May June 2024

FLOWER

HOUSE l GARDEN l LIFESTYLE

Contents

FEATURES

44

Home on the Ranch

With the purchase of the Texas farmland she shares with her husband, designer Denise McGaha returns to her roots and finds the inspiration for her newest collection.

52

Ornamental Beauty

More than 30 years ago, Barbara Israel purchased a collection of estate statuary that changed her personal and professional life in a most artistic way.

58

Past Meets Present

Designer Lauren Robbins shakes up a historic home in Augusta, Georgia, with an engaging palette, contemporary art, and a charismatic blend of old and new.

66

Game Changers

Nashville natives and renowned hostesses Mary Hollis Huddleston and Katie Jacobs put their expertise to work as they plan an afternoon gathering centered around a popular pastime.

ON

THE COVER:

Everything’s coming up roses, and we’re serving loads of floral inspiration in this issue. David Austin roses from Grace Rose Farm; platter by Anna Weatherley. Photographed by David Hillegas

“Just living isn’t enough,” said the butterfly. “One must also have sunshine, freedom, and a little flower.” –HANS CHRISTIAN ANDERSEN

PHOTO

MARY CRAVEN DAWKINS

15 Scene

Fresh-from-the-farm roses, floral-inspired jewelry, and the newest garden reads

25 Bohemian Soul

In an excerpt from their new book, writer Valorie Hart and photographer Sara Essex Bradley draw back the curtains to celebrate the houses and owners who embody the essence of New Orleans’ style and free-spirited character—at times refined, often quirky, and always intensely personal.

32 A Place of Hope and Healing

On her Virginia farm, floral designer Holly Heider Chapple draws from her own life experiences to share the restorative power of blooms.

38

In Full Fleur

Artist, legendary editor, and society figure Fleur Cowles was as cheeky and iconoclastic in the way she used flowers as she was in every other aspect of her life.

IN EVERY ISSUE

PHOTOS (TOP TO BOTTOM) BY SARA ESSEX BRADLEY; BY BETH SELIGA

ABOVE: As seen in Bohemian Soul, a hand-painted Greek key border in Jessica Harris’s house amplifies the high ceiling and walls intentionally left imperfect.

Floral designer Holly Heider Chapple

Watering can

AT PRESENT, WE’VE JUST come o International Women’s Day. I don’t always trumpet these commemorative moments on my social media sca olding, and it can be for any number of reasons. In this case, I refrained because I felt that the topic had been duly acknowledged in the zeitgeist, which allowed me to simply appreciate the messages of others. But as I read through our content for this issue, I can’t help but remark on the exclusively feminine makeup of the stories— not only the subjects whose houses, gardens, art, textiles, and games populate the pages, but even the writers.

I am an editor, a business owner, and a woman. However, I’ve never really highlighted the fact of my being a woman in business, or in the publishing business specifically. I simply had an idea that wouldn’t leave me alone, followed it down the path, and welcomed all who have wanted to walk alongside me. This must sound incredibly naïve, even obtuse, but it just never occurred to me not to do this thing, or that I might not be able to due to being a woman. What a luxury!

I’ve been pondering those who went before and those who have inspired me—a list too long to undertake here. But the table of contents is pretty much a microcosm—from the late Fleur Cowles who fearlessly launched a magazine that embodied her iconoclastic aesthetic to Denise McGaha who bundled

the botanical signposts from her family ranch into a groundbreaking collection of textiles and wallcoverings to Charlotte Moss who left the gray walls of Wall Street to launch into the kaleidoscope of interior design, gardening, flowering, and writing. We also include Barbara Israel who turned an impulse to collect garden statues into a thriving business, and Tovah Martin, the celebrated and prolific garden writer whose name is synonymous with all things horticultural. And on the last page, we feature Ariella Chezar who gave up a promising future in opera to immerse herself in the world of flowering.

All these women—and thousands more—have lived into their gifts and passions, and we are the beneficiaries. Let EVERY day be International Women’s Day!

Love and SDG, Margot Shaw EDITOR-IN-CHIEF

Please send your comments, triumphs, challenges & questions to: wateringcan@fl owermag.com

OR: Letters to the Editor

FLOWER Magazine I P.O. Box 530645 I Birmingham, AL 35253

Get the FLOWER email newsletter! Sign up at fl owermag.com/news

VOLUME 18, ISSUE 3

MARGOT SHAW

FOUNDER/EDITOR-IN-CHIEF

Karen Carroll EDITORIAL DIRECTOR

Julie Gillis MANAGING EDITOR

Nicole Gerrity Haas ART DIRECTOR

Amanda Smith Fowler STYLE DIRECTOR

Casey Epps EXECUTIVE ASSISTANT

Jason Burnett DIGITAL GENERAL MANAGER

Carrie Clay ASSOCIATE EDITOR

CONTRIBUTING EDITORS

Ashley Hotham Cox

Alice Welsh Doyle

James Farmer

Marion Laffey Fox

Elaine Griffin

Tara Guérard

Mary Hollis Huddleston

Frances MacDougall

Tovah Martin

Charlotte Moss

Matthew Robbins

Margaret Zainey Roux

Frances Schultz

Lydia Somerville

Sybil Sylvester

Amy Brecount White

For editorial inquiries: editorial@flowermag.com

Jennel O’Brien PUBLISHER

Suzanne Cooper NATIONAL DIRECTOR, HOME FURNISHINGS

Julie Durkee NATIONAL DIRECTOR, LUXURY

Wendy Ellis REGIONAL ACCOUNT MANAGER

Sara D. Taylor REGIONAL ACCOUNT MANAGER

Marlee Ledbetter INTEGRATED MARKETING MANAGER

For sales inquiries: sales@flowermag.com

BUSINESS OFFICE

Mercy Lloyd CHIEF OPERATING OFFICER

Nicole Bowman CIRCULATION MANAGER

Patrick Toomey ACCOUNTANT

CUSTOMER SERVICE

For change of address and subscription inquiries: 877.400.3074 or CustomerService@FlowerMag.info DIGITAL

ADVISORY BOARD

Paula Crockard

Winn Crockard

Gavin Duke

Gay Estes

Katie Baker Lasker

Mary Evelyn McKee

Michael Mundy

Ben Page

Angèle Parlange

Renny Reynolds

Scott Shepherd

Mish Tworkowski

Remco van Vliet

Evie Vare

Louise Wrinkle

What We’ve Got Our Eyes On

Petal Pushers

Drawing from nature’s most timeless shapes, these pieces will bloom eternally.

PREVIOUS PAGE: David Austin roses (bundles starting at $99) from Grace Rose Farm, gracerosefarm.com • Scalloped Leaf Tray with Handles ($550) by Anna Weatherley through Fête, tresbellefete.com • Vivian fabric in Forget-Me-Not (inquire for pricing) by Leah O’Connell Textiles, leahoconnelltextiles.com THIS PAGE; CLOCKWISE FROM TOP LEFT: 30mm Floral Engraved Round Disc ($5,000) on Club Bracelet with Diamond Clasp ($10,500) by Single Stone, singlestone.com • 13mm Wild Child Studs ($8,000) by Paul Morelli, paulmorelli.com • Daisy with Moonstone Petals and Diamond Center Earrings ($7,650) by Elizabeth Locke Jewels, elizabethlocke.com • Small Pave Diamond Flower Drop Earrings ($8,600) by Anita Ko, anitako.com • Kelly Necklace ($8,000) by Gumuchian, gumuchian.com • Chocolatier® Earrings with Cinnamon Citrine® ($2,468) by LeVian, levian.com • Chalcedony, Blue Topaz and Diamond Brooch ($4,200) by Singhvi Jewels, singhvijewels.com • Velvet (to the trade) by Osborne & Little, osborneandlittle.com • Golden Lily Wallpaper (to the trade) by Morris & Co., morrisandco.sandersondesigngroup.com

CLOCKWISE FROM TOP LEFT: Vintage 1957 Platinum, Pink Topaz, Aquamarine, Emerald & Diamond “Flower” Brooch ($129,000) by Verdura, verdura.com • Campanula Wallpaper (to the trade) by Morris & Co., morrisandco.sandersondesigngroup.com• Assael Morganite Keshi Pearl Flower Earrings (price upon request) by Assael, assael.com • Fruit Wallpaper (to the trade) by Morris & Co. • Coloured Cocktail Earrings ($77,000) by Buccellati, buccellati.com • Golden Lily Wallpaper (to the trade) by Morris & Co. • Pansy Earrings ($28,000) by Oscar Heyman, oscarheyman.com • Hyacinth Wallpaper (to the trade) by Morris & Co. LEFT: Mid-Century Carved Amethyst, Nephrite and Diamond Floral Brooch ($1750) from Land Antique & Estate Jewelry, landantiques.com

On the Sunny Side

Welcome warm-weather rays indoors and out with garden-themed décor and accessories.

•

•

•

Braun & Co., ebraunnewyork.com

• Antique

• L’Alliance

&

fairfaxandfavor.com

CLOCKWISE FROM BOTTOM LEFT: Caspar Arm Chair ($995) by Authentic Provence, authenticprovence.com • Meadow Multi Fabric in Leaf ($124 per yard) by Elliston House, ellistonhouse.com • Cranling Articulated Floor Lamp ($475) and 14-inch Straight Empire Shade in Egg & Spoon Ikat Gray Green Silk ($125) by Pooky Lighting, us.pooky.com

• Ditsy Block wallpaper in Bombolone ($193/roll) by Little Greene, littlegreene.us

Antique print from The Temple of Flora by Dr. Robert John Thornton; similar prints through Adams Antiques & The Potager, adamsantiquesandthepotager.com

Green Laurel Teacup ($170) and Saucer ($90) by Herend, herendusa.com

Citrona & Oranges Cocktail Napkins ($420/set of 6) by E.

French Louis XVI carved fruitwood marble top side table ($895) from Adams Antiques

The Potager, adamsantiquesandthepotager.com

Wellingtons in Navy Rubber ($450) by Fairfax & Favor,

“The glory of gardening: hands in the dirt, head in the sun, heart with nature. To nurture a garden is to feed not just the body, but the soul.”

—ALFRED AUSTIN

CLOCKWISE FROM TOP LEFT: Axford Lantern, Verdigris (inquire for pricing) by Vaughan, vaughandesigns.com

• Annie Floral 45x45 Silk Scarf in Cream ($130) by Liberty, libertylondon.com • Handmade Hexagonal Naranja Terracotta Tile ($24.57/square foot) by Bert & May, bertandmay.com

• David Austin Roses (bundles starting at $99) from Grace Rose Farm, gracerosefarm.com • Grapevine Oval Basket ($2,500) by Pennoyer Newman Garden Planters, pennoyernewman.com

Leafing Through

Every one of these new garden books will become a perennial favorite.

TOP TO BOTTOM: Wild Wisteria Mural in Ochre wallpaper ($600/repeat of three rolls) by Thibaut, thibautdesign.com • Outside In by Sean A. Pritchard, published by Mitchell Beazley, octopusbooks.co.uk • Fine Gardens by Jon Carloftis, published by West High LLC • The Garden Liberated by Paolo Pejrone, published by Rizzoli, rizzoliusa.com • The Tulip Garden by Polly Nicholson, published by Phaidon, phaidon.com • Private Gardens of Philadelphia by Nicole Juday, published by Gibbs Smith, gibbs-smith.com • Garden: Exploring the Horticultural World by Phaidon Editors, published by Phaidon, phaidon.com • Life in the Garden by Bunny Williams, published by Rizzoli, rizzoliusa.com • Miranda Mini Globe Vase in Heliotrope ($255) by William Yeoward Crystal, williamyeowardcrystal.com • Conner Cane End Table ($920) by Chelsea House, chelseahouseinc.com

A SHERRILL FUNITURE BRAND

Featured here: 123-01 Chair, 6049-00 Ottoman

A view of the ballroom, where distressed plaster is intentional, the dance floor is made of reclaimed wood planks, and a row of modern chandeliers serve as a focal point.

Bohemian Soul

IN AN EXCERPT FROM THEIR NEW BOOK, WRITER VALORIE HART AND PHOTOGRAPHER SARA ESSEX BRADLEY DRAW BACK THE CURTAINS TO CELEBRATE THE HOUSES AND OWNERS WHO EMBODY THE ESSENCE OF NEW ORLEANS’ STYLE AND FREE-SPIRITED CHARACTER—AT TIMES REFINED, OFTEN QUIRKY, AND ALWAYS INTENSELY PERSONAL.

The very things that draw one to New Orleans are quirkiness and individual expression and elegant eccentricity. An exotic difference that is locally called “culture” invites one on a magical exploration. It delights visitors, and some are so ensnared that they never leave. Locals remain lifelong residents; even if something takes them away, they often return years later.

There are several good illustrated books with the word “bohemian” in their titles. I have them all, yet even as I linger over those pages, my thought is that there is nothing like the homes in New Orleans. However, as the owners of those homes move on, either by passing from this world or being forced to leave the city for one reason or another, these great houses become a thing of the past, their charm renovated out of them.

So, before they are fully extinct, Sara and I wanted to document some of what remains. We had no economic criteria. Size does not matter. An artist in a humble garret, gifted interior design professionals, a trust-fund baby with deep pockets, an eccentric dreamer, a Voodoo queen, world travelers, collectors, antiquarians, a resourceful magpie, bon vivants, gypsies, and old souls all have the ability, and the urge, to create home environments that are truly their own. There is an authenticity that is undeniable, as well as unexpected beauty.

While this aesthetic might not be what the herd appreciates, it absolutely makes up the fiber of New Orleans. Bohemian decor itself has gone somewhat mainstream with the advent of design bloggers, coffee table books on the subject, and so-called influencers. A certain hipness and formula version emerged. Everyone everywhere can dabble. This book is not about that or them. This is a valentine and a last call to remember, appreciate, and revive the great bohemian soul of New Orleans.

Looking out to the balcony of the home of Andrew LaMar Hopkins.

In the library, a French Empire gueridon table in front of the window is used for work. A nineteenth century Chinese porcelain fishbowl sits underneath. The homeowners had bookshelves custom-made and modeled after some they saw in an apartment in Lyon, France. The portrait of a young man hanging over the mantel is by Louisiana artist Mimi Stafford.

“Nathan Drewes and Patrick Dunne agree that often the best things to happen in a room’s decor are un-premeditated, accidental, or frankly sentimental. These kinds of forces, from the faded and chipped to the elegant and fine, suddenly make a chair or a picture or a coffeepot just the right thing.”

—VALORIE HART

“So, in the end, how can New Orleans style be defined? It can’t really. It is best appreciated as a mirage, a passing papier-mâché parade with subtle themes, savored and celebrated like a piquant étouffée, which this book, with its bewitching insights and images, does.” —Patrick Dunne

© Bohemian Soul: The Vanishing Interiors of New Orleans by Valorie Hart, Rizzoli, 2024; Images © Sara Essex Bradley, Rizzoli, 2024

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The Caperton Collection’s Kara Vanity Stool upholstered in Jim Thompson’s Samarkand Fabric

A Place of Hope and Healing

ON HER VIRGINIA FARM, FLORAL DESIGNER HOLLY HEIDER CHAPPLE DRAWS FROM HER OWN LIFE EXPERIENCES TO SHARE THE RESTORATIVE POWER OF BLOOMS.

By Amy Brecount White • Photography by Beth Seliga

With the idea of welcoming aspiring floral students, renowned floral designer Holly Heider Chapple and husband Evan purchased Hope Flower Farm in Waterford, Virginia, in 2015. The 25-acre farm, including an 1820s main house and a large barn, became a bucolic teaching facility, as well as a place for Holly to continue growing flowers for weddings and other special events. Since that time, it has expanded to include multiple venues available for celebrations or retreats, as well as a

winery, a gift shop, and even a cozy cottage that can accommodate up to six guests. However, the farm’s most important purpose is one of healing— something that evolved from Holly’s own experience with loss and grief.

A parent to seven children, Holly has long been known as “the flower mama,” and Evan was her work partner and jack-of-all-trades. When the pandemic temporarily halted the couple’s original business model, they briefly shifted the farm’s focus to offering bouquets for pickup. For many residents in the area,

TOP RIGHT: Known in the floral industry as “the flower mama,” designer Holly Heider Chapple creates natural, flowing, and often whimsical designs. ABOVE: As a tribute to her late husband, Evan, Holly hired a local builder to create an “E shed” (similar to what most people call a “she shed”) out of locally reclaimed materials in his memorial garden. She uses the space for hosting special events and as a spot for her style team to escape.

Private Collection Oil on canvas

Flower Farm

of healing where vistors can “feel the strength and warmth of a

magical that

BELOW, LEFT TO RIGHT: “When a particular crop flushes, we design around that flower,” says Holly. “Guests can see the flowers in the field and then as part of the tablescapes.” • Jack Cat is known as “the farm con artist” and was part of a barn cat adoption program. The hard cider made and sold on the farm is named after him.

ABOVE: Holly and her team planted Sunflower Alley as a place

flower so

it turns its face toward the sun.”

Flower Farm

that change proved to be a lifeline during Covid. “We always knew that flowers were magical and spiritual,” says Holly. “That became even more apparent as we helped our customers make their homes feel more alive while everyone was stuck inside.”

One year later, just as the Chapples were getting the farm back on its feet, they were dealt another blow. Evan was diagnosed with cancer and later died in June of 2022. “My own grief and need for healing inserted me into a world where I’d had no exposure,” says Holly. As a result, she leaned into one of the biggest

things her floral career had taught her—how to listen to people. “I’m an empath, and I’ve always loved connecting with others through the stories they share, especially ones of difficulty,” Holly says. “Since Evan’s passing, we have made the farm a place for people to immerse themselves as part of the healing journey.” And while the name of the farm seems fitting for this new focus, it simply came from its origins as a dairy farm once run by the Hope family. Now the name seems almost prescient.

In 2023, the farm opened its flower fields for grieving families to enjoy. Holly

The event barn hosts weddings, floral education classes, and winery guests. Its oversized chandelier is often decorated with flowers for such occasions.

also added a new garden area called Sunflower Alley featuring thousands of the namesake flower known by many as a symbol of hope, strength, and happiness. And a field of forget-me-nots, seeded from the original batch planted by Evan the week before he died, serves as a beautiful tribute to his contributions on the farm. “We’re trying to create floral experiences that are sentimental and inspired and that acknowledge people we have lost, as well as those who are healing and hurting,” Holly says. “Representing a family through flowers is what it’s really all about.”

Charlotte Moss for Ibu

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In Full Fleur

ARTIST, LEGENDARY EDITOR, AND SOCIETY FIGURE FLEUR COWLES WAS AS CHEEKY AND ICONOCLASTIC IN THE WAY SHE USED FLOWERS AS SHE WAS IN EVERY OTHER ASPECT OF HER LIFE.

By Charlotte Moss

Most people best remember Fleur Cowles as the creator of one of the most innovative— and financially extravagant—magazines ever published. Flair, which launched in 1950 and lasted only one year, featured editorial contributions from esteemed individuals such as Winston Churchill, Pablo Picasso, Salvador Dali, and Jean Cocteau. Boasting covers with artistic cutouts, along with varying paper stocks for its special foldout features, the magazine was a visual feast. Its intent was to spark the intellect in a way that no other publication ever had.

Flair cost $2.50 per issue to produce, yet it sold for only 50 cents on the newsstand. A financial disaster with a short lifespan, the publication remained one of Cowles’s proudest achievements.

I first met Cowles in 2005 at her Albany apartment in London. At the time, she was 97 and sharp as a tack, known for making such pronouncements as “I wake up expecting things” or “Guests have to be worth listening to.” I remember anxiously awaiting my meeting with this dynamo as I stared at the tall panels on her wall, painted by Federico Pallavicini

LEFT TO RIGHT: Surrounded by examples of her own art, Fleur Cowles stands in front of the Pallavicini panels painted on hessian. • The May 1950 issue of Flair featured a characteristic cutout on the cover that depicted Cowles’s favorite flower, the rose.

who also worked for her at Flair. The nine panels depicted large urns with a single type of blossom in each that stretched from floor to ceiling behind a pink banquette. On one side of the panels was a tall floor vase with ceiling-height stems of dried hogweed. While I did not ask how she acquired the stems, I imagined Cowles instructing her husband to stop the car so she could hop out and cut the towering branches to take home. A city girl with a soft spot for foraging.

Cowles had a fearless and original style of entertaining, which featured all manner of unusual plants and vessels in a range of floral styles that always delighted guests. An abundance of

flowers was usually displayed against her Wedgwood-blue walls, along with huge arrangements of dried specimens. She adored the wildness of weeds in nature and bristled at the conventions of “good-taste” flower arranging, such as the principle that flowers must have enough space between them for a butterfly to pass or that baby’s breath must never be used in combination with roses. To Cowles, such snobbery bred conformity and inhibited the freedom to play, which was a hallmark of her style—and of the style she encouraged in others. One suspects that she might have terrorized the garden club hierarchy.

There was one traditional flower, however, that Cowles adored— the rose. In fact, she dedicated an entire issue of Flair to the blooms, and she often painted them in her naive, bright, and singular style. She especially loved mixing red roses with pink clover, the weed often found growing in lawns. Her arrangements could be incredibly modern, almost abstract in design, or naturalistically abundant and loose as the occasion or location demanded. And her centerpieces often had a sly sense of humor displayed in unique combinations such as broccoli with chrysanthemums. Cowles thought flowers were best “accommodated, not arranged” in a vase or cachepot, very much in the spirit of Constance Spry. In another of her delightful turns of phrase, she stated that she liked wildflowers “plunked as picked” so that they retained their innocent charms.

Cowles’s open-minded approach even extended to the vessels. While she loved Venetian glass and fine ormolu, she saw any kitchen item that had some kind of hole in it as fair game. Though she eschewed most rules, Cowles did offer a few anti-rule directives of her own:

“Liberate your imagination,” “Follow your intuition;” “Don’t be inhibited,” and my favorite, “Improvise, improvise!” Among her own artistic improvisations were cheetahs and tigers floating amidst flowers in a Dali-esque manner, perhaps inspired by the 1959 biography, The Case of Salvador Dali, she wrote of her friend. Surrealistic effects aside, Cowles described her style of painting as “magical realism”—in other words,

emanating from her imagination, not painted from nature.

Two years after our first encounter, Cowles and I met again. She was now 99 and mostly confined to her bedroom. Her husband, Tom Montague Meyer, brought in tea for the three of us and very carefully monitored the length of our chat to prevent tiring her. Dressed in a beautiful bed jacket, Cowles reminisced and told me about the folding screen in her room called Fête Champêtre that was painted by Marcel Vertès. As I sensed she needed rest, I told her my teenage nieces begged me to ask just one question: “What advice would you give young women today?” Without hesitation, she replied, “Select who you talk to, select what you talk about, select how long you talk...select, select, select.” I thanked her and said goodbye, knowing it was probably our last meeting. Two years later, at the age of 101, she died, leaving behind her legacy of eccentricity and creativity.

With a lifelong love of gardening, designer Charlotte Moss has long been intrigued with what draws people—especially women—into the world of horticulture. She has a forthcoming book with Rizzoli on the subject of gardening women, set to release spring 2025.

OPPOSITE: Cowles’s study at Albany was filled with mementos, photos, and books. The Fleur Cowles Archive was later donated to the Harry Ransom Center at The University of Texas at Austin. ABOVE: Cowles described her style of painting as “magical realism.”

What’s Online?

Let’s Step Outside

Late spring and early summer days draw us outside to entertain or just relax with a drink and a copy of FLOWER magazine. We’ve gathered more than two dozen idyllic porches and verandas featured in our pages to inspire your outdoor space refresh—or maybe just your daydreams. See them all at flowermag.com/stepoutside

Designers’ Guide to Gallery Walls

A curated display of art or objects not only allows you to share a collection but also to create a “wow” moment and conversation starter in any space. We look at several styles of gallery walls and talk to gallerists and interior designers about considerations for planning your own art wall. Find it at flowermag.com/gallerywalls

HITTING THE HIGH NOTES

For more than three decades, New Orleans bons vivants and musicians Michael Harold and Quinn Peeper have both entertained and inspired with their melodic mix of tablescapes, tips, and recipes. Take a peek at some of the celebrations featured in their book, Classical Shindig: Amateur Artistry from the Simple to the Sublime (Susan Schadt Press) at flowermag.com/highnotes.

PHOTOS

MIX UP YOUR MIXED CONTAINERS

The compact berry plants from Bushel and Berry® are easy to grow right alongside your favorite herbs and perennials on the patio. Step up your garnish game with fresh fruit for salads, drinks, baked goods, and more.

Home ON THE Ranch

With the purchase of the Texas farmland she shares with her husband, designer Denise McGaha returns to her roots and finds the inspiration for her newest collection.

Written and produced by

ASHLEY HOTHAM COX

Photographed by NATHAN

SCHRODER

Styled by JIMMIE HENSLEE

PREVIOUS PAGES: Located just off the main house lies the McGahas’ woodshed, which houses their Beefmaster cattle, as well as a dining table designed by Denise and handmade by a local carpenter. THIS PAGE: Perched atop the roof rack of Scott McGaha’s 1988 Land Rover Defender are pillows covered in Denise’s fabric collection for Vervain.

“You have to know the past to understand the present.” At least that’s what the late American astronomer and science writer Carl Sagan once said. For Dallas interior designer Denise McGaha, these words ring true.

When an opportunity arose during the pandemic for Denise and her husband, Scott, to purchase a dairy farm in Decatur, Texas, the couple jumped at it. Their idea was to transform it into a ranch for raising beef cattle, a venture that seemed like a drastic departure for the designer. However, the pivot was anything but that. Denise stems from a rural part of Central Texas and is as well versed in agriculture, livestock, and the rich soil that permits each to flourish as she is in interiors and fashion. “I never thought I would return to my roots in the country, but I started longing for a place where a slower life existed,” says Denise.

Just an hour up the road from Dallas, the McGahas’ 20-acre ranch, named Flintlock, sits atop one of Wise County’s many hills, making it the poster child for country living. Decatur is a town where community is key—and Flintlock is no different. Its sense of place draws you in and keeps you fed. And for Denise, it became not only a refuge and respite from the pandemic but also a place of inspiration.

Maintaining a ranch requires boots on the ground, and as Denise walked the property over the years, she developed a connection with the land. “The ranch forces you to be in nature every day,” she says. “Sitting atop a hill, you are able to watch amazing sunsets and track weather patterns. We often see storms rolling in, and our large oak trees signal the seasons for us. The wind rustles through them when there is a weather change; the animals are shaded by them in the summer when the trees are fully leafed out; and then they drop their many colored leaves in fall as the temperatures drop.”

Paying close attention to these things helped Denise develop an acute awareness for Flintlock, which is why it became the perfect muse for the newest Denise McGaha Interiors launch— a fabric collection with Vervain. Given a shared affinity for honoring tradition and quality, the partnership was a natural fit. “Denise is definitive in her thinking yet open to dialogue and the organic nature of the creative process,” says Nina Butkin, vice president of design for Vervain.

Intertwined in the threads of the collection lies Denise’s story, one that’s filled with richness and authenticity. Vervain

was invested in telling that story, which further cemented Denise’s faith in the partnership. “I have a real heart for family-owned companies,” the designer says. “There’s a lot of knowledge of what it takes to start something from scratch and grow it, and that makes a big difference to me.”

Denise was deliberate when it came to developing each pattern and colorway. From the original prints and embroidered accents to the luxe velvets and color schemes, the collection is a thoughtful intersection of where her past meets her present. “There’s a lot of nature and organic inspiration in the collection,” the designer says. With patterns that include blackberries, ferns, vines, and leafy textures, each piece is not only a reflection of Flintlock but also of her Texas upbringing.

Much like where she dwells today, Denise grew up on a ranch in Central Texas, where hospitality, entertaining, and eating well were the cornerstones of her home. After a long day of working outside, everyone was treated to a plated meal on a beautifully set table. Proper table linens were impressed upon Denise by her grandmother, who was a cattle rancher and gardener, as well as the matriarch of the family. “There was always a tablecloth for every season,” says the designer. “And there were always matching or coordinating napkins.”

Denise has created a beautiful juxtaposition between the place that inspired her new collection and the collection itself. “There’s a ruggedness that reflects the nature here, but there’s also a refinement,” Denise says. And certain patterns are closely tied to her memories. For example, Berrymore is a tribute to her grandmother and the blackberry vines she grew in her garden. “It reminds me of all those years that my brother and I picked blackberries into five-gallon buckets,” Denise says. “The amount we collected from those vines over the summers was crazy. We would have stained fingers and thorns in our thumbs, but I loved it.”

For Denise, it’s all about capturing beauty, whether on the ranch or in her fabrics. “When I walk through the pastures at Flintlock, I watch the light change and what the leaves do. And I pay attention to the colors of our animals and the patterns of their coats or their fur,” the designer says. “That’s beauty to me.”

ABOVE: Denise draped her table in Royal Fern, an embroidered fabric for Vervain, topped with her collection of unmarked Blue Willow china on lettuce plates. OPPOSITE: In the guest house, a wet bar utilizes the barn’s original sink. The window features a Roman shade made with Denise’s Berrymore pattern, an homage to her late grandmother and the blackberry vines she grew.

ABOVE: Denise converted the now-defunct dairy barn into a guest house that offers visitors a luxurious respite set amidst the ranch’s bucolic landscape. Flanking the canopy bed is a pair of custom-made lampshades in Vervain’s Foxy fabric. OPPOSITE: In the guest house bathroom, an antique armoire houses Denise’s collection of fabrics and wallcoverings for Vervain.

Ornamental Beauty

More than 30 years ago, Barbara Israel purchased a collection of estate statuary that changed her personal and professional life in a most artistic way.

By TOVAH MARTIN Photography by VISKO HATFIELD

Barbara Israel always knew she would have a garden—and she knew that her garden would be formal in style. Her love of all things classical was forged at a young age when she spent summers climbing the walls of a nearby estate to gain a glimpse of its gardens. She found an instant affinity for the symmetry of the plantings. But even then, it was the statuary that really spoke to her.

Fast forward to when Barbara was a young mother and, together with husband Tom, decided to buy a country house just outside of New York City. Tom had only one request: He wanted to live on a quiet road. Barbara’s must-have list was much longer, but when she toured Steepway Farm in Westchester County, she found it immediately ticked all the boxes.

Dating back to 1830, the property had a modest farmhouse on

five acres. But most importantly, it had the vestiges of a formal garden, reputedly based on a hastily scribbled Frederick Law Olmsted plan. The couple snapped up the property in 1980 and then dug in—literally. Most of the plant selections and plantings were done personally. While Tom focused on populating the vegetable garden, Barbara went to work on the perennial beds. “We promised each other that we’d make ourselves stop gardening and drag our tired bodies inside every evening at 8pm for dinner,” Barbara says.

The landscape had lineage which Barbara traced to Alice Draper, in residence from 1920-1956. Draper knew and cared about gardens with such depth that she buttonholed the Olmsted firm to do the design. When the Israels came onto the scene many years later, the bones of a pair of dual borders remained intact, but the plant palette had been replaced to reflect what was readily and locally available. Barbara sought out a more curated roster of perennials, including dozens of heirloom roses. Simultaneously, she strengthened the overall layout of the land. When she asked a British friend to help with her allées, he suggested expanding an axis and then finding a

meaningful piece of statuary or urn to place as a culminating focal point. But there was one transformational bit of his wisdom that proved pivotal for Barbara—he recommended pruning the surrounding trees to let light shine on the artwork. That friend had no idea how far Barbara would take his suggestion.

Barbara understood right away that her landscape was nothing without a garden ornament, and she set out to find something that deserved to be spotlighted. She began her search for a suitable garden statue at a Long Island estate. As Barbara explains, “I went to the property and ended up buying not just one statue but every statue they were selling—all 40 of them!” Not only did she find that truly important piece of art for her garden—which remains there today—but suddenly, she was in business.

Ask Barbara if she had any regrets, or even a slight wave of cold feet, after the extemporaneous purchase, and she adamantly denies it. “Plus, I have an understanding husband,” she laughs. Apparently, all that wall climbing from childhood paid off because Barbara quickly recognized that her 40-statue haul was filled with important works that were sold to her for

PREVIOUS PAGES, LEFT TO RIGHT: Intricately carved with stylized birds, animals, and leaves, a Byzantine-style marble tazza is displayed in Barbara’s garden. • Supporting a native honeysuckle cultivar, the arch at the end of a perennial border accents nearby Brunnera ‘Jack Frost’ and Nepeta x faassenii. THESE PAGES, ABOVE: Roses arch over the fence accented by nepeta and boxwood orbs. OPPOSITE, CLOCKWISE FROM TOP LEFT: A mystery Austin rose blooms with beauty and fragrance. • A carved sandstone statue (one of a pair of parapet figures) holds a book of music. • In the pump house garden dominated by a pensive gentleman of composition stone (circa 1920), a balustrade (also 1920) offsets the hedge.

For the entrance to the property’s restoration studio where artisans work on garden ornaments, fellow gardener (and author) Page Dickey suggested the bright red, repeat-blooming, ultra-fragrant ‘Robin Hood’ hybrid musk rose to wrap around the picket fence. Unfazed by the weather, the roses produce abundant blossoms that highlight a Japanese maple. Nepeta and New Guinea impatiens run around the ankles of the tree.

Garden Statuary 101

When it comes to garden statuary, Barbara Israel says there are no hard and fast rules. “Every landscape is different and every homeowner has their own aesthetic,” she says. “Plus, you’re dealing with nature, so there are all sorts of variables.” However, she does have some helpful tips for beginners.

Add an ornamental garden bench or chair. A bench signals to visitors that you welcome their company and are prepared for their comfort. Further, a bench (or two chairs) suggests that you might join them.

Capture a view.

Enhance your guests’ experience by placing seating in an area with a beautiful view. Want to be an even more thoughtful host? Arrange the seating beneath a shade tree. Create niches for your ornaments. This allows the statuary to be silhouetted in all their glory. Also consider positioning formal statuary closer to the house while placing natural elements further afield.

Include a surprise around every corner. What better way to bring some drama and excitement to your garden?

a song. In fact, the quartet of Chinese musicians she bought that day were ultimately snapped up by Yoko Ono on a visit to Barbara’s shop. She later saw another of her statues proudly profiled in the window of the legendary Madison Avenue antiques shop, Florian Papp. More of her treasures have since found equally prestigious homes.

Barbara has been collecting garden ornaments ever since that fortuitous purchase at the estate sale, and most of her acquisitions hold temporary residency at Steepway Farm. She tries not to become too attached since everything, apart from that first statue and some inherited family pieces, is for sale. Caesar and Cupid hold court, along with Diana, Mercury, and an assortment of others, all surrounded by collections of urns and sundials. But Barbara’s favorite sculptures are the

animals—from dogs and rabbits to deer, eagles, and lions.

To best display her acquisitions, Barbara has created niches that house her collection. “You have to provide the fantasy,” she says of her carefully, but temporarily, positioned pieces. And while the statuary is transient, the property does host some permanent residents, including an impressive display of unusual perennials thoughtfully placed among the garden ornaments. Steepway Farm also includes an orchard, a grape arbor, and a pump house garden. In addition, Tom’s vegetable garden has been transformed into a rose garden.

While Barbara insists, “I’m not a garden designer,” the fruits of her labor tell a different story. Her deft eye has created the perfect balance between botanical and sculptural at Steepway Farm, her garden masterpiece.

The winged cherub is a popular motif for garden ornaments. Here, the intricate bronze fountain figure (Continental, circa 1990) holds a fish while standing on a rockwork base in a circular stone basin. He serves as the focal point in a boxwood-edged parterre garden backed by a Concord grape arbor.

Past Meets Present

Designer Lauren Robbins shakes up a historic home in Augusta, Georgia, with an engaging palette, contemporary art, and a charismatic blend of old and new.

By ALICE WELSH DOYLE Photography by HECTOR SANCHEZ

Many factors come into play when determining whether a decorating scheme is successful, but Lauren Robbins’s longtime client Joye Richards conveyed her absolute satisfaction with perhaps the ultimate compliment: “I never want to live anywhere else!”

This is the third house that Lauren has worked on for Joye, so she really understands what her client likes—elegance mixed with comfort. As Joye explains, “I don’t want people who visit to feel that they can’t touch anything.” While the architecture of the 1919 house, with its Mission-style leanings, double portecochères, and tall ceilings, could lead to the assumption of very formal interiors, Lauren knew exactly how to dispell that notion. She paired streamlined antiques with more contemporary pieces, adding in some edgier art finds along the way.

When it came to selecting the palette and fabrics for the home, Lauren kept any sort of fussiness at bay. “Joye loves coral pink, so we wove that color throughout the main living spaces,” she says. “It feels young and fresh.” Sometimes the hue comes through in a whisper, as seen in the pillow on the front entry bench. In other places such as the family room, it’s in full bloom in the rug, the framed Gracie panels, and the floral fabric on the ottoman. The dining room also reveals hints of pink in drapery panels and a large abstract painting.

A different color story plays out in the sitting room, connected to the family room through meticulously restored original pocket French doors. “Since the family room leans more feminine with the florals and softer colors, I went in a more buttoned-up, manly direction for the sitting room,” says Lauren. “It has more of an art deco vibe.” The designer employed navy and olive-green tones, a muted wavy-patterned wallpaper, and a creamy white coffee table with a hint of Moroccan flair. An understated Louis-Phillipe mirror accompanies an antique storage buffet with clean lines, emphasizing the polished theme. In the Oushak rug, a thread of coral pink appears among shades

PREVIOUS PAGES: On the exterior, fresh creamy paint replaced the previous yellow. A local plaster artisan added detailing over the French doors and arched porte-cochères. THESE PAGES: In the sitting room, a mélange of old and new décor includes a Louis-Phillipe mirror with floral carvings and an alabaster-hued coffee table from Mr. and Mrs. Howard for Sherrill Furniture. Lauren covered the walls with a subtle Cowtan & Tout wallpaper. “It adds some movement,” she says.

of blue and mustard, bringing a subtle sense of connection between the rooms.

Perhaps the quietest spot in the house is the outdoor porch, which connects to the formal dining room. “I wanted it to feel like an extension of the house, which is why I included table lamps and a subtle cheetah print rug,” says Lauren. “I used white and brushstrokes of light blue to complement the dining room without competing with it.” Still the porch shows off one bold element, a cheetah painting that artist Elaine Burge treated with a shellac compound to make it suitable for outdoors. “I love

OPPOSITE PAGE: In the living room, hand-painted, framed Gracie panels set the tone for the palette of soft blues and pinks. The brass chandelier used to be in the entry of the family’s former home. Here, it makes a statement centered in the original molding on the ceiling.

THIS PAGE: A profusion of fresh blooms complements an array of colored glassware on the dining room table. Flower-shaped ceramic candlesticks by Lisa Alpaugh of LiBird Studio add to the floral theme. The homeowner’s favorite shade of coral pink appears in the hurricanes on the mantel and in the Cowtan & Tout drapery panels.

FOLLOWING PAGES: For the back porch, Lauren commissioned Georgia-based artist Elaine Burge to create the cheetah painting which plays off the rug.

art, and I’m not scared of funky pieces,” says Joye. “I also like supporting emerging artists who aren’t well known yet. I’m not interested in ‘names’ or provenance; I just want to fall in love with it.”

The Richards have also fallen deeply in love with their home. “I always knew how strongly I felt about this house, but I wasn’t sure if my husband shared the sentiment,” says Joye. “One day I asked whether or not he would consider selling if someone offered us an outrageous sum. Without hesitation, he said, ‘Absolutely not!’ ”

GAME CHANGERS

Nashville natives and renowned hostesses Mary Hollis Huddleston and Katie Jacobs put their expertise to work as they plan an afternoon gathering centered around a popular pastime.

Written

and produced by MARY

HOLLIS HUDDLESTON

Recipes and food styling by

Photography by MARY CRAVEN DAWKINS

KATIE JACOBS

Mahjong is having a moment. Grounded in tradition, the game has historically been associated with older generations. However, thanks to its inherent social nature that encourages community, often over food and drinks, Mahjong is becoming the “it” game for all ages. As a self-proclaimed Southern entertaining enthusiast, I found it to be the perfect catalyst for throwing a great party.

When I received my first set of custom kelly green Mahjong tiles, courtesy of The Mahjong Line, I immediately called upon dear friend and fellow entertaining guru Katie Jacobs to help me host an afternoon of food and festivities centered around the chic pastime. Katie and I have both made careers out of entertaining and styling tables—and we’ve teamed up to plan many events. Since Katie is a wizard in the kitchen, a skill that eludes me, she’s always willing to handle the menu. As far as I’m concerned, a complimentary co-host with a similar aesthetic is a most valuable asset.

Katie also has the gift of a green thumb, and her colorful garden just outside of Nashville provided the most enchanting setting for our gathering. “This garden is a family project,” she says. “My husband and I, along with our children, tend to it every day. It now consists of multiple raised beds, including two flower beds and two herb beds, as well as an in-ground growing area.” Using the garden as the setting for a gathering is

PREVIOUS PAGES, LEFT TO RIGHT: Guests dined at Katie’s stone table nestled in the midst of her vibrant garden. • Mahjong tile stir sticks from Acrylic Sticks were clustered together in a small terra-cotta pot. THESE PAGES: A colorful mix of formal pieces with nature-themed elements such as bamboo-handle flatware and pressedflower acrylic place cards created a festive and welcoming tablescape in the garden setting.

“For this party, I focused on simple, fresh bites that are easy to eat while playing table games.”

—KATIE JACOBS

not new to Katie. As an author, stylist, and photographer, she has utilized the space to host numerous dinners, celebrations, and photo shoots.

For our event, I selected a decorative game-table topper from Fenwick Fields with a scalloped brushstroke green pattern to complement my Mahjong tiles. I sourced handembroidered cocktail napkins, along with an assortment of playful acrylic Mahjong stir sticks for our beverages. We set up a wicker drinks table to hold lavender glassware along with several mouthwatering snacks and beverages courtesy of Katie’s culinary talents.

“Summer is my absolute favorite time to invent new recipes inspired by what comes out of the garden that day,” says Katie. “For this party, I focused on pops of color with simple fresh bites that are easy to eat while playing table games.” Guests happily passed around plates of crostini topped with golden beets, arugula, goat cheese, edible flowers, and tomato, along with charred corn and ricotta with fresh basil. Deviled eggs with caviar and pickled swiss chard were savory favorites. Sweet treats included white chocolate-covered pretzels dipped in crushed pistachios, as well as lemon and white chocolate chip cookies with lavender fresh from the garden. Flowers frozen in ice cubes added to colorful cocktails, including a delightful strawberry thyme lemonade. “The finale was kiwi cheesecake

with fresh berries and edible flowers from the garden,” says Katie. “It was an absolute showstopper.”

For the table setting, I played off the colors in Katie’s garden using a floral tablecloth and placemats from one of my favorite linen designers, D’Ascoli. I also brought in my personal collection of hand-painted Ginori plates to complement the pink accents in the Mahjong tiles. When setting an outdoor table, I love using as many natural elements as possible, so I chose bamboo-handle flatware, as well as woven chargers and napkin rings.

Flowers are always a necessity for my table settings, but they were even more important in this lush garden setting. While Katie and I both enjoy arranging our own flowers, we also believe in delegation, so we brought in our friends from The Tulip Tree to help. Using fresh blooms plucked onsite, they created arrangements of sunflowers, zinnias, cosmos, dahlias, poppies, Queen Anne’s Lace, and globe amaranth.

No party is complete without favors—and since we knew ours would come in handy during the party, we didn’t wait until the end to hand them out. The woven, handheld fans from Klatso Home helped guests keep cool in the Southern heat. And as the game came to a close and players began to say their goodbyes, each guest took home the keepsake as a reminder of our special occasion.

OPPOSITE: Katie served up her famous lemon and white chocolate chip cookies with lavender on a vintage mint green cake stand. THIS PAGE, CLOCKWISE FROM TOP LEFT: For the table setting, Mary drew inspiration from the abundance of flowers in Katie’s garden. • Strawberry thyme lemonade cocktails included frozen edible flowers. • Doubling as a work of art, Katie’s kiwi cheesecake topped with edible flowers was served on a wicker cake stand from Amanda Lindroth. • Guests enjoyed two variations of crostinis: beet, arugula, and goat cheese with edible flowers and tomato, charred corn, and ricotta cheese with fresh basil.

MODERN DAY MAHJONG

Originating in the mid-19th century in China, Mahjong made its way to the United States in the early 20th century. The game hit its peak of popularity during the 1920s and 1930s but then lost some of its luster in later decades. Today, Mahjong is seeing a resurgence, not only in the United States but worldwide—and manufacturers have taken notice. Chic Mahjong game sets include tiles in an array of colors made from materials such as bamboo, wood, and clay, many of which are hand-painted. Here are some of our favorites.

American Mahjong Line Tiles, (starting at $375) from The Mahjong Line; themahjongline.com

Luxe Shagreen Mahjong Set ($2,750) from Aerin; aerin.com

Luxury Mahjong Set ($2,850) from Scully & Scully; scullyandscully.com

Oh My Mahjong Ultimate Mahjong Starter Kit ($680) from Neiman Marcus; neimanmarcus.com

Tizo Lucite Mahjong Set ($348) from Bloomingdale’s; bloomingdales.com

For the full menu and recipes from Katie Jacobs, go to flowermag.com/game-menu. And to find the latest in stylish game tables, go to flowermag.com/game-tables.

OPPOSITE: To provide ample room for game play, Mary set up a separate drinks table that was easily accessible to guests. THIS PAGE, TOP TO BOTTOM: Game table beverages were served in lupine-colored Rialto glasses from Hester & Cook. • Colorful tiles from The Mahjong Line complemented the green-striped topper from Fenwick Fields.

Sources

Any items not listed are unknown.

SCENE

PAGE 20: The Garden That I Love by Alfred Austin, stylist’s own vintage copy; Garden Roses by Gracielinda Poulson, published by Artisan; Back to the Land by Pieter Estersohn, published by Rizzoli, rizzoliusa.com; The Flower Yard in Containers & Pots by Arthur Parkinson, published by Rizzoli, rizzoliusa.com; Home in Bloom by Ariella Chezar, published by Ten Speed Press, crownpublishing.com; The Landscape of Home by Hollander Design, published by Rizzoli, rizzoliusa.com

FLOWER FARM

PAGES 32-36: Hope Flower Farm, hopeflowerfarm.com

HOME ON THE RANCH

PAGES 44-51: DESIGN: Designer: Denise McGaha, Denise McGaha Interiors, denisemcgaha.com. WOODSHED: Bamboo Folding Chairs: Target, target. com; Chair Slipcover: “Liana Sheer” by Denise McGaha for Vervain, fabricut. com; Tablecloth: Royal Fern by Denise McGaha for Vervain, fabricut.com; Mirror: Suzanne Kasler for Ballard Designs; Tole Black Chandelier Shades: Ballard Designs, ballarddesigns.com. RANCH

EXTERIOR WITH TRUCK: Pillows: Denise McGaha Collection for Vervain, fabricut. com; Fabric: Denise McGaha Collection for Vervain, fabricut. TABLETOP SHOT: Tablecloth: “Royal Fern” by Denise McGaha for Vervain, fabricut.com; Blue Plates: Blue Willow China, Replacements, Ltd., replacements.com. GUEST HOUSE

WET BAR: Table: David Bell Antiques, Antique and Design Center of High Point, hpadc.com; The Duchess Candelabra: Dunes and Duchess, dunesandduchess. com; Chairs: Hickory Chair, hickorychair. com; Zellige Tile: Bespoke Tile and Stone, explorematerial.com, Roman Shade Fabric: “Berrymore” by Denise McGaha for Vervain, fabricut.com.

GUEST HOUSE BEDROOM: Bed: Atrium Bed, Woodbridge Furniture,

woodbridgefurniture.com; Sheeting: Matouk, matouk.com; Leaf Pillow Fabric: “Pindo” by Denise McGaha for Vervain, fabricut.com; Plaid Tartan Pillow Fabric: “Trapping” by Denise McGaha for Vervain, fabricut.com; Throw: Collected by Schwung, collectedby.schwung. design; Lampshade Fabric: “Foxy” by Denise McGaha for Vervain, fabricut. com; Terracotta Object: Collected by Schwung, collectedby.schwung.design. com. GUEST HOUSE BATHROOM:

Antique Armoir: o.a.k, Chelsea on Green at High Point, hpxd.org; Pillows, Fabric, and Wallcovering Rolls: Denise McGaha for Vervain, fabricut.com; Large Vase: Everly Large Vase, Wildwood, wildwoodhome.com; Decorative Plates: Collected by Schwung, collectedby. schwung.design.

ORNAMENTAL BEAUTY

PAGES 52-57: Barbara Israel Garden Antiques, bi-gardenantiques.com

PAST MEETS PRESENT

PAGES 58-65: INTERIOR DESIGN: Lauren Robbins, laurenrobbinsinteriors. com. LANDSCAPE DESIGN: Anderson Horticultural Group; SITTING ROOM: Highland House swivel chair fabric: Cowtan & Tout blue velvet, cowtan. com; Coffee table: Mr. and Mrs. Howard, mrandmrshoward.sherrillfurniture. com; Green chairs: Switch Modern, switchmodern.com; Chandelier and lamps: Visual Comfort, visualcomfort. com; Wallpaper: Cowtan & Tout, cowtan.com; bust: Artemest, artemest. com; green bowl: M. Clément Studio, mclementstudio.com; Oushak: Kishi Rugs, kishirugs.com; art : Michael Patterson, michaelpattersonpaintings. com FAMILY ROOM: coffee table and pink chair, Highland House, highlandhousefurniture.com; swivel chairs from Lee Industries in fabric from Pintura: leeindustries.com and pinturastudio.com; framed floral wallcoverings: Gracie, graciestudio. com; wood and marble side tables: Hickory Chair, hickorychair.com;

lamps: Visual Comfort, visualcomfort. com; rug: Kishi Rugs, kishirugs.com; floral fabric on ottomans: Hazelton House. hazeltonhouse.com; drapery fabric: Cowtan & Tout, cowtan.com.

DINING ROOM: dining table: Theodore Alexander, theodorealexander. com; fabric on chairs, Schumacher, Schumacher.com; hurricanes: International Shades, internationalshades. com; curtain fabric: Cowtan & Tout, cowtan.com; artwork: Dimitri Koustav, anyatishgallery.com.

OUTDOOR PORCH: cheetah print rug: Patterson Flynn, pattersonflynn.com; coffee tables: CB2, cb2.com; furniture: RH, rh.com; OUTDOOR FABRICS: Perennials, perennialsfabrics.com; art: Elaine Burge, elaineburge.com.

GAME CHANGERS

PAGES 66-73: STYLING: Mary Huddleston (mrssouthernsocial.com) and Katie Jacobs (stylingmyeveryday.com),

FOOD: Katie Jacobs; Table Linens and Placemats: D’ascoli, dascoli.co; Woven Chargers, Napkin Rings and Fans: Klatso Home, klatso.com; Linen Napkins: Bed Threads, bedthreads.com; Gingham Seat Cushions: Mrs. Alice, mrsalice. com; Table Lamps and Lampshades: Houses & Parties, housesandparties.com; Bamboo Flatware: Dillard’s, dillards.com; Rialto Colored Glasses: Hester & Cook, hesterandcook.com; Richard Ginori

Oriente Italiano Plates: Corzine & Co., corzineco.com; MATCH Pewter Serving Pieces: AshBlue, ashblue.com; Rattan Bar Cart: Serena & Lily, serenaandlily. com; Cane Tumblers and Woven Side Table: Amanda Lindroth, amandalindroth. com; Pressed Flower Acrylic Place Cards: Etsy–BloomPageWood Designs, etsy.com; Game Topper: Fenwick Fields, fenwickfields.com; Acrylic Stir Sticks: Acrylic Sticks, acrylicsticks.com; Mahjong Tiles and Pushers: The Mahjong Line, the mahjongline.com; Cocktail Napkins: Madre Dallas, madredallas.com;

FLOWER ARRANGEMENTS: The Tulip Tree, thetuliptreeinc.net

“I believe in ‘traveling flowers.’ A birthday dinner might require a generous table arrangement, or a grouping of mock orange branches in your entry hall. Once the guests have gone, move the mock orange into the bedroom, where their nocturnal scent can lull you to sleep. Or deconstruct that bouquet the next day and carry a small vase to your home office when you go to pay your bills. Take flowers into a bathroom, fill the tub, light a candle, relax.”

— ARIELLA CHEZAR, FROM HOME IN BLOOM (TEN SPEED PRESS, 2024)