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THE INTERNATIONAL DESIGN AUTHORITY SEPTEMBER 2019

GOLDEN GIRLS

cara & poppy delevingne go to hollywood

THE STYLE ISSUE

top tastemakers invite you in

800.929.DIOR (3467)

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N E W E - B O U T I Q U E . D I O R .C O M

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R A LPH L AUR EN

r a l p h l a u r e n . c o m

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FEEL LIGHT TRANSFORMED Innovative window treatment designs by Hunter Douglas transform the natural light in your home to create the perfect ambiance, whatever the moment. #FeelLightTransformed

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Luminette® Sheers with PowerView® Motorization

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5151 Empira White â&#x20AC;&#x201C; NEW

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CONTENTS september 32 Editor’s Letter 34 Object Lesson

How Mae West’s pout sparked a Surrealist sensation.

41 Discoveries

Step inside jewelry scion Evan Yurman’s retreat in upstate New York . . . Nathalie Du Pasquier’s punchy patchwork throws for Hermès . . . RH unveils a chic new design concept for coastal living . . . Tour the sophisticated New York offices of Studio Sofield . . . Favorite finds for high-style entertaining . . . Toshiko Mori devises a Long Island beach house to survive future storms . . . Libertine’s Johnson Hartig brings his avant-garde aesthetic to new textiles for Schumacher . . . Material Lust mixes art and design practices under one roof . . . and more!

110

OBERTO GILI

JACQUES GARCIA’S SPRAWLING COMPOUND IN SICILY.

A R CHDIGE S T.COM

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CONTENTS september

98 Brooklyn Bohème

In a Fort Greene row house, fashion designer Ulla Johnson and her family live in laid-back splendor. BY JANE KELTNER DE VALLE

110 Divine Intervention

FOLLOW @ARCHDIGEST

Jacques Garcia’s latest masterpiece is a luxuriously reborn 17th-century Sicilian monastery. BY MITCHELL OWENS

SUBSCRIPTIONS FOR SUBSCRIPTION INFORMATION GO TO ARCHDIGEST.COM, CALL 800-365-8032, OR EMAIL SUBSCRIPTIONS@ ARCHDIGEST.COM.

126 Material Girl

Color and pattern converge in the sensational studio of British designer Bethan Laura Wood.

DIGITAL EDITION DOWNLOAD AT ARCHDIGEST.COM/APP.

BY HANNAH MARTIN

130 Sorority House

For sisters Poppy and Cara Delevingne, living large in Los Angeles means keeping it all in the family. BY MAYER RUS (CONTINUED ON PAGE 24)

A R CHDIGE S T.COM

CARA DELEVINGNE, IN A DIOR JUMPSUIT AND ELDER STATESMAN SWEATER, AND HER SISTER POPPY, IN AN OPENING CEREMONY TOP AND PANTS, AT THEIR LOS ANGELES HOME. CARA WEARS DIOR ADDICT STELLAR SHINE LIPSTICK IN #535 CD-DREAM. “SORORITY HOUSE,” PAGE 130. PHOTOGRAPHY BY TREVOR TONDRO. STYLED BY LAWREN HOWELL. FOR DETAILS SEE RESOURCES.

NEWSLETTER SIGN UP FOR AD’S DAILY NEWSLETTER, AT ARCHDIGEST.COM/ NEWSLETTER. COMMENTS CONTACT US VIA SOCIAL MEDIA OR EMAIL US AT LETTERS@ARCHDIGEST.COM.

FLOTO + WARNER; ASCLEPION, 2018, © SHEILA HICKS, COURTESY OF ALISON JACQUES GALLERY, LONDON

THE LIVING ROOM OF ULLA JOHNSON’S BROOKLYN ROW HOUSE.

Our iconic Lowell collection

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SLEEP WELL TONIGHT. matouk.com

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CONTENTS september

126

BRITISH DESIGNER BETHAN LAURA WOOD IN HER LONDON STUDIO.

130

142 Rebels with a Cause

India’s most dashing royal couple transformed their corner of the Subcontinent into an unlikely Art Deco oasis. BY MITCHELL OWENS

146 The Royal Treatment Crown Princess Marie-Chantal of Greece calls on François Catroux to revitalize a grand family residence in Manhattan. BY JANE KELTNER DE VALLE

158 Resources

The designers, architects, and products featured this month.

160 Last Word

To enliven a historic home, Pierre Yovanovitch tapped artist Tadashi Kawamata for a sitespecific installation.

FROM TOP: JOONEY WOODWARD; TREVOR TONDRO; TASTE THE RAINBOW BY CHEMICAL X

INSIDE POPPY AND CARA DELEVINGNE’S LOS ANGELES PAD.

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Te x t ured . To n a l . T i mel e ss. 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.

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PROUD SPONSOR OF THE KIPS BAY DECORATOR SHOW HOUSE NEW YORK Left Image: Design by Studio DB | Right Image: Design by Jeff Lincoln

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THE INTERNATIONAL DESIGN AUTHORITY VOLUME 76 NUMBER 8

EDITOR IN CHIEF

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

FEATURES SENIOR DESIGN EDITOR Hannah DEPUTY DIRECTOR, DIGITAL

Martin

Kristen Flanagan SPECIAL PROJECTS DIRECTOR, DIGITAL

Sydney Wasserman ENTERTAINMENT DIRECTOR Dana Mathews EXECUTIVE FEATURES EDITOR David Foxley FEATURES EDITOR, DIGITAL Nick Mafi ASSOCIATE ENTERTAINMENT EDITOR

Rachel Wallace ASSOCIATE CLEVER EDITOR Zoë Sessums ASSISTANT EDITORS Elizabeth Fazzare,

Katherine McGrath (Digital), Carly Olson ASSISTANT TO THE EDITOR IN CHIEF

Gabriela Ulloa MARKET MARKET EDITOR

Madeline O’Malley

David Sebbah

CREATIVE DESIGN DIRECTOR Natalie Do VISUALS DIRECTOR Michael Shome VISUALS EDITOR, DIGITAL Melissa Maria

AD PRO EDITOR Katherine Burns Olson DEPUTY EDITOR Allie Weiss SENIOR STYLE & MARKET EDITOR

Benjamin Reynaert FEATURES EDITOR Anna Fixsen NEWS EDITOR Madeleine Luckel REGIONAL NEWS EDITOR Tim Latterner

VIDEO VP, VIDEO Matt Duckor SUPERVISING PRODUCER Allison Ochiltree DIRECTORS Matt Hunziker, Dan Siegel,

ASSOCIATE VISUALS EDITOR

Gabrielle Pilotti Langdon ASSOCIATE EDITOR Mel Studach

Rusty Ward SENIOR PRODUCERS

Frank Cosgriff,

Ali Inglese PRODUCER Thomas Werner

PRODUCTION EDITORIAL OPERATIONS MANAGER PRODUCTION DIRECTOR Nicole Stuart PRODUCTION MANAGER Brent Burket PRODUCTION DESIGNER Cor Hazelaar ART PRODUCTION EDITOR Katharine Clark COPY AND RESEARCH COPY DIRECTOR Joyce Rubin RESEARCH DIRECTOR Andrew Gillings COPY MANAGER Adriana Bürgi RESEARCH MANAGER Leslie Anne Wiggins

Erin Kaplan DIRECTOR, EDITORIAL PROJECTS

Jeffrey C. Caldwell CONTRIBUTORS CONTRIBUTING EDITOR AT LARGE

Michael Reynolds CONTRIBUTING STYLE EDITORS

Lawren Howell, Carolina Irving CONTRIBUTING EDITORS

Amanda Brooks, Gay Gassmann CONTRIBUTORS

ASSOCIATE PRODUCERS

Nick Traverse

COMMUNICATIONS + EDITORIAL PROJECTS EXECUTIVE DIRECTOR, PUBLIC RELATIONS

Jon Charles Weigell, Kara Yennaco ARCHDIGEST.COM ASSOCIATE DIRECTOR, AUDIENCE DEVELOPMENT

Erika Owen SENIOR MANAGER, ANALYTICS Kevin Wu SOCIAL MEDIA MANAGER Elise Portale

Fabiola Beracasa Beckman, Derek Blasberg, Peter Copping, Sarah Harrelson, Pippa Holt, Patricia Lansing, Colby Mugrabi, Carlos Souza EDITOR EMERITA Paige Rense Noland

ARTISTIC DIRECTOR

Anna Wintour

CHIEF BUSINESS OFFICER

Eric Gillin HEAD OF SALES, LIFESTYLE DIVISION Jennifer Mormile HEAD OF SALES, HOME Jeff Barish HEAD OF MARKETING Bree McKenney VP, FINANCE & BRAND DEVELOPMENT Rob Novick VP, MARKETING Casey McCarthy ASSOCIATE DIRECTORS, MARKETING Caroline Karter, Josh McDonald SENIOR BUSINESS DIRECTOR Jennifer

HEADS OF SALES FASHION, AMERICAN Amy Oelkers FASHION, INTERNATIONAL David Stuckey BEAUTY Lucy Kriz AUTO Tracey Baldwin MEDIA/ENTERTAINMENT Bill Mulvihill BIZ/FI/TECH Doug Grinspan VICE Laura Sequenzia LUXURY Risa Aronson CPG Jordana Pransky TRAVEL Beth Lusko-Gunderman HEALTH Carrie Moore PUBLIC RELATIONS EXECUTIVE DIRECTOR, COMMUNICATIONS Molly Pacala SENIOR MANAGER, COMMUNICATIONS Savannah Jackson

PUBLISHED BY CONDÉ NAST CHIEF EXECUTIVE OFFICER Roger

UNITED STATES CHIEF FINANCIAL OFFICER David E. Geithner CHIEF REVENUE & MARKETING OFFICER

Pamela Drucker Mann CHIEF PEOPLE OFFICER JoAnn Murray CHIEF COMMUNICATIONS OFFICER Joseph Libonati CHIEF OF STAFF Samantha Morgan CHIEF TECHNOLOGY OFFICER Edward Cudahy CHIEF DATA OFFICER Karthic Bala CHIEF BUSINESS OFFICER, ADVERTISING REVENUE Craig Kostelic EVP / CONSUMER REVENUE Monica Ray EVP / RESEARCH, ANALYTICS & AUDIENCE DEVELOPMENT

A R CHDIGE S T.COM

INTERNATIONAL PRESIDENT Wolfgang

Blau

CONDÉ NAST ENTERTAINMENT PRESIDENT Oren Katzeff EVP / MOTION PICTURES Jeremy Steckler EVP / ALTERNATIVE PROGRAMMING Joe LaBracio EVP / CNÉ STUDIOS Al Edgington CHAIRMAN OF THE BOARD

Jonathan Newhouse SUBSCRIPTIONS FOR INQUIRIES AND ADDRESS CHANGES, CALL 800-777-0700, VISIT ARCHDIGEST.COM/SUBSCRIBE, OR EMAIL SUBSCRIPTIONS@ARCHDIGEST.COM.

Stephanie Fried HEAD CREATIVE DIRECTOR

Lynch

Crescitelli

Raúl Martinez

CONDÉ NAST IS A GLOBAL MEDIA COMPANY PRODUCING PREMIUM CONTENT FOR MORE THAN 263 MILLION CONSUMERS IN 30 MARKETS. WWW.CONDENAST.COM WWW.CONDENASTINTERNATIONAL.COM PUBLISHED AT ONE WORLD TRADE CENTER, NEW YORK, N.Y. 10007

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ZOELLA SOLARIA RUG 8 4 4 . 4 0 . STA R K | S TA R KS A P P H I R E . C O M

ANT IQUE RE IM AG INE D DISTRESSED TRADITIONAL

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IMPORTANT AMERICAN PAINTINGS Questroyal Fine Art, LLC, is an established American art gallery specializing in quality American paintings from the 19th and 20th centuries. Questroyal’s extensive inventory of more than 500 artworks includes the important Hudson River School, tonalist, impressionist, Albert Bierstadt (1830–1902)

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IT’S SHOWTIME AT CHICAGO GOURMET Bon Appétit presents Chicago Gourmet is celebrating all things food and entertainment this

CHARLES EDWARDS Charles Edwards, a top British company well-known for its classic and traditional lights, launches a new product to its already extensive collection. The Suspended Pall Mall Lantern is handmade in brass with custom metal and paint finishes. Its elaborate design is inspired by the gas lanterns that lit up the streets of London in the early 19th century, and the eye-catching design of the bulb holder is an adaptation from an original 1850s English lantern. For more information, visit charlesedwards.com.

September—and it’s going to be epic. Join chefs Andrew Zimmern, Rick Bayless, Sarah Grueneberg, Iron Chef Morimoto, and many more for a fabulous weekend in Millennium Park. Highlights include celebrity chef cooking demos, wine and mixology seminars, book signings, and delicious food, wine, spirits, and beer tastings. Plus, special movie-, TV-, and theaterinspired culinary events throughout the week are sure to bring down the house. It’s time for Lights, Camera, Napkin! Make your plans now for Chicago Gourmet from Sept. 24-29. Tickets on sale now at chicagogourmet.org

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WE’VE COLLECTED THE BEST DESIGNERS TO DESIGN THE BEST COLLECTIONS. FROM THE DESCENDANTS OF STONECUTTERS TO BURGEONING MODERN DESIGNERS, ROHL DISCOVERS THE FINEST CRAFT. OUR DESIGNERS FIND INSPIRATION FROM MANY PLACES AND PERIODS IN TIME, RESULTING IN A COLLECTION THAT IS TRULY TIMELESS.

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A DISTINCTIVE HOUSE OF ROHL

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editor’s letter

1. A SITTING ROOM IN VILLA ELENA, THE ITALIAN ESTATE OF JACQUES GARCIA. 2. CROWN PRINCESS MARIE-CHANTAL OF GREECE AT HOME IN NYC WITH HER DAUGHTER OLYMPIA. 3. ULLA JOHNSON IN HER BROOKLYN GARDEN WITH HER CHILDREN. 2

“This was the chance to build our dream sister house. Miraculously, we are still talking.” —Poppy Delevingne 4

A R CHDIGE S T.COM

4. DE GOURNAY WALLPAPER IN POPPY DELEVINGNE’S BEDROOM. 5. POPPY AND ME AT AN EVENT. 6. POPPY AND CARA DELEVINGNE HANGING OUT IN L.A. 6

AMY ASTLEY Editor in Chief @amytastley

1. OBERTO GILI; 2. FLOTO + WARNER; 3. TREVOR TONDRO; 4. STEFANIE KEENAN/GETTY IMAGES; 5. NGOC MINH NGO

The fascinating and fashionable characters featured in our annual Style issue are all wildly different from one another, and the resulting mix of homes feels to me a lot like a fun-filled dinner packed with surprise guests. Our cover siblings, It Brits Cara and Poppy Delevingne, share a new and seriously sassy Los Angeles residence that can only be described as a party palace. Meanwhile, Crown Princess Marie-Chantal of Greece returned to her Manhattan roots, moving her large family into the majestic 1913 town house on the Upper East Side that her parents had bought in the late 1980s and hired Renzo Mongiardino to decorate. Referring to the Italian maestro’s signature rich velvets, major curtains, and heavy wood furniture, Marie-Chantal quips, “We called it the dark ages because there was no light”—one of the rooms was even illuminated solely by candles. Determined to “freshen it up,” Marie-Chantal enlisted a longtime friend, the legendary AD100 decorator François Catroux, who had worked with her parents and on Marie-Chantal’s own London home. Fashion designer Ulla Johnson, a native New Yorker, also lives in a singular town house, this one in Brooklyn’s Fort Greene. Retaining the stately bones of the 1850s structure but renovating and decorating in the warm, organic boho vibe her own successful line is known for, Johnson says, “When I design clothes, all I think about is, Well, it’s beautiful, but how does it make you feel? That, for me, was an organizing principle in this house as well.” And a final treat: the vast Sicilian estate (a former monastery) of eminent French designer Jacques Garcia, which must be seen to be believed.

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object lesson

THE STORY BEHIND AN ICONIC DESIGN

Lip Service

How Mae West’s pout sparked a Surrealist sensation 34

A R CHDIGE S T.COM

JÉRÔME GALLAND

A LIPS SOFA AT CHÂTEAU DE LA COLLE NOIRE, CHRISTIAN DIOR’S FORMER RESIDENCE IN MONTAUROUX, FRANCE, RESTORED BY DESIGNER YVES DE MARSEILLE.

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object lesson

2 1

1. LIPS SOFAS IN ARTS PATRON EDWARD JAMES’S WEST SUSSEX DINING ROOM. 2. BOCCA DARK LADY SOFA BY STUDIO 65 FOR GUFRAM, 2008.

3. DALÍ’S 1938 MAE WEST LIPS SOFA. 4. A VINTAGE VERSION HOLDS COURT IN FASHION DESIGNER DIANE VON FURSTENBERG’S MANHATTAN HOME. 4

A R CHDIGE S T.COM

round 1935, Spanish artist Salvador Dalí saw something special in the face of movie star Mae West: an apartment. In a watercolor, he turned her blonde curls into portières, her eyes into paintings, her nose into a fireplace, and her lips into a divan. The last was a furnishing so provocative that British arts patron Edward James requested a three-dimensional version. Dalí set to the task. The client deemed his first try, wrapped in pink satin, “too showy.” James preferred the next two, realized in 1938 by London decorators Green & Abbott in red and green felt with black fringe. The pair—one is at the V&A; the other failed to sell at Christie’s in June—were made for Monkton House in West Sussex, a classical Edwin Lutyens mansion that James recast as a Surrealist fantasia. Around the same time, Dalí’s paean to West’s pout inspired an upholstery project across the channel: Paris decorator Jean-Michel Frank’s lips-shaped sofa for the fashion designer Elsa Schiaparelli, colorfully clad to match her brand’s “shocking” pink. Parisians got a peek at the ciré satin seat, Vogue reported, when visitors to Galerie Beaux-Arts’ 1938 Exposition Internationale du Surréalisme saw it displayed in Frank’s next-door shop. Schiaparelli, though, rejected the design, which ended up in the cinema-ballroom of Baron Roland de l’Espée, one of Frank’s clients. James commissioned five Dalí lips sofas, but there’s no reliable count of the spin-offs, vetted and otherwise. A Pop icon decades later, the seat was reenvisioned in 1970 by Italian radical firm Studio 65, which produced a polyurethane riff with Gufram (gufram.com; from $5,060). Two years later, Dalí collaborated with Catalan architect Oscar Tusquets on another example in polyethylene, which BD Barcelona began producing in 2004 (bdbarcelona.com; from $3,223). —HANNAH MARTIN

1. ALAMY; 2. COURTESY OF GUFRAM; 3. COURTESY OF MUSEUM BOIJMANS VAN BEUNINGEN; 4. FRANÇOIS HALARD

AD Beatrice Rossetti - Photo Federico Cedrone

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GROUNDPIECE SECTIONAL SOFA Antonio Citterio Design

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Add a classic 18kt gold necklace from Italy to your signature style The timeless gleam of 18kt gold. The classic Italian craftsmanship. The distinctive graduated design offers a polished finish time and again. Consider this Cuban-link necklace your new go-to favorite.

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The frameless insulated sliding doors by Swiss manufacturer Sky-Frame blend naturally into their surroundings, creating a seamless continuity between indoors and outdoors and blurring the line between where the living space ends and the view begins. SKY-FRAME.COM

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Avera® Closet in Stone finish

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AD VISITS

Into the Woods

A weekend retreat in upstate New York brings creative renewal for jewelry scion Evan Yurman and his young family

DISCOVERIES

THE BEST IN SHOPPING, DESIGN, AND STYLE

EDITED BY SAM COCHRAN

A HANS WEGNER SOFA STANDS ON A VINTAGE RUG IN A SITTING AREA OF KU-LING AND EVAN YURMANâ&#x20AC;&#x2122;S CATSKILLS HOME.

P HOTOGRAPHY BY CHRIS MOTTALINI

STYLED BY COLIN KING

ARCHDIGEST.COM

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DISCOVERIES 2

1. IN THE LIVING ROOM, A NOGUCHI LANTERN HANGS ABOVE AN ARRAY OF SCANDINAVIAN MODERN SEATING. 2. DAVID YURMAN STAX CUFF (DAVIDYURMAN .COM). 3. KU-LING AND EVAN YURMAN. 4. THE PROPERTY’S ERSTWHILE BARN NOW SERVES AS THE POOLHOUSE.

A R CHDIGE S T.COM

JEWELRY: COURTESY OF DAVID YURMAN

hen Manhattanites are looking for a weekend home, they typically go one of two directions: Jump into the high-octane social swirl of the Hamptons or head for the hills upstate. Born and bred in the former camp, Evan Yurman wanted a little quiet escapism when the time came to plant roots of his own. “There are a lot of people that you know here,” the chief creative officer of David Yurman says of the historically artistic Catskill Mountains where he and his wife, Ku-Ling, retreat with their three children. “But you never see them.” The couple spent years house-hunting before they happened upon the perfect spot: an old bluestone quarry (Evan quips that it wasn’t a very productive one) perched on the side of a mountain with nearly 200 acres unfolding beneath it. The base structure had originally been built as a commercial studio for fine-art photographer Hans Gissinger and was converted into a bachelor pad before the Yurmans came into the picture. “It just wasn’t homey,” Evan says, adding with a laugh, “We had to exorcise the place.” Enlisting Moschella Roberts Architects, with whom they also collaborated on their West Village residence, they redesigned and expanded the existing structure to fit their aesthetic and familial needs, while adding a swimming pool and converting a barn into a poolhouse. A 14-seat basement screening room that was discovered only after they closed on the property remains happily intact for popcornfueled movie nights.

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DISCOVERIES 2

1. THE OFFICE FEATURES PHILIP ARCTANDER CLAM CHAIRS, A MILO BAUGHMAN COFFEE TABLE, AND A JEAN PROUVÉ DESK. 2. DAVID YURMAN ROMAN CAESAR COIN RING. 3. DAVID YURMAN ARTIST SERIES EARRINGS. 3

4. A FREESTANDING TUB AND HANS WEGNER CHAIR HOLD COURT IN THE OPEN-PLAN MASTER SUITE. 5. ARNE JACOBSEN CHAIRS SURROUND THE KITCHEN’S HANS WEGNER TABLE.

The interior of the home is now wrapped in linear slabs of wood and concrete that simultaneously project coolness and warmth. “I have an allergy to drywall,” remarks Evan of the design choice. He and Ku-Ling collaborated on the decorating, which features a revolving roster of midcentury pieces, from Ib Kofod-Larsen and Hans Wegner chairs to Noguchi lamps, all in honest, authentic materials. “Nothing fussy,” he notes, adding, “I love chairs.

A R CHDIGE S T.COM

I don’t know if it’s a guy thing. My wife says it is. If we find ourselves in an area with good furniture, we just buy stuff and fill containers. We have more furniture than we have a place for.” It’s turned out to be a convenient predicament for his role overseeing the design of the new David Yurman flagship on 57th Street in New York City, where he’s parked some of his most prized possessions—among them a pair of Philip Arctander clam chairs and a Heinz Lilienthal brutalist table. “They’re on loan,” he says with a wink. The creative cross-pollination between his worlds doesn’t end there, though. He regularly sneaks away to the country solo during the week to work on the collections. “It’s so quiet. You can really focus when you’re here. Then you drive back to the city the next morning for work.” —JANE KELTNER DE VALLE

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DISCOVERIES

1. AU-DELÀ DU DÉSERT BLANKET BY NATHALIE DU PASQUIER FOR HERMÈS. 2. SOFT MACHINE, A BEADED THROW FROM THE COLLABORATION.

THINK PIECE

Tapped by Hermès, Nathalie Du Pasquier designs two patchwork throws that pack some serious punch

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hen Charlotte Macaux Perelman and Alexis Fabry, artistic directors of Hermès Home, paid a studio visit to Milan-based artist and designer Nathalie Du Pasquier, they fell in love with a series of collages and drawings inspired by simple embroidery techniques. “They immediately understood that it was possible to transpose those ideas onto throws,” says Du Pasquier, the French-born founding member of the Memphis Group whose graphic compositions have been applied to a range of mediums, from textiles and furniture to painting and sculpture. In no time, she scaled the works on paper up to blanket size (55˝ x 79˝) and had them sent off to India, where master artisans have turned her creations into two handmade Mongolian-cashmere patchworks, one glistening with tiny beads. Now highlights of Hermès’s new home collection, the designs both showcase Du Pasquier’s signature palette of bold primaries and muted pastels. “Color is not rocket science, just an instinct,” she explains. “Either one likes it or not.” hermes.com —HANNAH MARTIN

STUDIO DES FLEURS

Blanket Statements

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Capital One® Cafés. They don’t look like ordinary banks. Because they aren’t. Take care of your banking needs in a relaxed, inviting place that feels nothing like a typical bank. This is Banking Reimagined®

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DISCOVERIES ARCHITECTURE

Red Hot

Ruby City was born in a dream. Months before her death in 2007, the late San Antonio artist, patron, and collector Linda Pace had a vision of a hilltop complex with towers like crystals. Upon waking, she sketched her fantasy, later tapping AD100 architect Sir David Adjaye to adapt it as a hometown showcase for her trove of postwar and contemporary treasures. “I call it a little temple for art,” Adjaye says of the nearly 14,500-square-foot complex, which opens to the public October 13. Constructed in collaboration with local firm Alamo Architects, the building, its sculpture garden, and its plaza are, true to its name and Pace’s vision, all red, with tinted concrete surfaces that sparkle thanks to embedded glass. (The team conducted upwards of 20 tests to ensure the steadfast shade.) Outside, the structure seems to refract as visitors move around it, its angular shape shifting from monumental to intimate. Inside, three naturally lit galleries nod to historic artists’ studios, with a gabled roof in one and clerestory windows in another. Inaugural exhibitions include a group show aptly titled “Waking Dream.” “Ruby City honors Pace’s mission to inspire a closer relationship with art,” says Adjaye. “The galleries are gentle nods to where art is made.” The architect admits that, prior to Pace’s invitation, he had known San Antonio only through stories from artist friends who had been in residence at her nonprofit Artpace. But Ruby City’s design is informed by that outsider perspective. “It’s a synthesis of her vision and the call to me to contribute to this wonderful place.” rubycity.org —ELIZABETH FAZZARE

1. RUBY CITY, A NEW CONTEMPORARY-ART CENTER IN SAN ANTONIO. 2. ITS ARCHITECT, DAVID ADJAYE. 3. A GALLERY.

DEBUT

WEAVING MAGIC

Since Christian Dior’s first fashion show in 1947—set among a sea of caned chairs— a motif of woven rattan has graced perfume bottles, stiletto heels, and handbags from the French fashion house. Now that signature touch has gotten an Italian twist at the hands of Dimore Studio. Tapped for a collaboration with Dior Maison, the Milanese duo have created 14 made-to-order pieces, among them three rattan vases and a matching umbrella stand, the last cleverly named Ceci n’est pas un vase. dior.com —HANNAH MARTIN 48

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BASKET VASES IN POLISHED GOLD AND

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DISCOVERIES ART SCENE

IN GOOD HANDS

1. A DINING AREA AT THE REBORN LAPÉROUSE RESTAURANT IN PARIS. 2. THE BUILDING’S FAÇADE.

For Artycapucines, a new limited-edition collection, Louis Vuitton has tasked six contemporary artists with reinventing its classic Capucines bag. The results (among them Alex Israel’s pastel surf and Urs Fischer’s fruit-bearing beauty, below) now appear in “Louis Vuitton X,” a Beverly Hills exhibition exploring the brand’s history of collaborations. louisvuitton.com —ELIZABETH FAZZARE

RESTAURANTS

Paris Match

n the Left Bank of the Seine stands Lapérouse, a threestory labyrinth of rococo dining rooms and Proustian petits salons that in its 19th-century heyday was a favorite of literary lions like Émile Zola, Alexandre Dumas, and Victor Hugo. In the 1990s, it became a late-night hangout for John Galliano, Kate Moss, and their fashionable retinue. They loved lolling about in its decadent, désuet atmosphere. Now, after a four-month renovation guided by French designer Laura Gonzalez, Lapérouse is enjoying a well-deserved renaissance. The restaurant’s romantic murals have been restored and its salles swathed in Pierre Frey silks. Topping the tables, meanwhile, are cheerful settings conceived by Dior Maison creative director Cordelia de Castellane—perfect complements to Apicius chef Jean-Pierre Vigato’s neoclassic French cuisine. “It’s like waking up Sleeping Beauty,” says new owner Benjamin Patou, great-grandnephew of couturier Jean Patou and head of Moma Group, which counts Paris hot spots L’Arc, Noto, and Manko. And there’s more to come. Patou has partnered with Berluti CEO and LVMH scion Antoine Arnault, a longtime friend, “to export the magic” with a rollout of affordable Café Lapérouses. The first will open next year in the Hôtel de la Marine, a museum/retail development on the Place de la Concorde, followed by others around the globe. “Everywhere!” Patou enthused. Even airports? “Why not?” laperouse.com —DANA THOMAS

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FROM TOP LEFT: MATTHIEU SALVAING (2); COURTESY OF LOUIS VUITTON

A team of tastemakers revives a French culinary icon

Décor © Alexandre Benjamin Navet Photo © Sylvie Becquet

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AN EXCLUSIVITY OF

Opale Sofa and Eclat armchair by

l u xu r y l i v i n g g ro u p.co m

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AN ISLAND HOME ON IBIZA. 2

DEBUT

Shore Things

RH dips its toes in the sand with a chic new design concept for coastal living

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EXTERIOR: MIGUEL FLORES-VIANNA; ALL OTHERS COURTESY OF RH, RESTORATION HARDWARE

H has a long history of making waves, having shaken up the design industry with its show stopper flagships, everexpanding collections, and hotly anticipated foray into hotels. Now the furniture empire has officially taken to the surf, rolling out a new initiative that tailors the hallmarks of seaside living to the brand’s underlying design philosophy. Christened RH Beach House, the concept comprises more than 100 introductions, all of which are now showcased online, with a dedicated digital platform. “Our vision was to reimagine the conventional beach aesthetic with a fresh point of view and elevated sense of taste and style,” says Gary Friedman, RH Chairman and CEO. In keeping with coastal vibes, comfort, durability, and clean lines reign. Firsttime RH collaborators Paola Navone, Jan te Lintelo, and Jason Chauncey have all conceived sofa collections, each lowslung and amply cushioned. Amsterdambased designer Luay AlRawi has developed a new highheat wood finish christened Oak Brûlé, which lends unique cracking and color to liveedge dining, cocktail, console, and side tables, as well as a dramatic platform bed. And Chinese brothers Todd and Jason Song have created their own reclaimedpine tables, the rustic forms of which recall Indonesian vernacular furniture. Additional standouts include state ment chairs (some rope or cane, others leather) and an array of lighting, from a wovenwicker pendant to weathered wood table lamps. Existing RH Outdoor collections, meanwhile, have been reimagined in natural teak. For RH, the mix feels equally at home in all corners of the world, from the Greek islands to the coast of California. In other words, no matter where you call home, surf’s up. rhbeachhouse.com —SAM COCHRAN

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LAVISHED

Extravagance finds new expression in the Levoir™ Bath Collection by Brizo. Its sleek curvatures and slender proportions offer a refined take on opulence. Elegant details combine with luxurious flow patterns— creating an indulgent escape from the ordinary. Available exclusively in showrooms. brizo.com

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DISCOVERIES ADPRO STUDIO VISIT

Lush Life

Radiating drama and dropdead chic, the New York offices of Studio Sofield are a study in sophistication

he Manhattan offices of AD100 designer William Sofield are a calculated seduction, a deep immersion in le style Sofield, with all its arcane historical allusions, eccentric details, unexpected material juxtapositions, and spellbinding beauty. Part workspace and part Wunderkammer, the expansive loft is chockablock with art, furniture, and curiosities, all tracing Sofield’s peregrinations through the worlds of architecture and design over the past quarter century. It’s no wonder that tastemakers on the order of Tom Ford and Richard Buckley, artists Brice and Helen Marden, Ralph and Ricky Lauren, and Mary-Kate Olsen and Olivier Sarkozy have called on Sofield to help forge their particular visions of domestic bliss. Fittingly, Studio Sofield is located in an idiosyncratic New York City design landmark, the Schermerhorn Building, a Romanesque Revival structure built in 1889 by architect

1. AN INFORMAL MEETING ROOM FEATURES A NANCY LORENZ LACQUERED CEILING, ÉMILEJACQUES RUHLMANN ELEPHANT CHAIRS, AND A BEAVER CARPET. 2. IN THE ENTRY, A FORTUNY LAMP HANGS ABOVE A DESK AND CABINET FROM SOFIELD’S COLLECTION FOR BAKER. JOIN AD PRO, THE NEW MEMBERS-ONLY COMMUNITY FOR DESIGN-INDUSTRY PROFESSIONALS, AT ARCHDIGESTPRO.COM.

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PHOTOGRAPHY BY GIEVES ANDERSON

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Show your true colors. ALL OF THEM.

D A C O R M AT C H

DACORMATCH Color System

Personalize your appliances in any color imaginable. Make it your own.

N E W YO R K | C H I C AG O | LO S A N G E L E S

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DISCOVERIES 1. CAST-IRON COLUMNS PUNCTUATE THE OPEN OFFICE. 2. A COLLECTION OF MATERIAL SAMPLES AND ARTWORKS CHANNELS THE SOFIELD VIBE. 3. STUDIO SOFIELD VICE PRESIDENT EMMA O’NEILL JOINS THE AD100 DESIGNER IN THE CONFERENCE ROOM, ADORNED WITH A SET OF ANDY WARHOL ELECTRIC-CHAIR PRINTS.

“A Billy Baldwin console, an original pair of gasoliers from Fonthill Abbey, a giant poster of Madonna—they’re all part of the mood.” —William Sofield Henry Janeway Hardenbergh, whose résumé includes the Dakota Apartments and the Plaza Hotel. “When we moved in, I stripped the cast-iron columns myself with a blowtorch and a bucket of toxic Strip-Eez,” the designer recalls with a laugh. “I think my brain-cell count diminished by half.” Since that time, the studio has evolved, layer by layer, into a wonderland of design inspiration. An informal meeting room is crowned with a seductive octagonal ceiling—rendered in luminous violet and aubergine lacquer, with a constellation of inlaid mother-of-pearl orbs—originally crafted by Nancy Lorenz for Sofield’s erstwhile Los Angeles home in Laurel Canyon. The entry foyer likewise incorporates remembrances of things past and present: a desk and cabinet from the designer’s furniture collection for Baker; artworks by friends Nan Goldin, Matthew Benedict, and Gary Hume; and a pair of sconces fashioned from an antique fire hose that graced the designer’s former Manhattan apartment in the 1990s. “Things from different phases of my life have a way of migrating to the office. It’s like a final resting place,” Sofield quips. Of course, there’s plenty of evidence of the studio’s current projects, which include the ultra-luxurious interiors of the new Steinway Tower on West 57th Street in Manhattan, a Las Vegas hotel project called The Drew, and a host of tony residential and retail assignments. In one corner of the office, a gilded linen console designed by Billy Baldwin for Villa Fiorentina on the French Riviera is piled high with building models. “You can see the table in one of the Baldwin books, with a Rothko or Gottlieb hanging above it,” Sofield notes. “Since then it’s come down a notch or two.” —MAYER RUS

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™

Design + Performance is a trademark, Legendary Performance Fabrics and Sunbrella are registered trademarks of Glen Raven, Inc. ® ®

L EG E N DA R Y PE R F O R M A N C E FA B R I C S SU N B R E L L A .CO M

FA D E PR O O F / E A S Y C A R E / B L E AC H C L E A N A B L E

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DISCOVERIES DEBUT

IT BAG

Leave it to Versace to bring back the beanbag. The Italian fashion house has unveiled The Bag, a flamboyant spin (and its first ever) on the classic boho chair, as one of 100 new additions to its fun-loving furniture line. Inspired by prints in Versace’s spring/ summer 2019 collection, the upholstery fabric mixes neoclassical motifs with a patchwork of Miami Beach colors. Molto alla moda! $3,300; versace.com —HANNAH MARTIN

1. THE DUPLEX PINÈDE SUITE AT THE NEW CHEVAL BLANC ST-TROPEZ HOTEL. 2. THE PROPERTY’S PRIVATE BEACH. 3. ITS HISTORIC BUILDING.

HOTELS

Très, Très Chic

The French Riviera is no stranger to the jet set, but Cheval Blanc St-Tropez, a new hot spot from LVMH, has just made an especially fashionable arrival. A short walk but a world apart from the yacht-filled harbor, the waterfront lodgings have been meticulously restored by architect François Vieillecroze, a St.-Tropez native who took care not to disturb the historic structure. Paris-based designer Jean-Michel Wilmotte, meanwhile, has refreshed the interiors with his sophisticated spin on nautical style. Pops of blue enliven the 30 guest rooms and suites, among them a stunning duplex with three terraces. Feast on the local catch and fresh Provençal produce at chef Arnaud Donckele’s two restaurants and bar. Or simply recline in one of the 60 lounge chairs that line the private pool and beach, where ancient pines perfume the air and lapping waves lull guests into seaside slumber. And there’s more to come from Cheval Blanc, which opens in Paris next year. chevalblanc.com —SAM COCHRAN

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THE BAG, VERSACE HOME’S TAKE ON THE BEANBAG CHAIR.

CHEVAL BLANC ST-TROPEZ: COURTESY OF CHEVAL BLANC; BEANBAG: COURTESY OF VERSACE

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Custom solutions for better living californiaclosets.com 866.370.2209

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DISCOVERIES SHOPPING

Setting the Mood

What’s on the tabletop menu? Entertaining in high style, with favorite finds, pro tips, and more 2

Luke Edward Hall has a mania for Greek mythology. “The stories are full of love, revenge, and magic,” explains the British artist and designer, whose illustrations often incorporate Olympian motifs. Hall’s latest thematic exploration is the Viaggio di Nettuno tableware collection for Richard Ginori, the venerable Italian porcelain studio. Espresso cups, dinner plates, a candleholder, and more feature naively drawn deities amid Greekkey and Vitruvian-wave borders, coral branches, and scallop shells, all set against backgrounds of orange, pink, and turquoise. Hall found ideas in Ginori’s archives, too. “I saw an urn and thought, Wouldn’t it be fun to make handles that look like mermaid tails?” Something old has become new again. richard ginori1735.com —MITCHELL OWENS 1. TEAPOT; $375. 2. MEDICEO VASE; $1,150. 3. OVAL PLATTER; $180. 4. PHARMACY VASE; $375. 5. COFFEE CUP WITH SAUCER; $250 FOR A PAIR.

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PRODUCED BY MADELINE O’M ALLEY

PORTRAIT: IONA WOLFF; ALL OTHERS COURTESY OF LUKE EDWARD HALL

STUFF OF LEGEND

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RAINBOW CUTLERY; $165 FOR A SET. MATILDA GOAD.COM

BICOLOR CANDLESTICK BY CABANA MAGAZINE; $365 FOR A PAIR. MATCHES FASHION.COM

MORE IS MORE

PILE ON THE COLOR AND PATTERN FOR MAXIMALIST EXCITEMENT. SHOWN IS THE ITALIAN HOME OF MARGHERITA MACCAPANI MISSONI AMOS.

STRAWBERRY TUREEN BY BORDALLO PINHEIRO; $54. BORDALLO PINHEIRO.COM

SPLATTERWARE DINNER PLATE; $60. MARCHSF.COM

MAUVE AND WHITE STROKE VASE BY PAUL ARNHOLD GLASS; $595. MODAOPERANDI.COM HAND-BLOCK-PRINTED NAPKINS; $210 FOR A SET. GREGORYPARKINSON.COM

Bold Thinking Whether you’re hosting a formal dinner party or enjoying a casual meal at home, you can rely on Benjamin Moore® paint engineered with Gennex® Color Technology to set the mood. Choose from over 3,500 one-of-a-kind hues, like Limelight 2025-40 (shown), to deliver the perfect tone and exceptional durability, ensuring it will last for years to come. For more information, go to BenjaminMoore.com

PRODUCED FOR

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INTERIOR: MATTHIEU SALVAING; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

LINEN SUN COASTERS BY LOS ENCAJEROS; $150 FOR A SET. MODA OPERANDI.COM

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When you ﬁnd the perfect color, nothing else will do. Perfection comes from our paint and our proprietary Gennex® colorants, together, creating results that are breathtaking. Rely on Benjamin Moore for premium quality and Gennex Color Technology, which makes our long-lasting colors, all 3,500 of them, one-of-a-kind. Unmatchable.

WALL: Stormy Monday 2112-50, Aura® Eggshell

©2019 Benjamin Moore & Co. Aura, Benjamin Moore, Gennex, and the triangle “M” symbol are registered trademarks licensed to Benjamin Moore & Co. Color accuracy is ensured only when tinted in quality Benjamin Moore® paints. Color representations may differ slightly from actual paint. 3/19

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DARK PORCELAIN ROSE BY VLADIMIR KANEVSKY; $2,700. MODA OPERANDI.COM

SIENA WINEGLASS; $63. WILLIAMYEOWARD CRYSTAL.COM

SITTING PRETTY

KEEP IT CLASSIC WITH FEMININE FLORALS, DELICATE GLASSWARE, AND MORE TRADITIONAL TREASURES. SHOWN IS CHRIS BURCH’S DINING ROOM IN SENLIS, FRANCE. STRAWBERRY FIELDS NAPKINS; $40 FOR A SET. INDIAAMORY.COM

CHIARA CHAIR WITH MARTINA SEAT PAD; FROM $490 FOR A PAIR. CERAUDO.COM VIOLET LAVENDER WATER CARAFE AND TUMBLER; $60. PETRAPALUMBO.COM

COSMO FRY PLATE RACK; FROM $750. CUTTERBROOKS.COM

WYATT TEA SET AND TRAY; $250 EACH. RALPHLAUREN.COM

TIPS FROM THE PROS

1. “I display my everyday dishware on

one of Cosmo Fry’s plate racks, which have so much style.” —Amanda Brooks 2. “To make summer dinners feel extra special I use potted jasmine as a centerpiece.” —Helen White 3. “Start with the tablecloth to make

a meal feel festive. I prefer patterned ones, like Persian linens or Indian block prints.” —Martina Mondadori Sartogo

4. “Fresh-cut flowers near the entrance always make a great first impression.” —Aerin Lauder 5. “I like to accessorize, so I inevitably dress my table with lots of useless but joyous trinkets.” —Margherita Maccapani Missoni Amos

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PERSIAN GLASS TUMBLER BY LOBMEYR; $235. MODAOPERANDI.COM

ROSA CANINA PLATE BY PAOLA CASELLI; $380 FOR A PAIR. ARTEMEST.COM

INTERIOR: MIGUEL FLORES-VIANNA; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES

BLUE FLUTED PLAIN BUTTER DISH; $150. ROYALCOPENHAGEN.COM

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Life’s too short for ordinary.

Unlock Extraordinary The Design World’s Best Furnishings | For Every Style & Space | Shop Online at perigold.com

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DISCOVERIES

ARCHITECTURE

Rising to the Occasion

On a scenic stretch of Long Island shore, architect Toshiko Mori devises a compact beach house to survive future storms

hoebe and Nicolas de Croisset were just young lovebirds when they fell for a tiny hamlet on the North Fork of Long Island, some 15 years ago. Introduced to the community by Phoebe’s parents, who own a house in town, they delighted in the area’s rich history (as the nation’s first submarine base) and friendly population of hippies and artists. In 2007, the couple, not yet married, bought a 1920s fisherman’s cottage, which they fixed up simply—just in time, as fate would have it, for Hurricane Sandy to all but destroy it. Rather than attempt to rehabilitate it, the couple opted to build anew, tapping AD100 architect Toshiko Mori, a friend of Nicolas’s family, to devise a modernist house that would both survive coastal flooding and blend in with the local vernacular. “The community feels very attached to the property because it’s so close to the main beach,” notes Phoebe, director of special projects at Maisonette, the online children’s boutique. Adds Nicolas, a financier: “We are both fans of modern architecture, but we wanted to create something that worked in this context.”

1. A TOSHIKO MORI–DESIGNED HOUSE ON THE NORTH FORK OF LONG ISLAND. 2. HOMEOWNERS PHOEBE AND NICOLAS DE CROISSET WITH THEIR VINTAGE MUSTANG IN THE DRIVEWAY.

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PHOTOGRAPHY BY CHRIS MOTTALINI

STYLED BY COLIN KING

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DISCOVERIES 1. THE HOUSE SITS EIGHT FEET ABOVE THE GROUND TO PROTECT IT FROM COASTAL FLOODING. 2. WINDOW WALLS WRAP THE FRONT FAÇADE, YIELDING 180-PLUSDEGREE WATER VIEWS. 3. THE LIVING AREA. 1

Building on the original cottage’s footprint, Mori devised a two-bedroom, 1,200-square-foot house, with a shingled exterior that nods to traditional East Coast summer homes and an asymmetrical hip roof. “The house looks different from each side, with different proportions, so it’s not static,” says Mori, who elevated the structure eight feet off the ground (well above the flood level) to create a shaded outdoor room. Inside the home, window walls wrap the beach-facing façade, making you feel, Phoebe notes, “like you’re on a boat.” A square skylight, meanwhile, bathes the mezzanine loft in sun while recalling the work of James Turrell. “The house’s modest footprint and sculptural profile return to early 20th-century homes on the North Fork,” says architecture curator Barry Bergdoll, who included it in a current exhibition at the nearby Oysterponds Historical Society that surveys the region’s modern architecture. “Although the house fits so intelligently and comfortably into the local scene, its brilliant plan, section, and use of every cubic inch seem akin to current trends in Japanese micro urban housing.” For the De Croissets, of course, the house is first and foremost a place to unwind with their infant daughter, Olympia, and pet Pomeranian, Coco. Summer days begin early, with Nicolas rowing on the water while Phoebe enjoys her coffee, watching as he glides across the Peconic Bay. The whole family then piles into their vintage Mustang for trips to the farmers market, after which days tend to just unfold. “You don’t have to make plans; friends and neighbors show up,” notes Phoebe. “That’s what we love about it—just picking up shells, sipping on something, watching the sun set.” —SAM COCHRAN

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Heat-Resistant Glass of a Sports Car

InstaView Door-in-Doorâ&#x201E;¢ of LG SIGNATURE

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DISCOVERIES CREATIVE FORCE

Sylvie Johnson

From her Paris studio, the design sensation weaves a new narrative

1. SYLVIE JOHNSON’S PARIS STUDIO. 2. MESA 609 RUG FROM JOHNSON’S ATELIER COLLECTION FOR MERIDA. 3. SAHARA 409 RUG. 4. JOHNSON AT HER DESK. 3

TRENDING

GO LONG

Stretched and sculptural, our favorite new watches give great face GOLD; $15,400. HERMES.COM. 2. BULGARI $22,800. BULGARI.COM. 3. CARTIER LIBRE PRICE UPON REQUEST. CARTIER.COM.

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SYLVIE JOHNSON CREDITS: 1. & 4. AMBROISE TÉZENAS; 2. & 3. ANGEL TUCKER; WATCHES: COURTESY OF RESPECTIVE COMPANIES

ylvie Johnson’s atelier brims with books—more than 700, by her estimate. There’s a 19th-century technical guide to weaving, and reference books that range in subject matter from Japanese textiles to Donald Judd. She credits such volumes—and the mentorship of a haute couture weaver—with teaching her a new craft when she left the art world some 15 years ago. Studying complex techniques, then experimenting on a small hand loom, she eventually created samples that could be produced at large scale by a team of weavers. AD100 maestros like Lee Mindel, Annabelle Selldorf, and Jacques Grange took notice, becoming loyal clients. And just last year, the rug company Merida tapped her as its creative director. “Without the technique, you don’t have freedom,” says Johnson, who has impressed the artisans at Merida’s Massachusetts mill with her knowhow. Four collections in, she has pushed those experts beyond their comfort zone with her approach. As evidenced by her latest line, Atelier, debuting this month, her designs are sophisticated and subtle— monochromes, stripes, simple geometries—while her techniques are complex and her fiber blends unusual. “Silk, linen, cotton—it’s how you use them that makes them shine. Yarn is like words. And every rug is poetry.” meridastudio.com —HANNAH MARTIN

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A collection of performance fabrics and rugs that welcomes wine spills and design thrills. | perennialsfabrics.com

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DISCOVERIES

FABRICS

Give Me Libertine

Johnson Hartig channels the avant-garde aesthetic of his fashion line in a new textile collection for Schumacher

memorable perfume advertisement from the 1970s enticed consumers with the indelible tagline “If you want to capture someone’s attention, whisper.” Johnson Hartig is having none of it. The founding force behind the Libertine fashion line prefers riots of color, pattern, and eccentric appliqués—nothing coy about it. Hartig has now translated his signature aesthetic into a line of jubilant fabrics and wall coverings for Schumacher that draws inspiration from sources as diverse as Renaissance drawings, Ming vases, Indian batiks, and World War I British warship camouflage. One fabric, originally designed for a recent Libertine collection, transcribes a Robert Burns poem in graphic letters. “I’m much more of a traditionalist than people might think,” Hartig insists. “It’s the

1. JOHNSON HARTIG. 2. A LIBERTINE JACKET ON SCHUMACHER’S MAGICAL MING DRAGON FABRIC. 3. CHAIRS COVERED IN MODERN TOILE.

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PHOTOGRAPHY BY YOSHI M AKINO

2 01 9 C OLLE CTIO N

furniture | lighting | accessories

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DISCOVERIES

color and scale in the Schumacher products that make them feel so modern.” Predictably, he envisions a more-is-more deployment of his new designs. “I can see an entire room with my Tibetan dragons covering the walls, curtains, and upholstery,” he notes. “But I can also see a single slipper chair in one of my fabrics that will pop in an otherwise restrained setting.” Among his more idiosyncratic creations is a fabric tape featuring closely spaced safety pins, a nod to the Los Angeles music scene of the late 1970s. “If it wasn’t a little punk rock,” Hartig says, “it wouldn’t be Libertine.” fschumacher.com —MAYER RUS 4. PLATES & PLATTERS FABRIC AND WALL COVERING. 5. PUNK ROCK MIX TAPE WITH SAFETY PINS.

1. CAPITOL COMPLEX OFFICE CHAIR. 2. THE LE CORBUSIER– DESIGNED PALACE OF JUSTICE IN CHANDIGARH, INDIA. 3. CAPITOL COMPLEX ARMCHAIR.

Have a Seat

What do the homes of Kourtney Kardashian, Giovanna Battaglia Engelbert, and Maja Hoffmann have in common? The iconic teak chairs that Swiss architect Pierre Jeanneret made in the 1950s for Chandigarh, the utopian Indian metropolis masterminded by his cousin Le Corbusier. Later discarded by locals, the seats were swept up by French dealers in the early aughts and rebranded as objects of desire. Today, originals sell for tens of thousands of dollars at auction. But vetted reproductions of two caned seats, a leather-clad armchair, and a dining table are now finally being made by Cassina, which has worked hand in hand with the Fondation Le Corbusier and Jeanneret’s heirs to revive the cult classics in not only teak but also oak. From $2,100; cassina.com —HANNAH MARTIN

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Some Instagram feeds are superior to others— and for good reason. Take @miguelfloresvianna, a diary of exquisite houses and ancient sites snapped by Miguel Flores-Vianna, a noted photographer for AD and other publications. “But for Instagram, I use my iPhone,” the globe-trotter chats via WhatsApp from a car zipping across Turkey. More than 200 of those images, from a friend’s home in London to a palace in Turkey, make up his new book, A Wandering Eye: Travels with My Phone (Vendome Press, $45), which promises to be the season’s ultimate escape. —MITCHELL OWENS

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ix years ago, designers Christian Swafford and Lauren Larson—then employees at Studio Sofield and Victoria Hagan, respectively—started using their nights and weekends for their own creative pursuits. They made sculptural coatracks that were inspired by a 1920s Man Ray photograph and chairs that bore pagan symbols, along the way leaving their day jobs to launch their own studio, Material Lust. Ever since, the couple has steadily built a portfolio of objects that hover between art and design, supplementing their income with anonymous commissions for other brands. Now the duo has turned that insider knowledge into their own collection of products for a more mass market. “After working in the design world, we knew what our peers were looking for,” Swafford explains of Orphan Work, their new array of lighting and objects. Hits include brushed-

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IN THE KITCHEN, HAND-BLOWN GLASS PENDANTS BY JEREMY MAXWELL WINTREBERT HANG ABOVE A TABLE BY ARTHUR CASAS. GEORGE NAKASHIMA DINING CHAIRS; CALACATTA VAGLI MARBLE ISLAND; VOLA SINK FITTINGS. FLOWERS THROUGHOUT BY SAIPUA. FOR DETAILS SEE RESOURCES.

In a light-filled Fort Greene row house, fashion designer Ulla Johnson and her family live in laid-back splendor TEXT BY JANE KELTNER DE VALLE PHOTOGRAPHY BY FLOTO + WARNER STYLED BY MARTIN BOURNE

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ULLA JOHNSON, WHO WEARS HER OWN DESIGNS THROUGHOUT, IN THE GARDEN, WHICH WAS PLANNED BY MIRANDA BROOKS. OUTDOOR DINING TABLE AND CHAIRS BY RODA.

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IN THE MASTER BEDROOM, A CUSTOM ROGAN GREGORY MIRROR HANGS ABOVE THE ORIGINAL CARVEDMARBLE FIREPLACE. 20TH-CENTURY SWEDISH FLAT-WEAVE CARPET; ON RIGHT WALL, ART BY BILL LYNCH.

hear Ulla Johnson and Zach Miner tell it, the process of pinning down the perfect 19th-century Brooklyn row house is a little like dating in the age of swipe left or right. “There are so few properties, and it’s so competitive,” says Johnson, “that you have to woo people.” So when the couple finally happened upon a home that made their heart sing, they didn’t just put in a bid. “We met the homeowners and hung out with their kids. We had so many shared interests—culturally, politically. We’re still in touch with them today!” the fashion designer reveals with a satisfied smile, sitting crosslegged on the hand-loomed cream carpet in their living room. Johnson and her husband, director of a private contemporary-art foundation, first settled in Fort Greene more than two decades ago. A native New Yorker who grew up on the Upper East Side, she describes it as being a dynamic community, adding, “I was raised on a street that I wasn’t able to cross until I was 10. My kids have such a different life. They ride on scooters, there are playgrounds on every corner, people run over to each other’s houses.” Adds Miner, a Michigan native: “It’s as close to ‘I’m out of sugar; can I come over and get some?’ as it gets in 2019.” The couple knew the neighborhood so intimately they had narrowed their search to just two streets, and from the moment they walked into their current home, “we had a wonderful feeling about it,” Johnson says. “The prior owners had been here for 40 years, raised two sons here.” Miner chimes in:

“Sending them to the same school we send our kids to.” Dating to the 1850s, the four-story house had plenty of space to comfortably fit a family of five, but not so much that it swallowed them up. “We wanted something warm and welcoming—of a human scale,” Johnson says. It also possessed a gracious, west-facing garden that is bathed in light all day long. For flower-obsessed Johnson, this sealed the deal. She had worked with AD100 architect Elizabeth Roberts and Peter Marino–trained interior designer Alexis Brown on her Bleecker Street store and continued the collaboration here. “I like to surround myself with female teams,” she notes. Of course, given her and Miner’s backgrounds, they were equally hands-on. “We both have strong opinions and emotional reactions to things. There wasn’t a ton of vacillating.” IN TERMS OF THE ARCHITECTURE, the couple didn’t approach

it as a preservation project. “We wanted to honor the bones of the building but allow it to adapt to how we live today,” says Miner. That meant painstakingly restoring the ornate lacy plasterwork crowning the living room but juxtaposing it with what Roberts calls “more casual detailing.” Along the back of the parlor floor, they added a solarium wall that kicks out two feet, “creating the illusion of more light and space,” the architect says. Bringing the outdoors in extends to the top of the house, where a James Turrell–esque skylight floats above the curved staircase. “We wanted the house to be elevated and elegant, but it had to be a real living space that was not too precious,” Johnson explains. The parlor floor holds the living room, open dining area, and kitchen and exudes warmth and tactility. The same

ARCHDIGEST.COM

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ZACH MINER AND JOHNSON WITH (FROM LEFT) ASHER, SOREN, AND AGNES IN THE LIVING ROOM. AT FAR LEFT, A HANGING SCULPTURE BY KATHLEEN RYAN; PAINTING BY BENOÃ&#x17D;T MAIRE; SCULPTURE ABOVE FIREPLACE BY UGO RONDINONE; WOVEN WALL HANGING BY SHEILA HICKS.

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LEFT ASHER READS BENEATH A GEORGE NELSON BUBBLE SCONCE. NIGHT SKY WALL MURAL BY ASHLEY ZANGLE.

love of textiles and craftsmanship that suffuses Johnson’s clothing collections surfaces in hand-loomed, metallicthreaded window treatments and a living room sofa that’s dressed in a nubby abstract ikat woven in California. Brown says, “I always tell Ulla and Zach, ‘You’re a young, modern couple. Making this place too old-world isn’t who you are or what you’re about.’ ” Many of the walls are finished in a blush-hued pearlescent plaster, and the hearths feature colorful marble inlays inspired by Italian mosaics. LIVING FINISHES, such as unlacquered brass hardware and

soap-coated wood floors, add to the layered effect. “The touch of these is like velvet,” Johnson says, brushing her feet along the Douglas-fir planks laid out in a chevron pattern across the parlor floor. “You don’t get that when wood is polished. You have to embrace that it will ding up, but we like the idea of things having imperfections.” Much like the easy, effortless, sophisticated take on bohemian style that she’s built her mega successful brand on, she isn’t driven by aesthetics alone. “When I design clothes, all I think about is, Well, it’s beautiful, but how does it make you feel? That, for me, was an organizing principle in this house as well.” Art plays a starring role, too, via treasures by Ugo Rondinone, Marina Rheingantz, and Françoise Grossen. “A lot of our work speaks to the natural world,” says Johnson, pointing out a woven piece by Sheila Hicks on the living room wall. “I’ve been obsessed with her since I was five, so the fact that this made its way into our home is amazing to me.” Adds Miner: “We think of ourselves as stewards not only to this house but to the objects we surround ourselves with. It’s a lifetime collection.” The dining area is open to the kitchen, with its rosy marble island, and the deck and garden lie just beyond. Johnson notes that Miner is an excellent cook, and the couple often squeeze in parties of up to 20 at their custom surfboard-style dining table, which they purchased from architect Arthur Casas on a trip to Brazil.

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“We both have strong opinions and emotional reactions,” notes Johnson. “There wasn’t a ton of vacillating.”

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LEFT AND BELOW THE MASTER BATH IS CLAD IN TRAVERTINE. IN THE SHOWER, ANN SACKS TILE, KALLISTA SHOWERHEAD; VOLA TOWEL RACKS; CERAMIC VASE BY SHIZUE IMAI; CUSTOM VANITY PANELED WITH WHITEWASHED MAPLE.

LEFT IN THE MASTER BEDROOM, A PIERRE PAULIN SOFA WEARING A ROGERS & GOFFIGON BOUCLÉ SITS AT THE FOOT OF THE BESPOKE BED. SHEETS BY JULIA B.; VINTAGE HAWAIIAN CUTWORK APPLIQUÉ QUILT.

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UPSTAIRS ON THE MASTER LEVEL, Brown designed gently curving carved vanities around the double sinks in the bathroom. “It almost feels like waves of water,” observes Miner. The travertine floor envelops a lounging tub, and the walk-in closet features cabinets stenciled with an African-inspired design. An organically shaped mirror by Rogan Gregory, a close family friend, hangs above the master bedroom’s mantel, which showcases delightful woodshop sculptures by two of the couple’s children. Soren, 13, Asher, nine, and Agnes, seven, have laid claim to another floor, their bedrooms encapsulating their personalities. Supreme stickers and KAWS figurines pop against a backdrop of Farrow & Ball’s Setting Plaster in Soren’s room. “He wanted to paint it pink, which made me very happy,” says his mother. Asher’s room incorporates a Milky Way mural, as well as a skylight with a telescope. Meanwhile, a vintage 1950s wallpaper and a wicker bed lend a fairy-tale vibe to Agnes’s room. “When I lie in bed with her at night, there’s so much sky,” Johnson muses, looking out from the window. Demo on the house began on December 15, 2017, and “we pretty much moved in the same day a year later,” she continues as she and Miner wander back downstairs. On the bottom level, an open library and family room look out onto the peony- and wisteria-filled garden. AD100 talent Miranda Brooks handled

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the landscape design, creating a gestural asymmetry punctuated by two Willy Guhl chairs at the end. “We liked that juxtaposition of formal structure and something that was quite wild, which also speaks to what we did inside,” Johnson notes. “It’s so magical back here, and this is just in its nascency.” Reflecting back on their arrival at the house, which, less than a year since they settled in, already feels every bit their own, Johnson reveals that they will soon be hosting the previous owners. “They moved across the street,” she says. “It’s so sweet—they looked all over New York and came back here because they love the block so much.”

HAIR BY RUBI JONES FOR JULIAN WATSON AGENCY; MAKEUP BY ZENIA JAEGER FOR STREETERS; FAR LEFT ARTWORK: © FRANÇOISE GROSSEN, BLUM & POE

“We wanted to honor the bones of the building but allow it to adapt to how we live today,” says Miner.

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RIGHT BLEACHED SYCAMORE CABINETRY LINES THE KITCHEN. VIKING RANGE; ARNE BANG CERAMIC VASE. LEFT JOHNSON AND HER CHILDREN IN THE GARDEN. FAR LEFT A TEXTILE WORK BY FRANÃ&#x2021;OISE GROSSEN IS DISPLAYED IN THE DINING AREA.

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design notes

THE DETAILS THAT MAKE THE LOOK UNIQUE FERTILITY FORM LIGHT BY ROGAN GREGORY; PRICE UPON REQUEST. R-AND-COMPANY.COM

A SHEILA HICKS TEXTILE WORK HANGS ABOVE A CUSTOM ALUMINUM SHELF BY ALEXIS BROWN.

PINK GROUND NO. 202 PAINT; $110 PER GALLON. FARROW-BALL.COM

FAUX FUR THROW; $129. CB2.COM

TRAVERTINE COFFEE TABLE BY ANGELO MANGIAROTTI FOR UP & UP; $4,632. 1STDIBS.COM

LIVORNO PLANTER;

RATMATTAN RUG BY MÄRTA MÅÅSFJETTERSTRÖM; $20,000. DORIS LESLIEBLAU.COM

STRAIGHT-BACK CHAIR BY GEORGE NAKASHIMA FOR KNOLL; $874. DWR.COM

We gave a great deal of consideration to bringing in handmade touches wherever possible.” —Ulla Johnson

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THE LIVING ROOM’S BESPOKE SOFA WEARS A NUBBY ABSTRACT IKAT HANDWOVEN IN CALIFORNIA.

SAWTOOTH STRIPE APPLIQUÉ PILLOW; $196. CORALANDTUSK.COM

CHAIR BY CARLO HAUNER AND MARTIN EISLER COSTELA FOR FORMA; $12,500. 1STDIBS.COM

ELSTIR QUILT; $880. APC-US.COM

Town houses can be quite heavy, so bringing in light was very important to us.” EXCAVA 4046 QUARTZ; PRICE UPON REQUEST. CAESARSTONEUS.COM

NELSON CIGAR WALL SCONCE BY GEORGE NELSON FOR HERMAN MILLER;

ALABASTER TILE; $76 PER SQUARE FOOT. ANNSACKS.COM

SERENA

A HAND-PAINTED STENCIL COVERS THE DRESSING ROOM DOORS. 1950s VENINI LIGHT FIXTURES.

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A TEMPLE INCORPORATING ANCIENT ARCHITECTURAL FRAGMENTS OVERLOOKS THE SPRAWLING PROPERTY. FOR DETAILS SEE RESOURCES.

Jacques Garciaâ&#x20AC;&#x2122;s latest masterpiece is a 17th-century Sicilian monastery, luxuriously reborn as a retreat for the celebrated designer and his friends

HAND LETTERING BY TANYA DESELM

TEXT BY MITCHELL OWENS PHOTOGRAPHY BY OBERTO GILI

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A MARBLE SCULPTURE OF ATHENA STANDS AT THE CENTER OF THE IMPERIAL ROMANâ&#x20AC;&#x201C;STYLE GRAND GALLERY. 17TH-CENTURY BUSTS AND SICILIAN FLOOR TILES; CURTAINS OF A VERASETA SILK FAILLE.

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AN 18TH-CENTURY MURANO CHANDELIER HANGS IN THE GILDED DINING ROOM. ON TABLE, CHANTILLY PORCELAIN; ANTIQUE ITALIAN ROCOCO CHAIRS.

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THE ENTRANCE TO THE MONASTERY TURNED COUNTRY HOUSE IS FLANKED BY 17TH-CENTURY STONE FIGURES.

sk decorator Jacques Garcia why he has spent the past few decades finessing Château du Champ de Bataille, his 17th-century pleasure dome in Normandy, and refused to be seduced by other delectable old properties that would have benefited from his expert ministrations, and one receives an answer that comes from the heart. “I am a man of one love; I cannot cheat,” says the silver-fox Parisian known for conjuring up glamorous hotel interiors, from Hôtel Costes and La Réserve in Paris to Marrakech’s La Mamounia and Manhattan’s NoMad. “When I cheat, I leave.” Several years ago, though, Champ de Bataille had reached a certain maturity—read all about it in Twenty Years of Passion (Flammarion), a 400-page billet-doux to the monument historique that he has owned since 1992—that led the AD100 interior designer to feel that he could allow his eye to wander, to establish yet another historic foothold for him to restore and his friends to enjoy. Eventually Garcia found what he was

seeking in Sicily, where he stumbled across a former monastery, also dating from the 1600s, that had gone to rack and ruin in the rolling, rocky countryside within sight of Noto, a once-sleepy, rather remote, but increasingly buzzy baroque city at the island’s southeast corner. Like Sicily itself, imprinted over 1,000 years by the taste and vocabulary of foreign invaders, from Ostrogoths to Arabs to Normans, the onetime domain of Jesuit monks turned out to be a cultural layer cake. As Garcia observes, “This 17th-century monastery is built on a 12th-century Norman villa, which replaced a 10th-century Moorish palace, which replaced a fifthcentury Roman house, which replaced a Greek villa of the third century before Jesus Christ.” In short, Champ de Bataille is a mere novella compared to the epic poem that is the 247-acre estate that Garcia has christened Villa Elena, in honor of the Byzantine empress who became one of Christendom’s most important converts. “Saint Helena, for whom I have a passion, brought the True Cross from Jerusalem to Constantinople, then from Constantinople to Rome,” he says, fancifully adding, considering the journey, “One thinks that she would have gone to Sicily.” The name that Garcia gave his Mediterranean getaway seemed to be destined by Providence as much as by personal preference. At about the same time the tastemaker signed the deed, he came across three immense paintings, attributed to

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BELOW IN THE CHAPEL, SILVER LOUIS XVI CANDLESTICKS FRAME THE ALTAR. BELOW LEFT PALMS SHADE A ROW OF CHAISE LONGUES. OPPOSITE A NEOCLASSICAL MARBLE TUB ANCHORS A BATH.

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ABOVE IN THE KITCHEN, CERAMIC TILES FROM NOTO COVER THE BACKSPLASH. 18TH- AND 19TH-CENTURY TERRINES. OPPOSITE A BRAQUENIÉ PAINTED AND EMBROIDERED SILK CUSTOM-MADE BY PIERRE FREY ENLIVENS A SALON.

the studio of Peter Paul Rubens, that had been commissioned 400-odd years ago by another Sicilian monastery, this one near Palermo. Their subject, coincidentally enough, was the life of Saint Helena, so, of course, he had to have them. Garcia’s ardor was piqued even more when he learned that they were so historically important that they could not leave the country. The towering works now survey Villa Elena’s grand gallery, a ballroom-size stretch of square footage, joined by, among other opulent companions, antique portières embroidered with pearls, 17th-century busts of Roman emperors, and gilt-wood stools with cabriole legs so pronounced that they practically writhe before one’s eyes. Though the word monastery conjures up deprivation and restraint, Villa Elena’s front doors open to a Vatican-style voluptuousness that is wholly appropriate to Sicily, where exaggeration and elaboration are the rule rather than the exception. (“I am a romantic futuristic, not a nostalgic,” Garcia says; for him, the past is not just inspiring but forever alive.) Rooms are frosted with faux marbling and lavished with chairs, tables, and porcelains made for 19th-century royals, among them Napoleon’s brother-in-law Joachim Murat, briefly king of the Two Sicilies, that are used without trepidation by Garcia and his guests. Scalloped silk canopies pour down like waterfalls from high bedroom ceilings. At one end of the glamorous swimming pool stands a temple—it incorporates elements of

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a Greek temple that Garcia already possessed—where the interior walls have been lushly painted in emulation of the garden room of Rome’s Villa of Livia. Garcia’s Sicily interiors also bear witness to the architect’s explorations across the island: gilded boiseries from a palazzo in Catania, about an hour’s drive north of Noto, line the dining room. Of course, before any of these museum-quality treasures could be set into place, Villa Elena spent a lengthy period in construction mode. “I had to go there once a month during the work, for a minimum three-day stay.” Garcia says. Damaged in an earthquake in 1693 and rebuilt over time only to fall into dilapidation once more, the rambling building was in an alarming condition when Garcia first cast his eyes. There was no water, no electricity, some walls, and a few vaults, but, strictly speaking, it was uninhabitable. “Simply put,” the architect says, “it was about the state of Notre Dame today.” Distressing, too, was the fact that the original land had been chopped up and sold off by the family that had owned and neglected the monastery since the 18th century, so Garcia set himself to reconstituting the acreage, which took seven patient but ultimately successful years. “It’s not just about being a landowner, it’s about being the manager of this land and knowing that nothing negative will happen to it,” the architect observes. And as far as Garcia is concerned, it never will again.

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PEPPER TREES AND A PAIR OF 17TH-CENTURY VESSELS ONCE USED TO HOLD OLIVE OIL FRAME AN EXTERIOR DOOR.

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ABOVE A DECORATIVE REPLICA OF THE VILLA OF LIVIAâ&#x20AC;&#x2122;S GARDEN FRESCO IS SHOWN INSIDE THE TEMPLE. THROUGH DOORWAY, A JACOB-DESMALTER DAYBED WEARS A VELOUR CORDUROY.

OPPOSITE A GAINSBOROUGH SILK DAMASK COVERS THE WALLS OF A BEDROOM. CANOPY AND A COVERLET MADE FROM A VERASETA SILK TAFFETA.

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THE CHAPEL (LEFT) AND TEMPLE OVERLOOK THE PALM-EDGED POOL.

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MATERIAL GIRL Color and pattern converge in the sensational world of British designer Bethan Laura Wood TEXT BY HANNAH MARTIN PHOTOGRAPHY BY JOONEY WOODWARD

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LONDON-BASED DESIGNER BETHAN LAURA WOOD AND ORI, THE STUDIO DOG, AMID A FANTASIA OF PVC WISTERIA, PART OF HER HYPERNATURE PROJECT FOR PERRIER-JOUÃ&#x2039;T.

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“It’s important to rethink our relationships with materials.” —Bethan Laura Wood

PRODUCTS: COURTESY OF RESPECTIVE COMPANIES

CLOCKWISE FROM TOP LEFT PLAYTIME-SPAGHETTI JUNCTION STACKING TABLES FOR NILUFAR. TOOTHPASTE BAG FOR VALEXTRA. TONGUE TEACUP AND POT FOR ROSENTHAL. HOT ROCK TABLE FOR NILUFAR. WOOD’S STUDIO. GUADALUPE VASE FOR BITOSSI. SUPER ROUND RUG FOR CC-TAPIS. CRISS CROSS LAMP FOR NILUFAR.

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GIANT FRUIT FOR HERMÈS, VESSELS FOR BITOSSI, TEA SETS FOR ROSENTHAL, AND INSPIRATIONAL FOUND OBJECTS FILL WOOD’S SHELVES.

also used for a line of limited-edition lighting that launched ethan Laura Wood describes her London studio in two words: “Stuff. Everywhere.” in April. That idea has always been central to her practice. In 2010, fresh from the Royal College of Art, where she’d studied She’s not wrong. Shelves brim with under legends like Jurgen Bey and Martino Gamper, Wood prototypes, found objects, and realized landed a residency at the Design Museum in London. They designs, from woven-scoubidou bottles asked for work in response to the museum’s then home, a and faux-marble bins that she picked up at the pound shop (dollar store) to her former banana warehouse in the rapidly gentrifying Butler’s Wharf area. “I liked the idea of abstracting an industrial materecent tea set for Rosenthal and table rial like particle board,” says Wood, who created case goods lamps for Nilufar. “I’m a very visual and covered, to painstaking precision, in laminate marquetry that tactile person,” Wood explains. “Something from the flea immediately got the design world’s attention. market might inspire my next project.” “Bethan’s practice is incredibly innovative because she Since she launched her firm in 2010, Wood’s avant-garde combines traditional techniques like marquetry with contemapproach to materiality, color, and pattern—a philosophy that porary materials,” says Nilufar’s Nina Yashar, who bought extends to her always-theatrical outfits—has garnered a cult a stool from the Particle collection and gave Wood a show at following, particularly among the fashion crowd. Hermès requested displays for its U.K. store windows, which she filled her Milan gallery the next year. They’ve been collaborating with extra-large fruit in 2014. The next year, when Tory Burch ever since. The work is now part of the designer’s ongoing Super Fake collection, comprising laminate-marquetry tables commissioned a riff on Dodie Thayer’s iconic lettuceware, and cabinets made to look like geodes and terrazzo, as well Wood came back with sculptures made to look like oversize as woodgrain-patterned carpets for cc-tapis. “I kind of get canapés. And just last year, after the accessories brand Valextra stuck on series,” she explains, launching into an ode to fake tapped her for a line of handbags, Wood delivered squiggly fruit, an obsession she inherited from her mother, who handles and clasps that look squeezed from a toothpaste tube. collected it. After that XL fruit salad for Hermès, Wood made During a visit to her studio this past June, garlands of a marble table with Budri that was inlaid with the vermiculate translucent PVC wisteria hang from a metal frame. “It’s like a greenhouse-meets-herbarium,” she explains of the scenography, motif of melon skin. A collaboration with Barbini, storied producer of Venetian glass mirrors, launching this month, titled HyperNature, part of a traveling series commissioned by Perrier-Jouet that made its London debut at the Masterpiece is also “melon inspired.” Wood’s fixations play out in different ways. She spots fair in June. Wood considered working with glass, a nod to something in her studio or photo reel (“Once I noticed I had Émile Gallé, the Art Nouveau artist who designed the chamtaken 30 pictures of railings”) and it finds a way into the pagne producer’s iconic label. But when she realized the transit work. Those sinuous rails became the handle of a purse, then problems posed by the fragile material, she came up with an a teapot. “I have trouble throwing things away,” she admits. alternative: water jet–cut, hand-dyed plastic. “But I can look at five random objects on a shelf and tell you “I’m taking something seen as throwaway and using it as how each of them connects to a project.” something precious,” she explains of the material, which she

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TEXT BY MAYER

RUS

PHOTOGRAPHY BY TREVOR

TONDRO

STYLED BY LAWREN

HOWELL

For sisters Poppy and Cara Delevingne, living large in Los Angeles means keeping it all in the family

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SORORITY

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HOUSE

SISTERS CARA, IN A DIOR TOP AND RAG & BONE PANTS, AND POPPY DELEVINGNE, IN A GUCCI DRESS, PLAY BY THE POOL AT THEIR LOS ANGELES HOME. FLOWERS THROUGHOUT BY JOSEPH FREE. FOR DETAILS SEE RESOURCES. â&#x2DC;&#x2026; EXCLUSIVE VIDEO POPPY AND CARA DELEVINGNE AT HOME, ARCHDIGEST.COM.

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he scenario seems ripe for a bawdy rom-com: Two gorgeous sisters from London, both high-profile model/ actresses descended from British aristocracy, decide to set up house together in sunny Los Angeles; they trick out their alluring Stateside hideaway with a Playboy pinball machine, a nautical bar straight out of Gilligan’s Island, and a stripper pole; margaritas flow freely; high jinks ensue. That, in a nutshell, is the story of Poppy and Cara Delevingne’s intoxicating California home, which, much like the sisters themselves, offers an object lesson in idiosyncratic personal style leavened with sauciness and humor. “L.A. can be a lonely place. You really have to make an effort to reach out to people. Since one of us was always coming here for one reason or another, being with family just made sense,” Cara says of the unconventional sororal living situation. “This was the chance to build our dream sister house. Miraculously,

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we’re still talking,” Poppy adds, presumably including her husband, British aviation executive James Cook, in the collective we. “The fact that they share a house at this point in their lives is incredibly telling. They really are best buds,” observes architect Nicolò Bini of L.A.–based Line Architecture, who worked closely with the Delevingnes to bring their L.A. fantasy to life. The setting for the sisters’ family frolic is a gracious but unpretentious 1950s dwelling, centrally located yet discreetly tucked away on a quiet street, and conveniently outfitted with a pair of master suites on different floors and with two separate entrances. “I wanted to create a true L.A. moment for them, with nods to California midcentury modern, Laurel Canyon bohemia, Beverly Hills swank, surfing culture, and a little Mexico,” Bini continues. “Then we tied all that in with Cara and Poppy’s Englishness to give the house another layer of Delevingne charm.” The exotic olio Bini describes finds eloquent expression in the emerald-lacquered dining room, with its rattan monkey chandelier; the pink and green velvet upholstery in the living room; a proliferation of banana-leaf and palm-frond fabrics

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BELOW VINTAGE BARSTOOLS BELLY UP TO THE CUSTOM BAR WITH A POP OF PALM WALLPAPER BY DONGHIA. OPPOSITE VELVET COVERS THE LIVING ROOM ARMCHAIRS BY BAKARIAN STUDIO AND SOFA. VINTAGE COCKTAIL TABLE AND ARTWORKS.

“We each made our imprint on the design, but I was the one obsessing over the color of the curtain rings.” —Poppy Delevingne

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BENJAMIN MOORE’S KELLY GREEN BRIGHTENS THE DINING ROOM. VINTAGE PACE COLLECTION CHAIRS SURROUND THE VINTAGE TABLE. CHANDELIER BY MARIO LOPEZ TORRES; 1920s RUG.

“I wanted to reclaim the concept of the bachelor pad and make it my own.” —Cara Delevingne

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IN CARA’S BEDROOM, PANELS OF A GRAPHIC LINEN BY GROUNDWORKS ARE SET IN A BESPOKE WALL COVERING.

and wall coverings; striped outdoor umbrellas with a Slim Aarons flavor; and Moroccan sinks procured by Poppy during her honeymoon in Marrakech. “Poppy has more of an eye than I do. She has impeccable taste, so I let her take the lead on the decor,” Cara says, deferring to her older sister. Poppy sees the division of labor in a different light: “Basically, I’m a control freak. We each made our imprint on the design, but I was the one obsessing over the color of the curtain rings.” For his part, Bini credits both of the Delevingnes for their vision and enthusiasm. “They were great editors, and they were game for anything. The sentences that started with ‘This is the craziest idea you’ve heard . . . ,’ those were the things we built first,” he notes. As a case in point, he mentions the massive bunk bed in the guest room, a metal-framed structure clad in bamboo, supporting two stacked queen mattresses. “That was Cara’s idea, and it was brilliant,” Poppy enthuses. The sisters’ divergent personal tastes come into high relief in the design of their individual bedroom suites. The centerpiece of Poppy’s dreamy, light-filled aerie is a wall covered in a hand-painted de Gournay paper featuring monkeys and toucans cavorting in trees and vines against a field of Tiffany blue. “I fell in love with de Gournay as a teenager. I have a

similar paper in the bathroom of my house in London [AD, November 2017]. It’s a running theme,” she explains. “For my bedroom here, I wanted to create a calming atmosphere, with pale pinks and blues, Moroccan rugs, and supersoft fabrics. It feels like heaven.” In contrast, Cara’s bedroom, on the lower level of the twostory house, is a much moodier affair, reminiscent of a proper gentleman’s club, albeit one with serious sex appeal. Among its eccentricities is a sprawling bed, 11 feet wide, set on a mirrored platform—perfect for communal sleepovers and pajama parties. “The room feels like the Playboy Mansion with a touch of Art Deco and a David Hicks pattern thrown in for good measure,” Cara says of the heady vibe. “I wanted to reclaim the concept of the bachelor pad and make it my own.” Of course, for maximum men’s-club realness, there’s the soundproof party bunker that opens off Cara’s bedroom, replete with such louche details as carpeted walls, a mirrored ceiling, a stripper pole, disco lighting, and an assortment of black velvet paintings of bare-breasted women—just the right amount of wrong. Cara justifies the provocative private lair by citing no less an authority than the hip-hop artist Nelly: “Like he said, it’s important to have a friend with a pole in the basement.”

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CLOCKWISE FROM ABOVE A DE GOURNAY WALLPAPER DRAWS THE EYE IN POPPYâ&#x20AC;&#x2122;S BEDROOM. A TERRACE IS SET FOR DINING. CHANTILLY LACE PAINT BY BENJAMIN MOORE

COLORS CUSTOM KITCHEN CABINETRY. OPPOSITE THE PALMWRAPPED POWDER ROOM FEATURES A MEXICAN TALAVERA TOILET AND SINK.

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“The sentences that started with ‘This is the craziest idea you’ve heard . . . ’ those were the things we built first.” —Nicolò Bini ARCHDIGEST.COM

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POPPY PLAYS PINBALL IN A FRAME TOP AND RAG & BONE JEANS WHILE CARA, IN A NICK FOUQUET TOP AND BALMAIN JEANS, HANGS IN A SERENA & LILY RATTAN CHAIR.

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CARA: HAIR BY KYLEE HEATH FOR STARWORKS ARTISTS USING LIVING PROOF; MAKEUP BY KELSEY DEENIHAN FOR THE WALL GROUP USING DIOR BEAUTY. POPPY: HAIR BY BRIDGET BRAGER FOR THE WALL GROUP USING HERBAL ESSENCES; MAKEUP BY KATE SYNNOTT FOR THE WALL GROUP USING CARASOIN COLD FUSION. MANICURES FOR BOTH BY THUY NGUYEN FOR STARWORKS ARTISTS.

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THE WALLS AND FLOOR OF THE POLE-DANCE ROOM ARE COVERED IN A FABRICA CARPET. CUSTOM SOFAS AND OTTOMAN; ARTWORKS FROM VELVETIFY.

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design notes

THE DETAILS THAT MAKE THE LOOK BRAVADA LIMELITE FABRIC BY SUNBRELLA; $25 PER YARD. OUTDOORFABRICS.COM

BENJAMIN MOORE’S GREEN WITH ENVY COVERS THE WALLS OF CARA’S BATH. HAND-PAINTED TILES BY SOLISTONE.

TONET SERIES ‘S’ HAND-PAINTED TILES; $30 PER TILE. BALINEUM.CO.UK

SLOANE SOFA; $2,850. MGBWHOME.COM

SELVA CHANDELIER; $13,200. CASALOPEZ.COM EDEN-ROCK ARMCHAIR BY SACHA LAKIC FOR ROCHE BOBOIS; $3,140. ROCHE-BOBOIS.COM

ELKA RUG; FROM $199. LOLOIRUGS.COM

MIRASOL UMBRELLA; TO THE TRADE.

holiday home, where you kick off your shoes and make margaritas.” —Cara Delevingne

RELEASED BY "What's News" vk.com/wsnws TELEGRAM: t.me/whatsnws THE GUEST ROOM FEATURES QUEEN-SIZE BUNK BEDS. HOUSE OF HACKNEY WALLPAPER; NULOOM JUTE RUG.

HANGING RATTAN CHAIR; $498. SERENAANDLILY.COM

PALEY THROW; $1,497. MATOUK.COM

We cultivated a connection to the outdoors in every room of the house.” —Poppy Delevingne IN CARA’S BEDROOM, AN ARTWORK BY JONATHAN YEO HANGS OVER A CUSTOM SOFA.

SERVING BOWL; $48. YEARANDDAY.COM

PALMERAL WALLPAPER; $235 PER ROLL. HOUSEOFHACKNEY.COM

FIORENTINA GRASSCLOTH WALLPAPER BY DAVID HICKS FOR LEE JOFA; TO THE TRADE. LEEJOFA.COM

LUTETIA ’11 SOFA BY ANTONIO CITTERIO FOR MAXALTO; FROM $10,100. BEBITALIA.COM

SONOS BEAM;

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REBELS WIT

Young, chic, and, ultimately, doomed, Indiaâ&#x20AC;&#x2122;s their corner of the subcontinent

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H A CAUSE

most dashing royal couple transformed into an unlikely Art Deco oasis

TEXT BY

MITCHELL OWENS

ABOVE YESHWANT AND SANYOGITA OF INDORE, PHOTOGRAPHED BY MAN RAY IN 1927. OPPOSITE THOUGH THE MAHARAJA’S PALACE BEDROOM WAS PURE ART DECO UPON ITS 1932 COMPLETION, HE EVENTUALLY LAYERED IT WITH HUNTING TROPHIES; LOUIS SOGNOT BED, IVAN DA SILVA BRUHNS CARPET.

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THE MAHARAJA’S OFFICE, AS PHOTOGRAPHED IN THE 1970s; HANS AND WASSILI LUCKHARDT CHAIRS, IVAN DA SILVA BRUHNS CARPET.

THE ROYAL COUPLE, PHOTOGRAPHED BY ECKART MUTHESIUS, THEIR ARCHITECT.

“Do not accuse me of exaggerating when I tell

you, very simply, that my two hours at your house were among the best that I have spent in Paris and France, even in Europe.” So Yeshwant Holkar, dapper maharaja, wrote to Jacques Doucet, haute-couture grandee, on October 22, 1929, shortly before boarding a train to India. The latter had jettisoned his ancien-régime antiques to become a pioneering Art Deco patron, and the 21-year-old subcontinental aesthete had gone to pay wide-eyed homage—just in time, too, because the elderly Doucet died a few days later. “Those precious memories I will guard jealously and keep forever,” Holkar continued. This was followed by a compliment (“Your comments and tips have not been less valuable”) that indicates the maharaja had discussed with Doucet his own forthcoming stylistic transition: the transformation of a Jacobean-inflected bungalow in Indore into an avant-garde home. A doe-eyed Oxford alumnus with a taste for fast cars and jazz music, the 14th maharaja of Indore (now part of the state of Madhya Pradesh) spent the long journey home savoring the memory of Doucet’s decors: the extravagant Eileen Grey and Émile-Jacques Ruhlmann furnishings, the exquisite Pierre Legrain book bindings, even Les Demoiselles d’Avignon, Pablo Picasso’s radical Cubist masterpiece. “The West has always been inspired by the East,” says Olivier Gabet, director of the Musée des Arts Décoratifs in Paris, where “Modern Maharajah: An Indian Prince of the 1930s,” runs from September 26 to January 12, 2020. “But this young guy was one of the very few to do the inverse.”

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AN IVAN DA SILVA BRUHNS CARPET MADE FOR MANIK BAGH.

To remodel the bungalow known as Manik Bagh, or Jeweled Garden, the maharaja and his wife, Sanyogita, hired a friend, German architect Eckart Muthesius, who, at 25, was barely older than his clients. “They look like babies,” Gabet says of Man Ray’s portraits of the couple canoodling on their honeymoon. Though the monarch had a well-trained eye, “Manik Bagh was the project of a couple,” Gabet insists. “For him, it was a big leap, trading a traditional Indian lifestyle for European sophistication. It was an even bigger leap for an Indian lady at the time.” Monolithic without and what Gabet calls a “Utopian modernist universe” within, the U-shape stucco building, completed in 1932, that thrilled critics was actually a bit of a fiction. For practical reasons, namely monsoons, Manik Bagh had peaked roofs, but official images were retouched to present a dramatic flat roofline. As for the Europhilic interiors, also designed by Muthesius, The Miami Daily News praised them as “colorful, modernistic, lovely.” More than 300 commissioned objects, from Puiforcat flatware and Muthesius red-leather armchairs with integral reading lights to Bernard Boutet de Monvel oil portraits of the young Holkars, will be displayed in the Musée des Arts Décoratifs in settings that evoke their original settings, rounded out by home movies. Many of the furnishings had been auctioned at Sotheby Parke Bernet in 1980; Manik Bagh is now government offices. “It was really a large, large house—six or seven bedrooms, a banquet hall, a ballroom, a couple of sitting rooms, a nursery,

CLOCKWISE FROM TOP LEFT: ROBERT DESCHARNES / © DESCHARNES & DESCHARNES SARL 2019; © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD KUNST, BONN; © PHILLIPS AUCTIONEERS LIMITED; PHOTO BY PASCAL CADIOUS / © BERNARD BOUTET DE MONVEL / MUSÉE DE LA VILLE DE BOULOGNE-BILLANCOURT / ADAGP, PARIS, 2019

THE MAHARAJA, AS PAINTED BY BERNARD BOUTET DE MONVEL.

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BOUTET DE MONVEL’S 1934 PORTRAIT OF THE MAHARANI.

TO EMPHASIZE ITS MODERNITY, MANIK BAGH’S MONSOON-READY PEAKED ROOFS WERE EDITED OUT OF OFFICIAL IMAGERY.

THE LIBRARY FEATURED MUTHESIUS

CLOCKWISE FROM TOP LEFT: © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS; © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD KUNST, BONN; ROBERT DESCHARNES / © DESCHARNES & DESCHARNES SARL 2019; © PHOTO ECL’ART, GALERIE DORIA, PARIS; © PHILLIPS AUCTIONEERS LIMITED

A MAISON DESNY SIDE TABLE.

stuff like that,” says Prince Richard Holkar, the maharaja’s son by a later marriage, an entrepreneur who runs the family’s 18th-century Ahilya Fort in Maheshwar as a heritage hotel. “My mother was a California girl: She enjoyed comfort, rounded corners, and cozy sofas. The furniture at Manik Bagh was the antithesis of all that: You never knew where to put your elbow.” The palace’s decoration was daring, though its art was largely not, despite the mentoring of French dealer HenriPierre Roché. “He introduced the leading artists of the day to my father and his wife,” Holkar explains. “Alas, my father didn’t cotton to Picasso, but he fell in love with Constantin Brancusi’s Bird in Space and asked the artist to design a pavilion to house two of them, one white and one black.” That project, never realized, was intended as a memorial to Sanyogita; she died in 1937 at 22, following an appendectomy, leaving behind a toddler daughter, Usha, the present maharani. It wasn’t long before Yeshwant’s aesthetic adventures also flatlined. “He just stopped,” Gabet says. Dogged by emphysema and romantic disappointments, the maharaja expired in Mumbai in 1961, after burning personal papers that would have detailed his brief but glorious reign as India’s champion of the cutting edge. “He never talked about it,” Holkar recalls. “He was affectionate but without any ability to expand on it; it was very sad. If there’d been some sort of intimacy between him and either of his two children about those early days, when he was quite an unusual presence, it would have helped us understand him.” Today, Gabet says, “Nobody knows about the maharaja of Indore: Who is this incredible guy?” The Musée des Arts Décoratifs offers some answers, but, its director cautions, “an exhibition is not a book; an exhibition is an experience. Some mysteries have no clues.”

A TABLE THAT MUTHESIUS DESIGNED FOR THE MAHARANI’S DRESSING ROOM.

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family, Crown Princess Marie-Chantal of Greece calls on decorating legend François Catroux to breathe modern life into the grand 1913 Manhattan town house that her parents once called home TEXT BY JANE KELTNER DE VALLE PHOTOGRAPHY BY NGOC MINH NGO STYLED BY MIEKE TEN HAVE

THE ROYAL TREATMENT To create a welcoming home for her own

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IN THE ENTRANCE HALL, LIGHTING BY HERVÃ&#x2030; VAN DER STRAETEN HANGS FROM THE GROIN-VAULTED CEILING. OPPOSITE A VLADIMIR KAGAN SOFA, CLAUDE LALANNE SIDE TABLE, AND DONALD BAECHLER ARTWORK DECORATE A CORNER. FOR DETAILS SEE RESOURCES.

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A JEAN-MICHEL BASQUIAT PAINTING HANGS OVER THE LIVING ROOM FIREPLACE. BESPOKE SOFAS AND CURTAINS; BOOKSHELVES BY CHRISTIAN LIAGRE WITH CUSTOM FABRIC; COCKTAIL TABLES BY GUY DE ROUGEMONT (LEFT) AND ERIC SCHMITT.

Shortly before Marie-Chantal Miller met Pavlos, Crown Prince of Greece, on a blind date in 1992, the young duty-free heiress and recent New York Academy of Art student had moved back home with her parents to a majestic 1913 town house near the Frick that the Millers had just finished transforming with the legendary Italian decorator Renzo Mongiardino. Rich bordeaux and emerald velvets draped the walls, and heavy wood furniture cast an imposing air. One of the rooms was lit by candles alone. “We called it the dark ages because there was no light,” says the blonde beauty today, leading the way into the domed foyer. When Marie-Chantal— now a mother of five and the eponymous founder of a childrenswear brand—and Pavlos, who married in 1995, decided to relocate their family from an 18th-century mansion in London several years ago, the couple didn’t need to embark on a real-estate hunt. “The house was empty, so we moved in.” Still, the place was brooding and theatrical and didn’t suit her young family. She wanted to “freshen it up.” To do so, she called on another legendary decorator, one she’d known from childhood: François Catroux. The French designer to nobles and billionaires from Guy and Marie-Hélène de Rothschild to David Geffen had worked with her parents over the years and had collaborated with Marie-Chantal and Pavlos on their London place. “I met him when I was eight,” she says. “Catroux had so much flair and elegance, and he was absolutely gorgeous. I remember him driving down our little street in Paris in a Bentley convertible, with lots of hair.” Over the decades, she says, “we’ve become great friends. Nowadays with decorators you have schedules, timelines, retainer fees, and with him it wasn’t like that. It was a nice, gentle way of putting a house together.” She adds, “He has a specific style, which I’ve always liked—not too fussy, rich, or overwhelming.” THE HOUSE’S STONEWORK, moldings, and paneling

were all preserved, but out went the gilded leather wall coverings, heavy curtains, and red velvet sofas trimmed in passementerie, all dismantled meticulously and placed in storage for some future day. White, gray, and taupe hues now canvas nearly every wall. “We wanted to start with a clean slate and see the rooms for what they were, then decide what kind of furniture could sit nicely in them,” Marie-Chantal explains. “A lot of Mongiardino fans are going to be very upset. My mother was always experimenting with design, so I had lots of patterns in my life. I just wanted to deal with easy neutrals.”

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RIGHT MARIE-CHANTAL, IN A DIOR DRESS AND TABITHA SIMMONS SHOES, AND DAUGHTER OLYMPIA, IN A CHLOÉ DRESS, SIT ON A LIVING ROOM SOFA BENEATH AN ARTWORK BY DAMIEN HIRST. LAMP BY HERVÉ VAN DER STRAETEN ON CHRISTIAN LIAGRE SIDE TABLE. FASHION STYLING BY JESSICA SAILER VAN LITH.

LEFT AN ANTIQUE CHANDELIER WITH CUSTOM SHADES CROWNS THE WOOD-PANELED LIBRARY. ARTWORKS BY IRVING PENN (LEFT) AND GEORG BASELITZ. ALEXANDRA VON FURSTENBERG COCKTAIL TABLE.

LEFT A CUSTOM SOFA ADDS SEATING TO MARIE-CHANTAL’S DRESSING ROOM. SIDE TABLE BY INDIA MAHDAVI. BELOW WEARING A CAROLINA HERRERA DRESS AND TABITHA SIMMONS SHOES, MARIE-CHANTAL SITS IN A PIERRE YOVANOVITCH CHAIR AT AN RH DESK. LAMP BY MAURO FABBRO; ANDY WARHOL ARTWORKS.

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“My mother was always experimenting with design,” says Marie-Chantal. “I just wanted to deal with easy neutrals.”

ABOVE LEFT CLOSET BY RENZO MONGIARDINO. MONOGRAMMED LUGGAGE BY ANYA HINDMARCH. ABOVE RIGHT A PORTER TELEO WALLPAPER WRAPS OLYMPIA’S BEDROOM. THE BED WEARS D. PORTHAULT LINENS; ISAMU NOGUCHI LAMP.

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She and Catroux began by taking stock of the London home to determine what to bring to New York: all the art, for starters, including works by Jean-Michel Basquiat, Damien Hirst, and Rob Pruitt. Her personal acquisitions began at the age of 16, when Andy Warhol asked his then intern if she’d like to sit for a portrait. When a bill arrived shortly thereafter, her parents “nearly disowned me,” she recalls. The Warhols can be found in the master bedroom, where a Juergen Teller photograph of Marie-Chantal as a young swan occupies another wall.

room with wardrobe closets tucked behind French doors. Her mother’s walk-through closet—complete with the matriarch’s gilded initials in a fanciful script—remains marvelously intact. The second floor serves as the main entertaining space. Curved sofas in a bouclé linen float atop a geometric gray-and-black carpet in the living room. Along the windows in the back of the room, she’s installed cushions of an African textile, explaining, “When I have dinners, I’ve noticed that Olympia’s friends all sit on the windowsill.” TEA AND COFFEE await in the library, where a

n the formal dining room, the only remaining vestige from the Mongiardino days is an outré English chandelier (its mate hangs in the library). A large round lacquered table holds court in the center, and on this particular day is merchandised with stacks of children’s clothing; racks of petite dresses form a bracelet all around. “We’ve been using it as a showroom until we move into our new space,” explains Marie-Chantal. After making a name for her brand in England, she is now focused on expanding her business Stateside with a by-appointment showroom designed to feel like an intimate salon. A store, too, is on the horizon. When the dining room isn’t filled with her signature angel-wing onesies, though, she entertains often. “I like to host the way the Italians do. You can be in the most beautiful palazzo, and they’ll have bread baskets and big chunks of cheese, meats, and crudités and bowls of pasta. You don’t have to serve caviar all the time.” The children’s quarters, located on the top two floors, were decorated in comfortable style by AD100 designer Michael S. Smith. (“Catroux has no interest in doing children’s bedrooms,” Marie-Chantal explains. “And Michael is a friend.”) Olympia, who will graduate from NYU weeks later, is doing schoolwork with a friend in the kitchenette off a lofty lounge area under a large skylight. “Do you mind if we go into your room, sweetie?” asks her mother. “Of course not,” she responds before warning, “It may be a bit messy.” Graphic gray–and– white scribble paper wraps the walls, and perfectly rumpled D. Porthault pink coeurs sheets cover the bed. On the opposite end is a pristine white sitting area with a large flat screen. It’s easy to see why, although the 23-year-old has her own apartment elsewhere in the city, she prefers to reside here. A cool, creamy hue dominates the master bedroom, accented only by blue-chip art and more D. Porthault sheets—the same coeurs pattern as in Olympia’s room, except in blue. “It drives my husband crazy,” Marie-Chantal admits. “He hates it.” She and Catroux reimagined what had been her parents’ bedroom as a well-appointed dressing

Vladimir Kagan sofa, François Catroux polar-bear chairs in the style of Jean Royère, and a Lucite coffee table rest on a casual striped rug. “This is my sister’s,” Marie-Chantal says, pointing out the Alexandra von Furstenberg table. “It’s big and bold. I love where you can mix in different elements. Catroux always told me, you can’t be too heavy on the upholstery. You have to make a nice balance.” Christian Liaigre metal bookcases featuring a curated selection of art and photography tomes flank the fireplace, surmounted by a Hirst dot painting. “I wanted to make it easier to live with,” says Marie-Chantal, sipping a latte from a Royal Copenhagen blue-and-white demitasse. “Little accents from my husband’s Danish heritage,” she says of the china. (Pavlos’s mother is the younger sister of Queen Margrethe II of Denmark.) “My mother and I love to collect plates and serviceware, so even before I met Pavlos, we had Royal Copenhagen.

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“There’s lots of memories here,” she continues, adding that she and her husband had their engagement party in the house and brought their newborn son Achileas—their third child—here from the hospital. “With two of my kids going to university in America, I was like, ‘Wouldn’t it be great if we could move back to New York for a while?’ I’m lucky to have a good enough relationship with my children that they don’t not want to have us around.” As if on cue, Achileas appears in the hallway and graciously extends a hand: “I don’t believe we’ve met.” “He’s starting university in September,” his mother says, smiling. “I can’t believe it. I was in this house pre-wedding, then marriage and small children, and now with grown kids. It’s like a third chapter of my life.”

“He has a specific style, which I’ve always liked—not too fussy, rich, or overwhelming,” Marie-Chantal notes of Catroux.

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ALL OF THE DINING ROOMâ&#x20AC;&#x2122;S FURNISHINGS ARE CUSTOM SAVE FOR THE ANTIQUE CHANDELIER; ARTWORK BY WALTON FORD.

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design notes

THE DETAILS THAT MAKE THE LOOK

MANNERS BEGIN AT BREAKFAST, BY PRINCESS MARIE-CHANTAL OF GREECE (VENDOME PRESS, MARCH 2020); $25. VENDOME PRESS.COM

A DAMIEN HIRST PAINTING HANGS OVER THE LIBRARY FIREPLACE.

VELOUR GOLD ANGEL WING; $109. MARIECHANTAL.COM

LUSTRE TOURBILLON LIGHT BY HERVÉ VAN DER STRAETEN FOR RALPH PUCCI; $26,400. RALPHPUCCI.NET

Catroux has a way of blending the modern, the decorative, and even the historical.”

BARROCO BOUCLE BY NATE BERKUS FOR KRAVET; TO THE TRADE. KRAVET.COM

FREEFORM CURVED SOFA BY VLADIMIR KAGAN; TO THE TRADE. HOLLYHUNT.COM

BRILLIANT COFFEE TABLE; $16,000. AVFHOME.COM

CHARLESEDWARDS.COM

IN THE KITCHEN, A STUDIO VAN DEN AKKER TABLE IS SET WITH D. PORTHAULT LINENS. INTERIORS: NGOC MINH NGO; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES; ARTWORK: © DAMIEN HIRST AND SCIENCE LTD. ALL RIGHTS RESERVED / DACS, LONDON / ARS, NY 2019

CHEERE MANTEL; $35,840. JAMB.CO.UK

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A JUERGEN TELLER PHOTOGRAPH OF MARIE-CHANTAL HANGS IN THE MASTER BEDROOM. RALPH LAUREN HOME BED; RH DESK.

CARLO RUG; PRICE UPON REQUEST. WOVEN.IS NELSON CIGAR FLOOR LAMP BY GEORGE NELSON FOR HERMAN LILY COCKTAIL TABLES; FROM $1,135. TOMFAULKNER.CO.UK

BLOOMST BOWL BY ROYAL COPENHAGEN; $255.

BESPOKE WALTON BRIEFCASE; $950. ANYAHINDMARCH.COM

AKARI UF3-Q LAMP BY ISAMU NOGUCHI; $900. NOGUCHI.ORG

CAMILLA UPHOLSTERED BED; FROM $2,319. RHTEEN.COM

COEURS PINK ELBOW SHAM; $275. DPORTHAULTPARIS.COM

P RODUCE D BY MADELINE Oâ&#x20AC;&#x2122;MALLEY

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resources Items pictured but not listed here are not sourceable. Items similar to vintage and antique pieces shown are often available from the dealers listed. (T) means the item is available only to the trade.

BROOKLYN BOHÈME

PAGES 98–109: Ulla Johnson of Ulla

Johnson; ullajohnson.com. Interiors by Alexis Brown; alexisbrowninterior design.com. Architecture by Elizabeth Roberts Architecture & Design; elizabethroberts.com. Landscape design by Miranda Brooks Landscape Design; mirandabrooks.com. PAGES 98– 99: Fog pendants by Jeremy Maxwell Wintrebert; jeremyglass.com. On custom Rino dining table by Arthur Casas for Etel; etel.design; bud vases by Astier de Villatte; astierdevillatte. com. Sink fittings in unlacquered brass by Vola; vola.com. On kitchen island, vintage Arne Bang ceramic vase from Freeforms; freeformsnyc.com. PAGE 100: Teka 174 outdoor table and Harp 349 outdoor dining chairs by Roda; rodaonline.com. PAGE 101: Custom mirror by Rogan Gregory; r-and-company.com. PAGES 102–03: Vintage metal-and-brass ceiling light from Dimore Gallery (similar); dimoregallery.com. Custom sofa and rug by Alexis Brown; alexisbrown interiordesign.com. Travertine coffee table by Angelo Mangiarotti from 1stdibs; 1stdibs.com. Below Sheila Hicks wall hanging, custom matte aluminum wall shelf by Alexis Brown; and Costela chair by Martin Eisler and Carlo Hauner from R & Co.; r-and-company.com. PAGES 104–05: In Asher’s bedroom, George Nelson Cigar Bubble sconce for Herman Miller from Design Within Reach; dwr.com. Wall mural by Ashley Zangle; azmuralsanddecorative painting.com. In master bedroom, on Pierre Paulin ABCD two-seater sofa from 1stdibs; 1stdibs.com; Cambon wool blend, in bunny, by Rogers & Goffigon (T); rogersandgoffigon.com. On custom bed by Alexis Brown; alexisbrowninteriordesign.com; Martinique cotton percale sheets by Julia B.; juliab.com. In master bath, Idris by Ait Manos square tiles (similar) by Ann Sacks; annsacks.com. One showerhead in unlacquered brass by Kallista; kallista.com. T39ELUS towel warmer by Vola; vola.com. Ceramic vase by Shizue Imai; shizueimai.com. Custom vanity by Elizabeth Roberts Architecture & Design; elizabethroberts.com;

with whitewashed maple panels and custom wall sconces by Alexis Brown. Custom travertine slab tub by Elizabeth Roberts Architecture & Design. PAGES 106–07: In dining area, Fog pendants by Jeremy Maxwell Wintrebert; jeremyglass.com. On custom Rino dining table by Arthur Casas for Etel; etel.design; bud vases by Astier de Villatte; astierdevillatte .com. In kitchen, on cabinets, No. 8318 brass pulls by the Nanz Co.; nanz.com. 5 Series Range by Viking; viking range.com. Sink fittings in unlacquered brass by Vola; vola.com. On kitchen island, vintage Arne Bang ceramic vase from Freeforms; freeformsnyc.com.

DIVINE INTERVENTION

PAGES 110–25: Architecture and

interiors by Jacques Garcia; studio jacquesgarcia.com. Silk curtains and canopies throughout by Veraseta; veraseta.fr. PAGE 119: On walls and upholstery, custom silk by Braquenié (T); pierrefrey.com. PAGE 123: On walls, Grand Masters silk damask by Gainsborough (T); gainsborough.co.uk.

SORORITY HOUSE

COVER, PAGES 130–41: Interiors and

architecture by Line Architecture; linearchitecture.com. Landscape design by Anton Prack Landscape Design; antonprack.com. COVER: On bamboo club chair from Harveys on Beverly; chairish.com; and sofa, Swaying Palms polyester, in aloe, by Tommy Bahama Home; tommy bahamafabrics.com. Vintage carvedwood floor lamps from Marjorie and Marjorie; chairish.com; with custom shades by Lampshade Specialties; lampshadesandlamprepairs.com. Handwoven Rigo jute rug by Nuloom; yliving.com. PAGES 130–31: Pool design by Line Architecture; linearchitecture. com; of tiles from Imperial Tile & Stone; imptile.com. Pagoda patio umbrella, in green/white, by California Umbrella; onekingslane.com. On bamboo club chair, stool, and Spice Island chaise longues from Houzz; houzz.com; Swaying Palms polyester, in aloe, by Tommy Bahama Home; tommybahama fabrics.com. 15" Hayden dual mount prep sink by Signature Hardware; signaturehardware.com. 32" built-in grill by Fire Magic; firemagicgrills.com. PAGE 132: The Line armchairs by Bakarian Studio; bakarianstudio.com. Sofa by ModShop; modshop1.com; with pillows by the Third Degree; 310-739-9096. Curtains of linen-look fabric, in rose, by Kaslen Textiles;

ARCHITECTURAL DIGEST AND AD ARE REGISTERED TRADEMARKS OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT © 2019 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 76, NO. 8. ARCHITECTURAL DIGEST (ISSN 0003-8520) is published monthly except for combined July/August issues by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. Roger Lynch, Chief Executive Officer; David E. Geithner, Chief Financial Officer, U.S.; Pamela Drucker Mann, Chief Revenue & Marketing Officer, U.S. Periodicals postage paid at New York, NY, and at additional mailing offices. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 123242885-RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2) NON-POSTAL AND MILITARY FACILITIES: Send address corrections to ARCHITECTURAL DIGEST, P.O. Box 37641, Boone, IA 50037-0641.

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kaslentextiles.com. Sari Liam rug by F.J. Kashanian from One Kings Lane; onekingslane.com. PAGE 133: On custom bar by Line Architecture; linearchitecture.com; fabricated by the Third Degree; 310-739-9096; Palm wallpaper by Hinson (T); donghia.com. On bamboo club chair from Houzz; houzz.com; Swaying Palms polyester, in aloe, by Tommy Bahama Home; tommybahamafabrics .com. Hand-woven Rigo jute rug by Nuloom; yliving.com. PAGE 134: On walls, Kelly Green paint by Benjamin Moore; benjaminmoore.com. On vintage table, brass lettuce cup vases by Anton Prack Landscape Design; antonprack.com. Custom shades by Line Architecture; linearchitecture .com; fabricated by the Third Degree; 310-739-9096. PAGE 135: On walls, panels of La Fiorentina linen, in red, by David Hicks by Ashley Hicks for Groundworks (T); leejofa.com; and custom wallcovering by Line Architecture; linearchitecture.com; fabricated by the Third Degree; 310-739-9096. Custom bed cover by the Third Degree. Custom carpet by Line Architecture, fabricated by Melrose Carpet; melrosecarpet.com. PAGE 136: In Poppy’s bedroom, on wall, Amazonia wallpaper by de Gournay (T); degournay.com. Custom bed and headboard by Line Architecture; linearchitecture .com; fabricated by the Third Degree; 310-739-9096. On terrace, dining table by Article; article.com. On rattan chairs by Opalhouse; target.com; custom cushions by Line Architecture, fabricated by the Third Degree; of Bravada outdoor fabric by Sunbrella; sunbrella.com. In kitchen, on custom cabinetry by Line Architecture, fabricated by Machine Histories; machinehistories.com; Chantilly Lace paint by Benjamin Moore; benjamin moore.com. Custom shelving by Line Architecture, fabricated by Pomer Construction; pomerconstruction.com. Countertop by Caesarstone; caesar stoneus.com. PAGE 137: On walls, Palm wallpaper by Hinson (T); donghia .com. PAGE 138: Rattan hanging chair by Serena & Lily; serenaandlily.com; with custom cushions by Line Architecture; linearchitecture.com; fabricated by the Third Degree; 310739-9096. PAGE 139: On walls and floor, Cotton Club carpet, in pearl essence, by Fabrica; fabrica.com. Custom sofas, ottoman, and ceiling; all by Line Architecture; line architecture.com; fabricated by the Third Degree; 310-739-9096. Paintings from Velvetify; velvetify.com.

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

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THE ROYAL TREATMENT

PAGES 146–57: Crown Princess

Marie-Chantal of Greece of MarieChantal Children; mariechantal.com. Interiors by François Catroux; +331-42-66-69-25; and Michael S. Smith Inc.; michaelsmithinc.com. Select custom furnishings throughout by François Catroux. Select furnishings throughout through Kirby Redding; kirbyredding.com. PAGE 146: Sofa by Vladimir Kagan (similar) from Holly Hunt (T); hollyhunt.com. Console (in background) by Hervé Van der Straeten; ralphpucci.net. PAGE 147: Lighting by Hervé Van der Straeten; ralphpucci.net. PAGES 148–49: Next to fireplace, bookshelves and bronze side tables, all by Christian Liaigre; liaigre.com. Nuage cocktail table (left) by Guy de Rougemont; demisch danant.com. Cocktail table (right) by Eric Schmitt and dining table (in background) by Hervé Van der Straeten; both from Ralph Pucci; ralphpucci.net. PAGE 150: Cocktail table by Alexandra von Furstenberg; alexandravonfurstenberg.com. Side tables and console; all by Hervé Van der Straeten; ralphpucci.net. Custom chairs (flanking console) by Saridis of Athens; saridisofathens.com. Floor lamp by India Mahdavi; ralphpucci .net. PAGE 151: On side table by Christian Liaigre; liaigre.com; Patmos lamp by Hervé Van der Straeten; alexandrebiaggi.com. PAGE 152: In Marie-Chantal’s dressing room, side table by India Mahdavi; ralphpucci .net. Renwick pendant by Aerin for Visual Comfort; circalighting.com. In Marie-Chantal’s bedroom, Monsieur Oops chair by Pierre Yovanovitch from R & Co.; r-and-company.com. Desk by RH; rh.com. Scramble table lamp by Mauro Fabbro; alexandre biaggi.com. In closet, monogrammed Walton luggage, in brown canvas, by Anya Hindmarch; anyahindmarch .com. PAGE 153: In Olympia’s bedroom, on walls, Tangled wallpaper, in argent, by Porter Teleo; porterteleo-studio .com. On bed, Coeurs Pink linens by D. Porthault; dporthaultparis.com. Akari model UF3-Q floor lamp by Isamu Noguchi; shop.noguchi.org. Curtains of Hielo wool, in powder, and Patagonia wool, in floral pink; both by Holland & Sherry (T); hollandsherry.com; fabricated by Interiors by J.C. Landa; interiorsbyjclanda.com. Custom wool area rug with pom-poms, in cream, by Mitchell Denburg Collection (T); mitchelldenburg.com.

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When Parisian collectors suggested wood paneling for the master bedroom of their hôtel particulier, AD100 designer Pierre Yovanovitch proposed something radical—enlisting Tadashi Kawamata to create a site-specific installation. Over the course of three weeks in 2017, the Japanese artist meticulously assembled hundreds of unfinished planks into a wood cocoon aptly titled Nest in Bedroom. “While the building is classic, the work itself is simple and unpretentious,” notes Yovanovitch. “I very much like to play up this tension.” Accented by a bespoke chimneypiece, Campana Brothers lounge chairs, and a midcentury Severin Hansen floor lamp, the never-before-published space is a standout from Yovanovitch’s eagerly anticipated first monograph, Pierre Yovanovitch: Interior Architecture (Rizzoli, September). As he puts it: “History-laden places are just waiting to be revived by a contemporary spirit.” —SAM COCHRAN

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