56u dth

THE

CHANGE ISSUE

REINVENTION, RENOVATION & FRESH, FEARLESS DESIGN

SALVAGE GLAMOUR STUNNING SECOND ACTS FROM LONDON TO L.A.

A COCOON OF ONE’S OWN THE ANSWER TO BETTER SLEEP

SPECIAL REPORT 15 BOLD COMPANIES PUSHING SUSTAINABILITY FORWARD

PLUS IT’S TIME TO RETHINK CHINOISERIE

BY AILEEN KWUN

BORN IN LE BRASSUS

RAISED AROUND THE WORLD

A U D E M A R S P I G U E T B O U T I Q U E S : N E W Y O R K | AT L A N TA | B A L H A R B O U R | B E V E R LY H I L L S | BOSTON | BRICKELL | CHICAGO | DALLAS | EAST HAMPTON | LAS VEGAS | MANHASSET

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Mah Jong. Modular sofa with elements, designed by Hans Hopfer.

Upholstered in fabrics designed by Kenzo Takada, Matsuri collection, Irune version. Lacquered wooden bases, matte bronze patina finish.

In-store interior design & 3D modeling services.1 Quick Ship program available.2

This year, Roche Bobois is celebrating the 50th anniversary of the Mah Jong sofa, designed in 1971 by Hans Hopfer.

To celebrate this milestone, the Mah Jong is dressed in new designer fabrics and set on elegant platforms that enhance its silhouette and comfort. True to the Mah Jong’s original identity, this new design makes the piece more modern than ever.

Fabrics designed by

French Art de Vivre Photos by Michel Gibert and Baptiste Le Quiniou, for advertising purposes only. TASCHEN. 1Conditions apply, contact store for details. 2Program available on select items, subject to availability.

Mah Jong. Modular sofa with elements, designed by Hans Hopfer.

Upholstered in , Constellation collection.

Stained wooden bases, Alezan finish.

In-store interior design & 3D modeling services.1 Quick Ship program available.2

This year, Roche Bobois is celebrating the 50th anniversary of the Mah Jong sofa, designed in 1971 by Hans Hopfer.

To celebrate this milestone, the Mah Jong is dressed in new designer fabrics and set on elegant platforms that enhance its silhouette and comfort. True to the Mah Jong’s original identity, this new design makes the piece more modern than ever.

Fabrics by

French Art de Vivre Photos by Michel Gibert and Baptiste Le Quiniou, for advertising purposes only. Zulma Editions. 1Conditions apply, contact store for details. 2Program available on select items, subject to availability.

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FEEL LIGHT TRANSFORMED™ Innovative window treatments with PowerView® Automation transform the natural light in your home to create the perfect mood, whenever the moment.

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Form and function converge in Vincent Van Duysen’s Franck Modular Seating and performance fabrics, pillows and rugs for Sutherland and Perennials. I perennialsfabrics.com I sutherlandfurniture.com

CONTENTS O C TO B ER 2021

PAUL R AESIDE

The garden room of a London townhouse designed by Maria Speake and Adam Hills of Retrouvius, page 128.

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74

EDITOR’S LETTER

GIVING BACK

45

Jessica Helgerson designs a light-filled homeless shelter in Portland, Oregon.

WHAT’S HOT The best design discoveries

BY TIM McKEOUGH

53

BUILDER

POV Why it’s finally time to rethink chinoiserie.

BY AILEEN KWUN

56

79

TOOLBOX The most beautiful—and functional—built-in beds.

SO COURANT

BY KATHRYN O’SHEA-EVANS

Change of address or cultural reset? A New York showroom navigates both

88

58

Melissa Lee’s creative, adaptable renovation of a Connecticut spec house.

TRUTH IN DECORATING Brock Forsblom and Victoria Hagan consider the top new cocktail tables 64

SHORTLIST

ANATOMY OF A HOUSE

BY CELIA BARBOUR

142

RESOURCES 144

Antwaun Sargent shares his eight favorite things

DESIGN FOR GOOD

66

A hand-painted gold-lacquered screen

by Callidus Guild

SHOWCASE Rolex’s latest chronograph, inspired by the heavens.

BY TANYA DUKES

68

CASE STUDY The grand reveal of milliner Nick Fouquet’s geodesic dome home in Los Angeles.

BY ANNA FURMAN

The foyer of a Chicago apartment designed

by Summer Thornton, page 104. The wallcovering is by Pierre Frey.

76

LET THE LIGHT IN Window treatments to cool your space in style—or make it look red-hot.

PRESENTED BY HUNTER DOUGLAS

Designer Jinyeong Yeon sits on his interpretation of a classic Louis XVI chair for Dior Maison, page 45.

ON THE COVER The sitting room of architect and designer Luis Fernandez’s home in Beverly Hills.

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PHOTOGR APH BY TREVOR TONDRO

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CONTENTS

FEATURES 96

I’LL TAKE MIDCENTURY MODERN Architect Luis Fernandez is giving Alex Trebek’s former Beverly Hills home a new life.

BY SHEILA YASMIN MARIKAR DESIGNER LUIS FERNANDEZ

104

BUT SERIOUSLY See how Summer Thornton brought her irreverence to the redo of a Chicago apartment.

BY CATHERINE HONG DESIGNER SUMMER THORNTON

112

RAISING ARIZONA David Netto elevates a Paradise Valley retreat with modernist moves—and a dose of wit.

BY DEBORAH BERKE DESIGNER DAVID NETTO

120

THE REST IS HISTORY In a 1920s Palm Beach villa, Mark D. Sikes both honored and improved upon the past.

BY MITCHELL OWENS DESIGNER MARK D. SIKES

128

LET ’EM IN For salvage glamour, this London townhouse shows why Retrouvius is the best in the business.

BY JO RODGERS DESIGNERS ADAM HILLS AND MARIA SPEAKE

136

SPECIAL REPORT: EARTH The 15 firms and brands inspiring us to live better— and more sustainably.

A view into the kitchen of a Paradise Valley, Arizona, home designed by David Netto, page 112.

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EDITOR’S LETTER

Welcome to the Issue P R I N G M AY H AV E A

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ABOVE: The sunlit entry of architect Luis Fernandez’s reimagined 1960s house in Beverly Hills. OPPOSITE: Using a suite of playful pastel colors from the new

Sherwin-Williams Living Well Collection’s Create palette, the illustrator Spiros Halaris rendered a fictional room for a fantastical custom “cover” of ELLE DECOR.

for that renovation you’ve been dreaming of embarking on. May we suggest limewashed walls or perhaps a built-in bed? See our Builder section on page 79.

This month’s POV essay (page 53) is a thoughtful piece by design journalist Aileen Kwun that asks us to reconsider chinoiserie; she explains the fraught history of this ubiquitous decorative arts trend and what lies below its pretty surface.

Also in this issue, EARTH: a special report on the brands and firms thinking holistically about sustainability in interiors, architecture, and beyond. The letters in EARTH stand for design Excellence, Accountability, Renewal, Transformation, and Humanity—and each of the companies we profile operates by those tenets as it leads boldly in an industry with so much power to effect change. ◾

@as4d

FROM LEFT: NAIMA GREEN; TREVOR TONDRO

reputation for b ei n g the season of renewal, but, for me, autumn— with its back-to-school, n e w-ye a r-ne w-m e e n e r g y— h a s always been the best time for a reset.

Fittingly, our October issue embraces the themes of change and reinvention, with close looks at design’s complicated past, dynamic present, and ever-changing future. Our cover this month features a 1960s house in Beverly Hills intelligently reworked by architect Luis Fernandez for himself, his partner, and their son. Legendary Jeopardy! host Alex Trebek once lived in the house, when its decor was more swinging ’70s than haute family crash pad. The changes Fernandez has made pay homage to that history while bringing the interiors into the 21st century.

In the pages that follow, you’ll find fresh takes on classic furnishings and accessories for every room, plus ideas

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Outside the

When tasked with rethinking the classic Louis XVI– style medallion chair for Dior Maison, Seoul-based designer Jinyeong Yeon chose iridescent aluminum tread plates as his medium.

© SUNGMIN KIM

17″ w. x 16.5″ d. x 37″ h., price upon request. dior.com

Lines Familiar shapes find new expressions in a range of imaginative materials, textures, and patterns.

BY

PARKE R BOWIE L ARSON ELLE DECOR

45

WHAT’S HOT | THE BEST DESIGN DISCOVERIES

Cartier has reimagined its archival vanity cases as refillable perfume bottles: Les Nécessaires à Parfum Blue Dots Case features a handlacquered Art Deco motif. $850. cartier.com

Aptly named for the Japanese word for wave, the Nami lounge chair by Thomas Pheasant for McGuire looks serene from the front but stuns with a caned oak panel “cuff” at the back.

44″ w. x 37″ d. x 28.5″ h., to the trade. mcguirefurniture.com

Palecek pushes the limits of rattan with its Andorra pendant, woven on a metal form into a pleasingly organic shape inspired by passing clouds.

34″ w. x 32″ d. x 27″ h., $2,149. palecek.com

SKILL SET

London-based glassmaker Jochen Holz channeled the work of J.B. Blunk when crafting these unique bulbous B.tumblers for the exhibition “Blue Jeans & Brown Clay” at Kate MacGarry gallery.

3″ w. x 5″ h., $560 for a set of four. thefutureperfect.com

History in the Making

Fashioned by artisans in Istanbul, Merve Kahraman’s Abide side table puts a stone-cold spin on the evil eye, offset by legs upholstered in Alexander Girard’s famed checker fabric for Maharam.

23.5″ w. x 20″ d. x 18″ h., $1,700. propertyfurniture.com

Lenny Kravitz’s newest furniture collection for CB2 showcases geometric patterns and craft techniques rooted in African textiles, carvings, and paintings. The colorful Sojourn Ogo print bed is sure to be a standout in any primary suite.

81″ w. x 87.5″ d. x 36″ h., $2,199. cb2.com

In honor of the 10th anniversary of its Islamic wing, the Metropolitan Museum of Art worked with designer Madeline Weinrib to launch the Heirloom Project.

Weinrib tapped 16 brands to create handcrafted products inspired by the Met’s collections of Islamic art and heirlooms, employing artisans from Afghanistan to Syria for whom the opportunity would be most impactful.

Poppy cotton pillow by Good Earth from Madeline Weinrib for the Met, 20″ sq., $150. store.metmuseum.org

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WHAT’S HOT | THE BEST DESIGN DISCOVERIES

Game, Seat, Match!

Commemorating a half century of comfy cool, the modular Mah Jong sofa looks better than ever.

Norma Kamali at home on her Mah Jong in a striped cotton linen.

RIGHT: The artist Larry Achiampong’s “Mah Jong Re-imagined” design.

1971 Designer Hans Hopfer’s idiosyncratic sofa makes its groovy debut.

2005 Kenzo Takada is the first fashion designer to “dress” the Mah Jong, initiating an ongoing legacy of collaborations with designers including Missoni Home, Jean Paul Gaultier, and Sonia Rykiel.

2015

roche-bobois.com

O R N O F TH E 1970 S , ROC H E

B

Bobois’s Mah Jong sofa is an iconic totem of informality.

Named for the Chinese tilebased game its unique compositions call to mind—the “domino” sofa doesn’t have quite the same ring to it (nor does it sound especially stable)—the low-slung seating system comprises three upholstered bases that can be configured in a myriad of ways, easily morphing into an armchair, sofa, or lounge chair. Entirely handmade in Italy since its introduction, the Mah Jong remains 48

ELLE DECOR

synonymous with freedom of expression, an accommodating domestic canvas that has begotten couture collaborations with fashion designers like Sonia Rykiel and Jean Paul Gaultier and has popped up in the homes of celebrities like Norma Kamali and Gwyneth Paltrow. To celebrate its 50th anniversary this year, Roche Bobois is offering two new versions of the sofa with veteran collaborators Missoni Home and the late Kenzo Takada, as well as a reedition of Gaultier’s 2010 collection. Pull up a seat—whichever way you like. —Sean Santiago

2016 At the behest of Roche Bobois, ArtReview magazine selects eight artists, including Pio Abad, Larry Achiampong, and Patrizio Di Massimo, to create a work inspired by the sofa for the “8 x 8 Mah Jong Re-imagined” charity auction in London.

2019 Portuguese artist Joana Vasconcelos exhibits her take on the Mah Jong at Art Basel Miami Beach and then auctions it off for charity.

2021 Architect and Tony Award–winning set designer David Rockwell installs Mah Jong sofas on the lawn of Union Station in Los Angeles, creating an outdoor lounge for the Academy Awards.

K AMALI: TIAGO MOLINOS

The 2021 reedition of an original Jean Paul Gaultier design, shown on a new platform base.

For the Paris International Contemporary Art Fair, Roche Bobois organizes the “INexterieur: Street Art Inside” exhibition.

Thirteen prominent street artists are invited to put their own interpretive spins on the Mah Jong.

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GET T Y IMAGES

It’s Time to Rethink Chinoiserie From pagoda motifs to floral wallpaper, the West has always openly borrowed from Asian visual culture. But is it harmful?

BY

AILE E N K WUN ELLE DECOR

53

POINT OF VIEW

benign. “It’s an incredibly destructive and troubling way of Pagoda motifs, fiery dragons, and bamboo looking at the other,” she says.

In the world of decor, it’s hard to escape the fact that stalks. See it in architecture, gardens, interiors, furnishings, products, graphic motifs, and chinoiserie is a perennial favorite. “It’s a really loaded at just about every scale of design. Chinoiserie, topic,” interior designer Young Huh, a first-generation a genre of reproduction design dating back to 17th- and Korean American, says. On the one hand, she notes, there 18th-century Western Europe, has had a long history. are historically based wallcoverings that respect Chinese From Louis XIV’s decor at Versailles to Ettore Sottsass’s artisans. “Then there are all the weird, fetishistic things pagoda-topped postmodern shelving, westernized versions that people make and call chinoiserie. Cultural appropriof Asian motifs have long been a mainstay of interior design. ation is also an issue.” What’s often missing in the desire These days, chinoiserie is regaining popularity as part of for this commodified “historic” aesthetic is an interest and an Instagram-friendly, “grandmillennial” lifestyle aesthetic curiosity for history itself. Ignorance breeds insensitivities, based around a mix of shabby-chic decor that harks back and offenders can often be unaware.

From high-end to high street, the pervasive presence to its last craze in the 1930s. You can find vintage and of ch i noi ser ie won’t be goi ng modern mass-produced examples a ny where a ny t i me soon—a nd from retailers like One Kings Lane manufacturers are only part of the and Chairish. On the higher end, equation. Equally accountable are wallcovering f irms Gracie and the various players within the de Gournay produce historically industry ecosystem who bolster informed reproductions of chinoiserie silk brocade panels and its fashion and ultimately its sales. textiles, many of which feature East Marketers, retailers, and magazine Asian–inflected floral patterns and editors ought to be held equally to scenic landscapes—sometimes martask for steering the conversation keted as part of “exotic” collections. around cultural appropriation—but As a style of decor, chinoiserie without a diversity and inclusion is ubiquitous, even beautiful. But of voices in their decision-making ranks, that is not likely to change. it has never sat well with me— as a motif or as a word—as an Asian Speaking up against power—be American. And, to varying degrees, it a design client, a brand, or a popothers share my discomfort. “My ular trend—is never easy. As Dung reading of chinoiserie is that it’s Ngo, founder and editor in chief of MICHAEL K. CHEN ‘Asian’ in facsimile,” the architect August Editions, says: “If you had Michael K. Chen says. “The way called me [last year], it probably chinoiserie is deployed in interiors would have been a very different is something that I am a little reflexconversation.” Through the lens ively allergic to. As a component of the present—when anti-Asian prejudice and hate crimes have been of a ‘traditional’ interior, it seems reported at an all-time high, due in to highlight the question, Whose tradition are we talking about?” large part to the senseless assertion Chen’s question is one that many Asian Americans in that COVID-19 equates to a “Chinese virus”—it’s harder the design industry often wonder about, if behind closed to swallow the ridicule of a word, a misplaced motif, or a doors. Because a decorative design object is never just an slant-eyed caricature. And we shouldn’t have to. object. It is a stand-in for what is valued, what is heralded as For while a cartoonish pagoda design might rank lower on beautiful; and when staged as a prized possession in one’s the growing list of battles to fight, it’s part of the backdrop home, it becomes more than a conversation piece. It is a tacit that upholds harmful stereotypes and a status quo that often endorsement of the labor and culture that produced it—and questions the notion of cultural counterfeits from only one vantage point. It’s time to rethink our conversations around of the taste of its owner.

In the West, the idea of chinoiserie has long been per- the objects we love and why—and move forward to a place ceived as benign, liberally used in popular culture to apply that welcomes all. As furniture and product designer Robert to a generic “Asian” aesthetic that freely borrows elements Sukrachand says, when done with care and respect, “design, from a range of visual cultures, not just Chinese. “Scholars whether it’s an interior, a room, a piece of furniture, or an tended to think of the term chinoiserie as a kind of ‘neutral’ object, is such a beautiful vehicle for connection.” ◾ stylistic device,” says Iris Moon, an assistant curator in the European Sculpture and Decorative Arts department at the Aileen Kwun is a writer and editor based in New York City.

Metropolitan Museum of Art. But the imagery is hardly Go to elledecor.com to read the full version of this article.

OO DOGS. GINGER JARS. YIN-YANG TABLES.

F

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ELLE DECOR

GET T Y IMAGES

“My reading of chinoiserie is that it’s ‘Asian’ in facsimile.”

SO COURANT

Dealer’s Hand

A change of address offers a new view on a New York design showroom’s masterful mix. Our deputy editor gets the scoop.

PHOTOGR APH BY

HEN LOVE HOUSE FIRST OPENED

W

its doors in Greenpoint, Brooklyn, in 2018, the showroom felt primed for social media ascendancy, stocked with choice midcentury pieces that were smartly arranged and bathed in natural light on Instagram. That was no coincidence: Founders Jared Heinrich and Aric Yeakey both have a background in photography—and great taste to boot.

With an eye toward compelling juxtapositions of old and new, Love House quickly manifested as a design destination, peaking with the November 2019 launch of designer Eny Lee Parker’s “Internal-izing” collection, with a guest list stretching into the hundreds.

Its new home base, open by appointment in New York City’s Greenwich Village, leans much harder into what’s contemporary, collectible, and cool. Love House’s evolved approach 56

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NIC HOL AS C ALCOT T

to curating reflects a sea change in both popular tastes and culture: to the trade sans pretense. “Vintage was a way for us to introduce ourselves,” says Yeakey. “But contemporary design was always where we wanted to go.”

While pedigreed pieces still dance through its doors, the showroom’s focus is on emerging talents working in a range of media: Wengewood vessels by Studio Anansi; corn-based plastic seating by Kouros Maghsoudi; ceramic furniture and lighting by Sunshine Thacker.

“They are such talented curators,” says Parker, who’s shown with the duo since their collaboration two years ago. “But they also work with designers who align with their values, and that can’t always be said of the gallery world.”

It seems what the new space does best is realize the latent potential in its name as a platform for that perennially touted Instagram value: community. —Sean Santiago

ABOVE: In the new Love

House in Manhattan (clockwise from left), lamp

by Studio J McDonald.

Photograph by Atarah Atkinson. Sculpture by Matthew Byrd. Painting

by Theo Pinto. Credenza

by Buket Hoscan Bazman.

Vessels (pair) by Studio Anansi. Chairs by Kouros Maghsoudi. Table by Studio J McDonald. Chair

by Studio Pardon Our Appearance. Mushroom Lamp by Nicholas Pourfard. Sofa by Umberto Bellardi Ricci. lovehouseny.com

Elegant Universe

TRUTH IN DECORATING

2

1

3

Center of the You-niverse

Designers Brock Forsblom and Victoria Hagan consider the cocktail table: the home’s nucleus for socializing.

BY C HARLES C URKIN A N D K ATE M c GREGOR

4

1. Collin by MGBW BROC K FOR SBLOM:

The inset-corner leg is an interesting detail. It elevates the table from being just a square of marble.

2. Coffee Bean by Nada Debs

3. Low by Hun-Chung Lee

4. Murano by Francesco Balzano

5. 4 Pod Sizzle by Wendell Castle

VH: The lacquered finish and stainless steel have a very playful quality.

BF: It’s so exciting as a sculptural piece of furniture. I’m obsessed with it.

VH: I love the patina of the ceramic and its organic design.

VH: Its slim width would work well in a tight space.

BF: With a white top, it’d

BF: If you have enough

VIC TORIA HAGAN: The

friends, it’d make a chic dining table.

classic lines and material will never become dated.

94.5″ w. x 55″ d. x 16″ h.; $6,500. nadadebs.com

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ELLE DECOR

40″ w. x 24″ d. x 7.5″ h.; price upon request. r-and-company.com

be ready for a metallic reverse-cove ceiling in Miami Beach.

BF: I want to throw parties where people spill wine on the leather surface. In a year, you’d have a record of memories.

VH: It has great scale and

59″ w. x 20″ d. x 16″ h.; price upon request. the invisiblecollection.com

72″ w. x 33″ d. x 17″ h.; $10,075. wendellcastle collection.com

might even work under a large painting.

PORTR AITS, FROM LEFT: GARY GERSHOFF/STRINGER, WILLIAM WALDRON

5

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TRUTH IN DECORATING

7

9

10

6. Louisa by Vincent Van Duysen

7. Atmos by Logan Komorowski

8. That’s All Folks

by India Mahdavi

9. Mosaica by Julie Figueroa Zafiro

VH: These would add

BF: I’d want to use it in multiples to create a long, low shelf against a wall.

VH: I’m a fan of straw marquetry. This would be a key focal point.

BF: I’m always looking for tables without sharp edges for children. This one is adorable.

fun and fluidity to any space.

BF: They’re like elegant

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mushroom creatures hopping around the living room.

VH: This is a great value.

From 20″ dia. x 16″ h.; from $2,270. molteni.it

47″ w. x 24″ d. x 15″ h.; $1,696. industrywest.com

ELLE DECOR

It has a luxurious, custom feel.

BF: This is how you make

a classic, precious material really playful.

43″ dia. x 14″ h.; price upon request. ralphpucci.com

VH: I could see this contributing a graphic dimension to a more neutral room.

35.5″ dia. x 13.5″ h.; $4,020. roche-bobois.com

10. The Skin of the Stone

by Sophie Dries VH: This resonates

because of its mix of materials. It would work well with a curved sofa.

BF: It makes you want to

interact with it, like it’s saying, “Explore me.”

43.5″ w. x 31.5″ d. x 16″ h.; price upon request. nilufar.com

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Introducing

E LLE DECOR’S COMMITMENT TO...

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This year, ELLE DECOR is launching EARTH, an editorial initiative that takes a holistic approach to celebrating design that centers both people and the planet.

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SHORTLIST

1. Eucalyptus I don’t do scented candles or flowers, but I do love having fresh eucalyptus in the bathroom.

5. Griffin Editions The framers that artists use.

They’re a bit expensive, but their frames are built to last.

2. Acqua Panna

I was wearing her beautiful Jacob Lawrence silk shirt the other day.

I buy at least one thing from her collection every season.

Antwaun Sargent 3. The New Black Vanguard I do keep my own books on display, but because I work on so many, I’ll often rotate out the ones on my coffee table.

With a continuation of his blockbuster exhibition “Social Works” set to open in London on October 7, the Gagosian gallery director divulges eight of his favorite things.

7. Biologique Recherche I use all of their products, from lotions and serums to placenta cream. Once you get the routine down, the results are great.

4. Cannondale Road Bike Over the past year and a half, I’ve become focused on fitness. I bike a lot and have a go-to playlist my friend Oscar Nuñez made. It’s called “Sex Talk.”

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ELLE DECOR

8. Woody (1973) This piece by the late Barkley L. Hendricks is my favorite painting. It was my avatar on Twitter, Facebook, and other places for years.

PORTR AIT: CHASE HALL; EUCALYPTUS: GET T Y IMAGES; THE NEW BL ACK VANGUARD: T YLER MITCHELL; WALES BONNER: CAT WALKING/GET T Y IMAGES; WOODY: ©1973, ESTATE OF BARKLEY L. HENDRICKS, COURTESY THE ARTIST’S ESTATE AND JACK SHAINMAN GALLERY, NEW YORK

6. Grace Wales Bonner

It’s like the only thing I drink, which is probably an insane thing to say.

SHOWCASE

Ten-andTwo Infinity A newly launched chronograph revels in its extraterrestrial inspirations.

PHOTOGR APH BY

DON PE NNY

HE EARTH

seems to get sm a l ler every day, as it s fa r t hest reaches a re increasingly accessible to even the most novice travelers. It’s no surprise, then, that in recent decades our collective attention—and wa nderlu st— h a s t u r ned toward the heavens. Among those dreamers are titans of contemporary commerce with childhood dreams to fulfill, and Rolex, which is tapping into the zeitgeist— and the great unknown. The Swiss watch brand has taken inspiration from extreme travel and exploration since the early 1950s (see Rolex’s Explorer, Submariner, and Sea-Dweller models) and, with one of its latest introductions, is putting cosmic material to earthly use.

The 40-millimeter Oyster Perpetual Cosmograph Daytona is among Rolex’s most desirable models, but to acquire one in stainless steel with a simple black or white dial at retail, your wait will be counted in years.

T

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Released in 1963, the Daytona is a chronograph originally designed for race car drivers with the technical requisite of a tachymetric bezel. (It was also intended for cosmonauts to wear in space—hence the name.) The dial on this new incarnation, the case of which comes in white,

yellow, or Everose gold, is made from a sliver of meteorite, which was collected from fragments of an asteroid that exploded millions of years ago and traveled across the solar system.

Even watch collectors, a cohort generally wedded to precision and uniformity, will be bewitched by

the unpredictable metallic patterns found on each dial, with its unique crystallized formations that were set in motion by forces light-years away. It is a rare instrument that captures every instant with accuracy and, at the sa me time, a lso revea ls a glimpse of the infinite.

—Tanya Dukes

FOR DETAILS, SEE RESOURCES

Bradley L. Bowers, founder of an eponymous industrial design studio based in New Orleans whose cloudlike paper Halo Light draws on celestial forms, wears a meteorite-dial Oyster Perpetual Cosmograph Daytona in Everose. $41,000. rolex.com.

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CASE STUDY

Hat Trick Our third and final story on milliner Nick Fouquet’s renovation of a geodesic dome home is the grand reveal.

BY

ANNA FUR M AN PHOTOGR APHS BY

TRE VOR TONDRO

URING THE PANDEMIC, HATMAKER

D

Nick Fouquet finished renovating his 1970s geodesic dome home, which is nestled on a third of an acre in Topanga Canyon in Los Angeles. “The whole process has been a labor of love and a very unconventional build,” says Fouquet, whose unusual, custom-fitted hats feature whimsical details like macaw feathers, handwritten poems, and crystal rocks. (His namesake brand is worn by stars ranging from Pharrell Williams to Madonna.) “The dome is all triangles, octagons, pentagons,” he says.

“Everything has to be custom-built so it fits in the circular space.”

Surrounded by 100-year-old eucalyptus and fruit trees, the revived, energy-efficient structure shares land with wild deer and 68

ELLE DECOR

roaming bobcats. In modernizing the dome, challenges emerged quickly. Dry rot had consumed the structure’s base, so contractor Timothy McCarthy decided to rebuild the entire foundation. His team removed the original spiral staircase from the heart of the home and installed a new one connecting to the basement-level bedroom; Fouquet encased each step in aquatic-themed fabric of his own design and capped the railing with a vintage glass compass. “With the stairs gone, the light travels through space, and it becomes more magical,” McCarthy says. He and Fouquet met in 2012, when the milliner launched his eponymous brand and McCarthy built the first store for free in an underground garage; their friendship has deepened over the years, in part because of their shared membership in the ceramics

CLOC K WISE FROM TOP LE F T: The living room in

Nick Fouquet’s 1976 home in Los Angeles, which he restored with contractor Timothy McCarthy; the walls are clad in tongue-andgroove painted cedar.

Fouquet, sporting one of his hats, stands on his terrace, with a view of Topanga State Park. The back of the house faces east; new custom steel windows were made on-site and feature highly energy-efficient double-pane glazing by G&D Glass. For details, see Resources.

Marian McEvoy Collection

CASE STUDY

collective Temple of Mediclaytion. They’ve since collaborated on four projects, including Fouquet’s retail spaces in Aspen and Venice Beach, California.

The original dome was built to absorb sound, so its exposed framework protects against loud echoes. But because of the structure’s complex compound angles, each steel-frame window had to be built to fit on-site; once the pandemic hit, McCarthy decided the best option would be to weld and fabricate each individual window himself.

To control the dome’s climate, they installed tempered, thermal-protected glass windows and an energy-efficient ceiling fan with large, wide blades that can push warm air down or draw heat out and drop the temperature of the room by 10 degrees. (There is a backup air-conditioning system, but as McCarthy points out, “it’s rarely needed because of the dome’s natural ability to self-regulate using the canyon breezes off the Pacific.”)

To complement the structure’s whitewashed, 20-foot-high ceilings, cantilevered stairs were constructed and now connect the living room to the mezzanine sitting room. A midcentury Malm fireplace that Fouquet found at Venice Vintage Paradise is the room’s focal point.

“I think space, just like us, is constantly evolving,” Fouquet says. Over the last year, he has installed an outdoor bathtub and planted tomatoes, peas, bell peppers, and herbs in a vegetable garden. “I’m on the road a lot—traveling now and in meetings with my team. This dome is my main base camp.”

Si nce E L L E D E C O R sta r ted fol low i ng Fouquet’s renovation, the daughter of the original owners, Vanya Goldberg, reached out to him to visit and share archival photographs.

“It’s a wonderful feeling to see the house brought back to life,” she says. As for Fouquet, the home’s history and natural setting make all his efforts to restore it worthwhile. “I got so lucky,” he says, “to find my sanctuary.” ◾ 70

ELLE DECOR

ABOVE , FROM LE F T:

In the kitchen, the counters have Caesarstone tops, the oven is

by Bertazzoni, the dishwasher is by Bosch, the sink and fittings are by Duravit, and the custom cabinets are in rift-cut oak; the backsplash is in Heath tile, and the artwork is by Cuba Scott. The mezzanine sitting room has a Collin slipper chair, a Nole swivel chair, and an Armadillo rug; the Malm fireplace is vintage, and the surfboard is by Kris Brock. LE F T: A vintage claw-foot tub with a cedar surround sits on the deck off the primary bedroom on the basement level; the stone wall was constructed from river rock found on the site. BE LOW: The primary bedroom has a Saatva bed topped with John Robshaw bedding.

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GIVING BACK

“I’ll do anything I can to help.”

JESSICA HELGERSON

Light shines on four living rooms in Portland, Oregon’s Family Village homeless shelter.

All Are Welcome

Jessica Helgerson designs a homeless shelter of brightness and warmth inside a former church in Portland, Oregon.

PHOTOGR APHS BY

N AIRY CATHEDRAL

ceiling illuminated by rice-paper la nterns, Scandinavian bent wood f u r n iture, and a palette of muted hues: The latest project from Portland, Oregon–based designer Jessica Helgerson is as breathtaking as it is lovingly detailed. But the real surprise is that the space is not a private home or destination hotel: It’s a homeless shelter.

C a s t i n g a s ide a l l pre c onception s of what a shelter should look like—typically, a bare-bones space crammed with cots—Helgerson partnered with Portland Homeless Family Solutions (PHFS) to create a strikingly different, uplifting design for the nonprofit’s new Family Village shelter in a former Slavic church.

After listening to the moving stories of the families that needed assistance, Helgerson says she had to jump in, pro bono. “I was sobbing,” she says. “And I was like, ‘I’ll do anything I can to help.’”

A

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ELLE DECOR

A ARON LE ITZ So began more than 800 hours of donated design work and a campaign to encourage her firm’s network of vendors to donate or discount an array of materials, fixtures, furniture, and art. The heart of the shelter is the former worship space, where Helgerson blew open exterior walls to add expansive windows for sunlight and views to a garden.

With interior partitions that curl up from the floor, she sliced the expanse into four semiprivate living rooms, a children’s library, a play space, and a computer room.

“Those swoopy walls are meant to feel like a hug and delineate space with gentle curves,” she says. The subdued colors, highlighted by a mural of free-form stripes in the play space, are intended to be serene yet inviting.

Downstairs, the firm designed a dining room with tulip tables, clusters of woven pendants, and suspended potted plants that would look perfectly at home on a tech campus, and equipped private

rooms for 16 families with simple oak beds and chests. Even by the reception desk, a mural depicting an oceanic scene by Lonesome Pictopia communicates that the space is no ordinary shelter.

“When parents walk in for the first time and they’re experiencing the stress of being homeless with their kids, the design of this space immediately instills a sense of dignity and respect,” says Emma Hoyle, development director at PHFS, adding that the organization previously ran an improvised shelter in a different church basement with folding dividers and cots that had to be collapsed and cleared out every morning.

Having a permanent, attractive space that reflects the principles of trauma-informed design does more than merely give families a comfortable place to rest their heads, says Hoyle. It also leads to better outcomes. “It used to take a long time to build relationships and trust and to show people we were really there to support them,” she says. “Now the physical space does so much of that work for us because everything is beautiful, intentional, and calming. It makes a big difference.” —Tim McKeough

Tulip tables and woven pendants in the downstairs dining room.

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ELLE DECOR

Roman shades by Hunter Douglas are framed by patterned side panels from its Rebecca Atwood Collection.

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WINDOWS 101

1. Make a Choice From vivid silk blends to sumptuous velvets, the range of window treatment options by Hunter Douglas is seemingly endless.

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ments every home should have, statement window treatments appea r at the very top. The stylish Danish actress Anna Karina knew this when she told her then husband, the French film director Jean-Luc Godard, that in their home she wanted red velvet curtains “or nothing at all.” Such a zero-sum strategy doesn’t work for everyone; as this writer knows well, new parents reach for blackout shades and other light-vanquishing treatments in eye-catching patterns and colors for their nurseries, where even the smallest sliver of sun can threaten the already delicate balance of sleep schedules with a newborn. And Hunter Douglas knows this, perhaps, better than anyone: The company’s raison d’être is helping people to regulate the natural light in their homes and to look good while doing it.

Window treatments should make a supremely happy space—one where the rays of sunrise don’t wake you from your dreams and privacy from passersby and nosy neighbors is not aspirational. And in 2021, when sustainability is on everyone’s mind, energy-efficient options abound. Take, for example,

2. Live Sustainably Its proprietary cell-within-a-cell honeycomb shade traps more air and regulates temperature in a space, reducing energy use and costs.

A detail of Hunter Douglas’s Silhouette window shadings.

Hunter Douglas’s honeycomb cellular shades, which are designed to aid a space’s insulation by trapping the energy that travels through uncovered windows and leads to colder indoor temperatures in winter and hotter ones in summer. Even with the most straightforward Hunter Douglas shade, some of which can open from both the bottom up and the top down, being cool—in every sense— shouldn’t be a struggle, at any time of year. —Charles Curkin

Produced by Parker Bowie Larson

3. Sleep Well Doctors recommend seven to nine hours of sleep for healthy adults, and regulating natural light is crucial in reaching that goal.

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BUILDER I N S P I R ATI O N F O R YOU R R E N OVAT I O N

Bunks painted in PPG Paints’ Shrinking Violet in the kids’ room of a South Carolina house designed by Suzanne Kasler.

FR ANCESCO L AGNESE/OT TO

TOOLBOX

You’ve Made Your Bed And you’ll want to lie in it, too, when it’s a built-in as beautiful—and functional—as the latest bespoke sleeping nooks gaining popularity today.

BY

K ATHRYN O’SHE A - E VANS ELLE DECOR

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TOOLBOX In a California home, Martha Mulholland’s built-in is layered in three vibrant linens.

I

longing to slink back into the proverbial womb, whether it’s in the form of swaddling cashmere pajamas or a weighted blanket, consider a more primeval mode of pampering that’s trending again: the built-in bed. “There is something nice about having solidity on at least three walls around you,” says designer T homas Jay ne, founder of Jay ne Desig n Studio. “I think a lot of times they get installed because the idea of a bunk room is kind of fun and romantic.”

Their storied lineage is part of what appeals to Sean Scherer, an artist and designer who calls the box bed one of his signatures.

“They’ve been around since medieval times for warmth and conservation of space; the Dutch call them a bedstee,” he says. “Now you see them everywhere. I’m always amazed.”

Amazed, but not surprised, because they impart instant nostalgic comfort that begs to be napped in. Scherer designed one for a client with an “acidy green” interior; another is sheathed in mirrors to bounce light around, suppressing claustrophobia. He likes that they’re adaptable to all architectural styles— “It could be very midcentury as well as very 1850s.” But it must never feel like a Sheetrock box, one reason Scherer prefers to line each of his bed boxes with beadboard. Done well, each one should stand like a piece of carpenter-built furniture in order to achieve the ultimate goal:

Dress It Up Once the custom bed is installed, it’s time to cover it. Here, three designers suggest the choicest linens to use.

“I go for a classic quilted Matouk coverlet or bedspread. I just like layering, and sometimes you want to have the heaviness.”

—Peti Lau “For me, RH, Restoration Hardware is a no-brainer. Most brands have only one or two good fabrics—RH has more like 20 or 30.”

—Ravi Patel “My go-to is E. Braun & Co., which has the most beautiful selection of embroidery and colors. Aleta in London has a wonderful selection, too, and for something a little more graphic, Les Indiennes is where I tend to look.”

—William Cullum, Jayne Design Studio Four drab-green full-size bunks in a Lake Tahoe home designed by Marea Clark.

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making you feel “like you want to just jump in.”

D e sig ner M a r i a Spe a ke , of t he f i r m Retrouvius (see page 128), also counts built-in beds as one of her calling cards—one that never goes out of style. Case in point: For a client’s nine-year-old son, she installed a fanciful bed edged in peeling blue reclaimed tongue-and-groove boards, with red-and-white striped curtains and an arched half–stained glass window that emits an incandescent glow.

Proof that the look has staying power? The son is now 17, and “he’s still in it.”

Li ke a ha m mock , t hese reprieves a re flawless dreamlands for one, and one alone, Speake says: “They feel really comfortable and generous, but it’s a bit of a squeeze for two.

You’ve got to really like the person.” Lighting tucked within the box is essential. Speake has also found that “what makes for a really delicious box bed is a window to natural air. That is the key thing because you’re super cozy inside but have fresh air coming in and blowing over you—there’s nothing better.”

Of course, you can get a hint of the bulwarked feeling without creating an entirely cloistered cubbyhole. Designer Peti Lau recently framed a store-bought Pottery Barn bed with anchor-gray built-in cabinets and shelving, and lined the walls in a wallpaper she designed, inspired by a Malian Bògòlanfini mud cloth, to create a hotel vibe. She says it’s an especially powerful tactic in guest bedrooms: “I’ve always loved built-in beds because it’s a great way to save space and also to kind of create a moment.” Then there’s the Murphy bed, being reborn by Ravi Patel, cofounder of Oclo —bra nded as the world’s f i rst

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TOOLBOX all-inclusive luxury version, complete with an integrated desk, lighting, and USB charging stations. “I grew up with a built-in bed back in India, where they don’t replace furniture for decades,” Patel says. “My parents still have my childhood bed.” When he couldn’t find a hideaway bed to suit his life as an electrical engineering student at NYU, he and his colleagues created a pop-out one that—unlike a truly built-in bed—can be removed in two hours for its next destination, leaving the floor intact. “The only things you’ll see in your room are the four holes from the screws you’d put in the wall.”

Dreamers should note that a built-in bed does have some downsides. “It’s not flexible,” Jayne says. “You build a bed and you’re committed.

Think about when you were a child, how many times did you reorganize your room?

It’s a pretty large capital investment.” Another drawback: You may never want to get out of the thing, says Speake of Retrouvius. She notes wistfully that built-in beds are little worlds for sleeping, reading, and dreaming: “There’s something incredibly sweet about closing the curtains—not just on the world outside, but on the rest of the house.” ◾

Sweet Dreams Are Made of These Kit out your built-in with some stunning accents.

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2

In London, Retrouvius made a box bed from old pine boards once used for curing cheese.

3

Drawers are a practical solution for storage under your bed, which means these pulls are essential.

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2. Nyhavn Double Sconce Read in style every night by this handsome brass light, which is available in any color of your choosing.

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4. Cupid’s Dart 1385 Aura Interior A little paint goes a long way in brightening a space, and we recommend this soothing color. $80. benjaminmoore.com

5. Wainscot Paneling

by House of Fara Paneled woodlike beadboard is great for adding texture to your space.

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3. Abstract 1928 Curtains With gorgeous patterns like these, closing yourself off from the world doesn’t get more chic.

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4

LEFT: KIM LIGHTBODY

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ANATOMY OF A HOUSE

What’s Behind Door No. 3?

They didn’t want to destroy everything—but they also didn’t want to live with the flaws. For a spec house renovation in Connecticut, Melissa Lee gave her clients another option.

BY

C E LIA BARBOUR

PHOTOGR APHS BY

JOHN DANIE L POWE RS

In the sitting room of a Connecticut home designed by Melissa Lee, the sofa is from Lulu and Georgia, the leather chairs are by France & Son, the cocktail table is

by Theresa Rand, and the pendant is

by Coil + Drift. For details, see Resources.

HE HOUSE WAS ONLY HALF AS OLD AS THE

T

thirtysomething couple who bought it. Yet its style seemed better suited to their grandparents’ generation, with high-contrast trim, shiny floors, and brassy neocolonial light fixtures. “It felt like what people used to think was fancy,” says designer Melissa Lee. “It was shouting, ‘Look at me! I’m luxurious!’ ” Still, its site in the Connecticut woods overlooking a lake made it a perfect access point for the outdoor activities the couple loved. Thus, they found themselves facing a dilemma familiar to many new homeowners: Live with their house’s flaws or rip everything out and start fresh.

Lee, however, proposed a third way. The founder and creative director of Bespoke Only, a multidisciplinary design firm, she encouraged her clients to push the limits of what could be done with paint, fabrics, paneling, and 88

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furniture. “It pains me to see things ripped apart when they’re in good condition,” she says. “You just have to think harder about how to make it your own.”

Lee sought to “quiet” the interiors, making the rooms feel cohesive with one another and aligned with their setting. For the color palette, she took cues from the forest, selecting a restrained range of grays, greens, and browns. To structurally integrate the rooms, she painted the walls and woodwork in each one the same color and matte finish, shifting the color slightly from room to room to compensate for variations in natural light. She stained all the floors in a deep ebony and painted the stair railing to match. Only window and door trims received coats of soft white to frame the views.

Materials, too, converse with the environment. Stone tiles on the entry hall floor are reminiscent of the region’s old

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ANATOMY OF A HOUSE The dining room table is from Ferm Living, the chairs are

by Norm Architects, the Akari lantern is by Isamu Noguchi, the rug is from Loloi, and the walls are in Revere Pewter by Benjamin Moore.

LE F T, FROM TOP:

Before

After

lithic walls, for example, and the oak planks applied to some rooms’ ceilings create a tree-hut atmosphere. Lee hung a giant Noguchi paper lantern over the dining table to evoke a full moon; a diminutive lantern in the main bedroom’s sitting area calls to mind a firefly.

The simplicity of the refashioned rooms made them the perfect setting for the clean-lined, sculptural furnishings the clients loved. Lee introduced midcentury-modern finds, such as Danish armchairs in the living room, as well as contemporary pieces, including a side table and persimmon settee in the entry hall and a swooping rattan lounger, designed for outdoor use, in the sitting room. She often played with shape “repeats,” as with the conical table base that sits, almost nesting-doll-like, within the conical space of the breakfast nook.

But Lee also sought opportunities to create contrast. On the lower floor, she went for an “English pub vibe,” adding a tin ceiling and beadboard walls and allowing richer colors to emerge—terra-cottas, deep blues, and moss greens. And in the primary bedroom, walls are finished in a limestone wash, making the space feel like a cave. Even within a 90

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Before

After

The staircase at the entry as it looked before work began. The sofa beneath the renovated staircase is from Gubi, the side table is from Ferm Living, and the original stairs are finished in a custom ebony stain; the Circa Lighting sconce is by Thomas O’Brien, and the table lamp is by Notary Ceramics. The family room as it looked before work began. The sofa and cocktail table in the renovated family room are by RH, Restoration Hardware, the chaise is by Sika, and the lamp is from Circa Lighting; the jute rug is by Armadillo, and the shades and curtains are of a sheer linen by RH, Restoration Hardware.

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ANATOMY OF A HOUSE single vignette, Lee juxtaposed what she calls “the raw and the rich,” as with the gilt mirror that faces industrial-steel shelves in the sitting area.

Lee even managed to bring a kitchen no one loved into alignment with the house’s new aesthetic by painting the cabinets deep gray and staining the island a shade lighter than the ebonized floors. She admits that tearing the whole thing out might have been easier and credits the contractor and team for their patience and skill with the project. “They were willing to hand-sand all the grooves in the millwork,” she says. “They were real craftspeople who took pride in their work.”

Although no designer has the power to alter time, with this project Lee has managed to take a contemporary house that felt decades out of date and give it a grounded, enduring calm. Not that she’d call the house complete. “We always intentionally leave negative space for the clients to grow into,” she says. “It’s about humility and how we can preserve, honor, and create relevance.” ◾

Before

After FROM TOP: The gym as it looked

before work began. The lighting in the gym’s striped oak ceiling is

by Tech Lighting, the mirrors and shelves are custom, and the walls are painted in Wrought Iron by Benjamin Moore. In the powder room, the fittings in the Stone Forest limestone sink are by Kohler, the sconce is by Soren Rose Studio, the mirror is by Zara Home, and the towel ring is by RH, Restoration Hardware.

In the main bedroom, the bed and pendant are by RH, Restoration Hardware, the linen bedding is

by Cultiver, and the wool rug is by Pampa.

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More than ever before, we look forward to the tradition of gathering with friends and family.

To celebrate, we’re covering every inch of the home in holiday magic. From the trees to the trimmings, our collection is full of more than 400 ways to set the scene for an unforgettable season.

frontgate.com

ROGER DAVIES

The dining area of a Paradise Valley, Arizona, home designed by David Netto.

See page 112 for more.

FRESH AIR

From Los Angeles to London, thoughtful interiors that celebrate the power of reinvention. Plus, EARTH: our survey of the best in sustainable design.

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In the sitting room of architect Luis Fernandez’s recently renovated home in Beverly Hills, which was originally designed by architects Peter Kamnitzer and Donald Aris Peart in 1962, the custom sofa is in a performance fabric by Holly Hunt, the vintage leather chair is by Poul Kjaerholm for EKC, the swivel chair and cocktail table are by Niels Bendtsen, and the 1970s side table is from JF Chen. The artwork (center) is by Warren Isensee. The landscape design is by Jeff Lindfors. For details, see Resources.

I’LL TAKE MIDCENTURY MODERN

The late Jeopardy! host Alex Trebek once lived large in this Beverly Hills home.

Now, architect Luis Fernandez has moved in and is giving it a second life.

BY SHE IL A YASMIN M ARIK AR PHOTOGR APHS BY TRE VOR TONDRO

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In the courtyard entry, the custom doors are painted in Railings by Farrow & Ball. BE LOW: Fernandez in the living room with a grid of his images; the artwork (left) is by Victor Vasarely.

S

HAG CARPETING, HIS-AND-HERS COMMODES, A

tiny kitchen tucked away: that was La Casa Bea in its 1970s heyday when the late Jeopardy! host Alex Trebek and his first wife, Elaine Callei, lived in the three-bedroom Beverly Hills home.

The kidney-shaped pool played host to had-to-be-there parties. Alizia Gur, an actual “Bond girl,” lived across the street.

Indeed, she still does, and recently recalled the time that Trebek ran into her future husband at Lucille Ball’s birthday party. The game show titan had sprung into matchmaker mode. “He brought him to meet me the next day,” Gur says.

And the day after that, the bachelor proposed (she said yes).

By 2017, when architect and designer Luis Fernandez happened upon La Casa Bea, the house had lost its luster.

Some upgrades, like the addition of central air-conditioning, had bastardized the vision of the original architects, Peter Kamnitzer and Donald Aris Peart. Fernandez saw past the cracked terrazzo and covered clerestories. He sought to turn

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the home into a paragon of contemporary indoor-outdoor living while paying homage to its 1960s roots. If the final aesthetic feels utterly now, says its new owner, it is because midcentury architecture was ahead of its time. “The proportions—low, hovering—are all about inserting into nature and being minimal,” he notes. “That’s so important as we think about sustainability. How do we insert ourselves into the landscape without taking over?”

In the case of La Casa Bea, which took two years to renovate, that meant stripping it down to the studs and adding back some of what had been lost. For example, planting olive trees, agave, and cacti in what had been a carport, and hemming in the space with geometrically patterned gates. “It’s my modern take on a breeze-block wall,” Fernandez says.

He poured new terrazzo floors and rid the house of its eyesore air vents. In the entryway, brass doorknobs from the 1970s mingle with vintage objects and such artworks as a Curtis Jeré sculpture, jagged as a lightning bolt. “I love geometric lines,” Fernandez says, “but I also wanted to make this home warm and livable.”

Hence, the walnut wood paneling throughout the main living area, which melds into the kitchen. The latter was turned from “a tiny little thing” into a convivial space for congregation. A picture window above the sink overlooks a garden that’s visible from multiple points throughout the house. In many of the living spaces, floor-to-ceiling windows alternate with mirrored walls, making the house feel expansive beyond its 3,300 square feet.

From every vantage point, the 1960s kidney-shaped pool, which is painted in a “David Hockney blue,” steals the show.

Fernandez outfitted the adjacent sitting room with a worthy supporting cast: a leather chair by Poul Kjaerholm, a swooning Arco lamp, framed photographs of other bodies of water.

Sliding doors separate the space from the deck outside, as well as the dining area from the sloping backyard. When all the doors are open, the house feels as light and enveloping as a breeze. “What makes the house such a home run is that indoor-outdoor feeling,” the architect says.

He lives here with his partner, a finance executive at a major media firm, and their 11-year-old son. Odes to their last hometown, New York City, are evident: One wall is adorned with framed snapshots of Manhattan’s skyline and skyscrapers, all rendered in blue. “I call it my eight-by-eight Instagram wall,” he says.

Walls vary and ripple, sometimes literally—in one bathroom, barrel-cut granite “plays off the rustic, Brutalist midcentury dynamic,” says Fernandez. In the powder room, tropical Hermès wallpaper brings to mind an umbrella-laden drink. Art abounds as well, including originals by Keith Haring and Henri Matisse.

Even as he sought to update the house, Fernandez wanted to know more about it. A fire had destroyed the city records; it wasn’t until the children of the previous owners came by with an old electrical plan that he was able to learn who the original architects were. “There was something about how precise everything was,” he says. “I knew it couldn’t have been a random spec build.”

In the end, he not only restored the home’s glamour, but created a showpiece for what a modern home can be. “To me,” Fernandez says, “this is California living.” ◾

In the den, the sofa is by Philippe Starck for Cassina, the armchair is by Gerrit Rietveld, the pair of 1970s chairs are by Giancarlo Piretti for Castelli, and the 1960s chandelier is by Angelo Lelli for Arredoluce. The artwork is by Luis Fernandez (left), Henri Matisse (top), and Victor Vasarely (bottom and right).

In the powder room, the sink is by Porcelanosa, the fittings are by Watermark, the wallcovering is

by Hermès, and the tiles are by Eco Outdoor.

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In the living room, the vintage leather chairs are by Poul Kjaerholm for EKC, the walnut daybed is vintage, the marble cocktail table is

by Antonio Citterio for B&B Italia, the chandelier is by Apparatus Studio, and the rug is by Stark. A wall sheathed in quartzite rises above the home’s original brass fireplace. RIGHT, FROM TOP: The dining room’s custom concrete table is surrounded by 1960s chairs by Niels Otto Møller, the pendant is by Bec Brittain, the brass sculpture is by Curtis Jeré, and the artwork is by Barbara A. Wood.

The kitchen’s walnut island and cabinets are

by Henrybuilt, the fittings are by Blanco, the stool is from Phase Design, and the pendants are by Benjamin Hubert for Decode.

ABOVE: The tub in the primary bathroom is by Victoria + Albert, the fittings are by

Watermark, the walnut cabinets are custom, and the vintage cane stool is by Michael Taylor. The wall tiles are by Ann Sacks. BE LOW: The primary bed is by Jasper Morrison for Cappellini and is dressed in linens by Frette. The rug is by the Rug Company, the wallcovering is by Pierre Frey, and the artwork (right) is by Bruce Sargeant.

102 E L L E D E C O R

“How do we insert ourselves into the landscape without taking over?”

LUIS FERNANDEZ

A deck in concrete tile by Concrete Collaborative surrounds the original kidney-shaped pool. The chaise is by Richard Schultz, the wire-mesh chairs are by Russell Woodard, the sofa is by Chris Liljenberg Halstrøm for Design Within Reach, and the wall sculpture is by Curtis Jeré.

E L L E D E C O R 103

BUT In the living room of a Chicago apartment designed by Summer Thornton in a 1929 building by Rosario Candela, the custom sofa (left) in a Savel mohair is back to back with a Baker settee. The English Regency–style games table is from 1stDibs, the wallcovering is by de Gournay, and the pair of pendants is by the Urban Electric Co. For details, see Resources.

104 E L L E D E C O R

SERIOUSLY In Chicago, Summer Thornton’s irreverent approach to decor often makes her an outlier. But with her gutsy redo of a Gold Coast prewar, the boundary-pushing designer has more than proven her mettle.

BY

C ATHE RINE HONG

PHOTOGR APHS BY

THOM AS LOOF

S T Y LE D BY

MIE KE TE N HAVE

W

ELL, THAT’S A WILD CARD!”

excl a i me d a friend of the owners of this Chicago prewar apartment when he heard they had hired Summer Thornton to oversee their renovation. Fortunately, Thornton isn’t someone who’s easily offended. In fact, the interior designer took the remark as a compliment. “It’s the truth,” she says cheerfully. “In a city where designers tend to be either super traditional or extreme modernists, I’ve never really fit in.”

She half-seriously describes her approach as “cultured irreverence.” A largely self-taught designer, the central Illinois native established her firm in 2007 when she was just 24, after assisting local decorators and working for the Osborne & Little showroom in Chicago. Thornton’s interiors embrace traditional forms and craftsmanship, but with a modern maximalist’s celebration of color, pattern, and whimsy. “I’m always right on the line of good taste—or a few steps over,” she jokes. “My favorite projects are ones that start with an architecturally perfect shell, which gives me the freedom to push the envelope.”

This apartment is in one of the city’s most coveted co-ops—a 1929 limestone high-rise that was the sole Chicago project of the legendary New York City architect Rosario Candela. With its impeccable pedigree and unspoiled views of Lake Michigan, the two-bedroom space fit the bill for the owners, a couple who had sent four of their five children off to college and were ready to return from the suburbs to city living.

Making the task easier for Thornton was the fact that the couple had already enlisted Chicago architect Joan Craig for the renovation. Craig had previously masterminded seven renovations in the landmark building and designed the co-op’s gym. With that experience, she and her team knew how to adapt the space for contemporary life. They created better flow between the public rooms, coaxed more light and lake views into the apartment’s darker regions, and nearly doubled the size of the kitchen. “The building is cream of the crop,” says Craig. “So everything we do there is with respect for the architecture.”

Thornton also had a history in the building. A year earlier, she had transformed one of the units with an eye-popping Matisse-and-Miró-inspired palette, pairing cerulean blues with ruby reds. These clients had seen that space, thanks to a tip-off by the building manager. It made a big impression. “At our meeting, the wife told me she also loved color—but it turned out she had a very different palette in mind,” says Thornton. Hers was inspired by the 106 E L L E D E C O R

ABOVE: In the foyer,

the Giovanni Gariboldi table is vintage, the stainless steel and brass mirror is custom, the pendant is by the Urban Electric Co., and the striped wallcovering is by Pierre Frey.

The ceiling is sheathed in a Gucci floral. LE F T: Thornton in the living room. A chair from Hickory Chair pulls up to a vintage desk by Karl Springer.

The library’s walnut desk is by Lawson-Fenning, the vintage Ward Bennett chairs are in a Lee Jofa fabric, the window shade is in a Dessin Fournir textile, and the walls are painted in Benjamin Moore’s Jack Pine.

The custom dining table is surrounded by Century Furniture chairs, the rug is by Holland & Sherry, the vintage chandelier is Italian, and the wallcovering is

by Studio BK.

Irish coastline: jewel-like shades of aqua, teal, jade, and celadon. She had even already picked out her dream stove, a five-foot-wide La Cornue range in a vivid blue, which she dubbed “the Ferrari” for its looks and firepower.

And so the fun began. “Once we had the palette, I immediately thought of Kiso Mountains,” Thornton says. “It’s a wallpaper I’ve been obsessed with for years.” The sweepingly dramatic paper by de Gournay—a depiction of rolling green mountains cascading with cherry blossoms—would anchor the apartment in the colors, she says. In the living room, she paired the pattern with a lacquered, cloudlike white ceiling that reflects both the greens and pinks of the wallpaper as well as the blue of Lake Michigan outside the adjoining windows. It wasn’t even “too hard” to get the homeowners on board with the bold wallcovering, she reports. “The husband was fine with the colors as long as the public rooms felt formal enough,” she says. Keeping this in mind, Thornton balanced the room’s flights of fancy (including the pair of ’70s chrome giraffe sculptures, which she found at a local vintage store) with substantial, comfortably scaled sofas and armchairs covered in tactile fabrics like velvet, mohair, and leather.

Balance is, of course, one of those things interior designers love to talk about—solids as a foil to patterns,

matte finishes mitigating shine, old as a counterpoint to new. It’s just that Thornton’s idea of balance is one where the scale remains jauntily askew. In the entry foyer, for example, the eyeball-crossing combination of floral Gucci wallpaper on the ceiling and Pierre Frey stripes on the walls outweighs the classicism of the polished terrazzo floor and graceful 1940s center hall table. True again in the den, where glossy green walls leave one with the powerful sensation of floating in a swimming pool. Then there’s what Thornton deemed the trickiest space of all: the primary bedroom suite. “It has the worst light in the apartment, and the bedroom is surrounded by built-in cabinetry, which I worried would feel like you were sleeping in a closet,” she explains.

But then she was struck by inspiration. Using a cinnamon silk damask wallcovering, she went whole hog with a fanciful look inspired by Venetian palazzi. Matching woodwork, a walnut and brass poster bed, and fleshy, peach-pink cashmere curtains add up to a result that is a mood. “It’s so romantic and sexy,” she says.

To be sure, the bedroom is an unexpected turn from the home’s cool scheme of peacock blue and green. But the owners love that it feels like a total departure. It’s a wild card, from the wild-card pick herself. ◾

The kitchen’s range and hood are by La Cornue, the custom cabinets are in cerused oak, and the stools are by Soane Britain. The lights over the island are by Roman and Williams Guild.

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ABOVE: A Gucci wallcovering depicting herons in the powder room, where the vanity is of Calacatta Violette marble and the sconces are by the Urban Electric Co. RIGHT: Sheathed in a de Gournay damask, the primary

bedroom features a custom Dennis Miller New York bed, a Julian Chichester vanity, and a painting by Alex Katz.

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“I’m always right on the line of good taste—or a few steps over.”

SUMMER THORNTON

RAISING ARIZONA

David Netto elevates a 1980s Paradise Valley retreat with modernist moves and a sense of wit.

BY DE BOR AH BE RKE S T Y LE D BY ANITA SARSIDI PHOTOGR APHS BY ROGE R DAVIES

The living room of a Paradise Valley, Arizona, vacation home, designed in 1986 by Sydor Architects and renovated by interior designer David Netto with architect Simon Templeton. The sofa is by RH, Restoration Hardware, the rattan chairs (right) are by Hati Home, and the vintage seats are

by Michael Taylor. The cocktail table is by Atelier de Troupe, the rug is by Ralph Lauren Home, and the tapestry is by Burton Kopelow. Floors are painted in high-gloss White by Benjamin Moore.

For details, see Resources.

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LE F T: The dining

area is anchored by a CB2 table and Hans Wegner for Carl Hansen chairs from Design Within Reach.

The pendant is by Isamu Noguchi.

BE LOW: In the living room, the lamp is by Marcel Wanders.

Cast concrete stairs, original to the house, lead to the front doors, painted in Peale Green by Benjamin Moore.

I

NTERIOR DESIGNER AND ELLE DECOR

contributing editor David Netto sat down with his friend Deborah Berke, the dean of the Yale School of Architecture and an ELLE DECOR A-List Titan, to discuss his latest project— the renovation of a contemporary house in Paradise Valley, Arizona. The home is a case study in breaking the rules of design and the fun in flouting “good taste.”

We share a love of houses that are really rooted in their environment. For this project in Arizona’s Paradise Valley, I’m wondering how you specifically worked with the local landscape.

DAVID NET TO: The house has many gifts, but the best is its vista of Camelback Mountain. It’s one of the most desirable sites in Paradise Valley, which is sort of the Bel-Air of Arizona—and that’s because of the view. But that isn’t visible from the “inland” side, where you arrive at the front door. It’s like a surprise desert narrative.

DB: There are also more intimate views. It almost DEBORAH BERKE:

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feels like you could reach through any window of this house and prick your hand on a cactus.

DN: There is a sequence of little walled gardens around the house—intimate, just as you say. I wanted to capture those moments where you have outdoor spaces with lush vegetation—in contrast to the “big” outdoors, which is just rocks. You feel that the natural world has been pulled inside the house, whether by trick of palette or materials. It’s an old Neutra trick: the illusion that modernism can make real the fantasy of living outdoors.

D B : When it came to what you put inside, you clearly were working with what you saw outside.

DN: In one of the guest rooms, Lily Dierkes, the designer who assisted me on this project, chose a green bed from Industry West. It does have to do with that cactus that is framed in the window. You want to make connections to context and views, and you can do that very deftly with color. Most of the rugs also relate to the palette of the landscape, which further helps to blur the distinction between outdoors and in.

D B : The furniture throughout this house is

quite eclectic. It’s not today’s sort of rote midcentury modern.

D N : I don’t f lout rules just to be insolent, though that approach has its place. I do it because I want to add to the story of a house. Everybody knows what orthodox modernism is supposed to look like—Eames, Mies, Saarinen, and the usual gang. All masters, but all very familiar within architecture like this. I grew up looking at Architectural Digest in the 1970s, when people weren’t intimidated to put antiques in modern environments. Michael Taylor was the master of this kind of beauty by contrast (we have two of his chairs in the living room). There was much more courageous decoration in the 1970s, and decorators better educated about design history and so better equipped to take chances. I wanted to put some of that legacy into this house. There is a pair of 17th-century Dutch ebony mirrors in the powder room, for instance, with white Formica and cork walls.

DB: Any other favorite pieces?

D N : Well, to honor the glorious ghosts of the desert, we bought a marvelous Frank Lloyd Wright–style desk. I was thrilled when we found that desk at Orange in Los Angeles.

DB: There’s a fearlessness but also a casualness to the house.

I too work with a lot of art collectors, and I’d love to hear you

talk about the art in the house. I like how unpretentious it is, but it’s still really powerful.

D N : I wanted tapestries to be the signature art form here, because they’re fuzzy and warm, kind of between art and a blanket. The Burton Kopelow tapestry, inspired by the art of Jules Olitski, was the first thing we bought for the house. But my favorite tapestry is the giant Brutalist one in the primary bedroom. The scale of it is just enormous—very, very heavy and thick, like a wall. It’s as if the headboard has become a whole wall of the room.

DB: One final, funny question: Vertical blinds? I mean, you’ve got to tell me.

DN: Vertical blinds were invented for this house, Deborah.

And I know why you’re laughing—nothing is more out of fashion. But nothing is more irresistible to me than coming to the rescue of an underdog. I love it when everybody thinks something is really over, and then you can bring it back. Anything can come back if you know what you’re doing. Remember, nobody was deader than Gucci. Look at Halston’s office in the [Netflix] show. I think in some way those blinds are a rescue message that spells out the words of the great Albert Hadley, who would have loved this house: “Give ’em what they never knew they wanted.” ◾

Pierre Koenig’s iconic Case Study House No. 21 inspired Netto to paint the home’s steel overhead beams black, like these in the primary bedroom. The pine bed is custom, the chair is

by Frank Gehry, and the tapestry is by Conrad Marca-Relli.

LE F T: In the primary bedroom, the CB2 sofa is in a

Rogers & Goffigon velvet, the Charlotte Perriand cocktail table is from Cassina, and the rug is by Serena & Lily. The desk is custom, and the chair is from Harbinger. ABOVE: The vintage chair in the primary bathroom is by Josef Hoffmann, and the ceiling light is from Circa Lighting.

The primary sitting room has a vintage J.A. Muntendam desk from Orange and a Harry Bertoia for Knoll chair from Hive Modern. The vintage armchairs are by Børge Mogensen, the carpet is by Stark, and the curtains are of a Lee Jofa fabric.

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On the pool terrace, the chaises are by CB2, and the umbrella is from Teak Warehouse. LE F T, FROM TOP: The breakfast nook’s table is from Rove Concepts, the chairs are

by Harry Bertoia for Knoll, the chandelier is by Ilmari Tapiovaara for Santa & Cole, and the artwork is by Indigenous artist Fritz Scholder. The kitchen’s sink and fittings are by Miele, the range and hood are by Wolf, and the chair is by Frank Gehry for Vitra; the upper cabinets are in Rosemary Green and the lower cabinets are in Thundercloud Gray, both

by Benjamin Moore.

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“It’s an old Neutra trick: the illusion that modernism can make real the fantasy of living outdoors.”

DAVID NETTO

ELLE DECOR

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The living room of a 1920s Palm Beach vacation home, which was renovated by Mark D. Sikes with the architect Mark Marsh.

The sofa is from the Mark D. Sikes collection for Chaddock, the armchairs (left) are by Mr. & Mrs. Howard, and the ottoman in a Kravet print is a 1614 English paw bench from John Rosselli. The chandelier and sconces are by Formations, the curtains are of a Soane Britain fabric, and both the mantel and hand-painted pecky cypress ceiling are original.

OPPOSITE: Marsh restored the home’s Mediterranean Revival architecture, including a tower with a crenellated roof, box window with original tile inserts, and Juliet balcony.

For details, see Resources.

THE REST

IS HISTORY Built for a Chicago heiress turned fake contessa, a 1920s Palm Beach villa was intact but needed romancing. Enter Mark D. Sikes, with a design narrative that both honors and improves upon the past.

BY

MITC HE LL OWE NS

PHOTOGR APHS BY

DOUGL AS FRIE DM AN ELLE DECOR

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W

HEN IT COMES TO RENOVATING FINE

architecture, the lightest touch is often the best course of action. Such was the case with a historic house in Palm Beach, that luxurious resort island off Florida’s Atlantic coast. Built in the mid-1920s for a Chicago roofing heiress who would marry a bogus Italian count— hence the stucco-clad structure’s erstwhile name, Villa Filipponi—the Mediterranean Revival house, which was ornamented by a crenellated tower, had a magical presence, as well as an envied position on one of the city’s most desirable palm-treed streets. Plus, it was located just three blocks from the beach. So why tinker with perfection?

“To make it function for a younger family but still maintain its authenticity,” says Los Angeles–based interior designer Mark D. Sikes, who took the building in hand with Palm Beach architect Mark Marsh, known for his sensitive renovations of local houses by such icons as Maurice Fatio, Marion Sims Wyeth, and Addison Mizner. Marsh suspects that the villa’s creator, unknown to this day, must have worked for Mizner, given the plethora of signature details that surely were sourced from Mizner Industries, the late architect’s studio of architectural parts and furnishings.

“The whole goal,” Marsh says, “was to respect the period.

That was very important to the owners.”

Sikes did an enthusiastic deep dive into researching the era in which the house was constructed, taking the measure of the decor of the day and determining how that look could be referenced for a pair of Bostonians with two children, one in college, the other in high school. “The architecture informs the interiors, and the palette is informed by Palm Beach,” Sikes says. “I really wanted to play with pastel corals and greens, pretty shades of blue, and neutrals.”

Surprisingly, he did not see the house in person until the weekend he and his team installed the furnishings. Travel

restrictions related to the COVID-19 pandemic ruled out on-site visits, so every piece of furniture, light fixture, yard of fabric for upholstering walls, and carpet was specified long distance. “It was an eye-opening experience,” Sikes says of the challenge. “We learned that we could work differently, but without sacrificing the important things.”

One such thing? Craftsmanship. The pecky cypress beams in the double-height living room still wore their romantic combination of hand-painted blue diamonds and creamy Vitruvian waves. Now, freshly restored, they proved to be a springboard for new painted details throughout the property. Arched doors, previously just bare openings, were framed with complementary stenciling—Sikes studied period engravings of the sort that had inspired the island’s Jazz Age architects—while the butler’s pantry was hand-painted too with a fool-the-eye evocation of blue-andwhite Spanish tiles that could easily have been installed a century ago. The entrance hall features a brushed design that edges the ceiling like a band of embroidery, as do the arched leaded windows on the staircase. “It creates a nice flow throughout the house,” Sikes says of the artful accents.

What wasn’t painted was lavished with custom-made wallpaper and atmospheric fabrics. Paris-based Iksel Decorative Arts produced a wallcovering for the dining room that seems to bring the Florida Everglades indoors, with fruiting date palms, feathery fronds, and birds in flight. The family room is lined in a boldly striped fabric so meticulously matched that the effect recalls an exotic tent—especially when the matching window shades are lowered to the raffia-carpeted floor. “We wanted to keep everything casual: no silks, lots of cottons, wooden beams, that sort of thing,” the designer says.

The day of the installation, Sikes arrived in town and went shopping for antiques and accessories to round out the rooms. “Palm Beach is great for that, furniture that is painted ivory and decked out in blue, the kind of things that look like we’d commissioned them,” he says. “I put out my feelers on Friday, everybody opened up their shops on Sunday, and in six hours I found everything we needed—mirrors, accessories, small end tables—and they were literally dropped off that evening.”

The result? A getaway that’s fresh, fun, and relaxed. And if the images on these pages were recorded in black and white rather than in color, it would be difficult to tell whether the decor had been conjured within the last year or back when the faux contessa called Villa Filipponi home. Which is just what all involved with the project had desired. “Everything,” says Sikes, “just fell into place.” ◾ LE F T: A Fermoie stripe appears on furnishings,

walls, and window treatments in the en suite family room. The custom ottomans are in a Peter Dunham paisley, the lamp and sconces are by Visual Comfort, the wicker trays are from the Hive, and the seagrass rug is by Frank’s Cane and Rush Supply.

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In the breakfast nook, the table is by Hickory Chair, the designer’s Chaddock chairs are in a Schumacher check, the chandelier is

by Paul Ferrante, and the artwork is from Iksel.

ABOVE: Marsh designed

the new poolside cabana with a terra-cotta tile roof and pilasters that blend with the 1920s architecture. Inside, the wall mural is by Joseph Steiert.

LE F T: An original pointed-arch window inset with stained glass is the focal point of the primary sitting room, where the same Jasper fabric was used to cover the walls and upholster the custom sofa and a Chaddock chair by the designer. The sconce is

by Visual Comfort.

OPPOSITE: Pendants by Visual Comfort hang from the restored paneled wooden ceiling in the lower gallery hall, which is hand-painted with sun motifs. The striped runner is by Guinevere, and the plant pots and sconces are by Niermann Weeks.

E L L E D E C O R 125

RIGHT: Arched doors open onto a balcony off the primary bathroom, which has a Chaddock chair from the designer’s collection in a Jasper fabric, a marble pedestal from Kofski Antiques, and a sconce by Visual Comfort. BE LOW: In the guest bedroom, the Amanda Lindroth bed is dressed in linens by Matouk, the armoire is by Wicker Living, the Syrian inlaid mirror is from Brass Scale Antiques, and the floor lamp (left) is from the Sikes collection for Hudson Valley Lighting.

The wallcovering is

by Quadrille, and the curtains are of a Kravet fabric with Samuel & Sons trim. OPPOSITE: A pergola shades an outdoor dining area furnished with a table and chairs by RH, Restoration Hardware.

126 E L L E D E C O R

’ LET EM IN A Primrose Hill townhouse shows why London’s Retrouvius has won over the British fashion crowd with its no-holds-barred approach to salvage glamour.

BY

128 E L L E D E C O R

JO RODGE RS

PHOTOGR APHS BY

PAUL R AESIDE

The stairwell in Guy Hills and Natasha Good’s Georgian townhouse in London’s Primrose Hill, which was renovated by Retrouvius’s Maria Speake and Adam Hills (Guy’s brother).

The stair runner is by Tim Page Carpets, the wallpaper is by Daniel Heath, and the stairs are painted in RAL’s Fern Green. The portraits of the family’s children are by Ian Bruce.

OPPOSITE: The front door with restored leaded glass windows is original to the house, the floor is of salvaged Spanish tile, and the facade is painted in Elephant’s Breath by Farrow & Ball. For details, see Resources.

The kitchen’s island was made from a pair of rebuilt museum cabinets and topped with a counter in iroko, which Retrouvius harvests from government buildings.

The custom cabinets (left) incorporate oak drawers from the National Museum of Scotland, the pendants

are made from vintage Czech glass funnels, and the floor tiles are by Emery & Cie. OPPOSITE: The kitchen’s console was constructed out of a salvaged museum frame. The flooring is salvaged oak parquet laid in a ladder pattern, which is easier to remove and reuse.

F

ROM THE GARDEN OF THIS LATE

Georgian house in London’s Primrose Hill that backs onto Regent’s Canal—where the family’s narrow boat, Lilliput, is moored—you can hear distant roars over the knifeand-fork sounds of lunch. “It’s the lions in London Zoo,” says Guy Hills, the creative director of the cloth ier Dash i ng Tweeds, who lives here with his wife, Natasha Good, a corporate lawyer, their three teenagers, and a gray shih tzu–Westie cross called George.

“Sometimes you can hear the gibbons singing, too,” Guy continues. “It’s the most wonderful part of town.”

The couple bought two of the three apartments that made up this house in 2002; the third was tacked on about a decade later. Their home evolved as their family expanded, overseen by Guy’s brother, Adam Hills, and sister-inlaw, Maria Speake, who together run Retrouvius, the architectural salvage and design firm. A recent renovation saw the creation of a deep teal cinema room and cocktail bar, a crafting room with potted palms, and a soundproofed music room in the attic, where the family practices covers of AC/DC and Donovan (Guy strums the bass and sings; Natasha’s on keyboard; the kids play guitar, drums, and trombone).

The teens—Amelia, 18; Hector, 16; and Rex, 13—were bumped up from their old bedrooms on the second floor to bird’s-eye-view ones on the third, where they have a couple of their own bathrooms, a fish tank full of guppies and shrimp, and more privacy from the goings-on downstairs.

The second floor was reconfigured to create an oversize suite (dressing room, bedroom, and bathroom) for the parents, but really “for Natasha,” says Maria. “She works incredibly hard, and I wanted to create a space for her that is calm and beautiful and hides Guy’s clothes and clutter.”

Guy pulls open a few drawers, revealing a welter of silk handkerchiefs, scuba gear, and foxed jewelry boxes, holding things like his great grandfather’s shirt studs from Koch in Frankfurt, Germany. He likes to wear them with one of the dozens of bespoke suits that hang in his closet.

In keeping with the aims of Retrouvius, very few new components were used in the home’s latest metamorphosis.

Adam and Maria founded their company in 1993, after graduating from the Glasgow School of Art. “It was initially just an operation about saving things,” Adam says, “but we quickly realized that in order to complete the loop of recycling, we needed to use our design backgrounds to put those salvaged materials into new homes.”

To that end, they mine decommissioned churches, schools, government offices, and run-of-the-mill demolition sites for materials like tropical wood, cast iron, and marble.

Here, the kitchen island is a repurposed mahogany specimen case from a museum in London’s South Kensington.

The counter is a slab of iroko, a durable wood that was often used in midcentury science labs. The lights above the island were Czech chemistry funnels before Adam added the electrical elements, and the outdoor staircase that leads from the kitchen to the garden is made of cast-iron decorative

floor grilles, which once covered the radiators in a church.

Throughout the first floor, salvaged floorboards have been laid in a ladder pattern, which is easier to remove and reuse than a more complex motif like a herringbone. In the primary suite, the star-shaped oak parquet floors were saved from a school assembly hall. You can still see scratches of student graffiti in the wood of a doorframe, which was made from timber once used for desks. The sliding glass doors that separate the dining room from the kitchen are grazed, too—scars from their first life in a 1950s French hotel.

“Inherited pieces are something else that we need to take into account,” says Maria, sitting at the dining table (reclaimed wood, built by Retrouvius). Behind her is a diminutive ship piano made by Rogers Eungblut that belonged to Natasha’s mother, and a bench recovered in Dashing Tweeds’ Paradise check, where Amelia likes to sit and play songs by the Beach Boys. In the same room, there’s a Wei dynasty horse sculpture on the mantel, passed down from a great-aunt, and a 19th-century clock from Prague that belonged to Guy’s grandmother. “It’s great to use salvage but my favorite thing is to design with what someone already has,” Maria says. “There’s a sense of history and continuity in that, as well as being the genuinely sustainable choice.” ◾ ELLE DECOR

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TOP LE F T: In the bar area of the cinema room, the vintage chairs and pillow are upholstered in fabrics made by Guy’s brand, Dashing Tweeds. The drawers are fashioned of salvaged teak originally used for flooring, the sink is onyx, and a vintage shelf repurposed as a bar was found at an antiques fair.

132 E L L E D E C O R

LE F T: A children’s bathroom has a tub with fittings by Lefroy Brooks and walls sheathed in handmade zellige tile by Emery & Cie. The cabinets are clad in leather reclaimed from shelves in the British Library, and the ceramic cockerel was made in grade school by the couple’s son Hector.

ABOVE: The sectional in the

cinema room is by Caravane, the pillows are in fabrics

by Dashing Tweeds, the Biedermeier cocktail table is a family heirloom, and the mohair rug is vintage. The French tapestry (left) is from the 1950s, and the photographs above the sofa are from Guy’s series made using a pinhole camera.

Guy Hills, in a bespoke Dashing Tweeds suit, in his wife’s office. The cabinets have doors paneled in red museum folios, originally used to store drawings and prints. The partners desk belonged to his grandfather, the custom cabinetry is in reclaimed teak, the flooring is cork, and the 1950s chandelier is original to the house.

“I wanted to create a space for Natasha that is calm and that hides Guy’s clutter.”

MARIA SPEAKE

LE F T: In the primary

suite’s dressing room, the vintage sofa is upholstered in a fabric by Dashing Tweeds, the chair is by Arne Jacobsen, and the rolling suit stand and grooming trolley is Guy’s own. The pendant is by Pooky, the curtains are of raw silk, and salvaged oak parquet is laid in a star pattern.

ABOVE: In the primary bedroom, the bed’s throw

and pillows are in fabrics

by Dashing Tweeds. The bed stand and the artwork depicting the Bay of Naples are both vintage.

OPPOSITE: The primary bath has a vanity and backsplash (visible in the custom octagonal mirror) of reclaimed Sienna marble. Leading to the bedroom, a custom door is fitted with a salvaged Edwardian copper-light window.

E L L E D E C O R 135

A RC H I T E C T U RE

Tolo’s Branch House project in Montecito, California, is an inventive ground-up design sited in a grove of oaks untouched by construction, even during the restoration of the site’s natural slope.

TOLO ARCHITECTURE

MCKINNEY YORK ARCHITECTS

OFFICE OF MOBILE DESIGN

LOS ANGELES toloarchitecture.com

AUSTIN, TEXAS mckinneyyork.com

LOS ANGELES designmobile.com

With its holistic understanding of the transformative power of architecture — and humane public policy—Tolo puts people and their environments at the center of its projects, working in deference to legislation like the Americans with Disabilities Act and California’s requirements for minimizing energy consumption.

Marrying its sensibility for beauty with scientific expertise, the woman-led firm McKinney York Architects’ lowego, empathetic practice is a City of Austin Platinum Level Green Business Leader. The firm has been doing pro bono work since 1995 and recently established a scholarship for female architecture students.

Jennifer Siegal is the long-established pioneer of prefab, the maestra of mobile architecture and housing.

Her firm, Office of Mobile Design, has its own line of prefabricated accessory dwelling units and centers its work on modular prefab construction, including systems and industrial process research.

OPPOSITE: DAVID HART WELL

Welcome to EARTH, an ELLE DECOR celebration of accountability, renewal, transformation, and humanity in design.

Here, we survey 15 firms and brands working across interiors, architecture, and urban planning, each of which has inspired us to live better—and more sustainably—in our spaces and places.

BY

ME RC E DES KR AUS

I LLUSTR ATIONS BY

M AT T STE VE NS E L L E D E C O R 137

EARTH FYI

DECOR

LEED stands for Leadership in Energy and Environmental Design, a green building certification program used worldwide.

MINNA HUDSON, N.Y. minna-goods.com

The team at Minna works in close collaboration with the craftspeople who create its wares, and the shop’s commitment to humanity is evident in its candid annual impact reports: In 2020, the business implemented more equitable hiring practices and workshops around antiracism and is now working toward B Corporation certification.

GOODEE MONTREAL goodeeworld.com

Founded in 2019 by brothers Byron and Dexter Peart, Goodee creates its own sustainable home goods and partners with like-minded makers, all while maintaining rigorous operational standards, in accordance with its founding mission for holistic good and status as a B Corporation. Its site is even navigable by cause, from a circular economy to carbon reduction.

ARMADILLO LOS ANGELES armadillo-co.com

Armadillo rugs are handcrafted with traditional processes by artisan dye masters and weavers across India. For each rug purchased, Armadillo, a newly certified B Corporation, donates 10 percent of net profits to its four-year-old Armadillo Foundation, the nonprofit it founded to improve lives in underprivileged communities through educational, health-care, and environmental initiatives.

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CLOCK WISE FROM TOP LE F T: Minna’s Stripes

bedding set. ACdO’s Eperara Siapidara PET Lamps, available from Goodee. A dye master at work on Armadillo rugs in Agra, India.

EARTH FYI

FROM TOP: The de Young museum

SASAKI: MAT THEW ARIELLY; OPPOSITE: MINNA: K ATE SEARS; ARMADILLO: DARREN CENTOFANTI

gardens in San Francisco’s Golden Gate Park, designed by Hood Design Studio.

Sasaki’s Gulf State Park Interpretive Center in Gulf Shores, Alabama. A rendering of Studio Zewde’s Camden Prep campus for Uncommon Schools, in Camden, New Jersey, a collaboration with the architecture firm Digsau.

HOOD DESIGN STUDIO OAKLAND, CALIF. hooddesignstudio.com

Hood Design Studio is a hybrid cultural practice that traverses art, urbanism, and landscape. Its work centers on extensive community research, uncovering complex histories and narrative layers to create transformative spaces for both institutions and underserved communities.

SASAKI

STUDIO ZEWDE

WATERTOWN, MASS. sasaki.com

NEW YORK CITY studio-zewde.com

Drawing on its expertise in cross-disciplinary collaboration, the 65-yearold award-winning firm Sasaki employs a suite of complementary strategies—from net-zero building to storm water management and even native and droughtresistant plantings—to design sustainable spaces that inspire.

Based in Harlem, Sara Zewde’s landscape architecture, urban planning, and public-art studio employs its multidisciplinary expertise to uncover and celebrate localized cultural narratives around the world, positioning itself within the larger timeline of human history and civic engagement.

U RBA N P L A N N I N G

Forest Stewardship Council certification ensures that products come from responsibly managed forests.

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EARTH FYI

F U RN I TU RE

B Corp certification is administered by the nonprofit B Lab to businesses that meet the highest standards of verified social and environmental performance.

UHURU DESIGN BROOKLYN uhurudesign.com

Uhuru made a name for itself by using reclaimed and sustainably harvested wood and metals in idiosyncratic new ways. Today, its pieces are a fixture in commercial spaces like restaurants and office buildings. In April of this year, it co-launched Heirloom Design, a digital platform for “handing down” (refinishing and reselling) its longlasting office furniture.

CISCO HOME LOS ANGELES ciscohome.net

One of the nation’s first companies to use only reclaimed, natural, and organic materials for its furniture, Cisco Home is also a founding member of the Sustainable Furnishing Council. It works alongside two nonprofits that owner Cisco Pinedo cofounded, including Refoundry, which trains formerly incarcerated people to create home furnishings from reclaimed materials and become community leaders and job creators.

EMECO HANOVER, PA. emeco.net

One of the most enduring American chairs, Emeco’s aluminum 1006 Navy chair (the “ten oh six”) was designed to withstand sea air, torpedo blasts, and 150 years of use. That ethos of longevity carries on in its products and practices: The company has been based in Hanover, Pennsylvania, since 1944 and still employs both the iconic chair’s 77-step production process and the community’s craftspeople.

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CLOC K WISE FROM TOP LE F T: Uhuru’s

Split Base Slab dining table features a handcharred live edge and brass butterflies.

Cisco Home’s 90″ Grace Sofa in Brevard Espresso. Emeco’s Navy Wood Chair.

“Net zero” refers to the balance between the amount of greenhouse gases that are produced and removed from the atmosphere.

L AUR A HODGES: JENNIFER HUGHES; GREEN RIVER PROJECT: ADRIANNA GL AVIANO; SHAPELESS STUDIO: K ATE SEARS; OPPOSITE: CISCO: DUNJA DUMANSKI FROM SMALL GREEN DOOR

A Baltimore residence by Laura Hodges Studio.

RIGHT: The Manhattan restaurant Dr. Clark, with interior design by Green River Project. BE LOW RIGHT: A bedroom design by Shapeless Studio.

LAURA HODGES STUDIO

GREEN RIVER PROJECT

BALTIMORE, MD. laurahodgesstudio.com

NEW YORK CITY greenriverprojectllc.com

Laura Hodges’s interiors are finely tuned to her clients’ needs—and those of the planet. A LEEDaccredited interior designer, Hodges urges clients to buy local and fairtrade and to recycle their old furniture and building materials. An ambassador for the Sustainable Furnishings Council, Hodges also owns Domain, a home goods shop featuring fairtrade and sustainable home decor.

Green River Project’s full-bodied interiors revolve around conceptions of domestic space, memory, and shared histories. The studio crafts furniture and interiors by hand, leveraging the founders’ backgrounds in the arts and drawing from a love of rich materials and tactility. Its work rejects materialism, embracing the beauty of mistakes and the friction of collaboration.

SHAPELESS STUDIO BROOKLYN shapelessstudio.com

Trained in the Passive House method of building, Shapeless Studio designs with long-term energy consumption in mind and avoids synthetic and petroleum-based materials whenever possible. Fond of thoughtful details and well-crafted, highly functional fixtures and fittings, the studio emphasizes natural materials, making for warm spaces that are healthier for residents and age better with time.

THANK YOU TO OUR PARTNERS IN SUSTAINABILITY: Arhaus, arhaus.com; Beko, beko.com; the Container Store, containerstore.com; Flor, flor.com; Herman Miller, hermanmiller .com; 1 Hotels, 1hotels.com; and Sherwin-Williams, sherwin-williams.com.

I N T E RI O R D E S I G N

EARTH FYI

RESOURCES

matouk.com; RH, Restoration Hardware, rh.com; E. Braun & Co., ebraunnewyork.com; Aleta, aletaonline.com; Les Indiennes, lesindiennes.com.

cocktail table: Niels Bendtsen, bensen.com. Side table: JF Chen, jfchen.com. PAGES 98–99: Door paint: Farrow & Ball, farrow-ball .com. Sofa: Cassina, cassina.com.

Chairs: Castelli, castelli1877.com.

Artwork: Luis Fernandez.

Sink: Porcelanosa, porcelanosausa.com. Fittings: Watermark, watermark-designs.com.

Wallpaper: Hermès, hermes.com.

Tiles: Eco Outdoor, ecooutdoorusa .com. PAGES 100–101: Cocktail table: B&B Italia, bebitalia.com.

Chandelier: Apparatus Studio, apparatusstudio.com. Rug: Stark, starkcarpet.com. Pendant: Bec Brittain, becbrittain.com. Island and cabinets: Henrybuilt, henry built.com. Fittings: Blanco, blanco .com. Stool: Phase Design, phase designonline.com. Pendants: Decode, decode.london.

PAGES 102–103: Tub: Victoria + Albert, vandabaths.com. Fittings: Watermark. Stool: Michael Taylor, michaeltaylordesigns.com. Wall tiles: Ann Sacks, annsacks.com.

Bed: Cappellini, cappellini.com.

Bed linens: Frette, frette.com.

Throw: Society Limonta, society limonta.com. Rug: The Rug Company, therugcompany.com.

Wallpaper: Pierre Frey, pierrefrey .com. Tile: Concrete Collaborative, concrete-collaborative.com. Sofa: Design Within Reach, dwr.com.

ANATOMY OF A HOUSE

BUT SERIOUSLY

Items pictured but not listed are from private collections.

SHOWCASE PAGE 66: Lamps: Bradley L. Bowers, bradleylbowers.com.

CASE STUDY

Interior design: Nick Fouquet, nick fouquet.com. Contractor: Timothy McCarthy, formadesigngroup.com.

PAGE 70: Counters: Caesarstone, caesarstoneus.com. Oven: Bertazzoni, bertazzoni.com.

Dishwasher: Bosch, bosch-home .com. Sink and fittings: Duravit, duravit.us. Backsplash: Heath Ceramics, heathceramics.com.

Rug: Armadillo, armadillo-co.com.

Bed: Saatva, saatva.com.

Bedding: John Robshaw, john robshaw.com. Artwork: Jim Krantz, jimkrantz.com.

GIVING BACK PAGE 74: Interior design: Jessica Helgerson, jhinteriordesign.com.

LET THE LIGHT IN PAGES 76–77: Hunter Douglas, hunterdouglas.com.

TOOLBOX PAGE 80: Bedding: Matouk,

Interior design: Melissa Lee, bespokeonly.com.

PAGE 88: Sofa: Lulu and Georgia, luluandgeorgia.com. Chairs: France & Son, franceandson.com.

Cocktail table: Theresa Rand, cargocollective.com. Pendant: Coil + Drift, coilanddrift.com.

PAGE 90: Dining table: Ferm Living, fermliving.us. Chairs: Norm Architects, normcph.com.

Lantern: Isamu Noguchi, noguchi .org. Rug: Loloi, loloirugs.com.

Wall paint: Benjamin Moore, benjaminmoore.com. Sofa: Gubi, gubi.com. Side table: Ferm Living.

Sconce: Circa Lighting, circa lighting.com. Lamp: Notary Ceramics, notaryceramics.com.

Sofa and cocktail table: RH, Restoration Hardware, rh.com.

Chaise: Sika, sika-design.com.

Lamp: Circa Lighting. Rug: Armadillo, armadillo-co.com.

Shades and curtains: RH, Restoration Hardware. PAGE 92: Bed and pendant: RH, Restoration Hardware. Bedding: Cultiver, cultiver.com. Rug: Pampa, pampa .com.au. Lighting: Tech Lighting, techlighting.com. Wall paint: Benjamin Moore. Sink: Stone Forest, stoneforest.com. Sink fittings: Kohler, kohler.com.

Sconce: Soren Rose Studio, sorenrose.com. Mirror: Zara Home, zarahome.com. Towel ring: RH, Restoration Hardware.

I’LL TAKE MIDCENTURY MODERN

Interior design: Luis Fernandez, luisfern5.com. Landscape designer: Jeff Lindfors, lpo-inc.com.

PAGES 96–97: Sofa fabric: Holly Hunt, hollyhunt.com. Chair and

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Interior design: Summer Thornton, summerthorntondesign.com.

PAGES 104–105: Sofa fabric: Savel Inc., savelinc.com. Settee: Baker, bakerfurniture.com. Games table: 1st Dibs, 1stdibs.com. Pendants: Urban Electric Co., urbanelectric .com. Wallcovering: De Gournay, degournay.com. PAGES 106–107: Pendant: Urban Electric Co. Wallcovering: Pierre Frey, pierrefrey.com. Ceiling wallpaper: Gucci, gucci.com. Chair: Hickory Chair, hickorychair.com. Desk: Lawson-Fenning, lawsonfenning .com. Chair fabric: Lee Jofa, kravet .com. Shade fabric: Dessin Fournir, dessinfournir.com. Wall paint: Benjamin Moore, benjaminmoore .com. PAGES 108–109: Chairs: Century Furniture, century furniture.com. Rug: Holland & Sherry, hollandandsherry.com.

Wallcovering: Studio BK, studio bkinc.com. Range and hood: La Cornue, lacornueusa.com. Stools: Soane Britain, soane.co.uk. Lights: Roman and Williams Guild, rw guild.com. PAGES 110–111: Wallcovering: Gucci. Sconces: Urban Electric Co. Damask: De Gournay. Bed: Dennis Miller New York, dennismiller.com.

Vanity: Julian Chichester, julian chichester.com. Painting: Alex Katz, alexkatz.com.

RAISING ARIZONA

Interior design: David Netto, davidnettodesign.com.

PAGES 112–113: Sofa: RH Restoration Hardware, rh.com. Chairs: Hati Home, hatihome.com. Seats: Michael Taylor, michaeltaylor designs.com. Cocktail table:

Atelier de Troupe, atelierdetroupe .com. Rug: Ralph Lauren Home, ralphlaurenhome.com. Tapestry: Burton Kopelow, burtonkopelow .carbonmade.com. PAGES 114–115: Table: CB2, cb2.com. Chairs: Design Within Reach, dwr.com.

Pendant: Isamu Noguchi, noguchi .org. Lamp: Marcel Wanders, marcelwanders.com. Door paint: Benjamin Moore, benjaminmoore .com. PAGE 117: Sofa: CB2. Sofa fabric: Rogers & Goffigon, rogers andgoffigon.com. Cocktail table: Cassina, cassina.com. Rug: Serena & Lily, serenaandlily.com.

Chair: Harbinger, harbingerla.com.

Ceiling light: Circa Lighting, circa lighting.com. Desk: Orange, orangefurniture.com. Chair: Hive Modern, hivemodern.com.

Carpet: Stark, starkcarpet.com.

Curtain fabric: Lee Jofa, kravet .com. PAGES 118–119: Chaises: CB2.

Umbrella: Teak Warehouse, teak warehouse.com. Table: Rove Concepts, roveconcepts.com.

Chairs: Knoll, knoll.com.

Chandelier: Santa & Cole, santacole.com. Artwork: Fritz Scholder, fritzscholder.com. Sink and fittings: Miele, mieleusa.com.

Range and hood: Wolf, subzerowolf.com. Chair: Vitra, vitra.com.

Cabinet paints: Benjamin Moore.

THE REST IS HISTORY

Interior design: Mark D. Sikes, markdsikes.com. Architecture: Mark Marsh, bridgesmarsharchitects.com.

PAGES 120–121: Sofa: Chaddock, chaddockhome.com. Armchairs: Mr. & Mrs. Howard, mrandmrs howard.sherrillfurniture.com.

Ottoman: John Rosselli & Associates, johnrosselli.com.

Ottoman fabric: Kravet, kravet .com. Chandelier and sconces: Formations, formationsusa.com.

Curtain fabric: Soane Britain, soane.co.uk. PAGES 122–123: Furnishings, walls, and window treatment fabric: Fermoie, fermoie.com. Ottoman fabric: Peter Dunham, peterdunham textiles.com. Lamp and sconces: Visual Comfort,

visualcomfort.com. Trays: Hive, hivepalmbeach.com. Rug: Frank’s Cane and Rush Supply, franksupply .com. Table: Hickory Chair, hickory chair.com. Chairs: Chaddock. Chair fabric: Schumacher, fschumacher .com. Chandelier: Paul Ferrante, paulferrante.com. Artwork: Iksel, iksel.com. PAGES 124–125: Wall mural: Joseph Steiert, josephsteiert .com. Chair: Chaddock. Sofa, chair, and wall fabric: Jasper, michael smithinc.com. Sconce and pendants: Visual Comfort.

Runner: Guinevere, guinevere.co .uk. Plant pots and sconces: Niermann Weeks, niermannweeks .com. PAGES 126–127: Chair: Chaddock. Chair fabric: Jasper.

Pedestal: Kofski Antiques, kofski .com. Sconce: Visual Comfort.

Bed: Amanda Lindroth, amanda lindroth.com. Linens: Matouk, matouk.com. Armoire: Wicker Living, wickerliving.com. Floor lamp: Hudson Valley Lighting, hvlgroup.com. Wallcovering: Quadrille, quadrillefabrics.com.

Curtain fabric: Kravet. Curtain trim: Samuel & Sons, samueland sons.com. Table and chairs: RH, Restoration Hardware, rh.com.

LET ’EM IN

Interior design: Retrouvius, retrouvius.com.

PAGES 128–129: Stair runner: Tim Page Carpets, timpagecarpets .com. Wallpaper: Daniel Heath, danielheath.co.uk. Stair paint: RAL, ralcolorchart.com. Portraits: Ian Bruce, ianbruce.net. Facade paint: Farrow & Ball, farrow-ball.com.

PAGES 130–131: Floor tiles: Emery & Cie, emeryetcie.com. PAGES 132–133: Chair and pillow fabrics: Dashing Tweeds, dashingtweeds.co.uk.

Tub fittings: Lefroy Brooks, lefroy brooks.com. Wall tiles: Emery & Cie. Sectional: Caravane, caravane .co.uk. Pillow fabrics: Dashing Tweeds. Suit: Dashing Tweeds.

PAGES 134–135: Sofa fabric: Dashing Tweeds. Pendant: Pooky, pooky .com. Throw blanket and pillow fabrics: Dashing Tweeds.

ELLE DECOR (ISSN 1046-1957) Volume 32, Number 7, October 2021, is published monthly except for combined issues in January/February and June/July/August, by Hearst, 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Mark E. Aldam, Chief Operating Officer. Hearst Magazine Media, Inc.: Debi Chirichella, President, Hearst Magazines Group & Treasurer; Kate Lewis, Chief Content Officer; Kristen M. O’Hara, Chief Business Officer; Catherine A. Bostron, Secretary. © 2021

by Hearst Magazine Media, Inc. All rights reserved. ELLE and ELLE DECOR are used under license from the trademark owner, Hachette Filipacchi Presse. Periodicals postage paid at N.Y., N.Y., and additional mailing offices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription prices: United States and possessions: $15 for one year. Canada: $41 for one year. All other countries: $60 for one year.

Subscription Services: ELLE DECOR will, upon receipt of a complete subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within 4–6 weeks. For customer service, changes of address, and subscription orders, log on to service.elledecor.com or write to Customer Service Department, ELLE DECOR, P.O. Box 37870, Boone, IA 50037. From time to time, we make our subscriber list available to companies who sell goods and services by mail that we believe would interest our readers. If you would rather not receive such offers via postal mail, please send your current mailing label or exact copy to Mail Preference Service, P.O. Box 37870, Boone, IA 50037. You can also visit preferences.hearstmags.com to manage your preferences and opt out of receiving marketing offers by email. ELLE DECOR is not responsible for unsolicited manuscripts or art. None will be returned unless accompanied by a self-addressed stamped envelope. Canadian registration number 126018209RT0001.

POSTMASTER: Please send address changes to ELLE DECOR, P.O. Box 37870, Boone, IA 50037. Printed in the U.S.A.

ELLE DECOR COLLECTION elleboutique.com/elledecor|#parisiananywhere Follow us on Instagram: @elledecor_collection

DESIGN FOR GOOD

The Golden Rule When Katja Hirche, the gallery director and owner of New York design dealer Bernd Goeckler, approached artist Yolande Milan Batteau of Callidus Guild and asked her to translate her handpainted wallcoverings into a series of objects, Batteau relished the challenge. “I’ve developed a visual language that lends itself to everything from fine art to furniture,” she says. “And screens have so much potential. They’re a blank canvas as much as an architectural element.” Her Mu//Katsura screen, named for the Japanese palace that inspired it, is a fully realized focal point, composed of emotive gold-lacquer brushstrokes on panels of pigmented plaster and inlaid with glittering mother-of-pearl accents. —Parker Bowie Larson berndgoeckler.com

DON PENNY

Each month, ELLE DECOR asks an artisan to create a unique item for us. At the end of the year, these pieces will be auctioned off to benefit Housing Works. housingworks.org

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From the first toast to the final bite, savor every moment with Sub-Zero refrigeration, Wolf cooking, and Cove dishwashing. Complete your kitchen with thoughtfully designed, innovative appliances crafted to last for decades of delicious, memorable meals.