Interieure by Lucky Shulman

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Creative Director Lucky Shulman

Editorial Megan Slack Colton Martini Magali Robatha Karine Monié Design Professor Beth Elliott UCLA Design Media Arts Winter 2021

Based in Los Angeles CA 90024

7 spring 2021

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31 15

table of

contents Favorite Design Trends of 2020

Retro Interiors Are Back

Queen of Color: India Mahdavi

Dreamscapes

House of Osklo

Our Favorite Design Trends of 2020 OVERSIZED SEATING

Sofa Camaleonda by Mario Bellini

$4,530

Textural Sofa by Nina Pohl

$8,700

TUFTED RUGS

Velvet Swivel Chair by Milo Baughman

$5,500

Tufty Carpet by Lauren Galliot

$3,910

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CERAMIC DECOR Cake Vases by Erika Emeren

custom price

Candy Collection Lamps by Helle Mardahl

$350

ACCENT WALLS

New York Wallpaper by Katie Kime

$128

Botanical Fleur Mural by OhPopsi

$75

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By Megan Slack & Colton Warm, autumnal colors. Patterned wallpaper. Lots of dark wood. For years, the home decor trends of the 1970s were almost universally reviled (okay, other than the eternally popular urban jungle of houseplants). Recently, though, the decade’s groovy style has been back in vogue, with designers and tastemakers not only embracing with open arms ‘70s hallmarks like rattan, macrame, and shag rugs, but also more generally revisiting the eclectic maximalism that thrived throughout the decade. If your style leans boho, you’re obsessed with all things retro, or you’ve simply had enough of pared-back, minimalist decor, you’re more than likely on board with the reemergence of ‘70s style. But there’s a surprisingly great modern source for ‘70s-inspired decor you may not have thought of for retro decor: Amazon. The online retailer offers a ton of authentic-looking retro finds, including affordable macrame plant hangers online and a far-out egg-shaped coffee table designed by Christopher Knight (yes, of “The Brady Bunch” fame!). Intrigued? Find some of our favorite picks just ahead.

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1970s interiors are on track to be one of the biggest interior design trends this year, with sales of retro design favorites rocketing. According to Habitat, searches for rattan, an iconic seventies staple, have recently jumped by +3000%, while the desire for bamboo has risen 50% in the last month. ‘We often see fashion trends filtering into interiors. This season’s hero materials channel the retro charm currently seen all over the catwalk and in fashionable shows like BBC One’s The Serpent,’ shared Rachael Fell, Buying Manager, Furniture at Habitat. Throughout January, Habitat also saw a demand for ‘textured upholstery such as bouclé, corduroy, and quilting. We’re expecting high demand throughout spring as these tactile materials convey casual comfort, playing into the increasingly popular interiors trend,’ Rachel added. In a response to this nostalgic trend, luxury furniture designers Arlo and Jacob recently released a seventies-infused collection that brings this cosmopolitan era to our contemporary living rooms. The brand similarly emphasized the growing admiration for retro fashions, suggesting that consumers are turning to bold colors to signify a brighter future as the pandemic progresses.

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“Consumers are turning to bold colors to signify a brighter future as the pandemic progresses.” The idea of spending time with long-lost friends, family members, and neighbors is, according to Arlo and Jacob, shifting our modern interior habits. With the hope that we can socialize in the future, we are looking back to the 1970s- the era of angular-shaped furniture which offers a deep-seating and lots of space to socialize. Sunny yellow tones from this decade particularly reflect a ‘poptinged playfulness’ and, above all else, a sense of optimism for 2021. Whether building or remodeling, one room poses both the biggest design challenge and remains the most important: the kitchen. Conversation pits, sunken living rooms, home theaters, and wet bars come and go, but the kitchen remains the center of the home. Almost every client says, “We all end up gathering in the kitchen.” Kitchens are a direct reflection of a homeowner’s personality. Though uniquely individualized, kitchen design is not immune to trend. But trends are nothing to fear. Rather, they are a guideline, a set of instructions, built on decades of past design successes and failures that have culminated in a format for reference for the next generation. The 70s were the era of harvest gold and avocado green, the 80s were a laminate lover’s dream, the 90s were a case study in oak and brass, and the earlier 2000s boasted open concepts and eat-in kitchen islands. The 2020s have a style all their own, but you can glimpse a little bit of each era. Dark colors are no longer out of the question. Black, charcoal and even dark green and blue are taking center stage. These formerly dismissed colors are now viewed as inviting and warm, and lend an all-important flair for the dramatic.

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THE QUEEN OF COLOR

INDIA M

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MAHDAVI By Magali Robatha

or me, colours are like people,” India Mahdavi tells me. “They should start a conversation, they should argue, they should get close, they should get upset with one another. “I’m not scared of colours and that’s my big strength.” Right from the start of her career, architect and designer Mahdavi has been known for her confident use of colour. From the ultra pink Gallery restaurant at Sketch – one of London’s most instagrammed spaces – to the bright turquoise bar in Mexico City’s gorgeous Condesa DF hotel, she has never played it safe. “I’m not scared of going strong, adding and adding even more and you think you have enough of it – no – and I just put more,” she says, speaking to me in a cafe in Amsterdam. “I am not scared of colours and patterns and I’m not scared of space.” Mahdavi’s style is fun and playful. It makes you smile and this is her intention. “I’m a monomaniac when it comes to emotions,” she says. “I want people to feel happy; happy and joyful. Life has become so difficult, and most of my spaces are linked to some kind of entertainment, so I think why not go the whole way?” With clients including Claridge’s and the Connaught Hotel in London, Sketch owner Mourad Mazouz and Louis Vuitton, Mahdavi has built a strong reputation for her bold spaces over almost two decades. She is currently working on a range of projects, including a new furniture collection, several residential projects and a restaurant in Bal Harbour, Miami, US. “I’ve always been attracted to colour,” says Mahdavi. “It’s always been in my life, consciously or unconsciously.” She was born in Tehran, to a Scottish/Egyptian mother and an Iranian father. By the time she was eight she’d lived in four countries – Iran, the US, Germany and France. She speaks about the colours of her childhood: the strong primary American colours of her time spent in Cambridge Massachusetts, the black and white of their “Addams Family house” in Germany and the blues and turquoises of the South of France, where the family settled. The cinema was another big influence for the young Mahdavi; as a teenager she spent hours watching films on tv, and later went to

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the cinema up to three times a day. Initially she wanted to be a film maker, and then a set designer, and this early passion can be seen in the cinematographic nature of her spaces.

“My references for the Gallery at Sketch were David Lynch’s use of pink in Mulholland Drive and the ballroom in Stanley Kubrick’s The Shining, except that instead of being spooky, the Gallery is a pink and joyful room,” she says. After studying at the Ecole des Beaux Arts in Paris and then the School of Visual Arts and Parsons in New York, Mahdavi got a job working for French designer Christian Liaigre, where she was art director until 1999. “Liaigre is the king of beige and brown and cream and dark wood,” she says. “No colour whatsover.” She laughs. “Every time I handled a project, I’d put colour in. People in the office would say, ‘Oh if you want to do a colour palette, go and ask India because she knows how to do it’. I never thought it was a talent. I just did it very naturally, without thinking.” In 1999 Mahdavi founded her studio, imh interiors, in Paris, launching her showroom four years later. Early projects included stores, her own line of furniture and an office headquarters in

ABBASI IN THE SKY WALLPAPER FOR DE GOURNAY (2020)

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“I’m not scared of going strong, adding and adding even more and you think you have enough of it – no – and I just put more.”

LADURÉE AOYAMA TOKYO (2018)

London for the fashion designer Joseph Ettedgui, who had encouraged her to go it alone. A chance meeting with US restaurateur Jonathan Morr led to a job designing the 60-bedroom Townhouse Hotel on Miami Beach. Faced with a tight budget and no space for a swimming pool, Mahdavi set out to create a feeling of water on the small terrace using a colour palette inspired by the ocean and installing a fountain for guests to splash in and bright red fabric-covered waterbeds. Mahdavi followed this up with the design of APT, a members’ apartment-style nightclub in New York, also for Jonathan Morr. Her imaginative, playful interiors caught the eye of Ian Schrager, who asked her to design a hotel for him. In the end, Schrager was forced to sell the property before Mahdavi could complete the project, but by then her career was firmly established. Other notable projects include the Peacock Hotel in Rowsley, UK; the Coburg Bar at The Connaught Hotel in London; the Condesa DF Hotel in Mexico City; and suites for Claridge’s hotel in London. Mahdavi’s confident use of colour can be seen in these projects, as well as her love of curves and her use of sumptuous materials. More recently, she has designed pastel-hued cafes for French pastry brand Laduree in Geneva, LA and Tokyo. In 2014, Mahdavi got a call from Mourad Mazouz, owner of the critically acclaimed London restaurant Sketch. Mazouz had commissioned British artist David Shrigley to reimagine the Gallery restaurant following the success of Turner Prize-winning artist Martin Creed’s Sketch commission in 2012, and was looking for a designer to update the restaurant interiors. After a

CONDESA DF MEXICO CITY (2005)

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meeting in London, Mahdavi agreed. She knew immediately that she wanted the room to be pink; finding the exact right shade of pink, however, was another matter. Mahdavi started as she always starts – scouring her environment for the exact shade of pink she was looking for. “I look in papers, books, magazines, invitations – anywhere – and cut things out and then I start matching it with other tones,” she says. “I ask for larger sheets to be made up [in the colours I’m considering] then I take them to the site. This is where it got trickier, because my studio in Paris has a lot of light and the Gallery at Sketch has no daylight, so I knew the pink would look more yellow. I didn’t want it to take on too much yellow or it would look salmon, and I didn’t want it to be salmon. It had to be a pink with a bit of blue in it.” I ask Mahdavi if it’s true that Mazouz became a little exasperated with the length of time it took to find the right colour. In a recent interview with The New Yorker on the subject, Mazouz said: “Oof! A month to find the pink. I didn’t tell her, but after a while I wanted to say, ‘Come on, pink is pink!’”Mahdavi laughs. “It’s true,” she says. “But it had to be right. That pink at Sketch; it’s perfect. It’s a happy colour. Everyone looks beautiful; like they have a three day tan.” Like most designers and architects, Mahdavi is highly sensitive to her surroundings. When we meet, she arrived in Amsterdam the previous day, and was horrified to find that she was meant to be staying in a Novotel hotel. “They booked me into this horrible place,” she says, visibly shuddering. “Corporate hotels freak me out. If you are slightly depressed, staying somewhere like that is just terrible. I left the Novotel and booked myself into the Pulitzer Hotel, which saved my life. It feels like home.” Mahdavi is so fearless with colour, I wonder if there are any she shies away from using. “I don’t want to discriminate against any colour,” she says. “I think they can all bring something - in a certain context of a certain material and upon a certain texture.” There are some colour combinations she’s not a fan of though.

LEFT: THE GALLERY AT SKETCH LONDON (2014)

PHOTO CAPTION

RIGHT: CHEZ NINA MILANO (2018)

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“I wouldn’t necessarily put a Christmas green with a Christmas red,” she says. “And I don’t like black and yellow. I don’t think it works. I like colours when they get close to each other or they are very contrasting, but some colour combinations are difficult for me.” Looking ahead, Mahdavi has several residential projects on the go, as well as a personal project that’s close to her heart. She lives in Paris, in a rented apartment, but recently bought a house in the South of France. “I’ve never owned my own house before,” she says. “It’s hard for me to say I’m not a nomad anymore. This is one of my most important projects; I’m

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so excited about it.” And her dream future commission? “I’d like to work on something to do with transportation,” she says. “I’d like to do more public spaces too, and more projects with small budgets.” One thing’s for sure, whatever Mahdavi works on will use colour in a way that’s bold, surprising, and that puts a smile on people’s faces.

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TOP:

HOMO FABER FONDAZIONE GIORGIO CINI (2018) BOTTOM:

LADURÉE QUAI DES BERGUES GENEVA (2016)

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Andres Reisinger

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LIVING IN A DREAM

Welcome to the world of Dreamscapes; where the colorful minds of designers Paul Milinski, Carlos Neda, & Andres Ressinger are modeling the digital interiors of our dreams.

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Paul Milinski

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Paul Milinski

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Paul Milinski

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Carlos Neda

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Andres Reisinger

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Carlos Neda

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Andres Reisinger

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Carlos Neda

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HOUSE OF OSK

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F KLO

The Midcentury inspired Hollywood Hills home designed by Studio OSKLO founders and life partners Micheal & Arya Martin.

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By Karine Monié Photography by Sam Frost

n his first visit, it took Michael Martin— one of the creative minds behind design studio OSKLO—two tries to find the private driveway of this property. “It was like A Midsummer Night’s Dream in the middle of the Hollywood Hills, as doves and robins hopped from wisps of bougainvillea and massive lemon trees dropped fruit in front of your eyes around this very forgettable 1990s house,” he recalls. “The house had to go, but the property was one of a kind and really unbeknownst to everyone.” Located a mile above the Sunset Strip, along one of the quieter roads of Los Angeles’s famed Bird Streets, the flat lot offers the utmost in privacy. Spread over 5,800 square feet on a single level, the new four-bedroom house gives a feeling of spaciousness, especially in the 13-foot-high great hall flanked by a central atrium with a centenarian olive tree. “The house is a variation of whites, from the creamier white walls of stucco on the exterior and masonry walls to a lighter, powdery Decorator’s White (Benjamin Moore) on interior walls and within the atrium that makes it an extension of the interior living space,” says Arya Mohammadi Martin, cofounder of OSKLO. “We only used ultra-matte paints and surfaces, to the dismay of visitors that are often reprimanded for touching them by Michael,” he says, smiling. The kitchen was an inversion of this, with matte black cabinetry and blackened steel exhaust that carries over to the stained oak cabinet details in the bar and powder metal shelves in the main living area. In the kitchen of a midcentury-inspired Hollywood Hills home designed by OSKLO, the blackened steel hood was custom-made, the countertops in honed negro d’Alba are from Stoneland, the spun fiber table lamp was purchased in Morocco, and the American Folk stool is from the 1930s. The knotted burl bowl on the custom concrete finished island was bought in Japan.

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Working together for the first time as a married couple on this personal project, the OSKLO duo had to match their different ideas and approaches to what the house should look and feel like. “I wanted poured concrete and more of an industrial finish, but Arya liked the Trousdale feel of all-white architecture that came to define the property,” Martin says. The main living room houses a comfortable custom-designed sofa by OSKLO, a bronze Rick Owens Alchemy Bench from Carpenters Workshop Gallery next to a Jean Prouvé daybed, and a collection of Pierre Jeanneret’s Chandigarh cane chairs. One of the bedrooms houses a pair of Milo Baughman chests of drawers from West Coast Modern LA, a kilim rug from Lawrence of La Brea and a midcentury-era, two-arm sconce from Stilnovo. These are just some of the gems that adorn the home. In the main living space, the Jean Prouvé S.C.A.L. metal and wood daybed (circa 1950) combines with a Jacques Adnet leather chair (from the 1960s). Both the Stage T stools and the brown Alchemy bench from Carpenters Workshop Gallery are by Rick Owens. “We have acquired many items through our travels, like an Oscar Niemeyer chair in Brazil or chunky stools in Japan,” Mohammadi Martin says. “We placed them in

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“A house is not a museum; it should emanate comfort and warmth in spaces that encourage conversation, inspiration, and a desire to linger.” interieure 36

a way to make them feel part of a larger narrative. We find items that need some care and modernize them with updated upholstery and materials. There are also a lot of L.A. designers we pull from our inventory because we have so much.” “A house is not a museum; it should emanate comfort and warmth in spaces that encourage conversation, inspiration and a desire to linger,” Martin adds. Mimicking L.A.’s midcentury architecture in a more monumental way, with angles inspired by Rudolph Schindler and Richard Neutra infused with voluminous ceilings and bespoke stonework, the house plays with different themes in the bedrooms (beachy or all-white, for example) while reflecting a sense of free-flowing, effortless unity among all the areas. In the dining room, the vintage industrial O.C. White ceiling pendant from 1stdibs hangs above the limed oak Belgian dining table from Lucca Antiques surrounded by Pierre Jeanneret cane chairs. According to the couple, designing a home is like writing a book: “Each room should connect a central story, with the occasional diversion in spaces like the powder room, where we did a stout custom sink in honed ceppo with an integrated shelf and mirror that fades into it ever so softly. We like to create visual experiences, so that if there

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