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JUNE 2019

A Moroccoinspired guest bedroom in an early-20th-century Chicago mansion designed by ED A-Lister Alessandra Branca, page 142.

ELLE DECOR

SIMON UPTON

CONTENTS

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Authenticity. AND ALLURE .

Amy Kehoe x The Heritage Collection

“ O F T E N , W H AT G I V E S A N O B J E C T AU T H E N T I C I T Y I S T H E O N E W H O I S B E H I N D T H E O B J E C T— I T S M A K E R — A N D I T S F I N I S H , I T S TO U C H . A N AU T H E N T I C P I E C E I S N ’ T “ O F T H E M O M E N T ” O R TO O C O N T R I V E D. I T ’ S S I M P LY S O M E T H I N G YO U N E V E R T I R E O F. ”

- AMY KEHOE Interior Designer/Co-Founder Nickey Kehoe

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

CONTENTS Lacquered-aluminum bookshelves by Pierre Paulin in the living room of Lisa Perry’s home, page 118. 40

EDITOR’S LETTER 44

THE A-LIST The future is female on our 10th-annual list of design’s top talents 51

POV The inside scoop on A-List decorator Mark Cunningham’s new showroom; design books to read now; 60 seconds with the Cooper Hewitt’s director, Caroline Baumann; and more 56

WHAT’S HOT The best design discoveries 64

SHOP TALK Hermès opens a new, surprisingly edgy location in downtown Manhattan

TALENT 66 Mansour Modern’s Benjamin Soleimani taps Kerry Joyce to create his new Manhattan showroom 68 For the 40th anniversary of Ikea’s Billy bookcase, four design ﬁrms put their spin on the classic shelves 72

TRUTH IN DECORATING Genevieve Gorder and Christian Dunbar spill the dirt on planters

ED STYLE 81

SHORTLIST India Mahdavi and eight things she can’t live without

TIMEKEEPERS

ED BUILDER

ED LIVING

The latest watches from Louis Vuitton

TOOLBOX

BRILLIANT BRITISH TALENT

A roundup of refreshingly architectural swimming pools.

100 A sisterly duo ushers de Gournay’s bespoke wallcoverings into the future.

BY TIM McKEOUGH

BY KAMALA NAIR

JEWELRY BOX Jewel-encrusted, avian-inspired gems take ﬂight 28

106 Luke Edward Hall is turning heads with his classical motifs and retro-maximalist style. BY STEPHEN PATIENCE

114

DANIEL’S KITCHENS Fresh and green: Rigatoni Verdure is your new summer pasta go-to. BY DANIEL BOULUD

ROBYN LEA

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THE LURE OF THE FINISH. CHOOSE FROM A SEA OF FAUCET FINISHES—INCLUDING VIBRANT® OMBRÉ— AND DESIGN YOUR SPACE AROUND WHAT CAPTIVATES YOU.

CONTENTS FEATURES 118

A GREAT ESCAPE Fashion designer Lisa Perry channels her love of 1960s style into her Pierre Paulin– packed retreat on the French Riviera. BY ALINA CHO DESIGNER LISA PERRY

124

A NEUE HOUSE Vienna Secession meets contemporary art in Ken Fulk’s renovation of the American ambassador’s residence in Austria. AS TOLD TO VANESSA LAWRENCE DESIGNER KEN FULK

132

ABOUT FACE For a longtime client in L.A., Kathryn M. Ireland ditches her more-is-more approach to craft a chicly minimalist home that is pared to perfection. BY KATE BETTS DESIGNER KATHRYN M. IRELAND

138

142

GRAND TOUR DE FORCE A 1910s mansion on Lake Michigan gets a magniﬁcent redo at the hands of Chicago designer and ED A-Lister Alessandra Branca. BY NANCY HASS DESIGNER ALESSANDRA BRANCA

148

SUMMER TABLE 101 Tiffany & Co.’s chief artistic ofﬁcer, Reed Krakoff, dishes on the best Tiffany tableware for the season. BY DAVID SCOROPOSKI DESIGNER REED KRAKOFF

150

NORTH BY NORTHEAST British designer Rita Konig makes magic in her Victorian farmhouse an hour from the Scottish border. BY SADIE STEIN DESIGNER RITA KONIG

SUMMERS IN SANDS POINT

158

Wendy Goodman recalls the Long Island, New York, home that sparked her lifelong love of design.

160

BY WENDY GOODMAN ILLUSTR ATIONS BY MAIRA KALMAN

RESOURCES NOT FOR SALE New Orleans designer Julie Neill creates a bespoke plaster-dipped chandelier

A hallway in Bruce and Nancy Newberg’s Los Angeles home, designed by Kathryn M. Ireland, page 132.

ON THE COVER The living room of fashion designer Lisa Perry’s 1960s-inspired retreat on the French Riviera, featuring sofas, a chair, and tables by Pierre Paulin. PHOTOGR APH BY ROBYN LEA

Paint the town red—or Dayroom Yellow or even Rangwali, as shown above! One lucky winner will receive $3,000 worth of Farrow & Ball paint, wallpaper, and/or primer, plus a onehour consultation with a Farrow & Ball design and color expert—a $3,250 value! See page 158 for sweepstakes rules, and go to farrowandball.elledecor.com for your chance to win.

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TOP RIGHT: TREVOR TONDRO

ENTER OUR GIVEAWAY

D E S I G N PO R T R A I T.

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GROUNDED BY HARMONY Michael S. Smith for Mansour A collection to complement any design, with just enough patina to reﬂect the touch of the artisan.

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“Evoking 1930s celestial vibes, this rug has an ethereal quality to it. It’s subtle and doesn’t scream a particular style. It’s the piece of art that you put in last to ground a room.” —MICHAEL S. SMITH

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From left: Benjamin Soleimani, Michael S. Smith. Photograph by Andrew Heiser.

Known for his unparalleled taste and classical sensibility, designer Michael S. Smith set out to create a collection of rugs that otherwise would not exist—each handmade with patina and designed to work across a variety of styles. Subtle in color and pattern, elements of fantasy and nature are present throughout reflecting clouds, starry nights, sound waves and urban landscapes. Smith, a client of Mansour owner Benjamin Soleimani for

nearly 25 years, collaborated to create a unique collection with dimension and character—all achieved through artisanship. Made from a blend of silk and oxidized wool and hand-knotted in Jaipur by master weavers, the end result is purely textural. Dimension and different levels of pile create rugs that are as tactile as they are beautiful. Each works across a variety of design styles—from the contemporary to traditional—because the hand of the artisan is repeated throughout.

“This cheerful striped rug is a nod to the landscape around Vendome, the archaeologically important French town situated on the Loire River. Hand-knotted silk and wool bring this urban study to life.” —BENJAMIN SOLEIMANI

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EDITOR IN CHIEF

Whitney Robinson ADAM SACHS

Contributor “This summer we’re returning to a house in Tuscany’s Val d’Orcia region. Every trip to this beautiful part of Italy is restorative, but this one has special meaning: We’re celebrating my father’s 80th birthday.”

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MONA PAVILIONS “In Tasmania, stay at the Pavilions at the Mona museum, whose James Turrell installations alone are worth crossing several oceans to reach.” Rooms from $630 per night. mona.net.au

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ASK AGAIN, YES “Mary Beth Keane’s literary novel, out this month, is a masterly modern-day Romeo-and-Juliet story set in the suburbs.” $18. amazon.com

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BARBA BIANCA “Frankie DeCarlo’s seasonal Italian seafood restaurant has the best views and best food on Long Island’s North Fork.” barbabiancany.com

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ROGER OATES DESIGN STAIR RUNNER “I’m currently obsessed with the multitude of striped and brilliantly colored ﬂatweave stair runners from England’s Roger Oates Design.” Price upon request. rogeroates.com

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OUMERE EXFOLIANT “No. 9 Exfoliant by Los Angeles–based brand Oumere is the ultimate summer beauty product.” $85. oumere.com

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RED SALVIA PLANT “My latest summer project: Plant a small ﬂower garden lined with bright red salvia plants.”

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GOOP BEAUTY G.TOX HIMALAYAN SALT SCALP SCRUB SHAMPOO “This whipped shampoo scrub makes my hair feel instantly refreshed.” $42. shop.goop.com

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LOTUS ELIXIR PERFUME “I love these Lotus Elixir rollerball fragrances by Illume—they’re the perfect travel size.” $12. anthropologie.com

CARTIER JUSTE UN CLOU NECKLACE “This necklace is classic, but with its twist on a familiar object, it also has a modern edge.” $6,350. cartier.com

Quality by Design Create signature spaces with our exclusive program for design professionals. Explore our collection of commercialquality furnishings that will bring your project to life.

EDITOR’S LET TER The breakfast area in a Los Angeles home designed by Kathryn M. Ireland.

A music room with handpainted walls by Deborah Phillips in the American ambassador’s home in Vienna.

A view of the French Riviera from the backyard of Lisa Perry’s 1960s-inspired home.

Whitney at the Loewe installation at Milan Design Week.

The light-ﬁlled drawing room of Rita Konig’s holiday home in the English countryside.

A cabinet in a Chicago home designed by Alessandra Branca.

H AV E CO M E TO R E A L I Z E T H AT I N T E R I O R D ES I G N E RS

often play many roles beyond mere decorating. For instance, it’s not unusual during the course of a typical renovation or build for a designer to also be expected to act as a wedding planner, a fashion stylist, a marriage counselor, a child psychiatrist, and occasionally (if they are handy enough) a plumber. As I wrote in my foreword to the upcoming book by talent extraordinaire Estee Stanley—a new addition to our A-List—for a designer, wearing many hats is a way of life. And that, my friends, is how I describe the criteria behind ELLE DECOR ’s A-List, now 10 years in and going strong. What distinguishes our registry from the rest is that it’s not a snob list—these aren’t the kind of professionals who, after you hire them, communicate mainly via their assistants. They are hands-on designers, more than 140 in all (some of whom you’ll see with me on Best Room Wins, Wednesdays at 10 p.m. ET on Bravo). In 2019, our listing of the industry’s top talents is more global and eclectic than ever, reﬂecting the world we live in today; it also now includes landscape architects whose work beautiﬁes the outdoors of our homes, a mission that grows in importance every year. Speaking of the outdoors, feast upon the view from fashion designer Lisa Perry’s incredible retreat in the south of France (page 118). Lisa has long been 40

ELLE DECOR

a friend and inspiration to me, and she embodies the idea that fashion and the home are truly inseparable. Her new book captures all of her personal spaces, from Manhattan to Palm Beach, and as a designer who has always championed women, there’s no one better to lead the charge. The world of today looks very different than the one of nine years ago, when ELLE DECOR launched the A-List, and in this issue you’ll ﬁnd an overdue acknowledgment of the incredible women who are the engine of the design industry. ELLE DECOR has celebrated them forever, but this year we’re putting our money where our mouth is, with an A-List that truly celebrates their accomplishments. As beﬁts such news, I’m actually going to stop here and implore you to read executive editor Ingrid Abramovitch’s beautifully written paean to the topic on page 44. Spoiler alert: The list now includes more women than men. Several stellar female-led projects are featured in this issue. I could go on and on and gush about their merits. But take a look: The work absolutely speaks for itself.

Whitney Robinson, Editor in Chief elledecor@hearst.com

CLOCK WISE FROM TOP LEFT: TREVOR TONDRO; OBERTO GILI; ROBYN LEA; COURTESY OF WHITNEY ROBINSON; SIMON UPTON; DYL AN THOMAS

The New (and Improved) A-List

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THE FUTURE IS FEMALE

A-LIST 2019 NINE YEARS AGO, ELLE DECOR INAUGURATED A LIST OF THE GREATEST DECORATORS IN THE WORLD. THAT INITIAL GROUP NUMBERED 25 TALENTS, WHO WERE SINGLED OUT BY THE MAGAZINE FOR “THEIR HIGH STYLE, SERIOUS COMFORT, AND SNAPPY IDEAS.” IT WAS 2010. THE INDUSTRY WAS STILL RECOVERING FROM THE GREAT RECESSION; INSTAGRAM LAUNCHED THAT FALL; AND THE #METOO MOVEMENT WAS SIMMERING BUT STILL HARD TO IMAGINE.

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DEBORAH NEVINS & ASSOCIATES dnalandscape.com

DRAKE/ANDERSON drakeanderson.com

EMMA JANE PILKINGTON

emmajanepilkington.com

ERIC HUGHES DESIGN erichughesdesign.com

ESTEE STANLEY esteestanley.com

kellywearstler.com

kembleinteriors.com

KEN FULK kenfulk.com

KIT KEMP

kitkemp.com

LEYDEN LEWIS DESIGN STUDIO leydenlewis.com

LORENZO CASTILLO lorenzocastillo.org

M. ELLE

melledesign.com

MAC II

maciidesign.com

AMY LAU DESIGN

FOX-NAHEM ASSOCIATES

amylaudesign.com

foxnahem.com

ANN WOLF INTERIOR DECORATION

FRANK DE BIASI INTERIORS

annwolﬁd.com

frankdebiasi.com

MADISON COX ASSOCIATES

ASHE LEANDRO

GEORGIA TAPERT HOWE

MAINE DESIGN

asheleandro.com

ASHLEY WHITTAKER DESIGN

ashleywhittakerdesign.com

MADELINE STUART & ASSOCIATES madelinestuart.com

madisoncox.com

georgiataperthowe.com

mainedesign.com

GOMEZ ASSOCIATES

MARIE-ANNE OUDEJANS DESIGN & INTERIORS

gomezassociates.com

BEATA HEUMAN

HAYNES-ROBERTS

beataheuman.com

haynesroberts.com

cargocollective.com/ Marie-Anne_Oudejans

BILHUBER & ASSOCIATES

HUNIFORD DESIGN STUDIO

MARK CUNNINGHAM

bilhuber.com

BILLY COTTON billycotton.com

BRAD FORD ID bradfordid.com

BRANCA

branca.com

BRIAN J. McCARTHY bjminc.com

BROCKSCHMIDT & COLEMAN

brockschmidtandcoleman.com

BUNNY WILLIAMS INTERIOR DESIGN bunnywilliams.com

CARRIER AND COMPANY

carrierandcompany.com

CATHERINE MARTIN catherinemartin.com

CHAMPALIMAUD DESIGN

champalimauddesign.com BACKGROUND: GET T Y IMAGES

dkda.com

kellybehun.com

CHARLOTTE MOSS charlottemoss.com

CORINNE GILBERT

huniford.com

INDIA MAHDAVI india-mahdavi.com

ISABEL LÓPEZ-QUESADA

isabellopezquesada.com

mbds.com

MARTIN GROUP

jamiebush.com

marymcdonald.com

JAYNE DESIGN STUDIO

MATTHEW PATRICK SMYTH

JOY MOYLER INTERIORS joymoylerinteriors.com

JUAN MONTOYA DESIGN

juanmontoyadesign.com

corinnegilbert.com

KATHRYN M. IRELAND

CULLMAN & KRAVIS ASSOCIATES

KATIE RIDDER

cullmankravis.com

MARTIN BRUDNIZKI DESIGN STUDIO

JAMIE BUSH & CO.

jennyﬁschbachdesign.com

kathrynireland.com katieridder.com

NINA CAMPBELL

ninacampbellinteriors.com

OLIVER M. FURTH olivermfurth.com

PALOMA CONTRERAS INTERIOR DESIGN palomacontreras.com

PAMPLEMOUSSE DESIGN

pamplemoussedesign.com

PAOLO MOSCHINO nicholashaslam.com

PATRICK McGRATH DESIGN

patrickmcgrathdesign.com

PENNY MORRISON pennymorrison.com

PETER DUNHAM peterdunham.com

S.R. GAMBREL srgambrel.com

STEPHANIE GOTO stephaniegoto.com

STEPHEN SILLS ASSOCIATES stephensills.com

STUDIOILSE studioilse.com

STUDIO LILY KWONG

studiolilykwong.com

STUDIO PEREGALLI

studioperegalli.com

STUDIO SHAMSHIRI

studioshamshiri.com

STUDIO SOFIELD

studiosoﬁeld.com

SUSAN FERRIER INTERIORS

susanferrierinteriors.com

SUZANNE RHEINSTEIN & ASSOCIATES

MARY McDONALD

JENNY FISCHBACH DESIGN

nicolefullerinteriors.com

sheltonmindel.com

REDD KAIHOI

markhamroberts.com

ishkadesigns.com

jeffandrewsdesign.com

NICOLE FULLER INTERIORS

SHELTON MINDEL

MARKHAM ROBERTS

martynlawrencebullard.com

JEFF ANDREWS DESIGN

nickolsenstyle.com

sheilabridges.com

petermarinoarchitect.com

ISHKA DESIGNS

deniot.com

NICK OLSEN

SHEILA BRIDGES DESIGN

markcunninghaminc.com

MARTYN LAWRENCE BULLARD DESIGN

JEAN-LOUIS DENIOT

nbeckstedtstudio.com

shawnhenderson.com

SUZANNE KASLER

martingroupsf.com

jaynedesignstudio.com

nathanturner.com

SHAWN HENDERSON INTERIOR DESIGN

PETER MARINO ARCHITECT

ISABELLE STANISLAS isabelle-stanislas.com

nateberkus.com

matthewsmyth.com

McMILLEN

mcmilleninc.com

reddkaihoi.com

THOM FILICIA

RICHARD SHAPIRO

TIMOTHY CORRIGAN

RITA KONIG

TOM SCHEERER

ritakonig.com

tomscheerer.com

ROBERT COUTURIER

TUCKER & MARKS

robertcouturier.com

tuckerandmarks.com

ROBERT KIME

VEERE GRENNEY ASSOCIATES

richardmishaan.com studiolo.com

robertkime.com

ROBERT STILIN robertstilin.com

ROMAN AND WILLIAMS

romanandwilliams.com

MICHAEL S. SMITH

rosetarlow.com

michaelsmithinc.com

MONA HAJJ INTERIORS monahajj.com

MONIQUE GIBSON INTERIOR DESIGN moniquegibson.com

MR ARCHITECTURE + DECOR mrarch.com

suzannerheinstein.com

RICHARD MISHAAN DESIGN

MEG SHARPE INTERIOR DESIGNS megsharpeinteriors.com

suzannekasler.com

ROSE TARLOW MELROSE HOUSE RYAN KORBAN ryankorban.com

SALADINO GROUP saladinostyle.com

thomﬁlicia.com

timothy-corrigan.com

veeregrenney.com

VICENTE WOLF ASSOCIATES vicentewolf.com

VICTORIA HAGAN INTERIORS victoriahagan.com

VINCENT VAN DUYSEN vincentvanduysen.com

VIRGINIA TUPKER INTERIORS virginiatupker.com

YABU PUSHELBERG

SARAH BARTHOLOMEW

yabupushelberg.com

SASHA BIKOFF

YOUNG HUH INTERIOR DESIGN

sarahbartholomew.com sashabikoff.com

younghuh.com

Highlighted boxes represent ﬁrms with female principals on our A-List.

In the design world, then as now, women were a majority of practitioners. But in 2010, ELLE DECOR ’s A-List consisted of 17 men and eight women—a ratio of about two to one. In retrospect, that never seemed quite fair in an industry in which women have always been at the forefront of everything from interiors to furniture design. But as the directory expanded from the initial 25 designers to more than 140, the proportion of women to men sadly never righted itself—until now. It’s time to give recognition where it is due (let’s face it, overdue). To that end, this year we are inducting 34 female designers. The additions, pictured at right, will result in a major shift: Women now outnumber men on the list. In rebalancing the designers’ registry, ED’s editors had only to look at our own design coverage to find top talent. In the pages of this publication, women consistently deliver some of our most spectacular design projects. This year alone, our cover stories have included stunning homes designed by Mary McDonald and Delphine Krakoff—both of whom appear on our A-List for the first time. These designers join our other new additions, including up-and-comers like Sasha Bikoff, who just six years after founding her New York–based firm is making a global splash with her collaboration with Versace Home, and Champalimaud Design, the Manhattan firm whose exquisite hospitality work is seen everywhere from the Raffles Hotel in Singapore to the Pierre in New York City. Of course, talent knows no gender, and this year we are adding the work of several standout men to the A-List, from David Kaihoi (the Miles Redd collaborator behind our M.C. Escher–esque June 2018 cover) to Brad Ford, who in addition to crafting beautiful interiors has also become a champion of artisans with his Field + Supply fair in upstate New York. For the first time, we’re also adding landscape designers to the list, since the outdoors more than ever completes the home. As for the A-List architects, look for them on our annual January list; the most recent iteration included such leading lights as Deborah Berke and Mariam Kamara. A magazine is subjective, but we know that great design is much more than the beautiful images and eloquent words that are our stock-in-trade. It’s our duty as editors to ensure that our design journalism incorporates what happens inside a home’s four walls while also holding a mirror to our greater society at large. It’s our hope that this recalibrated tally represents not only our rich and diverse present, but also helps to lead the charge to a glorious and diverse future in which design matters— for all. —Ingrid Abramovitch 46

ELLE DECOR

ALEXA HAMPTON Keeper of the ﬂame of her legendary father, Mark Hampton, and a specialist in maximalism. JOY MOYLER Armed with a radiant personality and modern aesthetic, she is the go-to decorator for celebs like Leonardo DiCaprio and John Mayer.

ESTEE STANLEY The fashion stylist turned decorator created this fantasy playroom for her two children (featured in the April 2019 issue of ED).

ALEXANDRA CHAMPALIMAUD This Anglo-Portuguese expat is one of the world’s most talented luxury hospitality designers.

AMY LAU A cofounder of Design Miami, her bold interiors meld art and craft with a passion for vintage furniture.

ANISHKA CLARKE One half of the Brooklyn ﬁrm Ishka Designs, whose focus is creating stark, modern interiors for luxury hospitality clients.

ANN WOLF Houston-based purveyor of Southern charm with a modern palette.

BEATA HEUMAN A London up-andcomer with a whimsical, unexpected approach to interiors.

CORINNE GILBERT A former fashion designer, the Parisian, now based in Brooklyn, creates interiors with French chic.

DEBORAH NEVINS Sought-after landscape designer of the highest order.

DELPHINE KRAKOFF Paris-born creator of exuberant and playful spaces, as seen on the cover of ED’s May 2019 issue.

“

”

I have never felt more empowered in my life as a woman than when I am designing. SASHA BIKOFF

THIS PAGE, INTERIORS FROM TOP: JAMES MERRELL; DOUGL AS FRIEDMAN. OPPOSITE PAGE, INTERIORS FROM TOP: COURTESY OF JOY MOYLER; TREVOR TONDRO; DOUGL AS FRIEDMAN

CATHERINE MARTIN The production designer also crafts curated and dazzling interiors, like this home from the September 2018 issue of ED.

2MICHAELS Identical twins and partners Jayne and Joan Michaels are masters of understated good taste.

MARIE-ANNE OUDEJANS Dutch-born, Indiabased provider of maharaja-grade opulence.

MONIQUE GIBSON Celeb clients like Jon Stewart appreciate her livable, appealing environments.

NICOLE FULLER Decorator of full-onglam spaces and designer of collections for Ann Sacks and the Rug Company.

SASHA BIKOFF The baroness of bold, she was tapped by Donatella Versace for a collaboration during Milan Design Week.

STEPHANIE GOTO Her minimalist interiors grace everything from homes to art galleries.

GEORGIA TAPERT HOWE Los Angeles–based designer whose livable rooms meld contemporary with traditional.

ILSE CRAWFORD A multidisciplinary designer from London with a focus on well-being.

ISABEL LÓPEZ-QUESADA This Madrid-based decorator specializes in making artful and sophisticated spaces.

ISABELLE STANISLAS Parisian designer with a great penchant for contemporary forms.

JENNY FISCHBACH Cullman & Kravis alum known for her easygoing, sophisticated rooms.

KIT KEMP The co-owner of London-based Firmdale Hotels updates classic English taste with style and wit.

LILY KWONG New York landscape designer with arguably the greenest, edgiest thumb.

LINDA PINTO The sister of the late, great designer Alberto Pinto continues his elegant style.

MARY McDONALD This living room by the Los Angeles–based celebrity decorator was featured on the cover of the March 2019 issue of ED.

SUSAN FERRIER The Atlanta resident creates interiors marked by luxury and attention to detail.

SUZANNE TUCKER San Francisco–based virtuoso whose rooms pair oldworld elegance with modern luxury.

MONA HAJJ Born in Lebanon, the Baltimore designer is the queen of layering.

NINA CAMPBELL British grande dame and decorator to the royals and a Beatle.

SARAH BARTHOLOMEW Nashville-based designer with a sharp take on Southern classic.

VIRGINIA TUPKER Traditional with a fashionable twist is the signature of this New York editor turned designer.

YOUNG HUH Breakout star of the career-making 2019 Kips Bay Decorator Show House, the former lawyer has a romantic sensibility.

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WHAT TO SEE, READ, AND DO RIGHT NOW

ART

Silk-Screen

Goddesses A NEW YORK GALLERY BRINGS ANDY WARHOL’S ICONIC PORTRAITS OF WOMEN TOGETHER FOR THE FIRST TIME.

BY INGRID ABR A MOVITCH

CLOCK WISE FROM ABOVE: Andy

Warhol’s portraits of Aretha Franklin (1986), Kimiko Powers (1972), Dolly Parton (1985), Jacqueline Kennedy (1964), and Debbie Harry (1981).

PRODUCED BY CHARLES CURKIN

POINT OF VIEW i s cont rover si a l i n t he age of #MeToo, but then again, Andy Wa r h o l w a s n e ve r your prototypical male artist. Indeed, “Warhol Women,” a new survey of his portraits at New York’s Lévy Gorvy gallery (through June 15), opens with a series of Christopher Makos photographs of “Lady Warhol”—the artist himself, in drag. “You realize he’s not hamming it up,” says gallery cofounder Brett Gorvy. “His love of women is sincere. He idealized them.” All kinds are represented in this stunning survey of Warhol’s halftone silk-screen portraits from the early 1960s through the 1980s. One wall showcases images of Jacqueline Kennedy Onassis, including Red Jackie, his iconic 1964 work based on a photograph taken right before her husband’s assassination. A nother Wa rhol obsession, Marilyn Monroe, is represented in two 1962 works: Licorice Marilyn and Mint Marilyn (Turquoise Marilyn). While unquestionably drawn to celebrities, Warhol depicted everyone from the intellectual Gertrude Stein to his mother, Julia Warhola. “For h i m , a nyone cou ld be famous and beautiful,” Gorvy says. Warhol promoted the conceit that his prints were factorymade, but Gorvy argues that was “a guise.” In fact, Warhol “was very hands-on and would pull the squeegee down the screen.” In his affecting portrait of Aretha Franklin—his last work before his death—he embellishes her regal countenance by painting on top of the silk-screen. The impact of all these portraits together is powerful. “The paintings are glamorous and slick,” Gorvy says, “but walk into the gallery and what you see are the faces of strong women looking straight at you.” levygorvy.com 52

ELLE DECOR

The new Marked showroom in midtown Manhattan.

Furniture from Cunningham’s new line, including his Mark bed, Dallas and Lane chairs, and Grand console.

A Petales cocktail table and Audrey chair and curated vintage pieces.

GRAND OPENING

Making His MARK A-LIST DECORATOR MARK CUNNINGHAM LAUNCHES HIS FIRST DESIGN BRAND AND NEW YORK SHOWROOM.

HEN IT COMES TO

c re at i ng ent ic i ng merch a nd i se d i splays , M a rk Cu nningham is no novice. He worked in retail for a decade in the 1990s as a vice president of creative services for Ralph Lauren, then cofounded the inﬂuential home-design boutique March with Sam Hamilton in San Francisco. Cunningham has since become an ED A-List decorator with a luxurious but understated style that draws on classic Americana, and clients ranging from fashion designer Francisco Costa to Edie Parker’s Brett Heyman. Now Cunningham is starting his own brand, appropriately named Marked, with a by-appointment showroom on New York’s West 37th Street and newly launched collections of furniture and

fabrics. “My interior design work varies from client to client,” he says. “With Marked, I can bring everything together.” Each season Cunningham will arrange the showroom’s vignettes around a speciﬁc color palette and overall theme. He’s curating the space with select pieces he prefers—and thinks you will, too: “I’d rather have nothing in here than things I don’t like,” he says. What Cunningham likes, many others love—as evidenced by the fervent fan base he’s established in the design world, which counts fellow A-Lister Miles Redd as a member. “Mark is one of the most talented decorators out there, but he has been under the radar,” Redd says. “I hope this new showroom and brand put him more in the limelight, where he deserves to be.” markcunninghaminc.com —Charles Curkin

SHOWROOM: CLEMENS KOIS AND JOSH GADDY; PORTR AIT: JUERGEN FR ANK

HE M ALE GA ZE IN ART

Designer Mark Cunningham.

WOVEN WOOD PHILLIPJEFFRIES.COM/WOVENWOOD

POINT OF VIEW An interior featured in Bilhuber’s Everyday Decorating.

A foyer by Bunny Williams, from Love Affairs with Houses.

The Cooper Hewitt, Smithsonian Design Museum, in New York.

60 SECONDS WITH...

JUNE Reading List It’s a banner month for books, starting with New York designer Jeffrey Bilhuber’s new bible, Everyday Decorating ($45, Rizzoli), with advice about making your home cozier no matter your aesthetic. Then, fashion designer and interior decorator Lisa Perry sheds light on her world of design in Lisa Perry: Fashion, Homes, Design ($85, Assouline), showcasing her colorful spaces across the globe (see page 118 for a look at her home on the French Riviera). Phaidon presents Interiors: The Greatest Rooms of the Century ($80), a compendium of 400 of the world’s most exceptional rooms—with an introduction by William Norwich—by icons like Elsie de Wolfe and such contemporary stars as Roman and Williams. In Love Affairs with Houses ($60, Abrams), by Bunny Williams, the ED A-List Grand Master presents 15 home projects and explains her approach to each. —Samantha Swenson

A common area designed by Stonehill Taylor inside the TWA Hotel. BY THE NUMBERS

TWA Hotel The space-age terminal at John F. Kennedy International Airport has reopened with six restaurants, eight bars, and a rooftop pool. twahotel.com

1962 the year the

iconic building, designed by Eero Saarinen, opened as the TWA Flight Center 54

ELLE DECOR

512

guest rooms designed by New York ﬁrm Stonehill Taylor

10,000

square feet of public observation deck overlooking the runways

THE COOPER HEWITT HEAD ON REVERSING CLIMATE CHANGE THROUGH DESIGN. BY CHARLES CURKIN

Why choose nature as the theme of this year’s Cooper Hewitt Design Triennial (through January 20, 2020)? CB: The show was being planned when the UN’s report on climate change was released. The triennial is all about what we need to do to get to zero carbon emissions by 2050. Is climate change the most important issue of our time? CB: Yes. We talk about it as a national crisis, but it’s a global crisis. Do you think design can reverse the effects on our environment? CB: I think it can change the course, but only with smart collaboration with scientists. On display is a unique piece in which the designer used old grafting techniques to combine heirloom fruits onto one tree. He met with botanists to ﬁgure out how to do this. Which piece on display at the triennial resonates with you the most? CB: Neri Oxman, a designer and professor at MIT, has created a pavilion made of natural elements, which hits you right as you enter the museum.

You also have works by Zimbabwean textile designer Natsai Audrey Chieza, who creates fabrics with pigments made by bacteria. Could you envision one of them as upholstery? CB: One day, I hope they will be strong enough. I’d love to see them on a Bertoia bird chair. There is also a biodegradable human burial suit made of mushrooms, designed by Coeio. Does it come in any colors besides black? Asking for a friend. CB: That’s hysterical. But seriously, we do have to think about our footprint, from the moment a child joins us in the world to how we exit the world. The Cooper Hewitt is part of the Smithsonian. What was it like for you during the government shutdown? CB: I gained more admiration for my team, if that’s possible, because of their cleverness keeping the work going in the right direction. They were meeting in cafés, their living rooms, and the church across the street to open the triennial on time. cooperhewitt.org

BILHUBER: JULIAN WASS; WILLIAMS: FRITZ VON DER SCHULENBURG; BAUMANN: ERIN BAIANO; T WA: MA X TOUHEY

BOOKS

Caroline Baumann

LUGANO, SIGNATURE HARDWOOD FLOORING DUCHATEAU.COM

THE BEST DESIGN DISCOVERIES

W H AT ’ S

Myth MAKERS Medusa’s gaze was known to turn people to stone, but this chair from Versace Home’s new Pop Medusa collection is more likely to make guests smile: Fashioned from durable polyethylene, it is as weather-resistant as it is eye-catching. 28″ w. x 33″ h., also available in a matte ﬁnish, $4,225. versace.com

PRODUCED BY PARKER BOWIE L ARSON

ELLE DECOR

LAVISHED

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

WHAT’S HOT

THE BEST DESIGN DISCOVERIES

Margot Elias Larkin of Margot Lar Designs hand-paints vintage glassware—using a reverse-glass-painting technique—and adds encrusted crystals for texture. These pieces take their cues from Persian and Indian textiles and drawings. 3″ w. x 7″ h., $175 each. marymahoney.com

In honor of the brand’s launch on luxury online retailer Moda Operandi, Tory Burch Home is offering an exclusive capsule collection of linens on the site, including this placemat and napkin in a cheery garden print, a mix of tulips, forget-me-nots, and bleeding hearts. Dinner napkins, $128 for four; placemats, $128 for four. modaoperandi.com

This colored Finnish plywood Weimar credenza by Chris Lehrecke for Ralph Pucci is an ode to the Bauhaus movement, which celebrates its 100th anniversary this year. Each piece is made to order in upstate New York. 73.5″ w. x 21″ d. x 60.5″ h., available in other sizes and colors, $18,720. ralphpucci.net

A striking silhouette and clean lines deﬁne this Calais chaise from RH, Restoration Hardware. The handcrafted lattice base is made of sustainably harvested, premium grade-A teak.

GL ASSES, LINENS: STUART T YSON/STUDIO D

29″ w. x 80″ d. x 10″ h., $2,021. rh.com

ELLE DECOR

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WHATâ&#x20AC;&#x2122;S HOT The silk, metallic bullion, and beaded hand embroidery on the brass mesh shade of this Apparatus Interlude hanging lamp were inspired by the animations of composer Stephen Malinowski, who uses software to create digital visualizations of classical music scores. 22â&#x20AC;ł dia., custom height, price upon request. apparatusstudio.com

ELLE DECOR

THE BEST DESIGN DISCOVERIES

WHAT’S HOT

THE BEST DESIGN DISCOVERIES

The substantial barrel back and cantilevered ﬂoating seat of this Mitchell Gold + Bob Williams Kirby chair add sculptural interest and deep comfort to any room. 32″ w. x 31″ d. x 29″ h., from $1,788. mgbwhome.com

We haven’t seen this many free-form (and video-game) references in design since the debut of Nintendo. In the meantime, try one of these extraterrestrially patterned cotton-and–Himalayan wool creations from CC-Tapis’s Rug Invaders collection. From top, Palmette Lazer Cannon, 52″ x 52″, $2,523, and Kazak Space Shifter, 61″ x 57″, $3,643. cc-tapis.com

Geometric planes are pared down to their essentials in this Kelly Wearstler for Visual Comfort Minimalist Medium table lamp, which features a cylindrical marble base topped with an antique brass shade. 20″ w. x 25″ h., also available in alabaster, $1,109. visualcomfort.com 62

ELLE DECOR

Fresh off their unveiling at Milan Design Week this spring, these ceramic Athletae Gymmetria plates by Laboratorio Paravicini feature hand-painted multicolored shapes punctuated by ancient Greek athletes. 10″ dia., $106 with athletes, $73 without, available in other colors and sizes. paravicini.it

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SHOP TALK

A NEW EDGE for Hermès THE MAISON’S LATEST STORE, IN DOWNTOWN MANHATTAN, EMBRACES ITS URBAN ENVIRONS. BY VANESSA L AWRENCE PRODUCED BY PARKER BOWIE L ARSON

CLOCK WISE FROM TOP: The ground ﬂoor of the Hermès

store. Hermès Lao Paperweight in Blue Indigo maple wood, $580. The store’s exterior. Hermès Équilibre d’Hermès magnifying glass, $1,875. Hermès Sangles en Zig Zag beach bag, $1,350. Hermès Perimetre vases, from $500 each. Hermès co–artistic directors Charlotte Macaux Perelman (left) and Alexis Fabry. 64

ELLE DECOR

story brick building on Gansevoort Street in downtown New York City was a hub of activity. Waiters dressed in white jackets with Nehru-style collars proffered silver trays of green juices, and a packed crowd admired the impeccably stitched leather bags and printed silk scarves on display. The occasion was the opening of a new Hermès store in the city’s (still) booming Meatpacking District, a historic neighborhood that throughout the early 20th century contained multiple slaughterhouses. The arrival of an Hermès boutique to this edgier enclave (compared to, say, Madison Avenue, where the brand’s flagship resides) might seem like a curious choice at first, but as Denis Montel—the managing and artistic director of RDAI Architecture and the store’s designer—puts it, “Hermès has so many faces. Sometimes they are in unexpected places, but it’s all part of a complete self.” Montel’s refurbishment of the 5,330-square-foot space, once home to photog rapher A n n ie Leibovitz’s studio, ref lects a balance between the area’s warehouse roots and the French company’s meticulous craftsmanship. Dark tan and cream tiles in an ancient Greek configuration on the ground level are of the same material and pattern as the flooring at the Hermès Paris headquarters, while a sculptural iron staircase takes its cues from industrial design (and also marks the first time an Hermès shop has used the color black in its decor). The furniture is in cherrywood, the staircase has oak steps, and the wood paneling is larch. In contrast, the back wall is sheathed in sunflower-yellow lava-stone tile from Copenhagen, Denmark, its enamel finish a nod to the easy-to-clean tiled surfaces traditionally used in butcher shops. “If you want, you can wash it down with a hose,” Montel jokes. The stairwell is lined with the brand’s famous silk carrés, here mounted and arranged like paintings. On the second floor, a shoe salon is filled with light, thanks to a skylight and enormous windows that give unobstructed views up the neighborhood’s cobblestoned streets. “There is really a dialogue with the city,” Montel says. “Look at the street. You know you’re in New York. There’s no doubt.” hermes.com ◾

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“The manneristic and elongated attributes of this ﬁxture remind me of Swiss artist Diego Giacometti’s, bronze pieces that are so elegantly reﬁned and sculpted.”

“An amazing interpretation of Faberge’s exquisite Imperial Easter eggs, evoking the same special feeling of awe and surprise upon opening.”

DESIGN CONFIDENTIAL INTERIOR DESIGN POWERHOUSE AMY LAU REVEALS HER 3

“I absolutely adore the Roaring Twenties, and this unique stool with its ﬂapper-esque fringe and rich peacock jewel tone transports me directly there.”

“Simple, natural, beautiful and timeless— this medium-ﬁnished wood in selective grading makes this an optimum choice to warm any space.”

ARTEMEST’S COUTURE GEOMETRIC DÉCO GREEN POUF BY ARTISAN LORENZA BOZZOLI DESIGN ROHL’S BELLIA FAUCET Inspired by Torino’s Palazzo Bellia, this faucet adds a contemporary ﬂair to the Art Nouveau style. Designed and crafted in Northern Italy and available in four ﬁnishes. Rohlhome.com

THE GUILD’S JOIST FLOOR BY DUCHATEAU Lay the groundwork for beautiful and cohesive design with dark brown tones in 3”-wide planks. Duchateau.com

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TALENT LE F T: Mansour

Modern’s fourth-ﬂoor location in Manhattan. BE LOW: An antique Persian Kerman rug is displayed on a wall like art.

Designer Kerry Joyce (left) and Mansour Modern’s Benjamin Soleimani. BE LOW: Mansour Modern rug samples on display in the showroom.

Persian

EMPIRE

BENJAMIN SOLEIMANI BRINGS HIS MANSOUR MODERN RUG LINE TO MANHATTAN WITH A LIGHT-FILLED NEW SHOWROOM DESIGNED BY KERRY JOYCE. BY SA M ANTHA SWENSON PRODUCED BY PARKER BOWIE L ARSON

ELLE DECOR

HEN BENJA MIN SOLEIM ANI WAS

look i ng for a col laborator to design his new Mansour Modern showroom in Manhattan, he turned to his longtime friend, the multitalented Kerry Joyce. Joyce had previously designed Mansour Modern’s original showroom in Los Angeles more than two decades ago, as well as a striking collection of graphic rugs for the brand (think bold geometrics and muted tones). The New York City space, which opened in March on a bustling Midtown thoroughfare—just down the street from the Decoration & Design Building—boasts floor-toceiling windows and a sprawling terrace. For Joyce, the project was a chance to create an East Coast showcase of what he describes as “the largest collection of beautiful rugs in the world.” The space he designed incorporates polished-concrete floors, touches of bronze, and 23-foot-high shelves stocked with samples of everything from Mansour Modern’s cashmere shag rugs to low-pile carpets with luxurious fluffs of mohair. Within this luxe envelope, contemporary collections for Mansour Modern by such top designers as Michael S. Smith, Victoria Hagan, and Jeff Andrews are displayed in the manner of fine art. In addition, there is an exquisite selection of antique rugs, including rare 19th-century Persians, hand-selected by Soleimani. The result is a showroom with the refined feel of an art gallery. “With all the natural light in here,” Joyce says, “the colors show vividly.” Soleimani adds: “We wanted to make it look like a beautiful museum.” mansourmodern.com ◾

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“The exterior and shelves of my Billy are drenched in an oxblood lacquer from Benjamin Moore. I chose Brunschwig & Fils’s La Portugaise wallpaper for the interior and added brass details on the front for ﬂair. I’m paying homage to the legendary interior decorator Albert Hadley, speciﬁcally the oxblood-and-brass Money Room that he designed for another legend, Brooke Astor.”

“I wanted to turn this bookcase into a piece of art, and my love of nature is what inspired me. I used Josef Hoffmann’s iconic Blueberry wallpaper and contrasted it with natural birch. The juxtaposition of the natural form of the branch with the clean lines of the bookcase produces a truly beautiful piece.”

“Our goal was to take an ordinary mass-produced object and transform it into a unique, gallery-worthy, avant-garde creation. We painted the existing piece a neutral ﬂannel gray with a luscious burgundy interior. Then we added a pair of doors, which are designed—intentionally—to partially expose the interior shelving.”

ISHKA DESIGNS “This project was an exercise in repurposing and recycling. To create movement and ﬂexibility from an otherwise static Billy bookcase, we made stackable boxes out of the existing shelves and frame, which now brings a fun Lego-like interactiveness. We added the interior black ‘shadow’ frame to give it visual weight, while the solid-oak boxes we had built provide contrast and elevate the overall aesthetic. The written text is a nod to the late Ermias Joseph Asghedom, aka rapper Nipsey Hussle, as well as a reminder to think about our current actions and the implications for our future.” 70

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HAMPTON BOOKCASE: STUART T YSON/STUDIO D; MONTOYA, DR AKE/ ANDERSON, AND ISHK A DESIGNS BOOKCASES: PHILIP FRIEDMAN/STUDIO D. ISHK A DESIGNS FABRICATION: EVAN Z. CR ANE

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TRUTH IN DECOR ATIN G

Power Planters

FROM ROOFTOP GARDENS TO THE FRONT PORCH, DESIGN-WORLD NEWLYWEDS GENEVIEVE GORDER AND CHRISTIAN DUNBAR CAN FIND A PLACE FOR THESE VESSELS ANYWHERE. INTERVIEW BY CHARLES CURKIN

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How big do you like your planters? GE NE VIE VE GORDE R: Size matters. I love giant planters when we’re talking about exteriors and we have a little more freedom with scale. I like big planters, and I cannot lie. They need friends, though. Small- and medium-sized friends.

CHRISTIAN DUNBAR is a minimalist designer who has created furniture for brands including Design Within Reach.

GENEVIEVE GORDER

Modern Stone Seat I 24″ w. x 14″ d. x 14″ h.; $1,000. pennoyernewman.com 72

ELLE DECOR

HAIR, MAKEUP, AND GROOMING: R ANDALL TANG

is an interior designer and the host of Best Room Wins, a new decorating show now on Bravo.

great taste for those with great taste.

TRUTH IN DECOR ATIN G Size can make it memorable, but I also like to think that shape is as or more important. Planters, to me, can be a big miss, or a big hit if done right. Unfortunately, they’re typically an afterthought. When is it absolutely necessary to deploy them? GG: If you’re dealing with a porch, a terrace, or a rooftop, planters are the only way to have living things outside. It’s an urban issue as far as the exterior. CD: Wherever there is no natural dirt, like in a Brooklyn loft, then hello, planter. I do think it’s a nice tool to make an architectural statement in a way that’s subtle. What’s a fun, unexpected way to use them? GG: I use smaller planters inside on desktops and in the kitchen. Ceramic ones are way more decorative and ancient-looking. I even use them to hold pencils. They certainly don’t have to be for plants. CD: I’ve seen them used as troughs and fountains. A fun idea is to put a glass top on a planter to make it a coffee table. You could also turn a big one into a terrarium and put glass on top of that. Are planters making a comeback? GG: Plants are a major accessory now. They’re trending so hard. We live such tech-driven lives. As a global culture, we’re having a big crush on nature like never before. We’re trying to reconnect. CD: Yeah, we’re not all about to migrate back to the farms and ﬁelds of the Midwest. We’re having to create that feeling in our cities. When they’re made of a material like terra-cotta, they can be quite heavy. Does weight matter when considering C HRISTIAN DUNBAR:

ELLE DECOR

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BEST NEW PLANTERS DALA PLANTER BY STEPHEN BURKS 30″ dia. x 32.5″ h.; $1,290. dedon.us

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PAPUA PLANTER 15″ sq. x 15″ h.; $5,600. elysegraham.com

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HAND-PAINTED AND SPRIGGED CERAMIC CROCK 30″ h.; $22,000. bddw.com

RAISED FAUX BOIS PLANTER BY MICHAEL FOGG 42″ w. x 42″ h.; to the trade. sutherlandfurniture.com

QUADRATL BOX PLANTER BY ORLANDO DIAZ-AZCUY 28″ sq. x 32.5″ h.; $6,270. janusetcie.com

VASO CESTA 31″ dia. x 17.5″ h.; $1,878. innergardens.com

ARABESQUE PLANTER BY LOIS CARR 16″ w. x 16″ d. x 14″ h.; $382. feed-seed.com 76

ELLE DECOR

what planter to purchase? GG: You have to understand how much your deck or rooftop can handle. It’s not just the planter’s weight you need to consider, but also the soil and water. CD: Back in the day, a good planter weighed 200 pounds. Now, with modern composites, you get the same heavy stone look, but it weighs nothing. So things are much easier. How does the style factor into your decision-making? GG: I like them to be more ornate than Christian does. I love a huge handmade pot where I see the ﬁngerprints of the hands that made it. I like it to be wonky and wild. CD: It is a big consideration, because nothing can wreck the overall aesthetic more than the wrong material. I’m a fan of concrete, which can do no wrong. What about color? GG: I want an earthy palette for the outdoors. I can’t compete with Mother Nature. She’s the boss. On the porch or entrance, on the other hand, there’s room to play with colors. If it’s inside, go crazy. CD: I like neutrals, blacks, whites, and greens. If you dip into color, there should be a real reason. What’s the perfect combination of plants in a June container? GG: Early summer is the best time to grow plants. It’s like open sesame for ﬂowers, tomatoes, and fruit trees. How much of the budget do you suggest putting toward planters during a renovation? GG: A home’s furniture budget should also include the outdoors—and planters are as essential as chairs and lounges in a terrace or garden. CD: The backyard is another room in your home that happens to be open-air. To us, it’s more valuable because it’s where we like to hang out. ◾

FOR DETAILS, SEE RESOURCES

TRUTH IN DECOR ATIN G

Draperies in Cleo. Pillows in Ombre Velvet, Herriot Way, Petit Arbre. Westover Ottoman in Cubism.

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S T Y L E SHORTLIST

India Mahdavi

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H E N I N D I A M A H D AV I

created a rose-quartz fantasia of an interior in 2014 for the Gallery at Sketch, the most Instagrammed restaurant in London, she was as surprised as anyone by the scale of its impact. “I knew it would be strong, but you don’t foresee the strength of Instagram,” says the Paris-based designer. She arrived at her pink choice quickly and decisively. “Sometimes you make decisions in one minute. But it’s one minute [backed by] 20 years of experience. You have the maturity to be sure of what you want.”

India Mahdavi seated in her 2018 installation “Henri Rousseau Forever” in Venice.

ELLE DECOR

ST YLE

SHORTLIST

Adel Abdessemed

Guerlain KissKiss Shaping Cream Lip Color in Red Passion

He is one of my favorite artists. In this speciﬁc work from his “Tins” series, he used colored tin pieces. He’s also one of the best artists who draw. dvirgallery.com

Red lipstick is a way of bringing light onto my face. Even if I’m tired, I put the lipstick on and I look ﬁne. guerlain.com

Customized Dior Messenger Bag

Bishop Stool

I designed this in 2000, and it is now in the Musée des Arts Décoratifs in Paris. It’s colorful, and it has a presence that is characteristic of my work. ralphpucci.com

This was a present from Dior designer Maria Grazia Chiuri, whose Paris apartment I helped design. I just love it because it’s so practical. dior.com

Golran x India Mahdavi Rug The collection is called the Garden of Eden—the design is like a wind blowing through a garden. In Iran, carpets are always an interpretation of a garden. golran.com

Siwa, Egypt

My mother is Egyptian, and I have a home there. It’s kind of rough— there is no electricity—and super sophisticated at the same time. 82

ELLE DECOR

Azza Fahmy Scarab Ring

Hôtel Le Cloître in Arles

The scarab is a sign of protection in Egypt. I bought this in Cairo and wear it every day.

I worked on this for Maja Hoffmann. It was a patchwork of architecture from the 12th century to the 20th century. We tried to reinvent what interior design in the south of France could look like.

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SIWA: AL AMY; LIPSTICK: JEFFREY WESTBROOK /STUDIO D; CARPET: COLOMBE CLIER; RING AND DIOR BAG: COURTESY OF INDIA MAHDAVI; ADEL ABDESSEMED/GALLERIA SOLO: PABLO GÓMEZ OGANDO; HOTEL: FR ANÇOIS HAL ARD

Si nce fou nd i ng her eponymous design house in 1999, Mahdavi has become known for her sing ula r color sense a nd joyful furniture—like her playful velvet Charlotte armchair—both of which she has employed for clients such as Red Valentino, Tod’s, and Ladurée. An architect by training, she is currently working on a restaurant in Miami and, more personally, a house—her first—that she recently purchased in Arles, France. “It was difﬁcult for me to buy it—not ﬁnancially, but to say, ‘This is where I want to settle,’ ” says Mahdavi, who grew up between Iran, the U.S., Germany, and France. “I’ve always felt like a bit of a nomad.” india-mahdavi.com ◾

ST YLE

TIMEKEEPERS

Louis Vuitton Voyager Automatic Flying Tourbillon in Onyx, price upon request. Background: Flat Vernacular View wallpaper in Goldenrod.

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TOP LE F T: Louis Vuitton Tambour Spin Time Air, price upon request. Background: Texturae Stanza Metaﬁsica wallpaper from Artemest. TOP RIGHT: The Tambour Spin Time movement under a bell cover. BOT TOM LE F T: The Tambour Spin Time oscillating weight. BOT TOM RIGHT: Louis Vuitton Voyager Minute Repeater Flying Tourbillon Pavéd, price upon request. Background: Texturae Arcade B Green wallpaper from Artemest. 86

ELLE DECOR

H E P ROTAG O N I S T O F GA RY S H T E Y N GA RT’S 2 018 N OV EL

Lake Success, Barry Cohen, is a watch-obsessed man so enamored of his prized collection of timepieces that he brings it along with him on a Jack Kerouac–worthy cross-country expedition. Barry would likely make space in his carrying case for at least one of the new horological offerings from Louis Vuitton, which meld decorative beauty with sophisticated technology, forged in the brand’s

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ST YLE

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ST YLE

TIMEKEEPERS

TOP LE F T:

A staircase at La Fabrique du Temps Louis Vuitton. TOP RIGHT:

The watchmaking workshop at La Fabrique du Temps Louis Vuitton. C E NTE R: Louis Vuitton Tambour Spin Time Air with Monogram ﬂowers, price upon request. LE F T: Various engraved, mother-of-pearl, and Monogram discs for watch faces. 88

ELLE DECOR

Geneva atelier La Fabrique du Temps Louis Vuitton. The Voyager Automatic Flying Tourbillon design (available for both men and women, along with the other creations) features an impressive tourbillon escapement—the rotating cage at the six mark on the dial—and a selfwinding movement in a case set with brilliant-cut diamonds. A not her tou rbi l lon escape ment model, the Voyager Minute Repeater Flying Tourbillon Pavéd, has a stunning skeleton appea ra nce i n a n ultra-th i n 9.7-millimeter case and two cathedral gong mechanisms that chime audibly to indicate hours, quarter hours, and minutes, like a miniature orchestra. And the Tambour Spin Time Air model forgoes a central hand in favor of 12 rotating cubes that turn to reveal each hour and appear to f loat in midair on the wrist when worn, giving new meaning to the phrase Time f lies. louisvuitton.com ◾

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To Inﬁnity and Beyond! NARROWER, SHALLOWER, AND WITH SURFACES THAT STRETCH AS FAR AS THE EYE CAN SEE: THE LATEST SWIMMING POOLS ARE REFRESHINGLY ARCHITECTURAL. BY TIM M C KEOUGH PRODUCED BY PARKER BOWIE L ARSON

The inﬁnity pool at designer Kelly Behun’s Hamptons getaway has a glass wall to the inside of the home and an underwater window with an ocean view.

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TOOLBOX The pool at a Bridgehampton, New York, home devised by Steven Gambrel.

shaped outlines, corkscrew waterslides, and athletically sprung diving boards—pool design has long been a fertile font of hedonistic experimentation. But the latest trend in upscale pools reveals a different impulse: a back-to-simplicity, less-is-more desire to create watery retreats that position the pool as a beautiful, integral part of a home’s architecture or a cohesive element of the larger landscape. “It’s more of a ref lecting pond in the garden,” says designer Madeline Stuart, noting that she has recently been working with numerous clients on longer, narrower rectangular pools. “They would rather have something that’s elegant and narrow and that doesn’t overtake the yard. The idea of this ginormous pool that can accommodate dozens of people—that’s for the YMCA.” Devon Dobson , president of Con nectic ut-ba sed bespoke-pool company Litchﬁeld County Pools, has seen the same thing. “We’re not doing grottoes or diving boards,” he says. “And we’ve been shifting away from the standard 20-by-40-foot pool by slimming and extending the proportions. Some are only 12 feet wide—a very slick look.” 96

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Decorator Juan Montoya designed a pool with a view at this family retreat in the Dominican Republic.

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With the disappearance of diving boards, pools are also getting shallower. “It makes it more of a social gathering spot,” says interior designer Martyn Lawrence Bullard, who partially filled in the pool at his new house in West Hollywood to reduce its depth from eight feet to five feet. “You can walk around the pool submerged in warm water and have a drink. It’s also much better for the environment, because you need less water and it’s easier to heat.” Many top-tier pools go shallower still, with broad steps or underwater sun shelves that enable lounging in less tha n a foot of water. “T here’s something glamorous about that,” says decorator Kelly Behun, who has long, shallow steps spanning the full width of her pool in the Hamptons—a concept she first explored while working with Philippe Starck on a pool that has an expansive shin-deep section at the Delano South Beach in Miami Beach. “You can have this connection to the pool and get a little bit wet without fully committing to swimming.” Behun’s pool has several other breathtaking features, including a pair of underwater windows (see page 95) that look into the home’s gym on one side and at the beach on the other. And then there

is that ultimate accessory—the infinity edge. “It blurs the boundaries between where the pool ends and the sky begins,” she says. “It’s lovely feeling like you’re hovering out there.” But, she warns, it doesn’t work in every backyard—infinity pools are best reserved for sloped sites where the earth on the far side of the pool really does fall away. A pool’s finishing surface can dramatically alter its appearance. Most upscale pools are formed with a sprayed concrete

There is nothing more “elegant and chic than a completely tiled pool.” MADELINE STUART

base of gunite or shotcrete and finished with plaster, which typically includes a mix of marble dust. White plaster results in water with a classic, light turquoise color—Bullard’s favorite. “I’m very old-school,” he says. “I love a white plaster finish, so the water has that real Beverly Hills Hotel vibe.” But plaster is also routinely applied in a range of grays, from a pale ash that will give the water a deeper, ocean-blue hue, to cha rcoa l, which can make it appear black A pool overlooking downtown Los and highly ref lective—an Angeles matches the midcentury effect that was all the rage architecture at Phillip Sarofim’s home in Beverly Hills, which was a few years ago but is now designed by Miles Redd. becoming less common. “It was definitely a thing,” Stuart says, noting that “murky bottoms” might be a good name for a band, but they are less desirable when you want to see where you’re swimming. Finishes such as Pebble Tec and Hydrazzo, which have exposed aggregate like tiny pebbles, have also been gaining ground. But for the ultimate in sophistication, Stuart prefers a continuous surface of porcelain or glass tiles. It is the most expensive option, she says, but “there is nothing more elegant and chic than a completely tiled pool.” ◾

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Designer Alexis Humiston used de Gournay’s new Paradise Lost wallpaper in her bathroom at last month’s San Francisco Decorator Showcase. 100 E L L E D E C O R

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Annabel’s in London, where the walls are sheathed in de Gournay’s Early Views of India. At the San Francisco showhouse, Martin Kobus’s recital room featured the sisters’ new Symphony wallpaper on the ceiling. 102 E L L E D E C O R

FROM TOP: OLI KEARON; CHRISTOPHER STARK, COURTESY OF DE GOURNAY

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Jonathan Rachman’s salon at the San Francisco Decorator Showcase featured another de Gournay design, Houghton, a chinoiserie on custom blue-painted Xuan paper.

104 E L L E D E C O R

Marrakesh, developed with Portuguese designer Gracinha Viterbo, uses a Xuan paper, ground for a distressed effect. In House of Livia, a painstaking technique of painting and sanding layer after layer mimics the timeworn texture of an ancient Roman fresco. “We’re one of the few companies left who do everything by hand,” Hannah notes. “We use techniques and materials that machines can’t re-create.” In their current roles the sisters hope to broaden de Gournay’s audience. “Even if you don’t live in a Georgian house or you have a young family with kids and a dog,” Hannah says, “you can enjoy beautiful wallpaper.” degournay.com ◾

JARDIN MARRAKESH Created with Portuguese designer Gracinha Viterbo, this wallpaper takes its inspiration from the Majorelle Garden in Morocco. From $1,883 per panel.

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THE PORTRAIT of Luke Edward Hall

THE PROLIFIC LONDON ARTIST AND DESIGNER IS TURNING HEADS WITH HIS CLASSICAL MOTIFS AND RETRO-MAXIMALIST STYLE. WE VISIT HIM AT HOME IN NORTH LONDON. BY STEPHEN PATIENCE PRODUCED BY SOPHIE PER A PHOTOGR APHS BY OLI KEARON

LOVE SOUVENIRS,” CONFESSES THE LOND ON ARTIST AND

FROM TOP: Luke Edward Hall in his apartment in north London. Plates from his new collection with Richard Ginori. RIGHT: The sitting room. FAR RIGHT: The dining area has a 1950s Italian table, vintage Cesca chairs, and a Paolo Buffa cabinet. 106 E L L E D E C O R

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designer Luke Edward Hall, referring to a ceramic ashtray with charmingly naive painted glaze that marks it as a memento of the Palazzo Principe. “I collect a lot of vintage hotel ashtrays. . .but I often do fake hotel souvenirs.” Indeed, this ceramic piece was decorated by Hall himself to commemorate a hotel that exists only in his imagination (though he did do a collection for an actual hotel, Positano’s famed Le Sirenuse). A sense of playfulness is quite typical of Hall’s work, which frequently returns to the relaxed sensibilities of the Mediterranean. His drawings and paintings are reminiscent of the work

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CLOCK WISE FROM LE F T: The sitting room’s

artworks include pieces by Hall and John Bellany. Ceramics from Hall’s Richard Ginori collection beside a Pooky lamp with a custom hand-painted shade. A vintage Audubon ﬂamingo print. The bathroom’s walls are in a Trustworth Studios wallpaper.

of Jean Cocteau in both their classical themes and ﬂuidity of draftsmanship, while simultaneously retaining a refreshingly unpretentious joie de vivre. “Travel inspires my work,” he says. “And I suppose that does tie in with the south of France, Cocteau, and Matisse, and all that.” In recent years, Hall has become a familiar face on the London design scene—think a grown-up Harry Potter with hair by Egon Schiele. He has worked on Burberry campaigns and designed a collection of pillows and wall hangings for the Rug Company, and is currently working on his first book, a “scrapbook-y” career retrospective to be published by teNeues next fall. And he accomplished all of that before reaching his 30th birthday.

108 E L L E D E C O R

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ABOVE: Peter Hone sconces frame a vintage

FontanaArte mirror in the sitting room. RIGHT, FROM TOP: Lobster Mustard cushion,

$210, Anchovies Green cushion, $210, and Valentine Aubusson wall hanging, $1,180, by Hall for the Rug Company. FAR RIGHT: A vintage Memphis lamp and striped vase by Hall. BE LOW: The bed is topped with a throw from Rajasthan, and the wallpaper is by Twigs.

But like the seafaring hero of a classical epic, he arrived at his destination by a somewhat circuitous route. After studying menswear fashion design at London’s Central Saint Martins, he went to work for the architect Ben Pentreath, whose love of vivid color and classical motifs he shares, before setting up his own studio. Hall’s three-room Victorian apartment in the north London borough of Camden, a continual work in progress where he lives with his partner, Duncan Campbell, combines the disparate elements of his design odyssey. It has the informed refinement of a classic English interior by David Hicks or Sibyl Colefax, yet is unashamedly maximalist, with a leopard-patterned carpet, marbled wallpaper, and a zingy Bloomsbury-inspired palette throughout. And again, there are the touches of antiquity: sketched Apollonian profiles, a lampshade with a hand-drawn Greek-key border, and, in his nearby studio, fluted columns in bold hues. It’s unsurprising, then, that ancient Mediterranean civilizations are also an important element of his new collection for the Florentine ceramics maker Richard Ginori. The porcelain wares are decorated with images of sea chariots, crowned deities, and shells, all rendered in Hall’s characteristically loose-limbed graphic style. “I wanted to base the collection around the sea,” Hall explains, “and then thought it would be fun to bring in Roman references. It’s called Neptune’s Voyage.” Once more, the blend of travel and antiquity feels entirely fitting. For, like the mythological ruler of the tides, Luke Edward Hall is undoubtedly going places. ◾

110 E L L E D E C O R

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Seasonal GREENS SIMPLE AND DELICIOUS, RIGATONI VERDURE IS THE PERFECT SUMMER DISH. BY DANIEL BOULUD PRODUCED BY ADA M SACHS PHOTOGR APHS BY DAVID PRINCE ST YLED BY LILI ABIR REGEN

AY B AC K I N

my Le Cirque days, pasta primavera was all the rage. That was spaghetti tossed with a pantry full of vegetables and herbs, a riot of color and fresh ﬂavors. Here, we want to celebrate just our favorite color of the season with a dish that’s nearly monochrome: Call it “pasta prima verde.” This is an unapologetically green dish, a mix of all the bright things I love in early spring. We use asparagus, sugar snap and spring peas, green beans, fresh mint, and zucchini, all bound together by a luscious lettuce cream that’s the key to the entire dish. T he lettuce crea m brings a richness and density of f lavor

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to chewy pasta like rigatoni (use whatever dry pasta shape you like, though tubular ones are best so the sauce can coat the inside and outside). Start by blanching the lettuce, add heavy cream and mint, and blend it all together to make a verdant, versatile base. Fresh Parmesan and ricotta cheeses and ample grated lemon zest brighten the flavors. Wisps of dried prosciutto gird the dish with a bit of pleasing umami and crunch. Since France is close to Italy, there’s a strong pasta tradition there, from Nice to the Italian border. Lettuce cream certainly isn’t traditional, but then again I’m not Italian, so I get to take some liberties. Imagine it as a kind of lighter, creamy take on pistou, our

RIGATONI VERDURE 1. Bring two medium-sized

2 heads Boston lettuce, 4 leaves reserved and thinly sliced

2 oz. asparagus, cut into 1-inch pieces

pots of water to a rolling boil. In one, blanch the Boston lettuce and the whole mint leaves for a few seconds. Shock the greens in ice water, and once cold, squeeze until very dry. Combine the greens and warmed cream in a blender. Blend until smooth, and season with salt and pepper. Reserve puree in the refrigerator for later use.

2 oz. sugar snap peas

2. In the other pot, cook the

2 oz. zucchini, core removed and sliced

pasta. When ready to strain, reserve 2 cups of the pasta water to adjust the sauce.

1 bunch mint, half thinly sliced 4 oz. warmed heavy cream Salt and pepper

I think we’re all in “ love with green now.” version of Ligurian pesto, and feel free to add any herbs you like, from chives to tarragon to chervil, or whatever’s on your mind or in your garden. I don’t know what Italians will say about my Rigatoni Verdure, but I think that we’re all in love with the color green now, vegetables and herbs and everything else in our homes. So this is the perfect opportunity to show your colors and ma ke a pasta dish that’s just right for the season. ◾ 116 E L L E D E C O R

8 oz. rigatoni pasta 2 oz. green beans

2 oz. peas, fresh or frozen 2 oz. ricotta 3 oz. Parmesan, plus more for grating 2 T olive oil 2 oz. scallions, thinly sliced 2 lemons, zested and juiced 4 oz. prosciutto, dried in the oven at 300°F until crispy

3. Meanwhile, in the same

pot as the greens, blanch the green beans for 4 minutes, then add in the asparagus, sugar snap peas, and zucchini; cook them for 2 minutes, toss in the peas for 30 seconds, and then remove everything at once and plunge it into ice water. 4. In a large sauté pan, add the

lettuce cream and bring it to a

simmer, then add in the ricotta and Parmesan. Toss in the pasta, and add ¼ cup of cooking water at a time until the sauce nicely coats the pasta. Bring to a simmer again, then season with salt and pepper. 5. In a separate large sauté

pan, add the olive oil and then gently sweat the scallions until tender. Toss in the blanched green beans, asparagus, sugar snap peas, zucchini, and peas. Once the vegetables are heated all the way through (about 4 minutes), toss in the sliced lettuce and mint leaves and continue cooking for another 4 minutes. Season with salt, pepper, and the lemon zest. 6. To serve, evenly divide the pasta into four bowls and place a generous serving of sautéed vegetables on top. Garnish each bowl with prosciutto, freshly squeezed lemon juice, and freshly grated Parmesan cheese.

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SERVES 4

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The living room of Lisa and Richard Perry’s home in Villefranche-sur-Mer, France, which she designed with Benjamin Paulin of Paulin Paulin Paulin. The sofas, chairs, and tables are by Benjamin’s father, Pierre Paulin. The 1970s ﬂoor lamps are from Galerie Harter, and the mantel was designed by the home’s architects, Francine and Pascal Goujon.

118 E L L E D E C O R

A GREAT ESCAPE

FASHION DESIGNER LISA PERRY CHANNELS HER LOVE OF 1960 S STYLE INTO HER FUTURISTIC, PIERRE PAULINâ&#x20AC;&#x201C;PACKED RETREAT ON THE FRENCH RIVIERA. BY ALINA CHO

PHOTOGR APHS BY ROBYN LEA

The living roomâ&#x20AC;&#x2122;s 1964 swivel chair and ottoman are by YrjĂś Kukkapuro for Karuselli, the lamp is by Vibia, and the artwork is by Alain Jacquet.

The kitchen island’s granite countertop has a Gaggenau cooktop, and the vent hood is by Gutmann. The artwork is by Michel François.

Perry relaxes in the inﬁnity pool in front of her home, which overlooks the Bay of Villefranche.

The dining room’s custom table, swivel chairs, and chandelier are by Pierre Paulin, and the ﬂooring is Limra limestone.

P E N D A N Y T I M E AT A L L W I T H FA S H I O N

designer Lisa Perry and it quickly becomes clear that, in addition to her love of fashion, she has a serious passion for interior design. So when she was ready to showcase her work in a book, Perry—along with publisher Ma rtine Assouline— decided to feature, yes, her dresses, but mostly her homes, including a vacation retreat in the south of France. Assouline, a well-known tastemaker, was impressed from the moment she visited Perry at her Manhattan penthouse. “So many homes have no personality,” Assouline says. “This was different. Lisa’s world is so aesthetically—how do you say?—consistent.” The new coffee-table book is called Lisa Perry: Fashion, Homes, Design. It gives readers a glimpse into Perry’s colorful world through chapters on her homes in Manhattan, the Hamptons, Palm Beach, and the south of France. “I think it will be a surprise to people who don’t know me that my true joy is ﬁnding a home and transforming it into a space that I love,” Perry says. “It’s what I put TLC into. It’s fun.” Anyone who is familiar with her fashion line, which is inspired by her collection of 1960s looks by designers such as André Courrèges and Pierre Cardin, will notice that Perry’s residences have a similar Pop Art feel. With bright

white as the backdrop, she adds jolts of color and blue-chip contemporary art. “I’m a girl who loves a theme,” she says. How she and her ﬁnancier husband, Richard, came to own a home on the Côte d’Azur is a complicated affair. During the last presidential election, Perry—a lifelong Democrat and longtime supporter and friend of Hillary Clinton—vowed to leave the country if her candidate did not prevail. When Clinton lost, Perry kept her promise. “We got on a plane on January 19, 2017,” she says. “That’s how deeply it affected me.” A self-described Francophile, Perry has a love affair with all things French that began in her teens, when she spent a summer during high school in Évian-les-Bains. So she and Richard headed to France and searched for homes along the Côte d’Azur. They discovered a nearly completed, fully furnished modernist villa in Villefranche-sur-Mer with breathtaking views of the Bay of Villefranche. “The house sits up on a hill, and when you gaze out at the bay, it looks like you’re enveloped by a heart,” Perry says. “I thought, Wow, this is so beautiful. This is where I need to be right now.” They bought the home and surrounding property, which included a true Provençal-style guesthouse and—much to their delight—a circa-1910 Vietnamese pagoda that she turned into her design studio. But the real showstopper is the homage she assembled in the main residence to the late, legendary French furniture E L L E D E C O R 121

The Agape tub in the master bath overlooks the swimming pool and the bay beyond. The ﬂooring is Noisette Fleury marble.

Perry kept the master bedroom’s decor intact, adding only the Callum Innes artwork. The headboard is by Minotti, the bedside table in the foreground is by Baxter, the dresser is by B&B Italia, and the pendants are by Flos.

designer Pierre Paulin. Perry’s love of 1960s fashion, art, and furniture led her to Paulin, who, in her opinion, was “the premier and most interesting furniture designer of that period.” Her knowledge of Paulin is vast: “He is famous for furnishing the private apartment of President Georges Pompidou in the Élysée Palace in 1971, creating an environment so futuristic, modern, and revolutionary that it caught a lot of people off guard,” she says. “Though it was soon accepted and loved.” She reached out to the designer’s son, Benjamin, who oversees his father’s archive, for help in fashioning a complete Paulin environment for her living and dining rooms. “We spent a lot of time discussing pieces,” Benjamin says. “It was all about doing something beautiful and useful.” And rare: Some of the Paulin pieces Perry now owns—she acquired about 20—had never before gone into production until she asked to have them made, decades after they were first conceived. Perry’s love of interior design runs in the family. She grew up in a modernist home in suburban Chicago, her mother ran an art gallery selling works by Joan Miró, and her parents collected midcentury furniture by Arne Jacobsen and Charles and Ray Eames. Art and design are in her blood—so much so that she has just launched a new business called Lisa Perry Homes. “My first project is in Palm Beach,” she reveals. “I’m renovating and branding a house, and choosing all the furniture and art. If you like my style, you just move in and hang your clothes up.” These days she is back stateside, although she still spends as much time as she can at her French getaway. As for Hillary Clinton, she is a frequent houseguest at the Perrys’ and wrote the foreword to Lisa’s book. “I have come to feel almost as relaxed in the vibrant, art-filled homes of Lisa Perry as I do in my own home,” Clinton writes. “[And] I can always count on her to serve a delicious Chicago-style hot dog.” ◾

The pool terrace features a chaise by Paola Lenti and a table by Kettal. For details, see Resources.

E L L E D E C O R 123

A NEUE HOUSE VIENNA SECESSION MEETS CONTEMPORARY ART IN THIS RENOVATION OF THE AMERICAN AMBASSADORâ&#x20AC;&#x2122;S RESIDENCE IN AUSTRIA. KEN FULK SHARES THE INSIDE STORY. PRODUCED BY CYNTHIA FR ANK PHOTOGR APHS BY OBERTO GILI

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The music room of the official American residence in Vienna, which Ken Fulk renovated at the behest of Ambassador Trevor Traina and his wife, Alexis. The modern Italian sofa is covered in a Carlucci di Chivasso velvet, and the circa-1910 Austrian armchairs are from the Dorotheum auction house, as is the Austrian polychrome verre ĂŠglomisĂŠ coffee table. The walls were hand-painted by Deborah Phillips. OPPOSITE: In the living room, Alexis, in a Mary Katrantzou dress, is seated on an Austrian Biedermeier chair in a Jab Anstoetz velvet. The lamp is by Jonathan Adler, the bust is by Egon Schiele, and the artwork (left) is by Rudolph Bauer.

H AV E K N O W N T R E V O R A N D A L E X I S

Traina for at least a decade. We were friends before I ever did any work for them. I’ve designed their house in San Francisco and a place in Napa, and we’re working on a fun project in Mexico. They have become family to me, which made it even more special when they asked me to decorate the American ambassador’s residence in Vienna. We have different outlooks on the world sometimes, but we have a real love and understanding. Another thing that was such a fairy tale is that Trevor’s grandfather was assigned to this very same post under President Gerald Ford. And Alexis’s uncle was an ambassador to the U.K., so this is in their blood. When you close your eyes and think of Vienna, you think of wedding-cake architecture. The challenge here was to make a circa1930 Bauhaus-style official residence feel representative of a young family that has such warmth and joie de vivre. Once Trevor was sworn in [in May 2018], we submitted an idea of what we wanted to do to the State Department for approval. Trevor and Alexis have an incredible art collection and planned to ship it to the residence. They also covered the expense of the renovation and decoration. I think the State Department was a little nervous about what I might do aesthetically, The breakfast room’s table, with a Sue Fisher King tablecloth, is framed by circa-1910 J. & J. Kohn chairs and set with Herend china.

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The living roomâ&#x20AC;&#x2122;s armchairs are upholstered in a Jab Anstoetz velvet. The J. & J. Kohn dining chairs and Adolf Loos cocktail table are antique, the carpet is by Stark, and the photograph over the original 1930s mantel is by William Eggleston.

In a guest room, the trompe lâ&#x20AC;&#x2122;oeil striped tent was hand-painted by Phillips. The bed linens are by Schweitzer, and the photograph of Cheryl Tiegs is by Anne Collier.

but we set them at ease by showing we had put some real thought into it and weren’t just coming in and decorating for decorating’s sake. We brought over Deborah Phillips, a decorative artist at the Saint Joseph’s Arts Society in San Francisco. She decamped to Vienna for eight weeks and created painted backdrops that enlivened this 14,000-square-foot space. The palette was inspired by the colors in a Josef Albers work, I-S LXXI b: a deep, bittersweet chocolate for the living and dining rooms that also references the original wood paneling; and a saturated pink, like a strawberry, for the music room. The patterns are inspired in part by Gustav Klimt paintings. And we worked with Vienna’s Dorotheum auction house to buy Secessionist-era furniture with enough pedigree and gravitas to ﬁt in this setting. The living room, with its Josef Hoffmann armchairs, Austrian Biedermeier seating, and artworks by Tina Barney and Pablo Picasso, had to be comfortable: The Trainas have two dogs (Honey and Tony) and two kids (Johnny, 12, and Delphina, 10), so they really live full throttle. Once when I was there, they hosted 15 U.S. Marines for a barbecue meal in the living

The master bedroom’s canopy, headboard, armchair, ottoman, and curtains are in a Quadrille toile. Coleen & Company sconces hang over 19th-century Regency chests. The bed is dressed in Léron Linens, and the bed skirt and canopy lining are in a Quadrille stripe. The photographs (from left) are by William Eggleston and Diane Arbus. ABOVE: Family photographs and mementos ﬁll an 18thcentury secretary.

E L L E D E C O R 129

Ambassador Trevor Traina with Alexis and their dogs, Tony (left) and Honey, in the foyer. The 1938 rug is by Ivan da Silva Bruhns for André Arbus, the chandelier is vintage Lobmeyr, and both photographs ﬂanking the doorway are by Diane Arbus.

The dining room’s 18th-century mahogany sideboard and pair of urns and pedestals are by Gillow & Co. The painting is David Hockney’s Yosemite II.

room. And I’ve also been there when it’s a dog on the sofa and a kid doing homework. In the dining room, there is a mix of 18th-century furnishings including mahogany chairs and demilunes from the English firm Gillow & Co. The antique Biedermeier dining table belonged to Trevor’s father and was shipped to Vienna from San Francisco. That David Hockney painting is such a major blue-chip piece of art, but from a purely decorative standpoint, it’s also so fun and happy. The space that has historically been labeled the music room today functions more like a den: It’s a cozy spot where you can have conversations on a more intimate scale, especially with the grouping of the Italian modern sofa and early-20th-century velvet Austrian chairs. And I took a space off the library and reenvisioned it as a bar room, with a midcentury bar and barstools. The Trainas and I have a great history of creating wonderful lounges in their homes. I did one in their house in San Francisco based on a Damien Hirst painting, and we called it the Hirst Bar. It became iconic overnight, and

“

I want people who visit to go, Oh my God, this is wonderful.

‘

KEN FULK

’”

suddenly everyone in town was texting me, “How do I get invited to the Hirst Bar?” There’s a Wes Anderson quality to this house. We arrived in a place that was somewhat staid and, like magicians, we kept opening these bags of tricks and watching it all blossom. Take the master bedroom: The space was old-fashioned, but we made it exciting with that crazy Quadrille Independence toile and all the pink and the blue. Or look at the guest bedroom: It’s in a 1970 addition that frankly didn’t have the bones of the rest of the house. The solution was to have Deborah paint the walls in those genius stripes, against which the Anne Collier photograph of model Cheryl Tiegs now really pops. With this whole project, I wanted to live up to expectations. We were trying to demonstrate through design an idea of what our country represents abroad and communicate positive things about us as Americans. To me, that was a higher calling. I want people who visit to go, “Oh my God, this is wonderful—just absolutely fabulous and happy and uplifting and joyous.” ◾

The dining roomâ&#x20AC;&#x2122;s Biedermeier table, which belonged to the ambassadorâ&#x20AC;&#x2122;s father, John Traina, is topped with Saint-Louis crystal goblets, Oneida silver, Flora Danica porcelain plates by Royal Copenhagen, and napkin rings by Deborah Rhodes. The Gillow & Co. mahogany chairs and demilune tables, gilt mirrors, and Japanese screen are all antiques from the State Department collection. For details, see Resources. E L L E D E C O R 131

The living room of Nancy and Bruce Newberg’s house in Brentwood, California, which was designed by Kathryn M. Ireland and architect Ron Radziner of Marmol Radziner. The sofas, cocktail table, and tiedyed pillows are by Ireland for the Perfect Room. The 1950s armchairs are from Obsolete, the circa-1940 Swedish ﬂoor lamp is from Galerie Half, the curtains are of an Otis Textiles fabric, and the ceramic artwork over the ﬁreplace is by Bruno Gambone.

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ABOUT FACE FOR A LONGTIME CLIENT IN LOS ANGELES, DESIGNER KATHRYN M. IRELAND DITCHES HER MORE-IS-MORE APPROACH TO CRAFT A CHICLY MINIMALIST HOME THAT IS PARED TO PERFECTION. BY K ATE BET TS PRODUCED BY DAVID M. MURPHY PHOTOGR APHS BY TREVOR TONDRO

In the dining room, vintage chairs from Lief pull up to a trestle table by Ireland for the Perfect Room. The pendants are by Alison Berger, the vase is by Mud Australia, and the photograph is by Florian Maier-Aichen.

ANCY AND BRUCE NEWBERG

had been eyeing the property near their family’s Los Angeles home for several years before the for sale sign ﬁnally went up. With views out over the Paciﬁc Ocean and the Santa Monica Mountains, it was the perfect site for their dream project, a house that would redefine Southern California style—which is to say, a home that would marry the more minimalist aesthetic Nancy had seen on trips to Europe with the handcrafted feel of historic L.A. homes by such iconic local architects as Wallace Neff and George Washington Smith. “It was a new chapter for us,” says Newberg, a jewelry designer whose delicate Art Deco–inspired oxidized silver–and-diamond pieces are a favorite of celebrities like Reese Witherspoon. “Our kids were out of the house, and I was envisioning something much more pared-down—what I like to call an adult home, where we could entertain friends and host our kids when they are in town.” 134 E L L E D E C O R

For years, Newberg had worked with Los Angeles–based interior designer Kathryn M. Ireland, whose signature paisley prints and bold colors filled her family’s first home. But that was a very different, darker space with many bedrooms. “And we have both evolved in our taste,” says Ireland, a native of England who is known for her restorations of Spanish Colonial homes in Ojai, Santa Monica, and Palos Verdes Estates. “Nancy still wanted fabulous textiles and beautiful steel-framed windows and doors to allow lots of light into the space, but she was ready for a simpler, almost monastic kind of interior.” She arranged for Newberg to visit the Belgian château and Kanaal gallery of designer Axel Vervoordt. Newberg was instantly taken with the elegance and simplicity of Vervoordt’s influential style. “That was her ‘aha!’ moment,” says Ireland. “And then I had to channel myself into that style.” Another revelation came when Newberg and Ireland were searching for the right architect to help realize this dream. Driving around the neighborhood, Ireland spotted a recent Marmol Radziner project, which then triggered an idea: Why not enlist the modernist architect Ron Radziner to execute their vision? They would combine Radziner’s

The guesthouse overlooks the swimming pool. The planters are by Inner Gardens, and the ďŹ&#x201A;oor lantern is by Formations.

In the library, a 1968 FontanaArte pendant from Galerie Half hangs over a table by Ireland for the Perfect Room. The Minotti chairs are in a Rogers & Goffigon mohair, and the curtains are of a Kathryn M. Ireland linen from John Rosselli & Associates. The brass candleholders are by Ilse Crawford, the picture lights are by Vaughan, and the room is painted in a color by Ireland for C2 Paint.

Nancy Newberg (left) with Radziner and Ireland. The Hans J. Wegner chairs are from Carl Hansen.

She was ready “ for a simpler, almost monastic kind of interior.

”

KATHRYN M . IRELAND

ABOVE: In the master bedroom, the wrought-iron bed is by Ireland for the Perfect Room, and the bed-curtains are of an Otis Textiles linen-silk sheer. The rug is by Stark, and the lamps are from Hollywood at Home. RIGHT: In Nancy’s dressing room, the bench is from Therien and the mirror is custom. The Japanese paper pendant is from Rewire, and the rug is by Holland & Sherry.

signature streamlined style with Spanish Colonial details such as plaster walls and tiled roofs to create a light-filled structure with large rooms, indoors and out, for entertaining. A creamy, natural interior palette punctuated with subtle blues and greens would join the modernist architecture and the exterior landscape. One thing Ireland knew for certain was that anything minimalistic had to be of the highest quality. “John Pawson once told me that, and I’ve always believed that it’s better to make things locally,” she says. She tapped several Los Angeles artisans for furniture, lanterns, ceramics, fabrics, and rugs. Christopher Farr designed many of the rugs, and the pottery was custom made by a professor of ceramics at the University of California, Los Angeles, whom Ireland had discovered at the Santa Monica flea market. Larger pieces, such as the cherry-and–brass inlay library table and the wrought-iron canopy bed, come from Ireland’s newest resource—and latest project—the Perfect Room, a website she launched last fall offering users complete rooms designed by such A-List decorators as Jeffrey Bilhuber, Jeffrey Alan Marks, and Martyn Lawrence Bullard. Users of the site can browse rooms by designer and buy curated design packages that range from floor plans and mood boards to accessories or even entire spaces. Ireland and Newberg traveled together to Stockholm, France, and Italy, shopping the flea markets of Paris and the antiques fair in Parma for artworks, ceramics, and furniture. They also relied on their favorite local dealers such as Obsolete, where they found the French haberdashery table in the front hallway, and Galerie Half, where they bought a 1940s Swedish floor lamp and the 1968 brass FontanaArte ceiling pendant in the library. Ireland added touches of color to the creamy palette, from the tie-dyed pillows in the living room, which were handmade in Suffolk, England, to the atmospheric greenish-blue palette of the library. “You do need some color,” she says. “Even if it’s just pops.” Landscape designer Stephen Block of Inner Gardens brought in mature olive and oak trees, lending a sense of history to the house. “People are still not sure if the house is new or not,” Newberg says, “which is just what I wanted.” ◾

The master bath’s tub and ﬁttings are by Waterworks. The vintage Italian pendant is from Blackman Cruz, the Roman shade is of a Kathryn M. Ireland linen, and the ﬂooring is Carrara marble. For details, see Resources.

E L L E D E C O R 137

SUMMERS IN SANDS POINT WENDY GOODMAN RECALLS THE LONG ISLAND HOME THAT SPARKED HER LIFELONG LOVE OF DESIGN. BECAUSE NO PHOTOS REMAIN, SHE TURNED TO HER FRIEND, ARTIST MAIRA KALMAN, TO CONJURE THE SPLENDORS OF THE LEGENDARY HARRIMAN HOUSE.

T WAS C A M ELOT B EF O R E C A M ELOT. SA N DS P O I N T,

just a 40-minute drive from New York City on a good day, so close and yet a world away on the Cow Neck Peninsula in Nassau County, surrounded by water and bordered by sandy beaches. It’s where Guggenheims, Vanderbilts, and Goulds bought land and built castles—and, some say, it was the model for East Egg in F. Scott Fitzgerald’s Great Gatsby. But there was also a more down-to-earth aspect to life in Sands Point—one in which politicians, writers, artists, and theater professionals took retreat in the private oases provided by their hosts. That’s the Sands Point I remember from my childhood summers there, spent in a bathing suit at our two-story shingled house next door to Marie and W. Averell Harriman’s compound overlooking the Long Island Sound. It was the 1950s, a time as far away from the present as can be imagined, when as governor of New York State from 1955 to 1959, Averell had a state trooper as his security detail, and that was all. My sister Tonne and I would sit at the end of our driveway waiting for the arrival of Pam and Alida Morgan, our summer “sisters,” who would come for two weeks every year to visit their grandparents, the Harrimans. Tonne and I had the ritual down: We’d sit on the hot tar surface, oblivious to the heat and discomfort, at the exact point where we could see the car that had been sent to pick up our friends at the airport as it cleared the trees in the bend of the road. The arrival of Pam and Alida was the highlight of our summer. Averell had sold our father two acres of beachfront property next door to his in 1954. His property stretched all the way from the main road to the beach and along the coast up to the Herbert Bayard Swope house on the point. 138 E L L E D E C O R

(The press baron’s 25-room Lands End, where he held lavish all-nighters, was the alleged model for Gatsby’s parties.) Our parents had built a modest home with a screened-in porch and a playroom with doors opening onto the lawn. This led to the beach where Tonne and I spent most of our time with our younger brother, Ed, and sister Stacy. From the window of time we spent with Pam and Alida, we learned that they led unimaginably exotic lives. They called their maternal grandmother grand-mère, as they were born in Paris and spoke French before they learned English. Averell, their step-grandfather, was known to them as Ave. Their time in Sands Point was bookended by a trip to the Adirondacks to see an army of cousins we deeply resented, as we never wanted the girls to leave. But once the car rounded that bend, nothing else mattered; together, we became the inseparable four musketeers and had the run of the Harriman house. Through a swinging door off the living room, we’d race to the forbidden kitchen quarters, where Jeanne the cook would have made a fresh batch of her meringues just for us. But manners were always on call; we had to ask permission from Jeanne to enter her realm. And nothing tasted quite as delicious as the super-salty Fritos we’d poach from glass bowls on the bar of the porch where the grown-ups had cocktails, followed by dinner over a mirrored table that ran the length of the room. The daily ritual of saying a proper good morning to Mrs. Harriman, who would not emerge from her bedroom until early afternoon, meant that we were allowed into her sanctuary. From the sitting room, you could see to the end of the corridor, where her bedroom was cordoned off not by a door but an upholstered fabric screen. Its presence teased you into thinking that you might spy the chamber behind it if you stood at a certain angle, but of course that would never happen unless you came all the way around the screen. It was a clever design device, a courtesy to her guests, who instead of a closed door would see the lovely pomegranate-patterned fabric panels illuminated by the natural light off the Long Island Sound—such was the degree of her thoughtfulness. The screen also established her personal space in the midst of a house where friends constantly ﬁlled the compound’s guest wing to capacity. The bedroom was her haven—and the most beautiful, unpretentious, and luxurious one I had ever seen. It wasn’t lavish, but it was perfection, filled with the salt air that blew through sheer curtains beneath formal drapes. The space was designed by George Stacey, the decorator—“Ave calls him Secretary of the Interior,” Alida told me—who also designed the family’s New York townhouse on East 81st Street, where the treasury of their paintings lived, most of which now reside in the National Gallery of Art, in Washington, D.C. The curtains, the screen, and the upholstered headboard were all done in the same blue-and-white print, which Alida muses could have been from Clarence House, as there are no photographs of the home to reference, none at all. Memory is the only way to conjure up images of the silky elegance of this room. Averell had a separate, much smaller bedroom next door to Marie’s in an arrangement that was de rigueur in so many households back in the 1950s, especially as Averell

Artist Maira Kalman illustrates Marie Harrimanâ&#x20AC;&#x2122;s 1950s Sands Point bedroom, a symphony of blue and white, from details remembered by the author, Wendy Goodman, whose childhood summer home was next door.

worked late nights. But Mrs. Harriman’s bedroom was all the more impressive because she presided in it from her bed in a quilted satin bed jacket, her black hair immaculate, her lipstick always fresh. That was her uniform, if you will, working from her command post where she read mail, planned menus, and made calls from a big white telephone on the bed next to a white wicker breakfast tray, placed over her legs, with large pockets on either side holding the day’s newspapers and magazines. Her two wirehaired dachshunds, Dini and Gary Cooper, were always nearby in their regular spots on the blue-and-white ﬂoral D. Porthault bedding, and occasionally Averell’s white Labrador, Brumie, would wander in and plunk down on the cotton rag rug that felt so good under bare feet. Mrs. Harriman had a deep, rich voice that greeted but never indulged us. She treated us not like adults, but not how other grown-ups we knew treated children. I wished we could amuse her and make her laugh. In my childhood mind, I understood that her bedroom was more glamorous

It was my first “ glimpse into the world of grown-ups.” than any place I had ever before experienced. The glamour came from the idea of retreat—that a room could be yours alone for you to savor, or to share, but by invitation only. It was my ﬁrst glimpse into the world of grown-ups, where glamour and privacy ruled as one. The private road that led to the Harrimans’ estate had two entrances. Each took you on a different path through a magnificent forest of old trees down to the water. One entrance had massive, old wrought-iron gates, and the other had a few mailboxes marking the drive. The latter was the one guests and dignitaries took to the Harriman residence, and had you not known its exact location, you might have driven past the single-story bungalow partially hidden by boxwood and rose hip bushes. But the site was extraordinary, and the drive down from this unassuming entry had a point at which you almost had to stop the car to catch your breath and take in the majesty of the view. From here, one could look beyond the rolling lawn that descended to the beach and see Long Island Sound dotted with sailboats. The paved surface of the road then changed over to sand-colored pebbles that made a distinct crunching sound as cars passed over them. No one was going to make a noiseless entrance as they approached the house, not even on foot. The original house built on this sprawling waterfront property started out as a kind of way station—a convenient spot where Averell could change his clothes after a game of polo at the nearby Meadow Brook Club. Peter Duchin, son of bandleader Eddy Duchin, who was raised by Marie and Averell after his mother’s death in 1962, told me this story: “After Ave built the house, he had a yacht, The Spindrift. Every morning, he would wake up, walk to the pier in his bathrobe, and board the yacht, be shaved and dressed by his valet, read the papers, and be deposited at his ofﬁce on Wall Street.” 140 E L L E D E C O R

By the time Averell was elected governor in 1954, a guest wing, tennis court, and saltwater swimming pool had been added to the property, plus what looked like a child’s playhouse near the caretaker’s quarters but was actually a one-room security station for the state troopers on duty 24/7 to protect him. There was also a small screened-in pavilion beside the pool. We called it the Bug House. It was large enough to hold three white-painted iron chaise longues topped with comfy cushions upholstered in a green sailcloth and giant collapsible hoods that could be raised to shield the seats’ inhabitants from the sun. The long rectangular saltwater pool, embedded in the lush carpet of lawn near one side of the house, was recessed in a white-painted cement border with drains to capture the runoff. When you were in the pool gazing out on the sound, the effect was not unlike what is now known as an infinity pool. Back then, however, I’m pretty sure it was just a happy coincidence: The pool had to be close to the beach because a big pipe conveyed salt water from the sound directly into it. The social life of Sands Point happened around that pool, and the best part of the day was being allowed to walk across the vast lawn and jump into that exotic body of water. A great ceremony was made of the arrival of Marie Harriman’s mother, Beulah (Pam and Alida called her Gram Norton), and her sister, Rose, who had flaming-red hair that contrasted with Gram’s frothy nimbus of silver waves. We would watch, transfixed, as they would tuck their respective coifs under white bathing caps before taking turns doing swan dives off the diving board into the pool. The two were well into their 90s when these feats occurred. Pam and Alida wore proper matching bathing suits with skirts that Tonne and I, clad in our unisex bathing trunks, thought very fancy. Pam and Alida would venture into the Bug House to greet their grand-mère while we waited outside—well aware that the door had to be opened and closed very quickly or else the whole point of the shelter would be lost, if so much as a single annoying insect succeeded in entering. Mrs. Harriman’s best friends, Ginny Chambers and Madeline Sherwood (who was married to the great playwright Robert Emmet Sherwood), would spend hours in the Bug House reading and filling out crossword puzzles. But the men rarely ventured inside, as they were all too busy playing very serious rounds of croquet on the stretch of lawn off to the left of the pool near the tennis court. The men’s attire for these fiercely competitive games was baggy linen shorts and no shirts. Robert Sherwood would usually opt out, preferring to sit on the dock in a wooden rocking chair instead. “Occasionally, if the tide was right,” Duchin recalls, “I would go fishing for stripers with Mr. Philips, the caretaker, who would row as I would trail a spinner with a sandworm attached.” Time spent in Sands Point meant the freedom of days under the sun by the water, and as if that wasn’t wonderful enough, we anticipated the arrival of our summer sisters with excitement and joy every year for at least a decade. It is no wonder that Pam and Alida have gone on to become lifelong friends, and that Peter Duchin continues, to this day, to act as our spirit guide. ◾

The Harriman property had a long rectangular pool fed with fresh salt water from Long Island Sound, a tennis court, and a screened Bug House for insect-free outdoor lounging.

In the entry of a 1910s Chicago mansion that was renovated by Alessandra Branca with HBRA Architects, a George IV table holds bronze architectural models and a Greek Revival vase. The 1950s pendant is French, and the ďŹ&#x201A;ooring combines bluestone and French limestone. OPPOSITE: Branca in the homeâ&#x20AC;&#x2122;s gallery, where 18th-century French urns rest on 19th-century Swedish columns.

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GRAND TOUR DE FORCE

A 1910 S MANSION ON LAKE MICHIGAN GETS A MAGNIFICENT REDO—FIVE YEARS IN THE MAKING—AT THE HANDS OF CHICAGO DESIGNER AND ED A-LISTER ALESSANDRA BRANCA. BY NANCY HASS

PRODUCED BY CYNTHIA FR ANK

PHOTOGR APHS BY SIMON UPTON

A Queen Anne mirror hangs over a custom marbleand-bronze console in the vestibule. The 18th-century lion’s-head door knocker is Venetian.

The living room’s custom sofas are in a Holland & Sherry silk velvet, the cocktail table has a 17th-century Siena marble top, and the mantel is early-19th-century French. The room is paneled in handscraped, gilded walnut.

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HE WIN D WHIPS ACROSS CHIC AG O’S

Lake Shore Drive no matter the season. But within the 1910s mansion on Lake Michigan that decorator Alessandra Branca recently completed for a client after five years of construction, all is calm. Or more than just calm— serene. Under her guidance, the fourstory Georgian edifice has become a neoclassical refuge bathed in supersaturated color and rich textures—the perfect place for its owner, a manabout-town, to sip a Campari on a balmy June afternoon or nurse a cognac late into a December night. “You want to feel both wrapped in solitude and ready to go out into the world,” says Branca, who is based in the Windy City but was raised in Rome, a fact that is writ large on the project, with its mixture of references to Italy’s past and present. “You want to feel comforted and also energized.” The house, which has been in the owner’s family for many years, has an Edith Wharton–esque majesty. Branca, who first came to Chicago for college (where she met her husband of 42 years, a native of the city, and decided to stay), has an international client roster, but she says it was “a profound gift” to work on a project within walking distance of her own elegant townhouse on Lake Michigan, especially one so architecturally significant. “So many grand homes here have been replaced by gleaming towers,” she says. “When you are able to bring into the present a house with such a past, it’s an enlivening experience.” The client’s family had for years used Colefax and Fowler, the legendary London firm, to decorate their homes, and while Branca admired the way they had done up the house in the 1980s—“a bit Swedish, with lots of chintz and sherbet colors”—her client, who had recently taken it over, wanted it to better reflect his own style. He is an aficionado of Greek and Roman architecture, as well as a lover of all things Italian, who spends a month and a half of the summer at Lake Como. “He and I are so much on the same wavelength,” she says. “I think of him more as a patron than as a client.” There is good reason for her to celebrate his enthusiasm and commitment: The gut renovation, in collaboration with HBRA Architects, was among the most elaborate she had ever attempted. With her client’s encouragement, every surface of the 4,000-square-foot house, which is very long but only 20 feet wide, was minutely thought out, then embellished with craftsmanship that evoked the Renaissance in all its handwrought glory. One example: The intricate brick-domed ceiling in the wine room was crafted in Paris by an artisan who had once worked on a renovation

The dining table is custom, the chairs are Regency, and the 1875 chandelier has Wedgwood porcelain mounted on it. The walls are inset with panels of hand-painted and decoupaged classical designs, and the table is set with Baccarat stemware and Puiforcat silver.

The master bed and upholstered walls are in a custom Fortuny damask, the daybed is Regency, the circa-1820 bedside tables are Italian, and the 19th-century rug is Persian.

of Notre-Dame, then airfreighted to Chicago in two large pieces. Another: When the client decided he wanted a bathroom reminiscent of the lapis lazuli pool at Hearst Castle, in California, Branca searched for nine months to ﬁnd the perfect stones. In the dining room, the walls are inspired by a book of illustrations beloved by the client, a pictorial exploration of ancient Greek vases by Sir William Hamilton, the 18th-century diplomat who once played violin with a young Mozart and was the protagonist of Susan Sontag’s 1992 historical novel The Volcano Lover. Artisans re-created the images with gouache and watercolor on parchment that was eventually decoupaged onto the walls in a painstaking process that took nearly three and a half years. “It makes all the difference if you have a client as willing to go to the ends of the earth as you are,” Branca says. The furnishings are a richly toned mélange of 18th- and 19th-century antiques, many of which nod to Greek and Roman times; they are set off by elaborately patterned fabrics, ﬂoors of Bosporus marble, and walnut paneling.

In the master bath, the handle on the glass shower door is by Nanz, and the custom mosaic tiles are of lapis lazuli.

all the difference “ifItthemakes client is willing to go to the ends of the earth.” ALESSANDRA BRANCA

(“No mahogany, because we don’t have that wood in Italy,” Branca says.) Tall windows sport custom Fortuny valances, while fauteuils are upholstered in a deep green gauffraged silk velvet. Branca is as ﬂuent in the language of color as she is in English and Italian, and the hues of the home are the tangerines, midnight blues, and plum-tomato reds one might glimpse through the windows of palazzos near the Piazza Navona. “You can see Caravaggio’s colors in my references, and Fiorentino’s,” she says, referring to Rosso Fiorentino, the 16th-century Florentine Mannerist painter whose work adorns the Château de Fontainebleau in France. Because she wanted to bring those robust shades to Chicago, where she knew the light was different, she had the pigments hand-mixed in Rome and transported back to the U.S. to be gently tweaked. While the house has many touches that evoke an earlier era, Branca balks at being considered a mere revivalist or re-creator of history. What lifts her environments above simple homage is her unerring sense of when pattern or color is in danger of becoming too stiﬂing or reverential; she knows exactly when it is time to introduce a witty 20thcentury reference, such as the four-panel living room screen done by Fornasetti in 1955, a clean stripe on a wall, or an uncurtained window letting in the sun. It is this contrast, which comes from an instinctual place deep within Branca’s globe-trotting imagination, that distinguishes her work. “I have one underlying belief that extends through every project, from the Bahamas to London to New York to here,” she says. “Every home should be arms wide open.” ◾

The copper tub in the master bath is from Catchpole & Rye. The 19th-century chandelier is Russian, and the artworks are 18th-century intaglios. For details, see Resources.

E L L E D E C O R 147

Reed Krakoff.

Z O D I AC TA B L E S C A P E

SUMMER TABLE 101

THE KEY TO AN A-LIST AFFAIR? TIFFANY & CO. CHINA AND SILVER AND MASKING TAPE (YES, REALLY), SAYS THE COMPANY’S CHIEF ARTISTIC OFFICER, REED KRAKOFF.

FROM LE F T: Everyday Objects sterling silver flowerpot, $1,475; Modern Bamboo crystal highball glass, $50 each; Color Block teacup and saucer, $80 for set; No. 727 Tiffany Tea exclusive black tea and floral blend, price upon request; Everyday Objects sterling silver coffee can, $1,550; Color Block napkin ring, $180 for four; Color Block dessert plate, $55 each; Bamboo five-piece silver flatware set, $780; Everyday Objects sterling silver bird’s nest with Tiffany Blue porcelain eggs, $10,000; Color Block sugar bowl, $90; Elsa Peretti glass fishbowl, $900; Color Block cake stand, $220 each; Everyday Objects walnut tic-tac-toe set with sterling silver and amazonite, $1,200; Everyday Objects beech honey stick, $230; Flora & Fauna lidded pot, $625; Color Block salt-andpepper shakers, $205; Color Block teapot, $210; Iris sterling silver watering can, $50,000. BE LOW RIGHT: Color Block weekend tote, $975; Flora & Fauna rattan-and-leather tray, $1,550; crystal martini glass, $25 each; Diamond Point bottle opener, $350; Diamond Point bar spoon, $625; Diamond Point cocktail mixer, $575; Everyday Objects terra-cotta flowerpot, $100 for three.

Cakes, Tiffany & Co. Blue Box Café. Table, Kali + Tee mango-wood with iron base, ftsny.com.

BY DAVID SCOROPOSKI PRODUCED BY PARKER BOWIE L ARSON PHOTOGR APH BY EVA AN KHER A J

to spend the evening swiping through your phone, then your host for the night was clearly not a Gemini (May 21–June 21). An air sign ruled by Mercury, Gemini is symbolized by the figure of twins; while that may account for a propensity for indecision, it also makes for an extremely social and curious zodiac sign. A table dreamed up for a Gemini-centric affair would look something like the one that Reed Krakoff, the chief artistic officer of Tiffany & Co., created here using pieces from the brand’s home and accessories collections as well as artfully applied masking tape. The sterling silver watering can and flowerpot hold floral branches and lemons, appealing to the sign’s versatile nature, while the color-blocked bone china dishes and tea service are perfectly representative of its binary essence. The glass fishbowl and sterling silver bird’s nest are also ideal conversation starters. “At Tiffany, we believe that something can be luxurious without being overly formal,” says Krakoff of the vivacious setting. “I wanted to design a livable space that evokes whimsicality and fun, a dynamic scene.” Feel free to leave your phone at home. All pieces available at tiffany.com. —Vanessa Lawrence ◾ 148 E L L E D E C O R

PORTR AIT: INEZ AND VINOODH, COURTESY OF TIFFANY & CO.

F YO U ’VE EVER AT TEN D ED A SE ATED D IN NER PART Y O NLY

NORTH BY NORTHEAST BRITISH DECORATOR RITA KONIG MAKES MAGIC IN HER VICTORIAN FARMHOUSE IN THE ENGLISH COUNTRYSIDE. BY SADIE STEIN

PHOTOGR APHS BY DYL AN THOM AS

The drawing room in the country home of decorator Rita Konig in northeastern England. The 19th-century sofa in the foreground is upholstered in a fabric by Konigâ&#x20AC;&#x2122;s mother, Nina Campbell, the vintage cocktail tables are from Colefax and Fowler, and the mahogany side table is in the Chippendale style. The antique Ziegler Mahal rug is from Robert Kime, and the walls are in Invisible Green by Edward Bulmer. OPPOSITE: The Victorian farmhouse.

E L L E D E C O R 151

In the kitchenâ&#x20AC;&#x2122;s dining area, the 19th-century Italian table is from TallBoy Interiors, and the dining chairs are antiques. The curtains are of a Lee Jofa stripe, and the artichoke lithograph is by Sarah Graham. The walls are in Edward Bulmerâ&#x20AC;&#x2122;s Lilac Pink.

The kitchen’s white-enamel stove is by Aga, and the star pendant is from Pooky.

I TA KO N I G, D A U G H T E R

of the pioneering female decorator Nina Campbell, grew up amid lush and comfortable interiors and observed firsthand the hard work that goes into creating them. But while Konig clearly learned the nuts and bolts of design from a n i mpeccable source, from the moment she founded her interior design ﬁrm two decades ago, she forged her own distinctive style: a bit quirky, highly livable, and, most of all, happy. Based in London, Konig has built her thriving practice with both residential and commercial projects that take her all over the world; she recently decorated the interiors

of the buzzy Hotel 850 in West Hollywood (see E L L E DECOR March 2019). If she has earned a wider following along the way, it is in part because she communicates her taste so well: both through her Instagram account (59,000 followers and growing) and in the columns she has penned for such publications as British Vogue, Domino, and the Wall Street Journal. In all of them, she comes across as an über-stylish, highly authoritative friend. In recent months, said followers have been able to join Konig as she and her husband, biographer Philip Eade, have renovated North Farm, their farmhouse in County Durham in northeast England. “We wanted to be sure this felt like a real, lovely country house,” she says. “And completely different than a city home.” Konig has offered her fans a window into the challenges of renovating a historic home on a working farm—one that has seven bedrooms and five baths—and transforming it into a E L L E D E C O R 153

In the library, the Nina Campbell sofa is covered in a Tissus d’Hélène corduroy, and the vintage armchairs are in a Nina Campbell green velvet (left) and a Lewis & Wood fabric. The curtains are of a Claremont twill with Nina Campbell braided trim, and the artworks include a 1970s Neil Forster portrait of Campbell’s late Yorkshire terriers, which Konig discovered at a junk shop in Wales.

comfortable family home for the couple and their five-year-old daughter, Margot. The rambling, “mostly Victorian” golden stone structure is surrounded by rolling pastures and has been in Eade’s family for generations. The property even includes an archaeological discovery: An entire medieval village is buried here. “I had to make Pinterest boards to show Philip that I wasn’t going to do anything overly elaborate or too decorated,” Konig says. While the result is indeed a dream of an English country getaway, it’s also quintessentially Konig: a mixture of high style with unfussy restraint, touches of whimsy, classic English references, and plenty of color. In the spirit of the property, Konig installed a traditional-style kitchen by Plain English and a large and practical stone-ﬂoored mudroom to stand up to plenty of wet boots. The interiors are rustic but polished. Of the sage-walled sitting room, with its eclectic mix of geometrics and ﬂorals, Konig says: “I wanted it to be a bit mismatched, with the feeling that something came together naturally. At a certain point, I did wonder, Have I gone too far?”

We wanted “a place where friends and family really like to be. RITA KONIG

”

The small library—which Konig calls the TV room—was less ad hoc. “The concept was to ﬁt as many people as comfortably possible to watch a movie or football game,” she says. “I really liked the combination of the delicate, small-print wallpaper with the more robust upholstery fabrics like corduroy, quilted cotton, wool, and velvet.” There are certain things in the house that her fans will recognize instantly as Konig trademarks: bright crystal match strikes, vivid lacquered drinks trays, scalloped D. Porthault linens, and, of course, her signature blend of classic and modern patterns. Above all, though, it’s the feeling of comfort that pervades the house: the deep, down-ﬁlled sofas that invite curling up with a book; the tempting, crisp beds; the generous, weathered farmhouse table; and the pink—but not sugary—little girl’s dream that is Margot’s room. “At the end of the day,” Konig says, “we wanted a place where friends and family really like to be.” ◾ E L L E D E C O R 155

In a guest room, Ikea beds are topped with vintage D. Porthault linens, the antique Cotswolds chair belonged to Konig’s father, the pendant is by Antoinette Poisson, the Roman shade is of a Titley and Marr print, and the wallpaper is by Nina Campbell. RIGHT: The walls in the daughter’s bath are covered in a Pierre Frey wallpaper.

The Charles Beckley headboard in a guest room is covered in a Raoul Textiles fabric; the 19th-century chest is French, the Pooky lamps have shades in a Colefax and Fowler fabric, and the walls are in Edward Bulmer’s Cuisse de Nymphe Emue.

156 E L L E D E C O R

The master bedroomâ&#x20AC;&#x2122;s four-poster William Yeoward bed is topped with a vintage quilt from Katherine Poole. The Regency bench is in a Claremont check, and the curtains are of a Nicole Fabre Designs ďŹ&#x201A;oral. For details, see Resources.

RESOURCES Items pictured but not listed are from private collections.

Italia, bebitalia.com. Pendants: Flos, flos.com. Chaise: Paola Lenti, paolalenti.it. Table: Kettal, kettal.com.

TALENT PAGE 66: Benjamin Soleimani,

Mansour Modern, mansourmodern .com. Kerry Joyce, kerryjoyce.com. TALENT PAGES 68–70: Alexa Hampton, alexa

hampton.com. Juan Montoya, Juan Montoya Design, juanmontoyadesign .com. Jamie Drake and Caleb Anderson, Drake/Anderson, drakeanderson.com. Ishka Designs, ishkadesigns.com. A NEUE HOUSE TRUTH IN DECORATING PAGES 72–76: Genevieve Gorder,

genevievegorder.com. Christian Dunbar, Christian Dunbar Designs, christian dunbardesigns.com. SHOWCASE PAGE 84: Wallpaper: Flat Vernacular,

flatvernacular.com. PAGE 86: Wallpapers: Texturae, artemest.com. BRILLIANT BRITISH TALENT PAGES 100–104: Wallpapers:

de Gournay, degournay.com. BRILLIANT BRITISH TALENT

Interior design: Luke Edward Hall, lukeedwardhall.com. PAGE 106: Plates: Richard Ginori, richardginori1735.com. PAGE 108: Ceramics: Richard Ginori. Lamp: Pooky, pooky.com. Wallpaper: Trustworth Studios, trustworth .com. PAGE 110: Mirror: FontanaArte, fontanaarte.com. Cushions and wall hanging: Luke Edward Hall for the Rug Company, therugcompany.com. Vase: Luke Edward Hall. Wallpaper: Twigs, twigswallpaperandfabric.com. DANIEL’S KITCHENS PAGES 114–116: Daniel Boulud of

Restaurant Daniel, danielnyc.com. Bowl: Vietri, vietri.com. Tumbler: Il Buco Vita, ilbuco.com.

Interior design: Ken Fulk, kenfulk.com. PAGES 124–125: Sofa fabric: Carlucci di Chivasso, carlucci.jab.de. Armchairs and coffee table: Dorotheum, dorotheum.com. Wall painting: Deborah Phillips, deborahphillips.com. Dress: Mary Katrantzou, mary katrantzou.com. Chair fabric: Jab Anstoetz, jab.de. Lamp: Jonathan Adler, jonathanadler.com. PAGES 126–127: Tablecloth: Sue Fisher King, suefisherking.com. China: Herend, herendusa.com. Armchairs fabric: Jab Anstoetz. Carpet: Stark, starkcarpet.com. Photograph: William Eggleston, egglestontrust .com. PAGES 128–129: Wall painting: Deborah Phillips. Bed linens: Schweitzer Linen, schweitzerlinen .com. Canopy, canopy lining, headboard, bedskirt, armchair, ottoman, and curtains fabrics: Quadrille, quadrillefabrics.com. Sconces: Coleen & Company, coleenandcompany .com. Bed linens: Léron, leron.com. Photograph: William Eggleston. PAGES 130–131: Chandelier: J. & L. Lobmeyr, lobmeyr.at. Painting: David Hockney, hockney.com. Goblets: Saint-Louis, saint-louis.com. Silver: Oneida, oneida.com. Porcelain plates: Royal Copenhagen, royalcopenhagen .com. Napkin rings: Deborah Rhodes, deborahrhodes.com.

Interior design: Lisa Perry. Consultant: Benjamin Paulin, Paulin Paulin Paulin, paulinpaulinpaulin.com. Architecture: Francine and Pascal Goujon, PPF Goujon Architectes, ppfgoujon.net. PAGES 118–119: Floor lamps: Harter Galerie, hartergalerie.fr. PAGES 120–121: Swivel chair and ottoman: Karuselli, kauppakeskuskaruselli .fi. Lamp: Vibia, vibia.com. Cooktop: Gaggenau, gaggenau.com. Hood: Gutmann, gutmann-exklusiv.de. PAGES 122–123: Bathtub: Agape, agapedesign.it. Artwork: Callum Innes, calluminnes.com. Headboard: Minotti, minotti.com. Dresser: B&B

158 E L L E D E C O R

GRAND TOUR DE FORCE

Interior design: Alessandra Branca, Branca Inc., branca.com. Architecture: HBRA Architects, hbra-arch.com. PAGES 144–145: Sofas fabric: Holland & Sherry, hollandandsherry.com. Stemware: Baccarat, us.baccarat .com. Silver: Puiforcat, puiforcat.com. PAGES 146–147: Master bed fabric and wallcovering: Fortuny, fortuny .com. Shower door handle: Nanz, nanz.com. Tub: Catchpole & Rye, catchpoleandrye.com.

NORTH BY NORTHEAST

Interior design: Rita Konig, ritakonig.com. PAGES 150–151: Sofa fabric: Nina Campbell, ninacampbell.com. Cocktail tables: Colefax and Fowler, colefax .com. Rug: Robert Kime, robertkime .com. Paint: Edward Bulmer Natural Paint, edwardbulmerpaint.co.uk. PAGES 152–153: Dining table: TallBoy Interiors, tallboyinteriors.co.uk. Curtains fabric: Lee Jofa, leejofa.com. Artwork: Sarah Graham, sarahgrahamart .com. Paint: Edward Bulmer. Stove: Aga, aga-ranges.com. Pendant: Pooky, pooky.com. PAGES 154–155: Sofa: Nina Campbell. Sofa fabric: Tissus d’Hélène, tissusdhelene.co.uk. Armchair fabrics: Nina Campbell; Lewis & Wood, lewisandwood.co.uk. Curtains fabric: Claremont, claremontfurnishing .com. Curtains trim: Nina Campbell. PAGES 156–157: Beds: Ikea, ikea.com. Bed linens: D. Porthault, dporthault paris.com. Pendant: Antoinette Poisson, antoinettepoisson.com. Shade fabric: Titley and Marr, titleyandmarr .co.uk. Wallpaper: Nina Campbell. Bathroom wallpaper: Pierre Frey, pierrefrey.com. Headboard: Charles H. Beckley, chbeckley.com. Headboard fabric: Raoul Textiles, raoultextiles.com. Lamps: Pooky. Lampshades: Colefax and Fowler. Paint: Edward Bulmer. Master bed: William Yeoward, williamyeoward .com. Bench fabric: Claremont. Curtains fabric: Nicole Fabre Designs, nicolefabredesigns.com.

NO PURCHASE NECESSARY TO ENTER OR WIN. ELLE DECOR Farrow & Ball Sweepstakes. Sponsored by Hearst Magazine Media, Inc. Beginning May 21, 2019, at 12:01 A.M. (ET) through July 1, 2019, at 11:59 P.M. (ET), go to farrowandball.elledecor.com on a computer or wireless device and complete the entry form pursuant to the on-screen instructions. One (1) Winner will receive $3,000 worth of Farrow & Ball product of winner’s choice (wallpaper, paint, or primer) and a one (1) hour color consultation with a Farrow & Ball design and color expert. Total ARV: $3,250. Important Notice: You may be charged for visiting the mobile website in accordance with the terms of your service agreement with your carrier. Odds of winning will depend upon the total number of eligible entries received. Sweepstakes open to legal residents of the 50 United States or the District of Columbia who are 18 years or older at time of entry. Void in Canada, Puerto Rico, and where prohibited by law. Sweepstakes subject to complete official rules available at farrowandball.elledecor.com.

ABOUT FACE A GREAT ESCAPE

lantern: Formations, formationsusa .com. Pendant: Galerie Half. Table: The Perfect Room. Chairs: Minotti, minotti .com. Chairs fabric: Rogers & Goffigon, rogersandgoffigon.com. Curtains fabric: John Rosselli & Associates, johnrosselli.com. Candleholders: Ilse Crawford, studioilse.com. Picture lights: Vaughan, vaughandesigns .com. Paint: C2 Paint, c2paint.com. PAGES 136–137: Bed: The Perfect Room. Bed-curtains: Otis Textiles. Rug: Stark, starkcarpet.com. Lamps: Hollywood at Home, hollywoodathome.com. Bench: Therien, therienantiques.com. Paper pendant: Rewire, rewirela .com. Rug: Holland & Sherry, hollandandsherry.com. Bathtub and ﬁttings: Waterworks, waterworks .com. Pendant: Blackman Cruz, blackmancruz.com. Shade fabric: Kathryn M. Ireland, kathrynireland .com.

Interior design: Kathryn M. Ireland, kathrynireland.com. Architecture: Ron Radziner, Marmol Radziner, marmol-radziner.com. PAGES 132–133: Sofas, cocktail table, and pillows: The Perfect Room, the perfectroom.com. Armchairs: Obsolete, obsoleteinc.com. Floor lamp: Galerie Half, galeriehalf.com. Curtains fabric: Otis Textiles, otistextiles.com. PAGES 134–135: Dining chairs: Lief, liefalmont.com. Dining table: The Perfect Room. Pendants: Alison Berger, alisonbergerglassworks.com. Vase: Mud Australia, mudaustralia .com. Chairs: Carl Hansen & Son, carlhansen.com. Planters: Inner Gardens, innergardens.com. Floor

ELLE DECOR (ISSN 1046-1957) Volume 30, Number 5, June 2019, is published monthly except bimonthly in January/February and July/August, 10 times a year, 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. Hearst Magazine Media, Inc.: David Carey, Chairman; Troy Young, President; Debi Chirichella, Executive Vice President, Chief Financial Officer; John A. Rohan, Jr., Senior Vice President, Finance; Catherine A. Bostron, Secretary. © 2019 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 e-mail. 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.

E L L E D E CO R L I FE

STYLE / DESIGN/ CULTURE 1

1. ROCK CRYSTAL COLLECTION BY HAMMERTON STUDIO Artisan blown glass captures the raw beauty of rock quartz crystal in these wall and ceiling lights from Hammerton Lighting. An LED illuminates the spectacular shape and texture of each glass shade without the distraction of a filament bulb. hammertonstudio.com

2. KERRY JOYCE TEXTILES The new SCRIBE fabric is inspired by the origins of language and letterforms. It is one of six new designs that are part of the Heather Rosenman Collection for Kerry Joyce Textiles and is printed on the finest Irish Linen. Available in seven colors. kerryjoycetextiles.com

3. HIGH-POLISHED ALICE SINK Introducing the stunning angular Alice sink (SK423), shown in highpolished silicon bronze. Available in a variety of bronze finish options and can be undermounted or set as a vessel. rockymountainhardware.com

3 0 Y E A R S O F S T Y L E , D E S I G N + CU LT U R E

NOT FOR SALE Wallcovering, Phillip Jeffries Flight in Peacock on Marshmallow Manila Hemp.

Light

Expectations THIS BESPOKE PLASTERDIPPED CHANDELIER MELDS DICKENSIAN STYLE WITH A SILHOUETTE THAT FEELS STRIKINGLY MODERN. PRODUCED BY PARKER BOWIE L ARSON PHOTOGR APH BY EVA AN KHER A J ST YLED BY JJ CHAN

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 the charity of each maker’s choice.

Made in New Orleans, this dramatic chandelier looks like a preserved artifact from a 19th-century home, dripping with the candle wax of a bygone era. But appearances can be deceiving. In fact, this one-of-a-kind, steel-framed chandelier has been hand-dipped in plaster to achieve its Miss Havisham look. The work of Julie Neill, a decorator turned furniture designer who recently debuted a new lighting collection for Visual Comfort, the statement piece treads a ﬁne line between old-world and new, marrying a traditional silhouette with a contemporary surface treatment. Neill, who is known for the bespoke lighting she creates in her studio in the Big Easy, is especially fond of plaster. “It’s a material that doesn’t need any embellishment,” she says. And while this chandelier has a pre-Edison vibe, it can conveniently be illuminated at the ﬂip of a switch—no matches necessary. —Samantha Swenson 44″ dia. x 64″ h.; julieneill.com 160 E L L E D E C O R