the industry would agree, there are distinctions to be made between decorating and interior design, even as they closely interrelate. “An interior designer is looking at the whole idea of a place—its setting, the architecture, the furnishings,” says designer Dan Fin k.

“Decorating, which is more specific to the furnishings, fabrics, art collections, is an essential part of that idea and of achieving the perfect alchemy in a room.”

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POINT OF VIEW

New York School of Interior Design (NYSID) president David Sprouls puts it this way: “Talking to people about what interior design is, I would draw a Venn diagram, with two big circles that overlap. One of the circles is architecture, and the other circle is decorating. And where the two overlap, that’s interior design.”

Simple enough, right? Well, sort of.

To understand the nuances, it’s helpful to go back to the early 20th century, when the interior design—er, decorating—profession in the United States was in its infancy. Pioneered by legends like Elsie de Wolfe and Dorothy Draper, the field was definitely known as decorating, and it was dominated by women. The term interior design first emerged in the 1930s, though it didn’t gain wide traction until after World War II, a shift that coincided with the expansion of industrial designers—typically men—into interiors, says Alexis Barr, who teaches design history at NYSID (founded in 1916 as the New York School of Interior Decorating, it changed to its current name in the early ’50s). “I see the term as an attempt by the industrialdesign field to separate and elevate themselves from decorators, underscoring the gender and class dichotomies in the two fields.” At the same time, she notes, “major figures in the industry like Billy Baldwin rejected the term interior designer and continued to call themselves decorators.”

It’s in part out of respect for venerated figures like Baldwin and the traditions he represented that some are inspired to embrace the decorator label today. “I have always believed that if decorator was good enough for Billy Baldwin, it’s good enough for anyone,” says Mitchell Owens, a veteran design writer and editor. But, he adds, “decorator suggests untrained and intuitive—perhaps, regretfully, even amateur—to some people.”

As Owens points out, many of the field’s eminences were not trained in classrooms but relied on their innate talents and cultivatedon-the-job experience. In his introduction to the 1964 book The Finest Rooms by America’s Great Decorators, Russell Lynes described decorating in almost esoteric terms, as “an exercise in taste, a word and a concept that defies definition.” Decorating, he concludes, is “a mysterious profession.”

That mystique has persisted, but the expansion of rigorous design school programs and groups like the American Society of Interior Designers has led to greater professionalism. So while Sister Parish, Mario Buatta, and other greats from the past might not have sweated the decorator/designer distinction, for today’s generation, labels and qualifications matter.

Of course, as Amy Lau points out, schooling and credentials are only part of a complete package that also requires what decorators like Rose Cumming used to call flair. “You can go to school for however long,” Lau says, “but if you don’t have the eye to make a room sing, then it kind of flops.” For her part, Lau prefers to be called an interior designer but doesn’t correct anyone who says otherwise.

Elaine Griffin feels similarly. “I am an interior designer,” she says, “but I also answer to decorator, because answering to both means leaving your ego at the door.” Still, she draws a sharp 40

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“You can go to school for however long, but if you don’t have the eye to make a room sing, then it kind of flops.”

—AMY LAU distinction between the kind of work she does and that of “those fabulous influencers on Instagram with 42,000 followers,” adding, “anyone with an eye can put up pictures and call themselves a decorator.”

When Alexa Hampton took over her father Mark’s illustrious firm in the late 1990s at age 27, she made a point of referring to herself as an interior designer. “Now that I’m older and more secure in my professional status, I’ve reverted to decorator,” she says, noting that it was her dad’s preference. “In a career long associated with amateurism and unseriousness, I understand the value of people saying they are interior designers. It sounds more serious, more permanent.” After a brief pause, she adds: “Hey, man, whatever. Call yourself what you like.” ◾

theodorealexander.com

HOUSE CALL In the dining room of Ghislaine and Jaime Viñas’s country home in Bucks County, Pennsylvania, red Tom Dixon chairs add a zip of color to a largely black-and-white scheme.

The artworks include Joe Doucet’s resin waterbottle sculptures and a pair of paintings by Karen Jo Combs.

For details, see Resources.

MAKING MISCHIEF At her rural Pennsylvania getaway, designer Ghislaine Viñas has created the ultimate fun house.

BY

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W

hen people talk about the work of Ghislaine Viñas, words like exuberant and fun tend to roll off the tongue. The New York–based designer has the dexterity to create interiors that feel modern and grand, while filling them with lighthearted gestures. Dress up a banquette with a lobster print?

Why not? For Viñas, design and play go hand in hand.

ABOVE: In the den, the sofa is by Roche Bobois, and the rug is by RH, Restoration Hardware.

LEFT: Jaime and Ghislaine Viñas.

Sofa, Ligne Roset.

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It might not come as a surprise, then, that when the weekend rolls around, the designer can be found at the controls of an 850-pound commercial lawn mower, enthusiastically giving her three-acre property in Bucks County, Pennsylvania, a buzz cut, one stripe at a time.

“There is something so satisfying about it,” she insists.

She shares this rural idyll with her husband, Jaime, a graphic designer, and their two college-age daughters.

Eighteen years ago they purchased the two-story farmhouse to be closer to Ghislaine’s sister, who lives in the next county, and to let the kids, then toddlers, burn off some pent-up city energy. Today the home is not only a respite from their busy Manhattan life but also a lab of sorts—a place where the designer’s collections are on display and her creativity can run wild.

Built circa 1910, the house (christened “Green Acres” at the suggestion of their nephew) has come a long way.

W hen they f irst saw it, the home had undergone numerous alterations, resulting in dark, claustrophobic rooms and floors covered in mauve wall-to-wall carpet.

They saved any original details that were still intact, including the staircase, while opening up walls to create generous family spaces that let the fresh country sunshine in. Outside, they added an expansive back deck and board-and-batten siding.

HOUSE CALL LEFT: A sofa and cocktail table by François Chambard in the sitting area of the office and studio, in an outbuilding on the property.

BELOW LEFT: In the primary bedroom, the bed is by Article,

the nightstands are by Blu Dot, and the lamps are by Artemide.

BELOW RIGHT: An office nook in the bedroom features a 1960s chair by Charles Hollis Jones and artwork by the couple’s daughter Saskia.

For Viñas, the house has become a venue for joyous experimentation—a sentiment that’s apparent as soon as you step through the door, where a John Wayne bust sits atop a console by François Chambard. Some of Viñas’s favorite so-called thingies might raise an eyebrow in isolation (say, the vintage pelican figurine in her office, an $8 thrift store find). But here, thanks to her astute sense of color and scale, they are cheeky inf lection points amid the family’s collection of art and furniture.

During colder months, the family gathers around an original stone fireplace in the den to have drinks and relax as the snow drifts down outside. (The same mantel inspired the design for Viñas’s rock-patterned Flavor Paper wa llcovering.) A lmost ever y object has a backstory—from the David Chipperfield stools Viñas kept from an early renovation project to the pig-shaped plywood cabinet (a Seletti prototype) she scored at a trade fair. Some of her most treasured possessions are especially personal. She points to a tiny red blob of clay made by her girls as toddlers, now perched atop a painting. “Everything,” Viñas says, “means something here.” ◾

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SHORTLIST

5. THE COUNTRY LIFE BY RACHEL CUSK It’s just a fun read, super cringe—and it also mirrors my general desire to run away to the countryside. us.macmillan.com

1. GREEN BY HIROSHI YOSHIMURA Japanese ambient is a genre of music that I typically default to in the studio. It helps me to focus. hiroshiyoshimura.bandcamp.com

6. BLACK LAVA SEA SALT An unusual spice or fine salt is the perfect host gift. It’s something special they can add to their pantry. thespicehouse.com

A beautiful, hyper-theatrical film starring Helen Mirren, with costumes

by Jean-Paul Gaultier.

3. KIEHL’S BEARD OIL I wash and trim my beard every day with this stuff. kiehls.com

The Los Angeles–based architect-designer and cofounder of the creative studio BC shares eight things that enrich and continually enlighten him.

4. STEEL DINING TABLES I was interested in forcing corrosion for the patina: to take a simple material and destroy it to protect it. carpentersworkshopgallery.com

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AS TOLD TO

SE AN SANTIAGO

8. MONON GUESTHOUSE I loved working with landscape design office Terremoto on this ground-up guesthouse in Los Angeles. terremoto.la

7. HAWKINS NEW YORK QUILT My bed is dressed with a simple linen coverlet and way too many pillows. hawkinsnewyork.com

PORTR AIT: SAM M C GUIRE; STEEL TABLES: KELLY HAYES; GUESTHOUSE: LUKE SIRIMONGKHON

2. THE COOK, THE THIEF, HIS WIFE & HER LOVER

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CULT OF CULTIVATION How one flower’s legacy as a hot commodity inspired a collection of today’s most coveted gems.

An orchid brooch, in platinum and 18-karat yellow gold with a three-carat diamond set in diamonds, can also be worn as a pendant.

Price upon request. tiffany.com

AMONG THE HIGHEST RUNGS OF

Victorian-era society, few possessions could surpass orchids as status symbols. Collectors prized their rarity (propagation wasn’t yet possible) as much as their exotic charm. Some took ex t reme me a su res i n t hei r acquisition, dispatching flower hunters to the ends of the earth in search of specimens. The phenomenon took on a fittingly frenzied name: orchidelirium.

Tiffany & Co. felt the draw of the flowers too. For the 1889 Paris Exposition Universelle, the company’s visionary designer, Paulding Farnham, created an acclaimed series of enameled, jeweled orchid brooches so realistic, they helped Tiffany earn a gold medal for jewelry, one of six it was awarded that year.

The orchid has reemerged in Botanica, the latest edition of the brand’s celebrated Blue Book collection. And while the shapes a re d i re c t d e s c e n d a n t s o f Farn ham’s celebrated works from more than a century ago, the settings are something else entirely. One brooch features petals streaked with 18-karat yellow gold against a ground of mixed-cut diamonds; a pearshaped, three-carat diamond is nestled in the center.

Li ke ma ny of the jewels from Botanica, the brooch transforms, allowing for wear as a pendant too. It’s a sensibleminded twist for a collection built on the allure of delirious beauty. —Tanya Dukes 50

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Where the difference lies S CA ND IA HOM E. COM

STUDIO VISIT

HERE TODAY, HERE TOMORROW A forward-thinking Italian design duo

THE MILAN-BASED DESIGN DUO FORMAFANTASMA HAVE MADE

a name for themselves crafting furniture, objects, and spaces that directly engage with the planet’s uncertain future. Fittingly, cofounders Simone Farresin and Andrea Trimarchi’s briefs often start from a sense of place, sometimes with a poetic twist—such as the storm-felled tree that birthed their 2020 installation, Cambio, at the 52

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LEFT: Formafantasma cofounders Simone Farresin (left) and Andrea Trimarchi.

ABOVE: The T Shelf, a collaboration with Hem. formafantasma.com; us.hem.com

Serpentine North Gallery in London. Extensive research, often using local archival materials, gives their work a scholastic rigor.

Their principled approach is evident in their latest design, the T Shelf, debuting this month after five years in development with the Swedish design brand Hem. Comprising six extruded-aluminum mo d u le s t h at c a n b e c u s tom configured, the collection is manufactured using Hydro Restore, a combination of recycled pre- and postconsumer scrap and primary a lu m i nu m . “ We wa nted to do something very versatile yet industrial,” Farresin says. “Working with Hem was perfect for that.”

The straightforward design lends itself to fabrication in other materials and could one day evolve beyond shelving. “Our absolute aim is to conceive items for the auction houses of tomorrow,” Hem founder and CEO Petrus Palmér says, “and to grant them a long and loved life, which is one of the most important facets of sustainable consumption.”

With an exhibition for the Venice Biennale opening in April and a series of new lighting fixtures for Flos on the horizon, Formafantasma’s focus remains firmly on the future. “As designers, it is our role to question this moment in time,” Farresin says, “and to ask how it can shape the discipline of design.” —Camille Okhio

PORTR AIT: MARCO CAPPELLET TI; T SHELF: ERIK LEFVANDER

unveil a new shelving system that’s sure to stand the test of time.

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TA LE N T

ROCK CANDY A jewelry designer brings her boundless curiosity to pieces inspired by the arts and the earth.

WHEN JEWELRY DESIGNER OPE OMOJOLA STARES AT STONE,

she sees the whole universe unfold. “You’re looking at millions of years of growth, development, and change,” she says. Octave Jewelry, the Brooklyn-based brand Omojola started in 2017, specializes in framing these moments in time in precious metals.

A student of anthropology who made her way into fashion, Omojola properly pivoted to jewelry only after taking a metalsmithing class at the 92nd Street Y in New York City. Her primary materials, aside from precious and semiprecious stones, are sterling silver and, 54

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recently, glass. “Figuring out new methods of combining these materials has been a fun way to expand my practice,” she says. “I’m thinking of how a color will look on skin and how certain movements will capture the light.”

Inspiration comes from far and wide: Ellsworth Kelly drawings and Etel Adnan paintings; René Lalique’s creations and Neolithic stone tools. Her research process, however, is not only about images, but touches on philosophy, science, and more. “I’ve really gotten back into engaging my intellect,” she says. “It’s made my creative process that much richer, because objects without context are meaningless.”

Jewelry isn’t the end of the story, though. Omojola is currently producing her first collection of goods for the home: candelabras and sconces made from brass, jasper, and marble. While the scale is different, the pieces are still built from the Octave vocabulary: “It’s not a whole new language; it’s a new dialect.” —Camille Okhio

PORTR AIT: CAMERON PHAN

CLOCKWISE FROM LEFT: Designer Ope Omojola. Aura hoops in landscape jasper and glass. A preparatory sketch for a candle sconce. Collage earrings in bowenite and jasper. A design for candlesticks. octavejewelry.com.

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EVERYTHING’S GONE GREEN More homeowners are opting to live (and build) sustainably— a crucial step in curbing climate change.

BY

JOE FLETCHER

FOR ANYONE LOOKING TO SHRINK THEIR HOME’S

ecological impact, there’s one piece of very good news: just staying where you are is a great place to start. According to a study commissioned by the British moving specialist Buzzmove, the fuel, packing materials, and more needed for the average move

IAN VOLNER

consume roughly the same amount of energy as leaving a lightbulb on for about eight weeks. That figure shoots up considerably if you’re moving into a brand-new house, with carbon-dioxide emissions from single-family home construction running as high as 50 tons, as calculated by Britain’s

In Big Sur, California, a home designed by Studio Schicketanz to produce at least as much energy as it consumes features windows with a thermal barrier and insulated glazing.

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Greenification is a basic part of a designer’s remit these days.

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WORDS TO LIVE BY

Three key terms of sustainable home building.

Adaptive Reuse

Conversion of a building from its previous function to a new one, typically from commercial to residential. Avoiding both demolition and new construction, adaptive reuse is doubly efficient, and its popularity is only rising: More than 20,000 spaces nationwide were converted to apartments in 2021, according to real estate data firm Yardi Matrix.

Gray-Water System

Not the most appealing term, gray water is recycled water from household washing, which can be redirected away from public sewers through in-home filtration systems for use in gardens and irrigation, as well as to recharge depleted aquifers. The technology is especially promising for arid climates.

Passive House

A structure relying on very little outside power for interior climate control. Instead, it is extra-insulated, with minutely calibrated provisions for air circulation and sunlight.

Achieving passive house status is the elite gold card of high-performance eco-living.

another peril, as the architect points out, is that many materials, even ones that appear sustainably sourced (reclaimed wood and stone, for example), may not be quite as green as the suppliers claim. “There’s all sorts of ‘carbon washing,’” says Schicketanz, who counsels against making broad claims to clients about the net carbon footprint of renovation projects.

A degree of care and attentiveness becomes all the more essential with ecoconscious renovations on larger homes in dense urban environments. In Manhattan’s West Village, local office BarlisWedlick undertook the transformation of a mid19th-century rowhouse. With the island city at particular risk from rising floodwaters due to climate cha nge, the a rch itects decided to go for the very last word in energy-efficient design, turning the building into a “passive house” with features like a lowered basement floor to provide an added pocket of i n su lation below t he m a i n structure. Even with such an extreme intervention, firm principal Alan Barlis says, “it was important for us to protect the soul of the building.” With that in mind, the In a London townhouse designed by Retrouvius, the cabinets are clad in leather reclaimed from shelves in the British Library.

PAUL R AESIDE

Building and Social Housing Foundation.

That’s the equivalent of leaving a single lightbulb on for 300 years.

But as millions of Americans discovered during the COVID-19 pandemic, sometimes the house you have just isn’t enough. The pandemic made comfort and quality of life at home more important, says architect Tom Kligerman, speaking of the recent collective obsession with improving the look and feel of our interiors. At the same time, he notes, “more and more of my clients are genuinely concerned about the environment.” As it turns out, the two positions aren’t really in contradiction: In recent projects, the team at Ike Kligerman Barkley has been replacing clunky air conditioners with discreet geothermal systems and using textured, fully renewable cork to line kitchen floors. In Kligerman’s view, greenification is a basic part of the renovation designer’s remit these days.

Not that it’s always easy to pull off.

West Coast–based designer Mary A nn Schicketanz has seen increasing demand for energy efficiency from her clientele—but in a recent renovation of one early-20thcentury house in her hometown of Carmel, California, the architect and her eponymous studio had to struggle to preserve and restore the historic structure while bringing its performance up to par. “There’s surgical work that goes into a building like that,” Schicketanz says. In particular, the addition of improved insulation, essential for cutting down on energy costs from heating and cooling, threatened to bulk up the delicate envelope and details of the original building.

The designers had to carefully install new doors, windows, and padding that would be all but invisible to the untrained eye. Still

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designers gave the building a new stair-top skylight that provides additional ventilation while remaining entirely in character with the charming Victorian ambience.

Perhaps the most significant consideration for green renovations isn’t just about the here-and-now needs of occupants but also about what might happen in the future.

In one of its recent projects in the United K ingdom, London-based Retrouvius— a specia list in recycled materia ls and fixtures—created a striking new home for fashion designer Bella Freud, relying heavily on the studio’s signature salvaged wood to produce a stunning new interior. Yet what’s most compelling about the design is its adaptability, with most of the added components being readily movable to accommodate the evolving lifestyle of the client. “We wanted to take into account the need for cha nge,” says cofou nder Maria Speake. To capitalize on the efficiency of staying put, a renovation that stays renovateable may be the best kind of all. ◾

Reclaimed wood is used in a loft designed by Clodagh in New York City’s West Village.

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All in the Details Designer Alyssa Johansen’s thoughtful ideas for designing and lighting a contemporary family kitchen When Alyssa Johansen, Creative Director of interior design firm Builders Design, set out to dream up a kitchen for the 2022 National Association of Home Builders New American Home, she knew she wanted to achieve a space that “felt fresh and familiar at once,” as she puts it.

Built with the modern family in mind, the home is a case study infusing elegance with efficiency. In the kitchen, modern lines and glam finishes make for a luxe backdrop to family time. The waterfall island and plush bar stools invite guests to get comfortable. Overhead, architectural lighting highlights the custom cabinetry and provides functional illumination, while the Sarnen Medium Pendant by AERIN takes center stage. Much like the kitchen itself, the fixture is statementmaking in its minimalism. “It has such a beautiful simplicity about it, yet is entirely unique,” Johansen says.

Photo Credit: Seth Binsted DESIGNER’S POINT OF VIEW Three reasons Johansen looks to Circa Lighting’s lighting design team for their expertise in every space

For Johansen, lighting was a key player in nailing the look and feel she wanted. “I was very focused on the experience of the home,” she explains. “When I really dug into the space I knew I wanted something incredible and experiential for lighting, and that is when I turned to Circa Lighting.”

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Let’s

In the dining area of designer Cliff Fong’s Los Angeles home, the table is by Charlotte Perriand, the chairs are by Faye Toogood (left) and Pierre Guariche, and the vintage cabinet and sconce are by Jean Prouvé. Turn the page for more, and for details see Resources.

Get

Personal WILLIAM ABR ANOWICZ

THE DESIGNERS-AT-HOME ISSUE

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Cliff’s From vintage furniture to a koi pond and orchid garden, designer Cliff Fong’s Los Angeles home checks all the boxes.

BY C A MILLE OKHIO PHOTOGR APHS BY WILLIA M

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ABR ANOWICZ

At home with Cliff Fong Designer Cliff Fong’s Great Dane, Magpie, naps on a vintage Charlotte Perriand bench in the dining room of his restored 1953 ranch-style house in Los Angeles.

OPPOSITE: In the living room, the vintage chair and bench are by Jean Royère, and the dog is Fong’s rescue pet, Monkey. For details, see Resources.

Notes

ABOVE: A room divider by Jean Prouvé separates the living and dining areas.

Sofa by Børge Mogensen; pendant by Serge Mouille; console by Charlotte Perriand; rug, Woven; artwork over console by Darren Bader.

RIGHT: Vintage pieces by Jean Royère, George Nakashima, and Isamu Noguchi mix in the living room. Artwork (right) by Vern Blosum.

OPPOSITE: In Fong’s son’s room, the 19th-century secretary is a family heirloom. Chair, Babacar Niang; leather bag, Hermès; artworks by Mark Roeder (left) and Gina Beavers (over door).

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At home with Cliff Fong

For designer Cliff Fong, serenity is found in a simple, sustainable lifestyle.

Nowhere is this more evident than in the 1953 ranch-style house he moved into four years ago in a quiet neighborhood in Central Los Angeles.

Here, Fong, the principal behind the Los Angeles design firm Matt Blacke, followed the visual vocabulary he often employs in his projects, mixing vintage Scandinavian and French masterworks with understated yet luscious floor coverings, contemporary art, and family heirlooms that tell a story.

Fong had been searching for a new home for about nine months when he found this one, a midcentury house that had undergone an extensive renovation in the 1990s and retained such postmodern vestiges as quirky cutouts and finishes. Some of these details worked with his vision, while others—like the original mismatched mahogany flooring—had to go. “It was a pretty unremarkable structure,” says Fong. “But the good thing about it being basic was that it was easy for me to see where changes could be made.”

Fong made numerous interior alterations: He replaced the floors with poured concrete, expanded the home’s entry, and created an extension to accommodate a new bedroom suite. Outside the house, he cleared a dense thicket of bamboo, making way for a garden filled with tropical plants and palms. To set the scene for the dinner parties he loves to host, Fong dreamed up an entertaining oasis on the patio, where a table is under an iron canopy hung with a Poul Henningsen artichoke light—the type of find you could easily imagine among the inventory at Galerie Half, the influential Los Angeles design shop of which Fong is a co-owner.

The real star of the garden is a wall displaying Fong’s collection of more than 400 species of orchids.

These, along with the garden’s many other plants, are ELLE DECOR

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“I wanted to revisit the things I loved as a kid and experience them again as an adult.”

—CLIFF FONG

Artworks by Gonzalo Lebrija (left) and Lita Albuquerque flank the door to the primary suite’s walk-in closet. Bedding, Matteo; chair by Mats Theselius; table by Chuck Moffit; walls painted in Smoke Embers by Benjamin Moore; rug by Woven; sculpture by Michael Wilson.

OPPOSITE, BOTTOM: Fong designed his walk-in closet around a vintage shelf by Le Corbusier.

Cabinetry, custom; vintage Dutch pendant; artwork by Dan Finsel.

At home with Cliff Fong

Cliff Fong in his garden.

irrigated with wastewater from the concrete koi pond that Fong created. “A lot of my inspiration comes from nature,” says Fong, who calls himself an “armchair botanist.” He likes to recall the time when, as a 10-year-old, his mother let him take over the family’s basement. “I had 10 fish tanks down there with all sorts of reptiles and amphibians,” he recalls. “When I got this house, I wanted to revisit the things I loved so much as a kid and experience them again as an adult.”

Full-circle moments like this recur throughout the house. In a particularly meaningful gesture, Fong placed a family heirloom from his parents—a 19th-century black lacquered secretary—in his son’s bedroom. Adding levity to the youngster’s space is a Japanese paper blowfish suspended from the ceiling, which picks up the primary blues and yellows that appear in a Gina Beavers painting hung above the bedroom door.

Fong’s primary suite is an altogether more modernist affair. In the closet, a Le Corbusier shelving unit acts as an island, influencing the custom cabinetry and millwork in the rest of the space. Another icon, Jean Prouvé, designed the desk in his bedroom. The chair, also by Prouvé, was one of the first investment pieces Fong purchased when he made the shift from fashion to the interior design world some two decades ago.

Today, the house reflects both Fong’s pared-down sensibility and his active imagination. Natural light and strategically placed windows create a bridge between the designer’s layered interiors and the generative presence of nature. An angled window above the bookcase in the living room abstractly frames Los Angeles’s vibrant skies. Across from the Børge Mogensen leather sofa that dominates the room, a Jean Prouvé wall divider separates this space from the dining area, centered on a Charlotte Perriand table and stools. A skylight sliced into the space above a back door lets in pure, unobstructed light, some of which is absorbed by a dark circular painting by Michelle Grabner. A circular window in the foyer completes this light-filled narrative, assuring that at every step, the home’s lush exterior isn’t forgotten.

The green that creeps its way into the home complements Fong’s go-to palette of grays, browns, blacks, and blues. Everything in this 2,400-square-foot house is perfectly in balance. It’s a lifestyle shift for this former jet-setter who now enjoys nothing more than a quiet evening at home with family and friends. “This house gave me the freedom to revisit things I loved that weren’t about traveling the world or being in fancy hotels,” Fong says. “The benefit of getting older is that we know our limits and our strengths. I think a home should be an extension of that.” ◾ ELLE DECOR

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Off the Atlantic coast of France, Jean-Louis Deniot brings mainland flair and charm to his family’s dreamy holiday refuge.

BY IAN PHILLIPS PHOTOGR APHS BY STEPHAN

In the living room of siblings Jean-Louis and Virginie Deniot’s 1940s vacation home on Î le de Ré, France, the armchairs are vintage, the cocktail table is from the 1950s, and the ottoman is custom.

JULLIARD

At home with Jean-Louis Deniot

The custom sofa and shades in the office are of a Josef Frank fabric. Side table by Audoux Minet; midcentury desk by Peter Lovig Nielsen; photograph

by Slim Aarons. For details, see Resources.

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In the dining area, a custom banquette in a Josef Frank fabric and vintage bamboo chairs surround a custom dining table. Sconces by Audoux Minet; wallpaper, Au Fil des Couleurs; artworks

by Frederic de Luca.

OPPOSITE: The kitchen cabinets and countertops are custom. Sink, Franke; oven, Miele.

At home with Jean-Louis Deniot

Located off the west coast of France, Île de Ré is one of Europe’s most beautiful seaside destinations. Known for its picturesque villages and 60 miles of sandy coastline, for years it has attracted a wellheeled crowd including celebrities like Vanessa Paradis, as well as the late designer Christian Liaigre. Other fans in the design world include decorator Jean-Louis Deniot and his sister, Virginie, who has managed his eponymous firm in Paris for the past two decades.

Virginie discovered the island while vacationing in 2008, and the charm of its landscape, its temperate climate, and spellbinding light had an immediate impact.

Soon after, she brought Jean-Louis, who was struck by the beauty of its architecture. “It was one of the first places I’d been where there were really old houses by the sea,” Jean-Louis says. He wasn’t too keen on their interior style, though. “They’re old-fashioned, with lots of driftwood,” he says. So when Virginie came across this house, it presented the ideal opportunity to not only create a Deniot family getaway but also redefine what a home there could look like inside.

Wrapped around a spacious courtyard, the house was built in the 1940s by the Bordelais family from

whom they purchased it. W hen it came up for sale, the structure was in need of extensive renovations. There were problems with humidity, the fireplace no longer worked, and there was only one bathroom. The interiors were gloomy, w it h wooden wa l ls a nd terra-cotta floors, and the kitchen had just one tiny window. Still, the house had its charms: There was a turret, a lucid flow to the layout, and a quirky ceiling in the living room built, in part, from an old boat mast.

Together, Jean-Louis and Virginie decided to maintain a number of traditional touches. The original moldings and doors were copied, and a classic checkerboard floor was installed in the entry hall. “For my nephew and nieces, I wanted to create the impression of a family home that had always existed,” Jean-Louis says. To that end , he a l so chose to i ncor p orate some more classical-looking furniture pieces, such as a sofa from his own collection for English manufacturer George Smith and a 1950s wrought-iron curule seat in the entry.

Layered on top is a healthy dose of playfulness. One of the half-serious themes adopted for the decor was “Tintin at the beach,” after the iconic Belgian cartoon character. “That led us to introduce bright colors and some slightly childish touches,” says Jean-Louis. The Josef Frank fabrics in the dining room and study certainly make a statement, as does the second-floor bathroom, which was painted Majorelle blue.

And a seaside house wouldn’t be right without a few maritime references. They come here via rope around the doorways, a fish sculpture on the sitting room fireplace, and a model of a 19th-century racing yacht in the entry hall. Then there is the ground-f loor bedroom, whose walls were painted to resemble a sandstorm. The 1950s headboard has an unconventional retractable armrest in the middle. “I guess it was so people could smoke or drink whiskey in bed,” he jokes.

It is only one of a series of items in the home that were shipped from Los Angeles, where Jean-Louis has a house in the Hollywood Hills. Other pieces include the 1950s wooden cocktail table in the sitting room, an obelisk-shaped lamp in the principal bedroom, and the vintage chair in one of the children’s bedrooms. Some of the locals apparently find such midcentury marvels incongruous with the overall vibe of the island. What really raised eyebrows, though, was the installation of the swimming pool. “They initially thought it was vulgar,” Virginie says. But she insists they’re changing their minds. “When it’s low tide and over 100 degrees Fahrenheit in August, a pool is not such a bad idea.” ◾ ELLE DECOR

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RIGHT: Custom bunk beds in the children’s room are dressed in pom-pom bedspreads from Tangier.

Danish armchair by Hartmut Lohmeyer; Moroccan rug and rope donkey; wallpaper, Eno Studio.

BELOW RIGHT: In the primary bedroom, Deniot designed everything from the bed and canopy to the nightstand and lamp.

Wallpaper, Thibaut.

OPPOSITE: The backyard features a gunite pool with chairs by Guillerme Chambron covered in a Dedar fabric.

Jean-Louis Deniot in the dining area.

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At home with Jean-Louis Deniot

Drama The living room of Tamsin and Patrick Johnson’s restored 1920s home in Sydney. Custom sofa in a Dominique Kieffer fabric; oak armchairs by Frank Lloyd Wright; Italian 19th-century crystal chandelier; triptych over console by Daniel Boyd; wall sculpture over mantel

by Curtis Jere. For details, see Resources.

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At home with Tamsin Johnson

In Sydney, a meticulously restored historic home sets the stage for interventions that are as fashionable as they are theatrical.

BY M ARY HOLL AND PHOTOGR APHS BY ANSON

SM ART

Under

It’s hard not to be mesmerized by the marble island that takes center stage in Australian designer Tamsin Johnson’s home in Sydney. Carved from a striking hunk of gray Bianco Gioia stone, the audacious design features a gravity-defying counter perched on plinths of marble stacked in a jagged-edge arrangement. The result may look like minimalist sculpture, but it’s not just for show. The island is fully kitted out with everything from drawers to power outlets.

“I love spaces that are equal parts functional and beautiful,” Johnson says.

If her home has a fashionable feel, it’s by design.

Both she and her husband, Patrick Johnson, have roots in fashion. Tamsin studied the subject in college and then interned with Stella McCartney in London before pivoting to interior design. The daughter of Melbourne antiques dealer Edward Clark, she has a showroom in

Sydney where she sells vintage furnishings, mostly from Europe. Patrick, who grew up in Adelaide, worked as a tailor in London before founding his own custom tailoring business, P. Johnson Tailors, with showrooms—designed by his wife—in London, New York City, Sydney, and Melbourne.

When the pandemic started, the couple were living in Tamarama, a cove wedged between trendy Bondi and Coogee, not exactly looking to move.

Why would you when your front yard is the beach? But knowing they’d be marooned at home with their young children, Arthur and Bunny, for the indefinite future, they were eager to throw themselves into a new project.

In Sydney, soaring apartment blocks have gradually replaced historic neighborhoods, and antique houses aren’t easy to come by. But the Johnsons got lucky, finding one for sale in Darling Point, a residential neighborhood overlooking Sydney Harbour. Built by a British army colonel, it had good bones but needed extensive work. Several rooms, including the kitchen and upstairs bathrooms, had been remodeled in the 1970s and were entirely gutted. Others required painstaking attention like stripping doorframes and floorboards that had been coated with varnish. “Anything that was original, we wanted to restore and bring back

At home with Tamsin Johnson The kitchen’s custom island is in Bianco Gioia marble. Sink fittings, Perrin & Rowe; vintage pendant and sconce by Gio Ponti.

OPPOSITE, LEFT: In the stairwell, a Murano chandelier by Striulli Vetri d’Arte hangs from the original decorative ceiling.

OPPOSITE, RIGHT: An 18th-century Spanish dining table is surrounded by Louis XV–style chairs in C&C Milano slipcovers in the dining room. 1940s chandelier, Seguso; Art Deco French baker’s stand.

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to its former glory,” Johnson says. “We wanted to respect the heritage of the property while making it contemporary.”

One of the biggest tasks was restoring the original leadlight windows, which had to be removed piece by piece and sent for repair to the only person in Australia they could find with the skills to fix them. Fortunately, the metalsmith, Chris Dankha, is a friend of her husband’s. “He’s Assyrian, from the north of Iraq, and a true artisan and magician with anything to do with metal,” says Johnson, adding that he also made the gates in the garden. The restoration team included a Calabrian plasterer and a blacksmith from Australia’s Blue Mountains region who was tasked with making door and cabinet hardware. The woodwork was refinished by artisans who restore Georgian furniture for her father. “It took them a month just to get the staircase back to its original condition,” she says. “They only worked at night, with opera blaring, usually Puccini.”

When it came time to furnish the home, Johnson, whose style leans eclectic, mixed contemporary pieces with vintage and antique furniture. The couple’s collections of rare Murano glassware and Daum vases are displayed on a vintage French baker’s stand in the dining room, which also has an antique Spanish table and Louis XV–style chairs. And then there is the statement lighting, for which she clearly has a penchant: In the kitchen, a Gio Ponti frosted-glass billiard light from the 1940s dangles above the island. There’s also a Venetian chandelier that hangs from a decorative ceiling in the restored stairwell, and a 19th-century crystal number in the living room that remains one of Johnson’s favorite pieces.

Of course, creating your own home when you are an interior designer can present endless opportunities and possibilities, but it can also lead to a sense of pressure. “You want to do something new, but you also need to practice restraint because you don’t want it to look overly designed,” Johnson says. Still, she couldn’t resist making a few statements—from the dramatic kitchen island to her bathroom, where she employed Zebrino marble for a trippy, modern effect. “The history of the house was there,” she observes. “And I tried to give it a new life.” ◾ 88

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Tamsin Johnson in her bedroom.

At home with Tamsin Johnson The primary bathroom features sweeping views of Sydney’s Double Bay Beach. Bathtub, the Water Monopoly; fittings, Perrin & Rowe; flooring, Zebrino marble.

OPPOSITE, BOTTOM: In the daughter’s room, a custom bed is covered in a Dedar bouclé. Quilt, Roller Rabbit; vintage French lamp and settee; 1970s Spanish alabaster sconce.

Second A doctor’s family legacy informs his burgeoning design practice in Milan.

A view from the living room into the dining room of a Milan apartment designed by the homeowner, Paolo Castellarin, with architect Fabio Greco. For details, see Resources.

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At home with Paolo Castellarin

BY L AUR A M AY TODD PHOTOGR APHS BY FR ANC ESCO

DOLFO

The kitchen’s built-in shelves hold a collection of Murano glasses and antique ceramic and porcelain tableware.

Verde Guatemala marble island, Valcucine; silver tray, Driade; 20th-century crystaland-brass chandelier; ceiling paint, RAL Pastel Blue; redlacquered walls, RAL Coral Red; cactus sculpture, Gufram.

OPPOSITE: Charles and Ray Eames fiberglass chairs from Vitra surround a Knoll dining table. Chandelier, Ron Gilad for Moooi; Art Deco side tables; Roger Selden vase (left), Memphis Milano; ceramic vase, Don Corleone Objects; “abacus” sculpture

by Luigi Belli.

At home with Paolo Castellarin

The oral surgeon Paolo Castellarin is perched on a worn leather sofa in the apartment he shares with his husband, French luxury executive Didier Bonnin, discussing the dual

nature of his identity.

“In my job, I have to maintain a sense of formality, but when I ta ke my lab coat off I don’t want to be thought of as such a conventional person.”

By day, Castellarin can be found treating patients at a hospital in southern Milan, but in his spare time he has cultivated a flourishing second career as an interior designer. His client list thus far comprises a small cohort of trusted friends, but design is more than just a hobby for the doctor. In 2019, he took a year off from medicine to complete a master’s degree in design at Milan’s Politecnico University, allowing him to formally realize his longtime passion.

H is latest project, h is a nd B on n i n’s ow n apartment in Milan’s well-heeled Arco della Pace neighborhood, is anything but conventional. Set in an imposing 19th-century palazzo, the space is a riotous mix of vivid colors, eye-catching art, and playful design objects, a stark contrast to the staid gentility of its surroundings. “We needed to use a lot of colors because the features are very tough,” he says of the building’s heavy northern Italian architecture.

To wit, the couple painted the ornately carved coffered ceiling a striking petrol blue. They doused every wall in a luminous cherry red, a shade cleverly plucked from the robes of a 16th-century pope depicted in an oil painting that hangs above a pair of leather-and-chrome Marcel Breuer Wassily chairs in the living room. The painting, originally displayed above an altar in a Catholic church, once belonged to Castellarin’s grandparents, as did many of the ancient artworks that crowd the walls.

Castellarin brought levity to the apartment through furniture and art: an Ingo Maurer lamp fashioned with an illuminated dragonfly; a Moooi chandelier above the dining table that resembles a descending spider wrought in desk lamps; resin vessels by Gaetano Pesce; a Gufram cactus sculpture from the 1970s. But the most amusing accent has to be a larger-than-life abacus in swirling cartoon colors by the artist Luigi Belli, commissioned for one of Bonnin’s birthdays. “We saw it in a gallery and fell in love,” Castellarin reminisces, “so I asked the artist to make one for Didier.”

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Original Liberty stainedglass doors open onto the home office. Le Corbusier chaise and Charlotte Perriand chair, Cassina; Charles and Ray Eames desk, Vitra; Ettore Sottsass lamp, Memphis Milano; Gio Ponti pendant, FontanaArte.

At home with Paolo Castellarin In the living room, the Poltrona Frau sofa is topped with a Loro Piana throw blanket. Marcel Breuer table and chairs, Knoll; cocktail table by Eero Saarinen; Achille and Pier Giacomo Castiglioni floor lamp, Flos.

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“Design was always my passion, but going into medicine felt like a more practical choice.”

—PAOLO CASTELLARIN

In the primary bedroom, the Vico Magistretti bed from Flou is topped with Loro Piana throw blankets and Fornasetti pillows.

Pendant, Flos; wall paint, RAL Pale Brown; window paint, RAL Green Beige.

OPPOSITE, TOP: The primary bedroom’s restored original lacquered door matches the window. Toio floor lamp, Flos; Frame TV, Samsung.

OPPOSITE, BOTTOM: Paolo Castellarin (left) and Didier Bonnin in tailor-made Etro robes in their bedroom.

At home with Paolo Castellarin A series of grand carved doorways separates the living room, dining room, and kitchen, exhumed during the construction process when the couple opened up the dividing walls between what had been a succession of small rooms. Two stacked “portholes” were then cut into the wall between the living and dining rooms to create a sense of balance and pay homage to Piero Portaluppi, the prolific Milanese architect responsible for countless homes throughout the city, most famously the Rationalist-style Villa Necchi Campiglio.

Other spaces in the apartment feel more explicitly in dialogue with the contemporary Milanese design scene: There is a historic reverence befitting the classical-minded Studio Peregalli evidenced in the preservation of salvaged Liberty stained-glass doors, while the bedroom’s duotone brown-and-yellow color scheme wouldn’t be out of place in a project

by Dimorestudio.

While there’s evidently something in the water, Castellarin notably comes from a family of artisans whose skills have made a lasting mark on Milan; his great-grandfather was a celebrated mosaic artist. When the medium fell out of fashion after World War II, his son, Castellarin’s grandfather, applied the craft to Palladiana marble floorings, a type of Venetian terrazzo. The family made a living by fashioning the intricate stone entranceways in bourgeois apartment buildings found throughout the city, the very same documented in the book Entryways of Milan, prominently displayed on the couple’s coffee table. “Design was a lways my passion,” Castellarin says, “but going into medicine felt like a more practical choice.”

T he t rad ition l ives on t h roug h Castellarin’s uncle, who runs the family marble business, Del Savio 1910, from their hometown of Pordenone. That fruitful relationship yielded bathroom floors inlaid with a deeply veined yellow marble from Tuscany, while the kitchen counter and island are made of a custom-designed, matte-brushed Verde Guatemala.

And while some things are indeed set in stone, the apartment remains, Castellarin notes, a work in progress—an unfolding mix of his and Bonnin’s common interests and passions. Outside of work, that is. ◾ ELLE DECOR

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BY JULIE L ASK Y PHOTOGR APHS BY PERNILLE

LOOF

An inveterate traveler, designer Vicente Wolf brings the world home to his peaceful, quietly evolving Manhattan loft.

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At home with Vicente Wolf

In the main living room of designer Vicente Wolf’s Manhattan loft, the 19th-century daybed is from Borneo, and the gray armchair is from his VW Home collection.

For details, see Resources.

even old object-friends can grow invisible if they remain in the same locations and vignettes. So he moves t hem a rou nd . A 194 0 s French cabinet that once sat in the bedroom is now in a living room niche, under a photo by Robert Mapplethorpe. A 19th-century oil portrait from Prag ue that was formerly paired with a Dutch Colonial desk from Sri Lanka is propped up on an Ethiopian chair. The forklift once used as a television stand has disappeared from the media room.

“What’s the crab that, as it goes through the ocean, things keep getting stuck to it?” Wolf asks. He is referring to an actual creature known as the decorator crab as well as to the fact that nothing in his home was acquired for a specific place but rather ended up in its spot just because it looked right.

Some objects were picked up for clients and welcomed back like adult children returning to the nest.

Wolf found the living room’s antique daybed in Borneo and imported it for the music industry executive Clive Davis, who later parted company with it. Other discards he’s adopted: the money plant Bette Midler left behind

The ancient Greek philosopher Heraclitus said you can’t step in the same river twice. If he were alive today and had an eye for design, he would probably say the same about Vicente Wolf’s Manhattan loft. Ever since the 1980s, when the interior designer acquired and combined two units in a 1928 brick factory building in Hell’s Kitchen, the gestalt has been the same: white walls and a white-painted floor; explosions of greenery cheered on by a dozen huge windows (“Here, no plant dies,” he says); and furniture and decorative objects that he designed or retrieved from the four corners of the earth. (Wolf is a notoriously adventurous traveler. While other people were skiing or enjoying beach vacations this winter, he was in Sudan.)

Certainly anyone who dipped a toe into this space, say, 20 years ago would recognize it now. Four-poster daybeds, midcentury chairs, antique carved alligators, and museum-quality black-and-white photographs convey a consistent eclecticism. But Wolf believes that 100 E L L E D E C O R

At home with Vicente Wolf Vicente Wolf in his library.

LEFT: A photograph by Clarence John Laughlin rests on a neoclassical Italian chair in the library.

Triptych photograph (on floor) by Richard Avedon.

after renting his Long Island beach house, and the white Ron Arad chair Margaret Russell offered him after leaving the editorship (and her office) at ELLE DECOR .

Recently, Wolf has ramped up the loft’s sociability factor. Whereas a 2009 Veranda magazine article described his furnishings as having “a conversation of their own, each speaking a different language of style,” the arrangements now lend themselves more to actual dialogues among real people. The bed Wolf designed and upholstered in his own fabric, for instance, is now surrounded by other soft seating, creating one of several convivial lounge areas in his home.

At 77, Wolf is lea n a nd ha ndsome. Matthew McConaughey could play him in the story of his life, which has been told many times. He was born in Cuba and immigrated to Miami in 1961 at the age of 15. A sufferer of dyslexia in a strange new world, he never received a high school degree or formal training apart from a few months at the New York School of Interior Design. Wolf will insist he has no memory for names or facts. But then you’ll find him peering at a tabletop covered in intricately carved Tibetan Buddhist conch shells and wondering who switched out a couple of the pedestals.

An easy way to trace the evolution of his aesthetic sensibility is to remind him of his dozen favorite things,

OPPOSITE: In the guest den a 1960s cantilevered French floor lamp illuminates a custom daybed in raw steel. Chair (left), VW Home; vintage Hans Wegner chair (right) in an Edelman leather; artwork (left) by Damien Hirst; antique stupa from Thailand.

as reported by the Chicago Tribune in 2006. He says he still appreciates the fashion designer Thom Browne’s undeviating vision (“very different from how I think”) but has been dressing more casually during the pandemic. He also remains partial to the herbal flavor of Zubrówka Bison Grass Vodka, the slick lines of a 1963 Lincoln Continental convertible, the movie Auntie Mame, and the Mandarin Oriental Hotel in his beloved Bangkok.

He has gone cold on Annick Goutal cologne ever since the formula changed. He also now prefers PPG Pittsburgh Paints’ Delicate White to Benjamin Moore’s Super White because of the former’s extreme lack of tint.

He is mystified that theater, which he consumes avidly, didn’t make the earlier list (Company is a favorite). And he no longer cares much for restaurant dining. “It’s noisy, it’s not comfortable, you’re all dressed up, you’re not finding on the menu what you really want to eat, so it’s better eating at home,” he says.

If you are lucky to be entertained by him at his loft, where miraculously everything catches the eye without overwhelming the senses, he will serve you only one meal: salmon, couscous, and spicy eggplant. In fact, he was planning to serve that very dish to Mikhail Baryshnikov in a few weeks—on a table covered in orange so it glows like a flame in the white, white room. ◾ ELLE DECOR

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Wolf believes that even old object-friends can grow invisible if they remain in the same locations. So he moves them around.

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At home with Vicente Wolf LEFT: A 19th-century Burmese table was repurposed as a vanity in the primary bathroom.

Fittings, Kohler; photograph on vanity by Deborah Bell.

BELOW: A custom bed, settee, and chair anchor the primary bedroom.

Javanese screen; serving cart, Mathieu Matégot; cowhide rug, Edelman Leather; artwork (above bed) by Martin Munkácsi.

OPPOSITE: A frosted-glass wall separates the shower from the library while providing translucency.

Fittings, Dornbracht; limestone flooring.

BY L AUREN MEC HLING PHOTOGR APHS BY NICOLE FR ANZEN ST YLED BY HOWARD C HRISTIAN

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to At home with Ramsey Lyons

In the living room of designer Ramsey Lyons’s home in Pittsburgh, which was built in 1907 by architecture firm McClure & Spahr, the decorative plaster ceiling and leaded windows were all restored.

Artwork over mantel, Donald Martiny.

For details, see Resources.

With two children, a pair of dogs, and pet bunnies in tow, designer Ramsey Lyons energetically transforms a Pittsburgh landmark into a dynamic home for her family.

A Damien Hirst spot painting hangs on the living room’s original paneling, which was limewashed and given a tinted wax finish. Sofa in an Anna French print; slipper chairs in a Pierre Frey velvet; cocktail table and pendant, David Duncan Studio; antique Oushak, J&D Oriental Rugs.

OPPOSITE: In the entry, the walls are sheathed in Phillip Jeffries grass cloth, and the oak floor was hand-painted by Jon Gluck in a graphic design. Console, Mark Evers Antiques; mirror, Bunny Williams Home; lamps by Christopher Spitzmiller.

At home with Ramsey Lyons

It’s only human to dwell on the one that got away. Especially when the object of your affection didn’t actually go anywhere.

Eight years after Ramsey Lyons and her financier husband moved from Baltimore to Pittsburgh, they still couldn’t get a house they’d considered buying out of their heads. A redbrick Tudor that dates back to Pittsburgh’s golden age of industrialists, the fortresslike property was one of the Steel City’s few remaining marquee historical houses. But it needed a good deal of work, more than the couple—with two children then under two—felt up for at the time.

Still, they never forgot the house. When they passed it a few years later while driving to a son’s friend’s birthday party, they knew it was time. Lyons rang up a local real-estate agent and issued a challenge: Persuade the older couple who’d been quick to take it off the market to

sell it, while also finding a buyer for the Lyonses’ home—all in the space of two weeks. Mission accomplished, the next challenge was on her: Take a 12,000-square-foot house whose baronial vibe conjures an Agatha Christie murder mystery and transform it into a modern home for a family with two kids (now tweens), a pair of dogs, and two pet rabbits.

Design has always been in Lyons’s blood. During her first decade out of college, while working ungodly hours as an investment banker in New York, she would unwind at the townhouse her friends were in the process of decorating. “I’d go over and rearrange fabric swatches in their basement,” she recalls. “That was my happy place.” Once she’d settled into Pittsburgh, she started to work as a designer. By the time she and her husband bought this house, she had a dream team of artisans and builders on her speed dial.

Built in 1907 as a Victorian, the home was expanded and extensively remodeled in the Tudor style in the 1920s. Confronted with heavy window treatments and E L L E D E C O R 107

“All my kids’ friends want to be here all of the time.”

—RAMSEY LYONS

an eyesore of a stair hall, Lyons considered ripping everything out and starting from scratch. But the idea of scrapping the original craftsmanship was unthinkable.

So she decided to do something much harder: bring it all up to date in a respectful and innovative way. “What Ramsey did is completely outside of the box,” says Jon Gluck, the decorative painter she tapped to instill a new sense of lightness. “It’s an old-world estate home entirely reimagined to be timeless.”

Using limewash and tinted wax, Gluck transformed the quartersawn oak panels that cradled the first-floor walls into surfaces you’d never associate with a fusty 108 E L L E D E C O R

library at a private club. Original leaded windows and stained-glass fixtures were restored and installed, sometimes in new spaces. Room by room, Lyons dialed down the darkness and readied the structure for another century’s use. “She’s a designer, but she’s also the custodian of this house,” says David Duncan, the owner of the eponymous New York studio from which she sourced vintage pieces and lighting fixtures of his design.

Today, the home’s traditional but fresh spirit is in keeping with Pittsburgh’s history as the original epicenter of American disruptors. (If Succession was set at the turn of the 20th century, it would have taken place here

At home with Ramsey Lyons LEFT: In the family room, Lyons’s children sit on a custom banquette in a Groundworks print.

Dining and cocktail table, Aronson Woodworks; armchairs (rear), Bunny Williams Home; blue chairs, Coley Home; vintage chair fabric, Tilton Fenwick; artwork

by Damien Hirst.

Ramsey Lyons in her bedroom.

among the city’s railroad and steel magnates.) Take the mudroom, a testament to Lyons’s commitment to lowkey livability. The heavily trafficked corridor features a wall mural that Gluck based on a 1933 painting by Japanese artist Zenzaburo Kojima. He imagined a treescape with an underwater feel, where jellyfish-like forms float in a palette of blues and greens that, along with purple, pervade the rest of the home.

The mix of contemporary and vintage furniture in the house undergirds its adventurous spirit. There are Frances Adler Elkins loop chairs and Cloud chairs by Art Deco designers Harry and Lou Epstein alongside

newer pieces from Chairish. Contemporary paintings by artists such as Hunt Slonem and Damien Hirst were selected by an exclusive acquisition committee. “Everybody in the family gets a vote,” Lyons says. “The kids always steer us toward more colorful pieces.”

Three years and counting into the project (a small team of woodworkers is still toiling away in the basement), she has pulled off a near impossible feat: Preserve a historic home but make it fun. Craftsmanship and pedigree are disentangled here from pomp and formality. “All my kids’ friends want to be here all of the time,” Lyons says. “I’ve made a space that is about joy.” ◾ E L L E D E C O R 109

Minnie, a West Highland terrier, relaxes in the sunroom on a vintage sofa covered in a Schuyler Samperton Textiles print. Cocktail table, Aronson Woodworks; armchairs, Mecox; pendant, Urban Electric; curtain fabric, Quadrille; antique Turkish rug.

110 E L L E D E C O R

At home with Ramsey Lyons

An upstairs kitchen in a third-floor apartment Lyons designed for when her parents come to stay. Vintage Frances Adler Elkins chairs, David Duncan Studio; wallpaper, Schumacher; pendant, Visual Comfort.

RESOURCES SECOND SHIFT

TABLE OF CONTENTS

Interior design: Ghislaine Viñas, ghislainevinas.com.

PAGE 42: Chairs: Tom Dixon, tomdixon .net. Sculptures: Joe Doucet, joedoucet .com. Artworks: Karen Jo Combs, karenjocombs.com. PAGE 44: Sofa: Roche Bobois, roche-bobois.com.

Rug: RH, Restoration Hardware, rh.com. Sofa: Ligne Roset, ligne-roset .com. PAGE 46: Sofa and cocktail table: François Chambard, um project.com. Bed: Article, article.com.

Nightstands: Blu Dot, bludot.com.

Lamps: Artemide, artemide.net.

valcucine.com. Tray: Driade, driade .com. Ceiling and wall paint: RAL, ralcolorchart.com. Sculpture: Gufram, gufram.it. Chairs: Vitra, vitra.com. Dining table: Knoll, knoll.com. Chandelier: Moooi, moooi.com. Vase: Memphis Milano, memphis-milano.com. Sculpture: Luigi Belli, luigibelli.it. PAGES 94–95: Chaise and chair: Cassina, cassina .com. Desk: Vitra. Lamp: Memphis Milano. Pendant: FontanaArte, fontanaarte.com. Sofa: Poltrona Frau, poltronafrau.com. Throw blanket: Loro Piana, loropiana.com. Table and chairs: Knoll. Floor lamp: Flos, flos .com. PAGES 96–97: Bed: Flou, flou.it.

Throw blankets: Loro Piana. Pillows: Fornasetti, fornasetti.com. Pendant: Flos. Wall and window paint: RAL. Lamp: Flos. TV: Samsung, samsung .com. Robes: Etro, etro.com.

CLIFF’S NOTES

NOMAD LAND

PAGE 14: Fish vases: Gaetano Pesce, gaetanopesce.com. PAGE 16: Artwork: Hunt Slonem, huntslonem .com. PAGE 18: Table: Van KeppelGreen, vankeppelgreen.com. Pendant: Louis Poulsen, louispoulsen.com.

HOUSE CALL

Interior design: Cliff Fong, mattblackeinc.com.

PAGES 74–75: Pendant: Serge Mouille, sergemouille.com.

Rug: Woven, woven.is. Vintage pieces: George Nakashima, nakashimawoodworkers.com; Isamu Noguchi, noguchi.org. Bag: Hermès, hermes.com. Artwork: Gina Beavers, gina-beavers-6csm.squarespace.com.

PAGES 76–77: Artworks: Gonzalo Lebrija, gonzalolebrija.com; Lita Albuquerque, litaalbuquerque.com.

Bedding: Matteo, matteola.com.

Wall paint: Benjamin Moore, benjaminmoore.com. Rug: Woven.

Sculpture: Michael Wilson, michaelwilsondesign.com.

Î LE DE RÊVE Interior design: Jean-Louis Deniot, deniot.com.

PAGES 78–79: Sofa and shade fabric: Josef Frank, svenskttenn.com.

PAGES 80–81: Banquette fabric: Josef Frank. Wallpaper: Au Fil des Couleurs, aufildescouleurs.com. Sink: Franke, franke.com. Oven: Miele, mieleusa .com. PAGES 82–83: Wallpapers: Eno Studio, enostudio.fr; Thibaut, thibaut design.com. Chair fabric: Dedar, dedar.com.

DRAMA DOWN UNDER Interior design: Tamsin Johnson, tamsin johnson.com. Metalwork: Dankha, dankha.com.au.

PAGES 84–85: Sofa fabric: Dominique Kieffer, dominiquekieffer.com.

Armchairs: Frank Lloyd Wright, franklloydwright.org. PAGES 86–87: Sink fittings: Perrin & Rowe, perrinand rowe.co.uk. Pendant and sconces: Gio Ponti, gioponti.org. Chandelier: Striulli Vetri d’Arte, striullivetriarte.it.

Chair slipcovers: C&C Milano, cec-milano.us. Chandelier: Seguso, seguso.com. PAGES 88–89: Bathtub: The Water Monopoly, thewater monopoly.com. Fittings: Perrin & Rowe.

Bed upholstery: Dedar, dedar.com.

Quilt: Roller Rabbit, rollerrabbit.com.

112 E L L E D E C O R

PAGES 92–93: Island: Valcucine,

ELLE DECOR (ISSN 1046-1957) Volume 33, Number 3, April 2022, is published monthly except for combined issues in December/January/February and June/July/August, by Hearst, 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Mark E. Aldam, Chief Operating Officer; Catherine A. Bostron, Secretary. Hearst Magazine Media, Inc.: Debi Chirichella, President & Treasurer; Kate Lewis, Chief Content Officer; Kristen M. O’Hara, Chief Business Officer. © 2022 by Hearst Magazine Media, Inc. All rights reserved. ELLE and ELLE DECOR are used under license from the trademark owner, Hachette Filipacchi Presse.

Periodicals postage paid at N.Y., N.Y., and additional mailing offices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription prices: United States and possessions: $15 for one year. Canada: $41 for one year. All other countries: $60 for one year. Subscription Services: ELLE DECOR will, upon receipt of a complete subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within 4–6 weeks. For customer service, changes of address, and subscription orders, log on to elledecor.com/service or write to Customer Service Department, ELLE DECOR, P.O. Box 37870, Boone, IA 50037. From time to time, we make our subscriber list available to companies who sell goods and services by mail that we believe would interest our readers. If you would rather not receive such offers via postal mail, please send your current mailing label or exact copy to Mail Preference Service, P.O. Box 37870, Boone, IA 50037. You can also visit preferences .hearstmags.com to manage your preferences and opt out of receiving marketing offers by email. ELLE DECOR is not responsible for unsolicited manuscripts or art. None will be returned unless accompanied by a self-addressed stamped envelope. Canadian registration number 126018209RT0001. POSTMASTER: Please send address changes to ELLE DECOR, P.O. Box 37870, Boone, IA 50037. Printed in the U.S.A.

CORRECTION In the feature “Built to Last” in our March 2022 issue (page 114), the designer of the living room rug was misstated. The rug is custom designed by Atelier Davis. In addition, in the primary bathroom, the hardware on the custom vanity is by Nest Studio.

Interior design: Vicente Wolf, vicentewolf.com.

PAGES 98–99: Armchair: VW Home, vicentewolfhome.com.

PAGES 100–101: Photograph: Richard Avedon, avedonfoundation .org. Chair: VW Home. Chair fabric: Edelman Leather, edelmanleather.com.

PAGES 102–103: Fittings: Kohler, kohler.com. Photograph: Deborah Bell, deborahbellphotographs.com.

Rug: Edelman Leather. Fittings: Dornbracht, dornbracht.com.

HOP TO IT! Interior design: Ramsey Lyons, ramseylyons.com.

PAGES 104–105: Artwork: Donald Martiny, donaldmartiny.com.

PAGES 106–107: Sofa fabric: Anna French, thibautdesign.com. Slipper chairs fabric: Pierre Frey, pierrefrey .com. Cocktail table and pendant: David Duncan Studio, davidduncan ltd.com. Oushak: J&D Oriental Rugs, jdorientalrugs.com. Wallcovering: Phillip Jeffries, phillipjeffries.com.

Console: Mark Evers Antiques, markeversantiques.com. Mirror: Bunny Williams Home, bunny williamshome.com. Lamps: Christopher Spitzmiller, christopher spitzmiller.com. PAGES 108–109: Dining and cocktail tables: Aronson Woodworks, aronsonwoodworks .com. Chairs: Bunny Williams Home; Coley Home, coleyhome .com. Chair fabric: Tilton Fenwick, tiltonfenwick.com. PAGES 110–111: Sofa fabric: Schuyler Samperton Textiles, schuylersampertontextiles .com. Cocktail table: Aronson Woodworks. Armchairs: Mecox, mecox.com. Pendant: The Urban Electric Co., urbanelectric.com.

Curtain fabric: Quadrille, quadrille fabrics.com. Chairs: David Duncan Studio. Wallpaper: Schumacher, fschumacher.com. Pendant: Visual Comfort, visualcomfort.com.

The library in designer Vicente Wolf’s New York City loft. The photograph on the antique chair is by Anton Stankowski.

PERNILLE LOOF

Items pictured but not listed are from private collections.

PROMOTION

ELLE DECOR | LIFE

STYLE. DESIGN. CULTURE.

ROCHE BOBOIS

EAST OLIVIA East Olivia is a female-fueled creative agency that specializes in event design, brand activations and their original Forever Floral arrangements.

Motivated by the idea of “creating beauty in the world,” East Olivia believes that access to beauty is not a luxury for a select few but rather a human right for all. Learn more at eastolivia.com.

Outdoor or indoor? It doesn’t matter: Temps Calme is a fully modular and gently rounded piece available in a terrace and garden version that comfortably holds its own against its indoor counterpart. All our key interior furniture has moved outdoors, exchanging the living room for an open-air setting under the starry skies. Temps Calme Outdoor designed

by Studio Roche Bobois. roche-bobois.com/en-US/products/ outdoor-sofas

HINKLEY’S CENTURY OF STYLE CELEBRATION

WALLPAPER DIRECT

Hinkley kicked off its centennial year with the launch of over 200 new lighting designs at this year’s Lightovation show in Dallas, Texas—which included a robust lineup from its Interior, Bath and Outdoor Lighting categories. The unveiling of Hinkley’s new designs celebrates 100 years of style and dedication to thoughtful construction inspired by the best and latest trends, impeccable attention to detail and superior quality.

Hinkley.com

Wallpaper Direct is the global leaders in wallpaper, bringing designs from all over the world to the walls of wallpaper lovers. From wellestablished design houses like Sanderson, celebrity brand Laurence Llewelyn-Bowen to brand-new up-and-coming talent Wear the Walls, the company gives an exceptional sampling and delivery service. wallpaperdirect.com

MY K I N D O F RO OM

CARDINAL RULES Dipped in red, with its witty, high-low mix, a Parisian designer’s living room captured Sheila Bridges’s fancy years ago—and still hits the mark.

“I CAME ACROSS THIS ROOM, IN THE HOME OF PATRICK GUFFRAZ,

in a 1996 book by Herbert Ypma, Paris Flea Market. I am drawn to really saturated color, so the vermilion spoke to me. I also use a lot of classical furniture and love his settee here, with its embroidery showing vessels and the words Je pense a mon jardin. Guffraz called his style Art 114 E L L E D E C O R

Pauvre—it’s the idea of mixing into a space things that aren’t precious, like the gilt-wood sunburst and those lamps with the very simple paper shades. I admire the casual elegance—the simplicity, restraint, and curation.

This room is as stylish and relevant today as it was 25 years ago.” —As told to Ingrid Abramovitch

RENÉ AND BARBAR A STOELTIE

The Parisian living room of Patrick Guffraz.