FLOWER SEPT• OCT 2021
HOUSE l GARDEN l LIFESTYLE
FARMHOUSE STYLE OUR CO U NTRYS IDE SHOWH OUSE
TOUR A NEW HAMPSHIRE
Farmers Market New Life for a Historic Georgia House WEARABLE FLOWERS
theodorealexander.com
PHOTO BY PHOTOS BY DAVID HILLEGAS (LEFT) AND ELIZABETH LAVIN
SEPTEMBER• OCTOBER 2021
Contents 76 FEATURES
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Brierfield Farm
Margot and Gates Shaw’s new dream house in the country does double duty as a Flower showhouse
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A House Finds Its Hero
Leaving behind city life and an entertaining empire, Keith Robinson bought an 1840s Georgia farmhouse and breathed new life into the storied property
76 PHOTO BY PHOTOS BY DAVID HILLEGAS (LEFT) AND ELIZABETH LAVIN
Texas Sophisticate
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Designer Trish Sheats brings elegance and color to a spacious home, grounding it with dashes of practicality for a family with four children
“Just living isn’t enough,” said the butterfly. “One must also have sunshine, freedom, and a little flower.” –HANS CHRISTIAN ANDERSEN
ON THE COVER: The inviting living room at Brierfield Farm, our countryside showhouse, exudes warm and comfort with a palette that takes its cue from the surrounding setting. Photographed by David Hillegas.
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Contents
32
DEPARTMENTS
SCENE
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We’ve got our eyes on...
Fall reading list, new fragrances and fabrics for the home, Gracie + New Ravenna collaboration; bespoke brass door knockers
IN BLOOM
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Farmers Market
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Decorate: Q&A
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Janie Molster’s new book, House Dressing, showcases her fearless approach to color and pattern
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Decorate: Flowers
Michigan’s Susan McLeary creates stylish wearable florals
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Decorate: Mood
Our favorite High Point finds for a home office that’s both beautiful and functional
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September•October 2021
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PHOTOS BY GORDON GREGORY (SETTEE), KINDRA CLINEFF (SUNFLOWERS), AND AMANDA DUMOUCHELLE (CUFF)
IN EVERY ISSUE Watering Can 14 Sources 84 What’s Coming Up 86 At the Table 88
The team at Edgewater Farm elevates their bounty of flowers and produce with imaginative displays
PHOTOS BY GORDON GREGORY (SETTEE), KINDRA CLINEFF (SUNFLOWERS), AND AMANDA DUMOUCHELLE (CUFF)
“Nothing like a farm. Nothing like being around animals, fixing things. There’s nothing like being in the field with the corn and the winter wheat. The greenest stuff you ever saw.” —Roy Hobbs (Robert Redford) in The Natural
ALMOST EVERY SATURDAY MORNING of my early adolescence, I would go with my mother to pay a call on her namesake, my great-grandmother Carrie. She lived in a rambling, unpretentious but graceful fieldstone farmhouse on the crest of a country mountain outside Birmingham, Alabama. I use the phrase “pay a call” intentionally. As a young girl, my greatest passion was horseback riding. And of course, school-year Saturdays were the best of days since I would be dropped at the barn in the morning and picked up late afternoon. But not before the “call” was paid. My days at the barn consisted of currying my pony; brushing neat’s-foot oil on her hooves; and maybe pulling her mane—the process of wrapping small parts of her mane around a pulling comb and then yanking the bottom part off, piece after piece, all the way down from just past her ears to just before her withers. Then I would tack her up, lead her out of her stall, and finally get to sling myself into the saddle and begin the best part: riding her. Not just riding, but riding in the pastures at Oakdale Farms— warming up with walking, then trotting, then cantering, then hand galloping through the fields of green. Then I might come back to the ring and, if a grown-up was present, take a few jumps or even plot a course and follow it.
After cooling my pony down, I would head into the office/ lounge of the barn, a little gray-shingled, somewhat tired saltbox building, buy a Reese’s cup for a nickel, and come out to the front porch and buy a Coke from the machine for a dime. Joined by my friends and cousins, we would sit and talk about boys, a movie, or a spend-the-night party. I could go on about the minutiae of a day at the barn but could never fully convey the pure joy I felt, from start to finish, always heightened by anticipation. The dutiful though pleasant visits with my great-grandmother, sitting on her porch overlooking the mountains to the south, were an exquisite, sometimes excruciating prerequisite to the rest of the heavenly day spread before me. Carrie’s country house, the barn of my youth, and now the farmhouse that my husband and I have built, all evoke a sense of peace, pleasure, and transcendence. However, it is our farmhouse, somewhat magically transformed into a showhouse for Flower, that occupies our time and imagination now. It is the house of my heart where I watch my grandchildren ride ponies and Polarises, fish, swim, shoot skeet, and hit golf balls off the terrace into the hayfield. I even join in on some of these pastoral pursuits. As you tuck into this issue, enjoy your tour of Brierfield, our showhouse/farmhouse, as well as other farm-themed stories— nothing like a farm. Love and SDG,
Margot Shaw EDITOR-IN-CHIEF
Please send your comments, triumphs, challenges & questions to: wateringcan@flowermag.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 flowermag.com/news
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PORTRAIT BY DAVID HILLEGAS
Watering can
A Note from the Editor
PORTRAIT BY DAVID HILLEGAS
VOLUME 15, ISSUE 5
Margot Shaw FOUNDER/EDITOR-IN-CHIEF Alice Welsh Doyle EDITORIAL DIRECTOR Nicole Gerrity Haas ART DIRECTOR Terri Robertson DIGITAL MEDIA MANAGER Amanda Smith Fowler STYLE EDITOR Kirk Reed Forrester ASSOCIATE EDITOR Kate Johnson PRODUCTION/COPY EDITOR Maren Edwards EXECUTIVE ASSISTANT Blakely Stegall INTERN EDITOR-AT-LARGE
Karen Carroll CONTRIBUTING EDITORS
Courtney Barnes James Farmer Marion Laffey Fox Elaine Griffin Tara Guérard Sallie Lewis Frances MacDougall
Tovah Martin Cathy Still McGowin Charlotte Moss Matthew Robbins Margaret Zainey Roux Frances Schultz Sybil Sylvester
For editorial inquiries: editorial@flowermag.com
Julie Durkee PUBLISHER Jennel O’Brien DIRECTOR OF MARKETING Susan Sutton SENIOR MARKETING MANAGER Suzanne Cooper NATIONAL DIRECTOR, HOME FURNISHINGS REGIONAL ACCOUNT DIRECTORS
Wendy Ellis Sara D. Taylor For sales inquiries: sales@flowermag.com BUSINESS OFFICE
Silvia Rider GENERAL MANAGER Patrick Toomey ACCOUNTANT Lisa Mitchell SENIOR MANAGER CUSTOMER SERVICE
For change of address and subscription inquiries: 877.400.3074 or CustomerService@FlowerMag.info 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 Remco van Vliet Evie Vare Carleton Varney Louise Wrinkle
PHOTO (LEFT) BY BY IRINI ARAKAS GREENBAUM. FLOWER FLASH: PHOTO BY IRINI ARAKAS GREENBAUM; COLLECTED INTERIORS: PHOTO BY ANNIE SCHLECHTER
What We’ve Got Our Eyes On
Scene READING LIST
Fall for Books FLOWERS, FASHION,
DECORATIVE HISTORY, HOME
PHOTO (LEFT) BY BY IRINI ARAKAS GREENBAUM. FLOWER FLASH: PHOTO BY IRINI ARAKAS GREENBAUM; COLLECTED INTERIORS: PHOTO BY ANNIE SCHLECHTER
By Alice Welsh Doyle
Flower Flash
by Lewis Miller (Monacelli Press, 2021), $55
Everything we’ve ever wanted to know about esteemed New York florist Lewis Miller and his famous Flower Flashes that bring beauty to the urban landscape and joy and comfort to all who pass by them
Collected Interiors: Rooms That Tell a Story
by Philip Mitchell (Rizzoli, 2021), $55
ABOVE: Lewis Miller’s Flower Flash #43 in October 2018 at Madison Avenue and East 37th Street in Manhattan
In his first book, which features nine homes ranging from New York’s Upper East Side to Nova Scotia, Philip’s signature “modern maximalism” is on full display, as is his talent for layering different styles and eras. His passion for engaging art, collections, and gallery walls encourages us to go bold.
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Scene WHAT WE’VE GOT OUR EYES ON ...
READING LIST (CONTINUED)
by Ashley Whittaker (Rizzoli, 2021), $50
Botanical custom murals, exuberant and quiet floral fabrics, and walls done in aubergine and candy-red lacquer and faux tortoiseshell are just a small sampling of the joy that leaps off the pages of Ashley’s first book. Her love of home is evident throughout, and her pattern prowess is on full display. Dior in Roses
Text by Éric Pujalet-Plàa, Vincent Leret, and Brigitte Richart (Rizzoli, 2021), $45
Couturier Christian Dior loved flowers, and perhaps the rose most of all, as this book showcases so meaningfully. The House’s fashions, fragrances, and beauty line pay tribute to the bloom. His sister Catherine Dior inspired his first scent, Miss Dior, in homage to their shared passion for flowers and gardens. Each subsequent shepherd of the iconic brand has kept the designer’s legacy in roses alive and thriving. Pagodas & Dragons: A Celebration of Chinoiserie
by Aldous Bertram (Vendome, 2021), $60
Artist, illustrator, and interior designer Aldous Bertram takes us on a whirlwind tour that explores the beauty of chinoiserie through porcelain, color, pattern, flora, fauna, people, architecture, and tropical exoticism. His passion for the
style is evident on every page, from the extravagant to the charming. A true visual feast, the book is accompanied by Aldous’s chinoiserie-inspired watercolors and collages. Home: A Celebration
Edited by Charlotte Moss, in collaboration with No Kid Hungry (Rizzoli New York, 2021), $50
“What is home to you?” is the universal question posed by Charlotte Moss to a mélange of luminaries—artists, designers, writers, photographers, actors, and activists. Her inspiration for this project was Edith Wharton’s Book of the Homeless (1916), a successful fundraising effort that aided refugees and children during World War I. A portion of the proceeds from Charlotte’s book will benefit No Kid Hungry. The 125 contributors use a variety of mediums to express their often moving answers.
RIGHT: In a 40-foot-long room designed by Philip Mitchell for the Kips Bay Decorator Show House, repeated design themes—polka dots, branches, and lavender bouquets among them—come into sharp focus through considered placement and editing. BELOW: A santal-scented diffuser from Floral Street
COLLECTED INTERIORS: ROOMS THAT TELL A STORY
Heady Floral Home Fragrances London-based Floral Street, created by beauty industry veteran Michelle Feeney, is introducing eco-friendly perfumes for the home with a new line of fragrant candles and diffusers in four scents. The company says the new scents are “powered by flowers,” which makes us smile. “When we were developing our clean and conscious home range, I realized what we don’t put in is just as important as what we do put in. Taking out all the harmful elements enables the fine fragrance to shine through,” Michelle says. The collection appeals to those who desire calming scents and those who want to be energized. From $46 for a candle or diffuser. nordstrom.com and floralstreet.com
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September•October 2021
PHOTO (RIGHT) BY ANNIE SCHLECHTER. DIOR IN ROSES AND HOME: A CELEBRATION: COURTESY OF RIZZOLI; THE WELL-LOVED HOME: PHOTO BY THOMAS LOOF; DRAGONS & PAGODAS: WATERCOLOR BY ALDOUS BERTRAM
The Well-Loved House
PHOTO (RIGHT) BY ANNIE SCHLECHTER. DIOR IN ROSES AND HOME: A CELEBRATION: COURTESY OF RIZZOLI; THE WELL-LOVED HOME: PHOTO BY THOMAS LOOF; DRAGONS & PAGODAS: WATERCOLOR BY ALDOUS BERTRAM
Scene WHAT WE’VE GOT OUR EYES ON ...
FRESH APPOINTMENTS FOR HOME DECOR
Bespoke Door Hardware
Lively Fabric Finds
Boston-area interior designer Mally Skok debuts a lively new line of four woven performance fabrics to join her existing collections. Although she was grounded during the pandemic, Mally looked to her past adventures for inspiration. “I designed my woven collection after a trip to Morocco with my sister. I loved the different designs and weaves of the rugs and textiles we saw in the marketplace,” she says. “In addition to thinking about the places I love to travel the most, for this collection I drew on the colors from the nature around me, playing with the colors of flowers, leaves, sea, earth, and sky.” Those inspirations are naturally some of our favorites. Each pattern comes in four colorways. mallyskokdesign.com
CLOCKWISE FROM TOP: Gracie for New Ravenna Blythedunes mosaic used in a shower • Agatha Studio brass door knockers by artist Patty B. Driscoll • Interior designer Mally Skok surrounded by woven performance fabrics from her latest collection
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HARDWARE PHOTOS BY LAUREY GLENN (TOP) AND BECKY LUIGART-STAYNER. PORTRAIT COURTESY OF MALLY SKOK
MOSAIC MARVELS
New Ravenna, maker of custom tile mosaics, has partnered with bespoke hand-painted wallpaper company Gracie to bring even more magic to walls with imaginative glass mosaics. The designs represent international historical themes, from Roman and Chinese antiquity to Japan’s late Edo period and French Art Deco. As Jennifer Gracie explains, “We admired the work of New Ravenna long before we connected about a collaboration. I lost count of their many gorgeous designs I saved on Instagram. Wallpaper and showers do not generally mix well, so New Ravenna’s mosaic interpretations expand Gracie into the bathroom and kitchen!” newravenna.com
Birmingham, Alabama–based fine artist Patty B. Driscoll introduces a new outlet for her considerable talents with Agatha Studio, a collection of expressive brass door hardware that goes well beyond the expected to impart personality, history, and craftsmanship to an everyday piece of decor. She took care to understand the process first, learning the art at the famed Penland School of Craft. “I was particularly inspired by the Regency dolphins that support the table in my entry,” says Patty B. “I knew they’d make beautiful hardware.” She started sculpting wax models, fueled by the idea that these pieces would be more than tools to signal a guest’s arrival. “I think that they are reflections of the family on the other side of the door—their aesthetic, as well as their interests,” says the artist. We promise you won’t look at a door knocker the same ever again. Prices upon request. agathastudio.com
HARDWARE PHOTOS BY LAUREY GLENN (TOP) AND BECKY LUIGART-STAYNER. PORTRAIT COURTESY OF MALLY SKOK
Farmers Market • Decorate: Q&A, Flowers & Mood
in Bloom
FARMERS MARKET
Edgewater Farm A NEW HAMPSHIRE FARMSTAND ELEVATES THE ORDINARY INTO CAPTIVATING DISPLAYS OF FRESH VEGETABLES AND FRUITS THAT ARE IRRESISTIBLE TO THE EYE AND THE PALATE By Tovah Martin • Photography by Kindra Clineff
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in Bloom FARMERS MARKET
CLOCKWISE FROM ABOVE: Mandevilla
‘Alice du Pont’ climbs from a planter surrounded by homegrown ‘Lumina’ pumpkins. • Allie Boeri manages the farmstand. • Mixed cherry and grape tomatoes tempt customers. PREVIOUS PAGE: ‘Benary’s Giant’ zinnias star in the 30-plus bouquets that Anne Sprague gathers every morning.
T
he field team at Edgewater Farm has already been working for several hours when the farmstand staff arrives at 8 a.m. The river might buffer the farm from early frosts, but still, Plainfield, New Hampshire, is downright chilly from September onward. Bundled in wool from their snug hats down to their wool socks, with plenty of sweater layers in between, Allie Boeri and her farmstand coworkers can see their breath come out in cloudy puffs as they face bushels of freshly picked produce waiting to be transformed into displays that tantalize customers. Sacks spill with ears of corn, ripe heirloom tomatoes blush from their boxes, homegrown pumpkins overflow from heavy crates, and ripe succulent figs from the greenhouse are gingerly lined up to prevent bruising. It’s all poised to be presented to the public. Each morning, Allie and her crew unleash their creative juices to transform the farm’s harvest into artwork that no one can resist. The night before, produce is sorted, stored, and refrigerated if necessary, and every surface is wiped clean. Imperfect produce goes to the kitchen to be made into relish while a nonprofit
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in Bloom FARMERS MARKET
collects surplus to redistribute. The next day, starting from scratch, the design process begins anew, with the freshly picked harvest joining the bounty from refrigerators. In the two hours before customers burst through the doors, Edgewater Farm pulls from their creative core to make that food sing. The goal is to arrange the vegetables with the same flair that founder Anne Sprague channels when pulling together bouquets from the field. Edgewater Farm owes its bounty to the dreams and determination of Anne and Pooh Sprague, who originally bought the farm in 1974. The childhood
sweethearts met at a 4-H event, dated through college, married when they graduated, and bought land the moment they were able. The farmstand came 10 years later, after they dabbled in pick-your-own strawberries and a series of other farming ventures with an eye toward securing their family’s future. “When a friend suggested that selling corn from our tailgate would put the kids through college, we lined up 100 bushels a day to make that dream happen,” Anne recalls. Working on the family farm wasn’t really in daughter Sarah Sprague Houde’s game plan when she graduated
CLOCKWISE FROM LEFT: Displayed in Campo de’ Fiori terra-cotta containers, heirloom tomatoes of all descriptions are bedded in straw to prevent bruising. • By autumn, Brugmansia ‘Charles Grimaldi’ is going strong. • Italian parsley and dill spill from Edgewater Farm’s signature wooden strawberry-picking crates. • Anne’s daughter, Sarah Sprague Houde, juggles an armload of freshly cut sunflowers.
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in Bloom FARMERS MARKET
CLOCKWISE FROM ABOVE: Long Tom pots elevate bouquets of grasses and Amaranthus ‘Oeschberg’ between rosemary and pumpkins. • Anne crafts a zinnia and celosia bouquet in the cutting field. • The kitchen whips up mini quiches with spinach and mushrooms in phyllo dough.
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college in 2010 with a degree in political science. Instead, she wanted to get some wanderlust out of her system before exploring what her degree would bring. But she needed traveling money. “Let’s go to your home in Plainfield for the summer, work at the farmstand, live in the cabin by the river, and save our earnings,” a friend suggested. Sarah never left. Instead, she managed the farmstand for many years, launching the tradition of displaying produce with panache. Using weathered Campo de’ Fiori terra-cotta pots, baskets, gleanings from local auction galleries, and anything else that sparked her ingenuity, she elevated the fruits and vegetables grown in the surrounding fields. “The clay pots are simple and elegant,” Sarah says. “They don’t compete with the beauty of the food.” By autumn, when the produce is rolling in by the bushel, everything looks good enough to eat, and then some. Sarah now divides her time between
September•October 2021
managing the farm’s greenhouses and raising her young family. Meanwhile, Allie spearheads the farmstand’s styling. The whole farm crew begins the year working together in the greenhouses before fanning out into their varied farm duties. Not only do they strike rapport in the greenhouses, but they also gain from a rich cultural exchange. Recipes from around the world are shared, ideas bake, and dialogue flows. “There’s a sadness when we all split off to our separate duties,” Allie says, “but the collaborative spirit we’ve created keeps going strong.” The farmstand earns a standing ovation from everyone. “A lot of aesthetically minded people feed into this,” Sarah says. “The look has evolved, but it’s basically about playfulness and fun.” Allie adds a nod to the fertile fields that feed their imagination: “By autumn, there’s so much produce, we’re almost giddy.” edgewaterfarm.com, Instagram: @edgewaterfarm
in Bloom DECORATE: Q&A
Dressed to the Nines WITH A FEARLESS LOVE OF COLOR AND A DEFT HAND AT MIXING PATTERN AND PERIODS, RICHMOND DESIGNER JANIE MOLSTER SHOWCASES LUSH EXAMPLES OF HER WORK AND A CAN-DO APPROACH TO TACKLING INTIMIDATING DESIGN CHALLENGES IN HER NEW BOOK, HOUSE DRESSING
Flower: The title of your book, House Dressing (Monacelli Press, 2021), is so aha descriptive of your work—creating rooms that look good with the house, the inhabitants, and the elements inside. What inspired that title, and how does it reflect your work? Janie Molster: I wanted to simplify the whole idea of interior design. We all know the clothes we like, the colors that look good on us, even the jewelry that works with our personal style. But people lock up when they think about what to do in their own house. Really, the idea is the same: Dress your house with things that are flattering and have meaning. Twenty years ago, Colonial Williamsburg shared their discovery that pale historic colors associated | 32 |
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with historic architecture were inaccurate. Interior colors were in fact vibrant rather than soft and faded, which goes along with your approach to historic properties. Yes! Not long ago, I was able to spend some time with the researchers at Williamsburg and hear the story about their discovery of the original bright colors at the properties. I was even on a speaker’s panel with Margaret Pritchard [senior curator at Colonial Williamsburg], and she told the story about the discovery from peeling back years of paper and paint. I wanted to yell, “See, I told you so!” That said, we never want to overwhelm architecture. Sometimes when you are working in a house with great bones, you have to sit back and let the house tell the story.
September•October 2021
ABOVE AND TOP LEFT: Collections of Chinese Rose Medallion porcelain and antique maps decorate the living room of a Virginia country home. TOP: Janie Molster
PHOTOS BY MALI AZIMA. PORTRAIT BY TASHA TOLLIVER
By Frances MacDougall
in Bloom DECORATE: Q&A
Savonarola campaign chairs with their original upholstery pull up to an oval farm table. RIGHT: Gardenia branches atop an antique marquetry chest strike a compelling contrast against the mossy green walls.
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PHOTOS BY MALI AZIMA (LEFT) AND GORDON GREGORY
“I’m not a snob about pedigree. It’s important to have quality things in the house, but you must put in the time to be able to recognize good design, regardless of cost and provenance.” —DESIGNER JANIE MOLSTER
You have a sure hand with color, and the flower arrangements in the book bear that out—rich, saturated colors that reflect the shades at play in each room. How do you approach flowers in your designs? When we put flowers together, I want it to look as though someone rushed in the door from a busy day at work with a handful of flowers that they picked up at the corner market and then plopped in a vase. But that kind of studied naturalism never works. You have to play to get it right. My favorite flowers are camellias, even though they’re fragile; gardenias, another finicky flower; viburnum because it’s durable and tough; and, like most designers, I love peonies. We can’t talk about your work without touching on pink. Of course, there are other minimal spaces and different shades, but please share the origins of your passion for pink? I dig into this in the book. I think we’re born with a color palette. And we tend to stick with it to varying degrees as we age. My palette goes from the palest of pinks to fuchsia and watermelon reds. It pops up in my wardrobe. Whenever I’m asked to bring something to a party, a signature pink cocktail is a go-to. Everyone looks good in pink. Everyone looks good in pink rooms. People don’t get tired of a color, just of how it’s being used. You’ve raised five children, so that makes you an expert on negotiating the real battle of muddy shoes, sticky
in Bloom
CLOCKWISE FROM TOP LEFT: A collection of pressed botanicals lines the stairway in a Greek Revival house. • A cluster of paintings
from destinations across the globe gives this bedroom a cosmopolitan vibe. • Natural light streams through the double-stacked windows in a white kitchen. • In Florida, lime-green ombré curtains and a red lacquer chinoiserie console add contemporary flair to a classic wallpaper pattern and a formal dining table. • Bird’s nest prints top a custom banquette in a wet-bar seating area.
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September•October 2021
PHOTOS BY KIP DAWKINS (LEFT, TOP AND BOTTOM), LUKE WHITE (TOP RIGHT), AND GORDON GREGORY
DECORATE: Q&A
in Bloom DECORATE: Q&A
to the bohemian mix of color and pattern. Grass cloth wraps the ceiling and walls. BELOW: In this showstopping central hallway, coral fabric covers Louis XVI chairs.
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fingers, and errant soccer balls versus fragile antiques, fine art, and silk fabrics. How has that influenced your design decisions and living-well approach? Frankly, it’s gotten easier with every passing year, thanks to the evolution of performance fabrics. We now see outdoor velvets and damasks, trims and tassels that look great inside and out. We all want our house to look as fresh today as it did five years ago. Performance fabrics help us do that. Vulnerable elements like silk, art, and antiques will always endure. Be practical so you’re free to be indulgent. Great art and antiques fill your projects, but there are also elements that are less refined. What is your perspective on making the most of fine and less-than-fine objects in your work? I’m not a snob about pedigree. It’s important to have quality things in the house, but you must put in the time to be able to recognize good design, regardless of cost and provenance. For example, I love to visit house museums, but I live in today, with objects that are fine and less so, and a house that’s personal and memorable. Every ceiling seems to get a Molster treatment, with fanciful surfaces and some a little more restrained. What inspires your treatment in each room? We consider the ceiling in each room a fifth wall that gives us an opportunity to do something special. Clients are open to that idea. My goal is to create a room so layered that guests appreciate the details
PHOTOS BY MALI AZIMA.(BOTTOM) AND LUKE WHITE
ABOVE, LEFT AND RIGHT: In a keeping room, rattan chairs and a stacked-ball table add
in Bloom DECORATE: Q&A
ABOVE: An abstract painting by Frankie Slaughter, a settee in a
floral crewel fabric with mustard-colored pillows, and a vintage rug bring this foyer to life.
House Dressing: Interiors for Colorful Living by Janie Molster (Monacelli Press, 2021), $50, barnesandnoble.com
PHOTO BY GORDON GREGORY
the longer they stay. You probably don’t notice the ceiling first, but you will eventually, and it can be transformative in a room. Your gallery walls are kind of organic. The presentation feels natural and respectful of the art rather than rigid and boring. How do you make that balance of size, scale, and subject matter work without going crazy? My first time hanging a gallery wall was total experimentation. I had to get over the fear of potentially damaging my wall a bit. But I realized at the end of the day, it’s a nail hole. So, I have wood filler or spackle nearby if I need it. Don’t be afraid of messing up something you can easily fix. You learn by doing. Janie Molster Designs, janiemolster.com
in Bloom DECORATE: FLOWERS
Susan McLeary of Passionflower Sue THE ANN ARBOR, MICHIGAN–BASED FLORAL DESIGNER HAS A FLAIR WITH WEARABLE FLOWERS, SHOWING US HOW TO CREATE A FESTIVE FALL CUFF BRACELET TO BRING AN UNEXPECTED ACCENT TO ANY ENSEMBLE By Susan McLeary Photography by Amanda Dumouchelle
MATERIALS
Artful Wired Cuff
ABOVE: Susan fitting a floral crown LEFT: For more elaborate floral headpieces, she forms the structure on a mannequin head.
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This stylish corsage is currently my favorite to make. Over the last several years, I’ve enjoyed sharing my cuff corsage techniques. Students have overwhelmingly embraced the look of these sleek floral bracelets, and they’ve found that using floral adhesive to attach the floral components is efficient and secure. However, some say that while they love the look of these pieces, they miss the control and extra stability that traditional wiring offers. I’m pleased to share a way to marry the sleek look of a cuff corsage with the security and control of wiring. I used a simple brass cuff with a center swedge hole for this project, but any sturdy cuff-style bracelet with at least one hole in its surface will work well.
24-gauge floral wire 1 or 2 stems ‘Earth’ spray roses 2 or 3 stems peach lisianthus 1 or 2 stems variegated carnations, petals removed 1 or 2 stems rose sumac 5 to 7 stems raspberry scabiosa 1 (¾-inch) self-adhesive felt pad 1 chenille stem 3-inch brass cuff with a center swedge hole Stem wrap tape UGlu tabs or sturdy doublesided tape Floral adhesive (optional)
Turn to page 44 for step-by-step instructions
in Bloom DECORATE: FLOWERS
STEP-BY-STEP INSTRUCTIONS
STEP 1 Wire the spray roses
and lisianthus using the piercing technique; the carnation petals and rose sumac using the cranking technique; and the scabiosa using the insertion technique. (Find Susan’s wiring techniques at flowermag.com or on page 28 of her book, The Art of Wearable Flowers by Susan McLeary.)
STEP 2 To create the attach-
ment platform for the corsage, carefully pierce two holes through the felt pad. Bend the chenille stem into a slender U shape, and feed it through the holes so the free ends of the chenille stem emerge on the adhesive side of the felt pad.
STEP 3 Peel off the felt pad’s paper backing, and feed the ends of the chenille stem through the hole in the corsage base. Pull to snug up the chenille stem, and twist the ends to secure it. This will be the attachment point for the wired component of the corsage. STEP 4 Add UGlu tabs to
the corsage base on either side of the central attachment point. This makes the piece more secure.
STEP 5 To create the wired floral component of the corsage, start with the most tapered element—the rose sumac. Add a carnation petal
bundle, placing it below the sumac so its ruffled petals cover the taped portion of the sumac stem.
gently bend the wire to orient the stems slightly left and slightly right so the design is finished looking from all sides.
STEP 6 Add the next-largest component, a spray rose, again staggering the placement so the head of the flower covers the stem end of the one previous.
STEP 8 Now choose increasingly smaller components until you reach the end of the piece. You can choose how long to make the wired piece—perhaps cascading off the cuff a few inches on either side.
STEP 7 Add more blooms,
using increasingly larger sizes until you reach the center of the piece. As you place them,
stem to finish the design and conceal your mechanics. Bend the wire at the base of the bloom completely to meet the wired stem. Tuck it in tightly to finish the design. STEP 10 If the design has gaps, or tape is visible from the sides of the piece, use floral adhesive to easily add finishing details where needed.
STEP 9 When you reach the end of the piece, choose a final
Excerpted from The Art of Wearable Flowers by Susan McLeary (Chronicle Books, 2020)
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in Bloom DECORATING: MOOD
Quick Study DRAWING INSPIRATION FROM THE DEN AT OUR BRIERFIELD FARM SHOWHOUSE, WE’RE HIGHLIGHTING SOME OF OUR FAVORITE FINDS FROM HIGH POINT MARKET Produced by Amanda Smith Fowler
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“After we all spent more time at home over the past year, furniture manufacturers are responding to the immediate demands in the home office for both form and function without sacrificing beauty.” —AMANDA SMITH FOWLER
1 BENJAMIN MOORE
Baffin Island (Wall Color)
benjaminmoore.com
2 BEVERLY MCNEIL GALLERY
A Kaleidescope Moment by Dawn Whitelaw $2,750
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beverlymcneilgallery.com
3 PAIGE ALBRIGHT ORIENTALS
Custom Wool and Jute Rug
paigealbrightorientals.com
4 CENTURY
Charleston Desk and Leatrice Side Chair $2,160 (desk) From $1,425 (chair) centuryfurniture.com
5 CURREY & COMPANY
Beaujon Table Lamp $490 curreyandcompany.com
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Turn to page 50 for more on the Brierfield Farm showhouse
PHOTO BY DAVID HILLEGAS
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PHOTO BY DAVID HILLEGAS
in Bloom DECORATING: MOOD
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1 HICKORY CHAIR
Asheworth Campaign Desk by Suzanne Kasler
2 HICKORY WHITE
Seth Desk by Lillian August for Hickory White
From $7,239
$6,090
hickorychair.com
lillianaugustfine furniture.com
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3 AMBELLA HOME COLLECTION
Modesto Writing Desk
ambellahome.com
September•October 2021
4 SUMMER CLASSICS HOME
5 THEODORE ALEXANDER
$2,539
$6,585
summerclassics home.com
theodore alexander.com
Ember Desk
Eugenia Desk
6 CARACOLE
Lady Love Desk $3,057 caracole.com
BR IERFIEL D FARM A FA M I LY R E T R E AT
Margot and Gates Shaw’s new dream house in the country does double duty as a Flower showhouse Produced and Styled by AMANDA SMITH FOWLER Text by ALICE WELSH DOYLE Photography by DAVID HILLEGAS Floral Design by SUZANNE GRAVES OF WILDFLOWER DESIGNS
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The house features native fieldstone from Oneonta, Alabama; cedar-shake and standing-seam red metal roofs; and reclaimed-wood detailing. The custom Moon Walk post lantern (with copper French Quarter lantern on yoke bracket) by Bevolo Gas & Electric Lights was fabricated by builder Larry Gemmill. LEFT: Margot Shaw lingers over the Dutch door with just-picked oakleaf hydrangeas. She wears an oilcloth vest from Alabama-based Tom Beckbe. Governor pool house lanterns by Bevolo, Le Chameau boots, and a Tom Beckbe log carrier set the stage for a fall evening in the country.
ONLY AN HOUR FROM THE BUZZ OF BIRMINGHAM, ALABAMA,
off a nondescript bumpy road, sits the idyllic farm property of Flower magazine’s founder and editor-in-chief, Margot Shaw, and her husband, Gates. When Gates was a youth, his businessman father liked to go out every Sunday “riding and looking” for a piece of land in the countryside not too far from town. And finally, one day, he found an ideal parcel. Over the decades, adjoining properties were purchased, giving the farm more privacy and expansive vistas. Under Gates’ stewardship, the plantings and topography have been tailored to attract and protect the sensitive quail population. While rustic cabins had been built over the years, Gates and Margot had been dreaming about a farmhouse with more creature comforts, but their busy lives postponed putting pen to paper. At last, the time felt right, and the couple brought in professionals and friends to collaborate. Many factors came into play in the design, as Margot explains: “We wanted it to be modest in scale, all on one level to gently segue into the landscape, for it to feel timeless and be a place for fellowship. We’ve always had a big family Thanksgiving at the farm, and now we can enjoy it even more. It’s a place we plan for generations to experience the beauty of the land, the wildlife, and a snug, special home to take it all in.”
INTERIOR DESIG N
Birmingham-area interior designer Mary Evelyn McKee, a longtime friend of the couple’s, was an ideal choice for the project as she was familiar with their lifestyle before she even started. “With each project, I aim for visual storytelling,” says Mary Evelyn. “When I first visited the farm, it was winter, and the hay was dried to the color of wheat. On another visit, I saw an indigo bunting with its rich teal and peacock blues and the sunset with its stunning terra-cotta hues. All the visits revealed varied colors and references, and the land and sky inspired the palette for inside.” With the color scheme in place, Mary Evelyn aimed to reflect casual beauty in the decor—“much like its owners,” she says. “I think you instantly feel that when you come in. We wanted things to be comfortable and natural, in harmony with the farm.”
BELOW: Woven end table and Ashland teak Adirondack chairs and ottoman by Summer Classics; suzani pillows by B. Viz Design; copper Cotton Exchange lanterns by Bevolo Gas & Electric Lights RIGHT: Art from Beverly McNeil Gallery; Farm Wing settee by Hickory Chair in Iggy fabric by Jane Churchill through Cowtan & Tout; side table from the Ray Booth Collection by Hickory Chair
Front Porch and Entryway Brick floors add a textural element to the front porch (left), which features Adirondack chairs for taking in the views. A long, gallery-type space off the front porch connects the living areas to the bedrooms and den and is filled with art and comfortable places to perch.
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“The soul becomes prudent by sitting and being quiet.”
—ARISTOTLE
Living Room The living room exudes warmth, rich color, and character. A high-backed sofa provides definition, separating the room from the adjoining dining area. A painted brick fireplace and shiplap walls give off a farmhouse attitude while the built-in bookcases take a color cue from the hardwood trees around Brierfield. A botanical paisley print, used for the curtains and skirted swivel chairs as well as for the dining room curtains, brings pattern into the room.
TOP: Emory chairs from the Suzanne Kasler Collection by Hickory Chair, in Beatrice fabric by Nina Campbell for Osborne & Little through AinsworthNoah (also on curtains); cocktail table by Charlotte Moss for Century Furniture, painted Audubon Russet by Benjamin Moore; art from Beverly McNeil Gallery LEFT: Lorraine sofa from the Suzanne Kasler Collection by Hickory Chair, in Flaubert fabric by Nina Campbell for Osborne & Little through AinsworthNoah; Silhouettes ottoman (in Lee Jofa fabric through Kravet) and chair (in leather) by Hickory Chair; Bibi spot table from the Hable Collection by Hickory Chair; bookcase lamps by Currey & Company; tapestry pillow and suzani from B. Viz Design; art from Beverly McNeil Gallery; Cupola pool house lanterns by Bevolo Gas & Electric Lights
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Table from the Hable Collection by Hickory Chair; armchairs from the Thomas O’Brien Outdoor Collection and side chairs from the Thomas O’Brien Upholstery Collection, both by Century Furniture; Nottaway chandelier by Currey & Company; rug from Paige Albright Orientals; Beatrice curtain fabric from the Paradiso Collection by Nina Campbell for Osborne & Little through Ainsworth-Noah
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Dining The French wine-tasting table in the breakfast box bay (left and below) belonged to Margot’s father and is a treasured heirloom. Portières in a wheat-colored nubby Provençal plaid add definition and softness. The bay looks out on the fields and provides abundant light, while wing chairs in a muted paisley offer comfortable, graceful seating designed for lingering. The dining area (opposite), while in the open space, has individual character with a mix of styles and textures: woven-rush side chairs and wicker host armchairs; a bronze chandelier with long, graceful arms; and a fabric with a stylized botanical suzani pattern on the windows.
ABOVE: Gien Songe
dinner plates, Wedgwood Hunting Scene cup and saucer, Crate & Barrel double old fashioned, Imperial Glass Candlewick champagne/tall sherbet, Denby Magnum Clear goblet (seen at right), and Ralph Lauren Equestrian Braid flatware, all from Replacements, Ltd.; picot napkins by Leontine Linens RIGHT: Josephine chairs from the Suzanne Kasler Collection by Hickory Chair in Ralph Lauren Home Assyria Paisley through Kravet; Currey & Company Brussels chandelier with custom painted interior; portière fabric by Kravet, with tape trim by Holland & Sherry; antique Persian rug from Paige Albright Orientals
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Kitchen “I’ve never lived with an open floor plan, but it felt right for the more informal feel we envisioned for the farmhouse,” says Margot. The efficient workspace is punctuated by jaunty teal counter stools and whimsical bell-shaped, abaca-wrapped iron pendants. Appliances hide behind panels in the island or are tucked into the cabinetry.
ABOVE: Microwave from
Signature Kitchen Suite; art from Beverly McNeil Gallery; green goblets and Gien tureen from Replacements, Ltd. LEFT: French antique confiserie cupboard from Kenny Ball Antiques; cocktail napkins from Leontine Linens; art from Beverly McNeil Gallery FAR LEFT: Cabinets in Devonshire Green and walls in Baffin Island, both by Benjamin Moore (used throughout the house); swivel counter stools from the Ray Booth Collection by Hickory Chair in Ultrasuede Green by Kravet; Pharrell pendant lights by Currey & Company; all appliances by Signature Kitchen Suite
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2021 FLOWER SHOWHOUSE
Children’s Room and Den A small bedroom that’s big on style is ready for visits from children or grandchildren, or for an afternoon nap. Margot and Mary Evelyn were searching for the perfect fabric when they both clicked on the same one at the exact same time. “It was serendipitous and ideal for the space,” says Margot. With touches of teal, the dragonfly print ties in with the rest of the home. Instead of using the lighter Baffin Island paint for the walls, the choice was made to go bold, using the darker Devonshire Green, imparting a cocooning effect. A handsome den does double duty as an office and spare bedroom with its streamlined English-arm sleep sofa and generously sized, curvy armchair in a fabric inspired by 19th-century block prints.
ABOVE: Upholstered bed from the Suzanne
Kasler Collection by Hickory Chair; headboard, sham, bedskirt, and bedspread in Azure fabric by Clarke & Clarke through Kravet; Isabella bedside table from the Winterthur Estate Collection by Hickory Chair; custom linens and bolster pillows by Leontine Linens; art from Beverly McNeil Gallery; table lamp and swing-arm sconce by Currey & Company; rug from Paige Albright Orientals RIGHT: English-arm sleep sofa by Hickory Chair in fabric by Nina Campbell for Osborne & Little through Ainsworth-Noah, with Kravet trim; Jefferson chair by Century Furniture in Robert Kime archival-print linen (also on Roman shade); floor lamp by Currey & Company; art from Beverly McNeil Gallery
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RIGHT AND BELOW:
Kingali sconce by Currey & Company; Karlie mirror by Century Furniture; Cloisters wallpaper by Nina Campbell for Osborne & Little through Ainsworth-Noah; floor, shower, and ceiling tiles by Crossville; custom linens by Leontine Linens; art from Beverly McNeil Gallery
BOTTOM LEFT PHOTO BY LAUREY GLENN
Guest Bath In the guest bath, a combination of Gothic-picket and leaf-mosaic tiles brings visual punch to the shower and plays well with the plucky brushstroke wallpaper.
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2021 FLOWER SHOWHOUSE
Master Bedroom
PHOTO BY LAUREY GLENN
Mary Evelyn’s deft hand with pattern, texture, and color is showcased in the master bedroom. Drawing on the natural setting, the designer put together a restful space punctuated with lively details, including an arched-back wicker bed with stylized open spaces inspired by garden chairs; a naturalistic print that evokes a Japanese pond with its lotus flowers, fanciful birds, and tangles of green vines; and a three-drawer raffia-wrapped chest in a dark teal.
LEFT: Antibes bed by Century Furniture; Martinique side tables and Camp chairs from the James River Collection by Hickory Chair; Guinevere table lamps by Currey & Company; custom wool and jute rug from Paige Albright Orientals; monogrammed blanket cover, pillow, French pillowcases, shams, and sheets by Leontine Linens; Lotus Garden curtain and bedspread fabric by Schumacher; art from Beverly McNeil Gallery ABOVE: Charleston threedrawer chest by Century Furniture; Karlie armchair by Thomas O’Brien for Century Furniture; art from Beverly McNeil Gallery; paper Cahaba lilies by Suzonne Stirling
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2021 FLOWER SHOWHOUSE
Master Bath and Vestibule In the adjoining bath, rustic and refined pieces join to create a calming space. Included in the mix is a faux bois bench, slate floor tiles, and reclaimed wood used for the cabinetry and soaking tub surround. Near the master suite, a vestibule houses a linen closet filled with a pretty assortment of custom monogrammed pillows, towels, and napkins, along with antique fabrics and pillows.
ABOVE AND RIGHT: Print from Antique Nature
Prints through ALKMY; bath linens by Leontine Linens; Creekside bench by Currey & Company; Altered State floor tile by Crossville OPPOSITE: Vintage armoire from Chairish; lantern by Bevolo Gas & Electric Lights; monogrammed towels, napkins, bedding, quilt, white robe, and pillows by Leontine Linens; ikat duster coat, Kuba cloths, and hand-stitched suzanis and tapestry pillows by B. Viz Design
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2021 FLOWER SHOWHOUSE
LEFT: Exterior view of the house and Hayfield Terrace OPPOSITE: Coast teak expansion dining table, side chairs, and armchairs by Summer Classics; vintage suzani textile (used as a tablecloth) and pillows by B. Viz Design; plates and goblets from Replacements, Ltd.; linen cocktail and dinner napkins by Leontine Linens; Cupola pool house lanterns by Bevolo Gas & Electric Lights
Hayfield Terrace Off the back of the house, the Hayfield Terrace, with bluestone tiles and brick detailing, is enclosed by a low fieldstone wall showing off planters full of seasonal flowers and grasses. One side of the terrace offers alfresco dining, with a teak table and chairs that are brightened with pillows, textiles, and copper lanterns. The other side offers more seating options with armchairs, a sofa, and a barrel chair.
RIGHT: Newport sofa, lounge chairs, and barrel chair, with Cahaba coffee table and Croquet teak end table, all by Summer Classics; copper French Quarter lantern on yoke hanger and Rault pool house lanterns by Bevolo Gas & Electric Lights; planters by Pennoyer Newman; container plantings by Jay Draper of Shoppe
ARCHITECTURE
Birmingham architect Pete Pritchard champions the idea that “good clients make good homes.” And he found that to be true when working with the Shaws. Pete had been walking the property with Gates for a while considering locations for a new farmhouse. “We wanted to place it on the slope that allows for meadow views surrounded by trees—not hidden, but still in an intimate setting,” says Pete. Many examples of local Alabama farmhouse architecture, as well as English styles, were considered. “The result is quite an eclectic mix that appeals to both Gates and Margot. The original concept was smaller, but we decided to grow the footprint to allow more space for guests. Still, it is restrained in scale, cozy, and a true retreat for the couple,” says Pete. “Gates is delighted that we designed a plan for two people that can include more when needed, but without any empty spaces that will go unused and with comforts for Margot, all in keeping with this very special property.”
2021 FLOWER SHOWHOUSE
Outdoor Living Beyond the Hayfield Terrace, the farm stretches out as far as the eye can see. One focal point in the landscape is an outdoor cooking spot nestled in a copse of hardwoods and pines. More than a mere grill, the fire bowl design serves multiple purposes: The removable flat outer rim is ideal for cooking everything from eggs and bacon to delicate fish and vegetables. For classic grill marks, there’s the center grate insert. Remove the grate, and it transforms into a fire pit just right for s’mores. L A N DS CA P E D E S I GN
Nashville landscape architect Ben Page of Page | Duke Architects was engaged to listen to the land and make subtle changes to enhance rather than take away from the country setting. “Gates is very engaged in the rhythm of the natural world and is such a steward of conservation—something that we both agree on,” says Ben. “The idea of refuge was upmost in our thinking. Gates had already made the place a Four Seasons resort for quail, but we wanted to highlight Margot’s passions. She loves flowers and aspects of English gardens.” The plantings, many native and historic, speak to these goals for the landscape while being both humble and elegant. “Near the house, I envisioned a well-loved country garden with old-fashioned shrubs that Margot could bring into the house to make bouquets in that old Southern vernacular,” says Ben. “It’s evocative of both their personalities— site specific; simple, broad brushstrokes; approachable; and ecologically sound.”
ABOVE: Fire pit grill by Arteflame; low-slung woven camp
chairs by Summer Classics; Kuba cloth pillows by B. Viz Design
TOP PHOTO BY LAUREY GLENN
LEFT: S’more time!
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Meet Our Team Landscape Architect Ben Page of Page | Duke Landscape Architects
LEFT TO RIGHT:
Builder Larry Gemmill
PHOTO BY DEE MOORE
Architect Pete Pritchard of Pete Pritchard Architects Inc. Interior Designer Mary Evelyn McKee of Mary Evelyn Interiors
(NOT PICTURED)
Landscaper/Horticulturalist Gary Webb of Gary A. Webb Horticulturalist Inc. Building Project Foreman Christopher Harris
BRIERFIELD FLOOR PLAN FRONT PORCH
MASTER BATH
CHILDREN’S ROOM
VESTIBULE
GALLERY
MUDROOM
GUEST BATH LIVING ROOM BREAKFAST BOX BAY
MASTER BEDROOM DEN
DINING ROOM
KITCHEN
FIRE PIT
HAYFIELD TERRACE
TH A N K YOU TO OUR S P O N S O R S
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A House Finds Its Hero By KIRK REED FORRESTER Photography by DAVID HILLEGAS
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Leaving behind city life and an entertaining empire, Keith Robinson bought an 1840s Georgia farmhouse and breathed new life into the rambling, storied property
September•October 2021
Keith walks up the drive with plants he foraged from the property. OPPOSITE: A cornucopia of autumn’s bounty greets guests at Redwine.
A chartreuse folly punctuates the Hot Garden, where flowers bloom in orange, red, and yellow all summer. OPPOSITE: An old terra-cotta pot is the perfect place for dried hydrangeas. Keith collects containers to use all over the property.
“I’VE ALWAYS BEEN IN LOVE WITH WHITE FARMHOUSES,”
says Keith Robinson. It’s a statement that might surprise those who only know Keith as the jet-setting founder of Gloriosa, Atlanta’s marquee full-service event firm, which he founded and ran for 33 years. During that time, Keith made a name for himself as a hard-working creative juggernaut who could do it all—an excellent chef, a talented floral designer, a detail-oriented perfectionist who could pull off the wow factor at any black-tie gala. Along the way, he made famous friends such as Maya Angelou, Coretta Scott King, and the
royal couple Prince Harry and Meghan Markle (whose wedding he attended). “A lot of people think of me as a man who dresses in high fashion and expensive shoes and lives in a loft in the city,” he says. “But the real Keith Robinson would rather greet you in mud boots, jeans, and a T-shirt.” Keith’s love of the countryside began when he was growing up in the mountains of North Carolina, the second oldest in a family of four boys. It was an idyllic upbringing—gathering strawberries, taking walks in the woods, fishing for trout, and spending time on the farmhouse porch of the local high school art teacher and his wife, who saw in Keith a burgeoning talent. As the only Black family in their tight-knit community, Keith’s parents tried hard to expose their boys to opportunities they themselves hadn’t had growing up in the South. “I was always that kid who was asking, ‘Can I do this? Can I do that? Can I learn to play the piano? Can I join choir? Can I do theater? Can I paint in watercolor?” says Keith. “My parents never said no to me. They gave me my wings. Because of them, I don’t know what it’s like to have fear.” That fearlessness fueled Keith as he built Gloriosa, and later it dared him to move away from it all and embrace something new. One day in 2008, while driving down a country road near Chattahoochee Hills, a rural area southwest of Atlanta, Keith noticed an old white farmhouse. It spurred childhood memories of afternoons on the front porch with his art teacher’s family—memories of comfort and contentment, qualities he was missing living in his Atlanta loft. “The loft was beautiful, but it didn’t have soul,” says Keith. “I was ready for a change.” He started asking around, trying to find the owner of Redwine Plantation, as the place was known, but no one knew who owned the old, sprawling property. Then one day, fate interceded. A client mentioned in passing that his family was from Chattahoochee Hills and that his cousin still owned the very home that Keith admired. In fact, it had been passed down through one family since it was built in 1841. Soon Keith connected with the owner, Frank Redwine III, and made an offer. On July 1, Keith’s 45th birthday, he moved in. These days Frank Redwine III, now
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LEFT: Keith finishes
arrangements before his students arrive for their end-of-session dinner party. BELOW: Finished arrangements await placement on a farm table. OPPOSITE: A view through the plane trees into the pavilion, where a prolific Lady Banks’ rose greets guests
85 years old and a dear friend, still comes by for visits and walks the grounds astonished at the property’s transformation. Over the last 13 years, Keith has turned the neglected place into a verdant paradise. The sense of drama he once tapped for events has now been channeled into the garden’s design, with harmonious spaces reaching a crescendo of sweeping sight lines and vistas anchored by the property’s 175-year-old trees. The place is alive with the sounds of birds, bees, fountains, and the occasional sound of Keith’s husband, Scott Morris, calling the couple’s two boisterous dogs. For all its beauty, the long, complicated history of Redwine Plantation is not lost on Keith. “I know that for a lot of people, the word plantation has negative things associated with it—as a man of color, if I don’t get that, then there’s something wrong,” he says. “But frankly, for me this is a place where I feel so much love. All the ghosts of the past are gone. I have all the documentation of this home’s past—the ledgers and the tax valuations and documents on the 26 slaves who lived here. But that doesn’t dissuade me from wanting to see this place at its absolute fullest potential.” The fullest potential of Redwine is perhaps best experienced at Keith’s newest venture, a series of intensive classes he’s begun to offer called the Redwine Sessions. With topics on all aspects of cooking and gardening, students come for weekly classes that culminate at the end of the term in a fabulous dinner party in the Redwine pavilion. The pavilion—once a
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Once a tractor barn, the pavilion is now arguably the most comfortable place on the property. OPPOSITE, TOP TO BOTTOM: Keith prepares food in the teaching kitchen he built himself. • Pies that look this good become their own decoration on a beautiful table. • Place settings ready for dinner guests
“For me, when you come here, it’s a place that you can’t help but feel the love. All the ghosts are gone.” —KEITH ROBINSON
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three-bay tractor barn—has been given a face-lift as a gracious open-air living and dining space. Anchored by a large fireplace at one end and an industrial teaching kitchen on the other, Keith is able to entertain guests in comfort and style. “I really love teaching,” he says. “I love sharing the disciplines that I have learned throughout my career.” In addition to teaching and running operations at Redwine Plantation, Keith is also busy designing gardens for others. After officially closing Gloriosa last Christmas, he says
he is busier than ever and happier than ever too. As he walks the gravel pathways of his garden, Keith points out a clutch of tiger lilies he rescued from a ditch down the road and replanted. Once immature, the plants now flourish in their new home. “This garden is the result of a lot of happy accidents,” says Keith. Like the lilies, he is thriving too, reclaiming a home that seemed destined to him by fate—or by a happy accident—and giving it a new life, a new purpose, a new chance to throw open its doors and welcome people in.
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TEXAS
sophisticate The spacious, light-filled living room is a family favorite. OPPOSITE: Interior designer Trish Sheats sits on a settee covered in fabric by Pierre Frey.
Fort Worth designer TRISH SHEATS brings elegance and color to a spacious Texas home, grounding it with dashes of practicality to keep it real for a family with four children and their canine companions By SALLIE LEWIS Photography by ELIZABETH LAVIN Floral Design by JIMMIE HENSLEE
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Clear green vases hold Dutch amaryllis, dahlias, and hydrangeas. OPPOSITE, LEFT TO RIGHT: Lush garden roses, dusty miller, and cockscomb on a black-and-gold side table • Dutch amaryllis stands pretty in a frosted vase.
OVER THE YEARS, INTERIOR DESIGNER TRISH SHEATS HAS MADE A NAME for her inviting
and elegant interiors. Her latest residential project, a sprawling family home in West Fort Worth, is no exception. “We wanted to make it really happy and livable,” she says of the seven-bedroom house. The Fort Worth native first began working with the young couple on their two-story backhouse, though the project expanded as they sought out a dressier, more colorful interior design for the primary residence. Balancing elegance and style with comfort and functionality was important for the couple, who have four young children and two dogs. “They aren’t terribly traditional but wanted it to be a bit more transitional,” says Trish of the couple’s vision. The designer used the family’s treasured art
“Whether it’s monogrammed towels and soaps in the bathrooms or fresh-cut flowers in artful arrangements, the finishing touches make a resounding impact.” —DESIGNER TRISH SHEATS
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collection as a springboard, pulling colors and inspiration from the paintings they’d collected over the years. In their spacious, lightfilled living room, Sheats brightened the previously neutral palette with vivid greens, slate blues, and raspberry hues. Blending textures was another strategy for elevating the aesthetic. “When I started working with them, I said, ‘I really feel like you need mohair,’ ” she says. The durable fabric is a favorite of the designer, who uses it in many of her projects. “It’s definitely more expensive but worth the money, especially when you have children,” she says. Trish upholstered the living room’s sofa and armchairs in mohair from Lee Jofa and Coraggio, while a settee in the corner is handsomely covered in a botanical-inspired fabric by Pierre Frey. Elsewhere, refined silks and cut velvets are offset by rock crystal lamps with custom shades and a large TV over the fireplace, all of which imbue the room with an elegant yet unpretentious comfort. “The interesting thing about this house is that they have a den and a playroom, but the family really uses that living room all the time,” says Sheats. “We were careful about where we put things.” The designer also worked with the couple on their kitchen, updating items like the countertops and furnishings to better suit their active lifestyle and their love of entertaining. The kitchen chairs were reupholstered in pleather for easy cleanup and longevity, while cut-velvet backs add panache and personality. Striking this high–low balance was a priority for Sheats, who is known for working closely with her clients. For more information, see Sources, page 84
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A bold arrangement of rose hips, pyracantha, smoke bush, Dutch amaryllis, eucalyptus, millet, and Cymbidium orchids is surrounded by pumpkins in muted colors. Geode lamps are from the Lamp Shoppe. OPPOSITE, TOP TO BOTTOM: Goldendoodle Scarlett holds court in the family room. • A lively mix of Dutch amaryllis, dahlias, cockscomb, and garden roses
The dining area in the updated kitchen features pleather chairs backed with cut velvet. OPPOSITE, TOP TO BOTTOM: The family room beckons with its roaring fire and well-loved books. • Copper containers burst with chocolate cosmos, privet berries, millet, various grass heads, dusty miller, and deep purple artichokes.
Before starting her own firm, Sheats studied interior design at The University of Texas at Austin and went to work with Sherry Hayslip of Sherry Hayslip Interiors in Dallas. It was there that she learned one of her most enduring lessons. “One thing I learned from Sherry is this is about your client, not about you,” says Trish, “so somebody won’t walk in and say, ‘Oh, Trish Sheats did this.’ I want to do what my client is looking for. I have diverse projects, and that’s what makes it so rewarding.” Regardless of which client she happens to be working with, one of Trish’s signature touches is her close attention to detail. “I am all about the little touches,” she says. “I love a flat French welt and a beautiful trim of any kind.” These minute yet meaningful choices are reflected throughout the home and remain an imperative part of the designer’s process, from the early conceptual stages to the final installation. “For me the install is really important,” she says. “Whether it’s monogrammed towels and soaps in the bathrooms or fresh-cut flowers in artful arrangements, the finishing touches make a resounding impact.” This homeowner shares Trish’s love of flowers and has them delivered on a regular basis. Florals were also incorporated into the decor, making the rooms feel fresh and lively. For the designer, collaborating with her clients is a truly special part of the job, and she is grateful for the opportunity to make this vibrant young family’s house feel more like home. “We’ve had so much fun working together to make every room beautiful,” she says.
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Sources Prices are subject to change. Any items not listed are unknown.
BRIERFIELD FARM: A FAMILY RETREAT PAGES 50–67: Architecture by Pete Pritchard, Pete Pritchard Architects Inc., petepritchard.com. Landscape design by Ben Page, Page | Duke Landscape Architects, pageduke.com. Interior design by Mary Evelyn McKee, Mary Evelyn Interiors, maryevelyn.com. Builder, Larry Gemmill. Landscaper, Gary A. Webb, Gary A. Webb Horticulturist Inc., garyawebbhorticulturist.com. Floral design by Suzanne Graves of Wildflower Designs, wildflowerdesigns.net; container plantings by Shoppe, shoppebham.com. All wall and trim paint, Devonshire Green and Baffin Island by Benjamin Moore, benjaminmoore.com. FRONT PORCH PAGE 50: Moon Walk light post lantern (with French Quarter lantern on yoke hanger) and Governor pool house lanterns, all by Bevolo Gas & Electric Lights; leather and waxed cotton log carrier by Tom Beckbe, tombeckbe.com; boots by Le Chameau, lechameau.com. PAGE 52: Echo woven end table and Ashland teak Adirondack chairs and ottoman by Summer Classics; vintage suzani pillows by B. Viz Design; copper Cotton Exchange lanterns by Bevolo. GALLERY PAGE 52: Farm Wing made-to-measure settee (in Iggy fabric by Jane Churchill through Cowtan & Tout) from the Archive Collection by Hickory Chair; Carriage side table from the Ray Booth Collection by Hickory Chair; art, Well at Least We Will Eat Well Tonight by Dirk Walker from Beverly McNeil Gallery. LIVING ROOM PAGE 53, TOP: Emory skirted swivel chairs from the Suzanne Kasler Collection by Hickory Chair, in Beatrice fabric from the Paradiso Collection by Nina Campbell for Osborne & Little through Ainsworth-Noah (also on curtains); Hidcote accent table by Currey & Company; Lauren cocktail table from the Charlotte Moss Collection
Who Did It & Where To Get It
by Century Furniture, painted Audubon Russet by Benjamin Moore; art, Marvelous M by Bart Lindstrom from Beverly McNeil Gallery. BOTTOM: Lorraine sofa from the Suzanne Kasler Collection by Hickory Chair, in Flaubert fabric by Nina Campbell for Osborne & Little through AinsworthNoah; Silhouettes made-to-measure ottoman (in Lille Linen fabric by Lee Jofa through Kravet), Silhouettes English-arm lounge chair, and Bibi spot table from the Hable Collection, all by Hickory Chair; Oldknow bookcase lamps by Currey & Company, with shades painted Grenadier Pond by Benjamin Moore; Cupola pool house lanterns by Bevolo Gas & Electric Lights; custom 18th-century leaf tapestry and 17th-century tapestry on homespun linen pillows and hand-stitched suzani, all by B. Viz Design; art, Farmhouse Fragments by Dawn Whitelaw, Fall Creek Splendor by Roger Dale Brown, and Sunflower by Laura Murphey, all from Beverly McNeil Gallery; candlesticks and stick candles from ALKMY, alkmy.com. DINING ROOM PAGE 54: Curtain fabric, Beatrice from the Paradiso Collection by Nina Campbell for Osborne & Little through AinsworthNoah; Freya dining table base and top from the Hable Collection by Hickory Chair; Karlie side chairs from the Thomas O’Brien Upholstery Collection and Mainland wicker large armchairs from the Thomas O’Brien Outdoor Collection (in Kravet Basics 34080-17 fabric by Kravet) both by Century Furniture; Nottaway bronze large chandelier by Currey & Company; antique Persian Sultanabad rug from Paige Albright Orientals. TABLETOP DETAILS: See At the Table, page 86. BREAKFAST BOX BAY PAGE 55: Josephine wing chairs from the Suzanne Kasler Collection by Hickory Chair, in Assyria Paisley fabric by Ralph Lauren Home through Kravet; 17th-century tapestry fragment and antique galon on homespun linen pillows by B. Viz Design; Brussels chandelier by Currey & Company, painted Kennebunkport Green by Benjamin Moore; portière fabric, Kravet Basics 34986-16 by Kravet, with
Holland & Sherry trim; antique Persian rug from Paige Albright Orientals; Gien Songe dinner plates, Wedgwood Hunting Scene cup and saucer, Crate & Barrel Granada double old fashioned, Imperial Glass Candlewick green champagne/tall sherbert, Denby Magnum Clear glass, and Ralph Lauren Equestrian Braid flatware, all from Replacements, Ltd.; round place mat from ALKMY, alkmy.com; picot napkins by Leontine Linens; treen compote with pierced thistle design from Balzac Antiques, balzacantiques.com. KITCHEN PAGE 56–57: Axis swivel counter stools from the Ray Booth Collection by Hickory Chair, in Ultrasuede Green in Teal by Kravet; Pharrell pendants by Currey & Company; dual-fuel pro range (with steam combination oven and griddle), built-in French door refrigerator, and microwave oven drawer, all by Signature Kitchen Suite; Gien Rambouillet tureen and Denby Arabesque Moss Green water goblets, all from Replacements, Ltd.; cocktail napkins by Leontine Linens; art, Browning Ranch Creek by Perry Austin and Field Day by Barbara Davis (above countertops) and The Shady End of the Lake by Andy Braitman (above bar cupboard), all from Beverly McNeil Gallery; French antique confiserie cupboard from Kenny Ball Antiques, kennyballantiques.com. CHILDREN’S ROOM PAGE 58, TOP: Candler bed from the Suzanne Kasler Collection by Hickory Chair, in Azure fabric from the Eden Collection by Clarke & Clarke through Kravet; Isabella bedside table from the Winterthur Estate Collection by Hickory Chair; custom monogrammed bolsters and French pillowcases by Leontine Linens; Basket swing-arm sconce and Boanna table lamp, both by Currey & Company; vintage Moroccan Azilal rug from Paige Albright Orientals; art, Field of Wild flowers by Nan Cunningham from Beverly McNeil Gallery. DEN PAGE 58, BOTTOM: Silhouettes Englisharm sleep sofa by Hickory Chair, in Rushlake fabric from the Charlton
VOLUME 15, ISSUE 5. Flower magazine, ISSN 1941-4714, is a bimonthly publication of Peony Publishing, LLC, located at 3020 Pump House Road, Birmingham, AL 35243. Periodicals postage is paid at Birmingham, AL, and additional mailing offices. Postmaster: Send address changes to Flower magazine, P.O. Box 8538, Big Sandy, TX 75755. For subscription inquiries and customer service, please call 877.400.3074. All unsolicited materials will not be returned. Printed in the U.S.A.
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Sources WHO DID IT & WHERE TO GET IT
Collection by Nina Campbell for Osborne & Little through Ainsworth-Noah, with Deia Linen trim by Kravet; Jefferson chair by Century Furniture, in Russell fabric by Robert Kime, robertkime.com; Lisbon floor lamp by Currey & Company; rug, custom wool and jute from Paige Albright Orientals; art, Earth Rising by Georgia Nassikas from Beverly McNeil Gallery. GUEST BATH PAGE 59: Kingali sconce by Currey & Company; Karlie mirror from the Great South Bay Collection by Century Furniture; tiles, Altered State (on floor), Handwritten Gothic picket and leaf mosaic (on shower walls and ceiling), and Yin + Yang in Lotus Blossom (on shower floor), all by Crossville, Inc.; ceiling and trim paint, Super White by Benjamin Moore; custom monogrammed towels, washcloths, and mat by Leontine Linens; wallpaper, Cloisters from the Ashdown Collection by Nina Campbell for Osborne & Little through Ainsworth-Noah; art, Solitude by John Lonergan from Beverly McNeil Gallery. MASTER BEDROOM PAGES 60–61: Antibes bed, Charleston three-drawer chest, and Karlie armchair (by chest), all by Century Furniture; Camp chairs and Martinique side tables from the James River Collection by Hickory Chair; Guinevere table lamps by Currey & Company; rug, custom in wool and jute from Paige Albright Orientals; monogrammed pillow, French pillowcases, shams, blanket cover, and sheets by Leontine Linens; curtain and bedspread fabric, Lotus Garden by Schumacher, fschumacher.com; art, Last Glow by Roger Dale Brown (above bed), Touch a Cloud by Barbara Davis (above chest), and New Day and Queen
Anne’s Last Stand by Perry Austin (to left of chest, top to bottom), all from Beverly McNeil Gallery; tole tray from Balzac Antiques, balzacantiques.com; candlesticks, stick candles, and throw from ALKMY, alkmy.com; paper Cahaba lilies by Suzonne Stirling, suzonne stirling.com. MASTER BATH PAGE 62: Creekside table/bench by Currey & Company; floor tile, Altered State in Steel Gaze by Crossville, Inc.; custom monogrammed bath linens by Leontine Linens; turkey print, candlesticks, and candles, all from ALKMY, alkmy.com. VESTIBULE PAGE 63: Vintage armoire from Chairish, chairish.com; Moroccan wool rug from Paige Albright Orientals; Mini French Quarter pool house lantern by Bevolo Gas & Electric Lights; monogrammed towels, pillows, napkins, bedding, quilt, and white robe by Leontine Linens; ikat duster coat, Kuba cloths, hand-stitched suzanis, and tapestry pillows, all by B. Viz Design. HAYFIELD TERRACE PAGE 64: Coast teak dining extension table and chairs, all by Summer Classics; Cupola pool house lanterns by Bevolo Gas & Electric Lights; picot dinner napkins and cocktail napkins by Leontine Linens; hand-stitched suzani (used as tablecloth) and vintage suzani pillows by B. Viz Design; Juliska Forest Walk dinner plates, Certified International olive-green wineglasses, Horchow Tortoise balloon goblets, all through Replacements, Ltd. PAGE 65, BOTTOM: Newport sofa, lounge chairs, and barrel chair, Cahaba coffee table, and Croquet teak end table, all by Summer Classics; copper French Quarter
SHOWHOUSE SPONSOR WEBSITES Ainsworth-Noah ainsworth-noah.com
Century Furniture centuryfurniture.com
Osborne & Little osborneandlittle.com
Arteflame arteflame.com
Coca-Cola United cocacolaunited.com
B. Viz Design bvizdesign.com
Crossville, Inc. crossvilleinc.com
Paige Albright Orientals paigealbright orientals.com
Benjamin Moore benjaminmoore.com
Currey & Company curreyandcompany.com
Beverly McNeil Gallery beverlymcneil gallery.com
Hickory Chair hickorychair.com
Bevolo Gas & Electric Lights bevolo.com
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Portraits, Inc. portraitsinc.com Replacements, Ltd. replacements.com
Kravet kravet.com
Signature Kitchen Suite signaturekitchen suite.com
Leontine Linens leontinelinens.com
Summer Classics summerclassics.com
September•October 2021
lantern on yoke hanger and Rault pool house lanterns by Bevolo; planters by Pennoyer Newman, pennoyernewman .com; plantings by Shoppe, shoppe bham.com. FIRE PIT PAGE 66: Skye Woven Sand Euro lounge chairs by Summer Classics; vintage handwoven African Kuba cloth pillows by B. Viz Design; fire pit, Classic Grill 40" Low Round Base by Arteflame.
A HOUSE FINDS ITS HERO PAGES 68–75, Floral design, food, and styling by Keith Robinson, Instagram: @roscoefarmboy. For information on the Redwine Sessions, follow @redwinesessions on Instagram, or email redwinesessions@gmail.com.
TEXAS SOPHISTICATE PAGES 76–83, Interior design by Trish Sheats, Trish Sheats Interior Design, trishsheats.com, Instagram: @trishsheatsid. Floral design by Jimmie Henslee, Instagram: @hensleejimmie.
What’s Coming Up SUMMERVILLE, SC
Flowertown Festival October 8–10 visitsummerville.com /flowertown-festival COLUMBUS, GA
Columbus Botanical Garden Gala October 13–15 columbusbotanicalgarden.org /2021 gala GREENVILLE, SC
Antiques, Fine Art & Design Weekend October 15–17 gcma.org/antiques RICHMOND, VA
Fine Arts & Flowers October 20–24 vmfa.museum/faf For more events, visit flowermag.com
At the Table
TABLE TALK
Nothing welcomes guests more than a layered table with a variety of colors and textures.
Gather Round SEEING THE FIRST SIGNS OF AUTUMN—SHADES OF RED, ORANGE, AND GOLD— WE BEGIN TO THINK OF CRISP NIGHTS AND BRINGING TOGETHER THOSE CLOSEST TO US Produced and styled by Amanda Smith Fowler • Photography by David Hillegas
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Palladio gold charger ($120) by Vietri, Rambouillet dinner plate ($280) by Faïencerie de Gien, Gold Cane flatware ($7/piece) by Towle Silver, Arlington Amber glass ($26) by Southern Living, and Arabesque green goblet ($18) by Denby, all through Replacements, Ltd., replacements.com • Darcy embroidered linen napkins ($145 each) by Leontine Linens, leontinelinens.com • Guinea feather place mat ($110/set of 4) from Bradley’s Market, bradleysmarket.com This table setting was created with our Brierfield Farm showhouse partner Replacements, Ltd. Turn to page 50 for a tour of the showhouse.