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DECEMBER 2020

CONTENTS

MALIKE SIDIBE; ST YLIST: RYAN YOUNG

Form Atelier’s Avril Nolan (left), in a Valentino gown, and Quy Nguyen, in an Hermès shirt and vintage pants, at their Brooklyn showroom, page 76.

ELLE DECOR

CONTENTS

ABOVE: The den of Sue and Alex Glasscock’s Malibu,

California, home, designed by Steven Gambrel, page 56. The club chair (left) is a custom design by Dune in a Romo fabric, and the custom benches by Christian Liaigre are in a Keleen leather.

EDITOR’S LETTER

BUILDER Amdavad Ni Gufa, an art gallery in Ahmedabad, India, designed by Pritzker Prize laureate Balkrishna Doshi, page 24.

POV A writer ﬁnds solace and escape in her home during the pandemic. Plus: A Q&A with Indian architect Balkrishna Doshi 27

WHAT’S HOT Our annual guide to the year’s top gifts—these will whisk your loved ones away, no passport required 36

TRUTH IN DECORATING Designers Courtney McLeod and Krsnaa Mehta cozy up to the season’s most sumptuous velvet furniture 40

SHORTLIST Multimedia artist Sarah Sze shares the eight things she can’t live without 42

STUDIO VISIT At the new macaron-hued Villa San Francisco, French creatives can connect with Silicon Valley thinkers. BY LYDIA LEE

TOOLBOX With a stylish home bar, there’s no such thing as last call. BY KATHRYN O’SHEAEVANS

classicist is capable of some artfully impromptu moves.

BY LISA ABEND DESIGNER AMARO SÁNCHEZ DE MOYA

RESOURCES 100

NOT FOR SALE A luxurious brassembellished trunk from jewelry brand Foundrae

FEATURES 56

BACK AT THE RANCH

FORTRESS OF SOLITUDE On Mexico’s Paciﬁc Coast, hotelier Carlos Couturier escapes to a monumental retreat that alludes to the region’s ancient past. BY ELISABETH MALKIN DESIGNERS YANN LE COADIC AND ALESSANDRO SCOTTO

COOL, COLLECTED In New York City, antiques and vintage furniture are resurgent thanks to a new squad of digitally savvy dealers and their fashionable clientele. BY CAMILLE OKHIO

CHECKING IN? Hotel mogul Barry Sternlicht creates a Miami Beach sanctuary inspired by his globe-trotting lifestyle and love of hospitality.

With an unexpectedly serene color palette, Steven Gambrel helps two Malibu wellness entrepreneurs rethink their storied 1930s hacienda.

ON THE COVER

BY VANESSA LAWRENCE DESIGNER STEVEN GAMBREL

PHOTOGR APH BY RICARDO LABOUGLE

E-mail: elledecor@hearst.com

SURPRISE, SURPRISE

In his Seville pied-à-terre, Amaro Sánchez de Moya proves that even an avowed

BY WHITNEY ROBINSON DESIGNERS BARRY STERNLICHT AND CLINT NICHOLAS

A HOUSE OF HER OWN After 50 years living abroad, artist Anita Calero returns to her native Cali, Colombia, and designs a home that is utterly hers. BY PAOLA SINGER DESIGNER ANITA CALERO

A view into the bedroom of Amaro Sánchez de Moya’s pied-à-terre in Seville, Spain.

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EDITOR’S LETTER

LE F T: A pool and stone tower at hotelier Carlos Couturier’s retreat in Mazunte, Mexico. ABOVE:

Welcome to the Issue

NY OTHER YEAR, AN ELLE DECOR ISSUE ON THE SUBJECT OF

escapes would be about getting out into the world and relishing the perspective that travel gives us on our homes and ourselves. But this is 2020. So where do you go when you can’t go far? Quite simply, you go inward. Our December issue is a celebration of the power of interiors—and of design in general—to inspire, nurture, and delight. In these pages, we explore the ideas of sanctuary and safety, and what it means to create a “sphere of agency” at home (page 21) in a time of pandemic and protest. As always, we’re serving up doses of fantasy, too; we need every bit of glamour we can get in a year like the one we’ve experienced. Our annual holiday gift guide—produced via carefully (and safely) choreographed in-person photography sessions, plus, in true 2020 form, a bit of remote styling—offers dozens of gorgeous, glittering ideas that are sure to brighten your loved ones’ moods. Speaking of mood brighteners, how’s your home bar coming along? If 18

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your answer is “What home bar?” it’s not too late to assemble one: We have thoughts aplenty (page 47) about how to gin up some fun and festivity this season. Writer Kathryn O’SheaEvans has the tea—a hot toddy, of course. This month, we also visit the personal retreats of hoteliers Carlos Couturier (page 70) and Barry Sternlicht (page 82), whose sun-filled lairs—one in Mexico, one in Miami Beach— differ stylistically but are united by a common vision of home as the ultimate getaway. Serenity and personality were the names of the game for designer Steven Gambrel, who renovated a 1930s hacienda for the cofounders of wellness boot camp the Ranch Malibu (page 56), and photographer Anita Calero, who returned to her native Colombia after five de c ade s l iv i ng abroad , con st r uc t i ng a treehouse-style hideaway high above the city of Cali (page 90) filled with the design finds that comfort and anchor her. Like Calero, the editors of E L L E DECOR believe in the talismanic power of a beautifully designed object, and so we’re excited to bring you a story, written by Camille Okhio, about some of the young, digitally savvy dealers in New York City’s antiques and vintage-furniture vanguard (page 76). Their thoughtfulness, enthusiasm, and cleverness is opening up the antiques world to those who have felt, for reasons of race or class or simple opacity, that it wasn’t for them. Their rise is encouraging interest for a trendsetting new audience. What a gift. ◾ Asad Syrkett, Editor in Chief elledecor@hearst.com Follow me on Instagram: @as4d

FROM LEFT: UNDINE PRÖHL; MALIKE SIDIBE; ON HOLL ADAY, SHIRT AND PANTS: HERMÈS

Antiques dealer Maggie Holladay of Claude Home.

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Lost in Space TO EASE HER ANXIETY IN A VOLATILE TIME, ONE WRITER FINDS SOLACE IN DESIGN PROJECTSâ&#x20AC;&#x201D;AND REMEMBERS JUST HOW LUCKY SHE IS TO FEEL SAFE AT ALL. BY GABRIELL A FULLER

ILLUSTR ATIONS BY ANGIE WANG

Produced by Charles Curkin

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POINT OF VIEW

H E D AY A F T E R N E W Y O R K C I T Y

shut down due to the COVID-19 pandemic, I watched people fight over the last roll of toilet paper at a deli, and a guy I met on a dating app offered me his only bottle of hand sanitizer. After that, I didn’t leave the house. Our homes became our refuges—and our panic rooms. Designing my own escape within became a priority: I repainted my closets; I covered my kitchen in white laminate; I reupholstered my sofa in a thick sunf lower-print cotton that my grandmother left behind when she moved to Florida, where she was now in a nursing home no one was allowed to enter. I sewed pillows in chartreuse velvet and painted large abstract canvases in jewel tones. I waited for seven o’clock, when the city came alive for a few minutes to cheer frontline workers, and we brieﬂy felt less alone. When you live alone, as I did then, that sense of unity was especially beguiling. In short, I had a massive anxiety attack, and the only thing that kept it at bay was committing to an increasingly frenzied Martha Stewart pantomime. When I felt I could control so little, I at least needed to control my space. Architect and designer Leyden Lewis understands. “The home is the one place we can set the standard” to the degree we’re able, he tells me. After years in relationships where I felt intermittently paralyzed, during a global health crisis when so many of us were completely powerless, I realized that the real promise, and the hidden premise, of making a home is creating a sphere of agency. That isn’t a sanctuary all of us are allowed, however. On March 13, police in Louisville, Kentucky, broke down Breonna Taylor’s front door and shot her to death. A week later, New York City went into lockdown. Stay-at-home orders, intended to protect the public, trapped victims of intimate-partner violence with their abusers. Homes are not inviolate. “Historically, from the Tulsa, Oklahoma, massacre to ‘drug raid’ violations like Breonna Taylor’s, homes have not been safe spaces for the Black community, or for those designated as other: brown people, gay people, women, the trans community,” Lewis says. “One of the most challenging aspects of this time,” adds designer Danielle Colding, “is that homes used for communion with others are spaces that now mainly function for nuclear families. That’s particularly challenging for communities of color, communities that don’t feel welcome in the proverbial town square.” The pandemic has reinforced important truths: inequities related to race and economic status are magniﬁed during a crisis, and sheltering in place does not grant equivalent safety to all people. By the end of May, protests against police brutality and racial inequality were raging around the country. Like many, I found the only thing more necessary than staying home was leaving it and taking to the streets. As the infection 22

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of our body politic began trumping the risk of infection to our bodies, a man on a park bench offered me a mask. He was bold and kind and had taken a leave of absence from his job to help coordinate the city’s response to the pandemic. He hasn’t left my side since. And though I’d found surer footing in new companionship, nesting is a luxury only some of us can afford. “Design can seem accessory, unimportant, privileged,” designer Kimille Taylor says. And yet the concept of home has never been so imbricated in every aspect of our lives. As we spend more time there, as we’ve adapted our homes to also be our offices and our schools, our restaurants and retreats, our campaign headquarters and sign-making centers and phone-banking venues, we’ve started to think more deeply about what home means, and how to create it, and who is given license to do so, and why we’ve failed so miserably at making a country that reﬂects the values of safety and shelter inherent in the concept. Design isn’t a magic bullet. It can’t, on its own, take away our panic, anxiety, fear, boredom, or wanderlust. It won’t lead the Zoom meetings or entertain the kids or pay the mortgage or fix our broken systems. But it can feed our desires and our sense of well-being. And it can, more importantly, especially during a time of upheaval, give us a refuge to think deeply about new solutions to the age-old problems that plague us. “Our homes are sanctuaries,” Colding says. “In the face of an increasingly hostile world, they provide a space to regroup and feed our battered souls.” Home itself, it turns out, is a cause worth ﬁghting for. ◾

www.baxter.it

POINT OF VIEW

Serenity Now INDIAN PRITZKER PRIZE LAUREATE BALKRISHNA DOSHI ON DIVERSION DURING QUARANTINE, AND WHETHER DESIGN CAN ACTUALLY HELP YOU LIVE LONGER.

Doshi sitting in Amdavad Ni Gufa, the iconic art gallery he designed in Ahmedabad, India. How have you spent your quarantine? BD: I’ve been locked in the house by my family. I’ve been completely isolated. But I’m enjoying the world, and there hasn’t been much change except that I watch a lot of movies—Indian comedies. They present some very unexpected intrigue. Have you somehow found an escape through isolation? BD: I turn to my subconscious. The best way is to get lost in it. When there is no destination, there is a constant discovery. It’s like going into a voluntary dream. Whether you’re locked in a room or outdoors, your focus is on something happening outside of yourself. When that happens, you’re free. In this pandemic, we are constantly thinking about things beyond our control. I think one has to become a child, so one can become lost and discover something one has never known. At your age, 93, have you been thinking about mortality recently? BD: No. Luckily, I am with my 24

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family, including my greatgrandchildren. They’re always there, my gate is locked, and I look at the TV screen. This is all I need. When you’re haunted by something scary, that takes you away from life. Having four generations together in the house keeps my mind where it needs to be. I.M. Pei, Kevin Roche, and Frank Lloyd Wright made it into their 90s and beyond. Norma Merrick Sklarek was 85 when she died. Frank Gehry is 91, and Denise Scott Brown is 89. Is there a connection between architecture and longevity? BD: It’s because we’re always creating. If you’re always ﬁnding something new for yourself, your age increases. Discovery is most essential for remaining young. Challenge yourself by asking, “What else can I do today?” Do you believe in karma? BD: Yes. In 2020, heroes of the past had their records brought into question. The Museum of Modern Art’s chief architecture and design curatorship is still named

after Philip Johnson, the ﬁrst Pritzker Prize laureate and a known Nazi sympathizer. He once wrote that Hitler was “better than Roosevelt.” And Le Corbusier had his fascist leanings. Is the world of architecture due for a reckoning? BD: Life itself is due for a reckoning, and architects must give respect to life. You worked at Le Corbusier’s Paris atelier, living on bread and olives without pay. How was that? BD: A lot of people survive without much food. I was in a trance and was just getting in touch with my sensitivities. Should architecture be an altruistic enterprise? BD: It should be a human enterprise that creates a sense of belonging. Your Life Insurance Corporation housing project, in Ahmedabad, India, was a revolutionary twist on the urban row house. Luxury needle towers are part of a new revolution happening in New York City. If you built one, what would it be like? BD: My tower would be 40 stories—not a couple of hundred. I would have a

place in the middle to meet friends and have tea. This kind of connection makes a building more human and less mechanical. What does the word masterpiece mean to you? BD: A masterpiece is where you go very often, and you would miss it if it were suddenly gone. There’s a constant surprise and a silent, very intimate communication. The Pantheon in Rome is a very simple building on the outside, but inside is something else completely. I could not cross the beam of sunlight shining through the oculus. I honored the sun by walking around it. That is an element of the building you cannot touch. The glory and skill of the architect is in it. That is a masterpiece. You won the Pritzker Prize in 2018 after a 70-year career. Better late than never? BD: Of course! What are your masterpieces? BD: My buildings are not masterpieces, but they’re enjoyable. —Charles Curkin

CONGR AT UL ATIONS A ND WA R M W ELCOME ASA D SY R K E T T FROM A LL OF US AT OFFICINE GULLO

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ELLE DECOR GIFT GUIDE

H W H AT ’ S

Spirited Away

CLOCK WISE FROM TOP LE F T: Carolina Herrera

Sequined puff-sleeve crop top, $1,790; neimanmarcus .com. Dedar Lipstick fabric in Pavone, to the trade; dedar.com. Harry Winston Central Park bracelet, Sunﬂower ring, Winston Cluster bracelet, and Berry Cluster earrings, all price upon request; harrywinston.com.

CB2 Amati Burl Wood cabinet, $999; cb2.com. Marie Daâge Allée de Cyprès 5 teacup and Marqueyssac 1 saucer, $285 for set of two; modaoperandi.com.

Rolex Datejust 31 watch, $6,600; rolex.com.

THIS HOLIDAY SEASON, GIVE GIFTS THAT WILL WHISK YOUR LOVED ONES TO UNCHARTED TERRITORIES OF LUXURY—NO PASSPORT REQUIRED. K ATE McGREGOR PHOTOGR APHS BY ALLIE HOLLOWAY ELLE DECOR

WHAT’S HOT | THE BEST DESIGN DISCOVERIES

A BRUNCH FOR TWO Dressing the table with all the accoutrements of a favorite eatery is one way to bring high dining home. We recommend wearing jewels. CLOCK WISE FROM TOP LE F T: Tina Frey Designs

Pedestal cake stand, $209; tinafreydesigns.com.

Janie Kruse Garnett Bay Leaf Ear Climber, $3,550; janiekrusegarnett.com.

Van Cleef & Arpels Frivole Secrète timepiece, $44,700; vancleefarpels .com. Natalia Criado Tread mini spoon, $80; artemest.com. Tina Frey

Designs Pedestal bowl, $239; tinafreydesigns.com.

Van Cleef & Arpels Magic Alhambra pendant, $6,450; vancleefarpels.com.

Match Convivio butter dome, $140; match1995 .com. Tiffany & Co. Schlumberger brooch, $160,000; tiffany.com.

David Yurman Starburst Climber earrings, $2,950; davidyurman.com. Janie Kruse Garnett Zodiac Temple necklace, $3,900, and Double Bubble necklace (on plate), similar from $9,950; janiekrusegarnett.com. CB2 Dixon vase, $13; cb2 .com. Richard Ginori

1735 Luke Edward Hall Chariot teapot, $386; amara.com. Natalia Criado Jade sugar spoon, $195; artemest.com.

Roberto Coin Obelisco link bracelet, $8,500; robertocoin.com.

Jonathan Adler Newport dinner plate, $38, and Ether salad plate, $18; jonathanadler.com. Georg Jensen Pyramid ﬂatware, $99 for ﬁve-piece set; georg jensen.com. Van Cleef &

Arpels Frivole earrings, $15,700; vancleefarpels .com. Roberto Coin Love in Verona ring, $7,500; robertocoin.com. David

Yurman Tides ring, $7,900; davidyurman.com.

Kim Seybert Jardin napkin, $112 for four; kimseybert.com. Tiffany & Co. T1 pendant, $6,500; tiffany.com. SaintLouis Les Endiablés Tommy glass, $530; saintlouis.com.

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WHAT’S HOT | THE BEST DESIGN DISCOVERIES

BOUTIQUE HOTEL BOUDOIR Re-create resort style at home with crisp percale bedding, then cozy up with slippers and a good read. CLOCK WISE FROM TOP LE F T: Anna

French Palampore Leaf wallpaper, to the trade; thibautdesign .com. Frontgate

Raleigh Canopy bed, from $3,599; frontgate .com. Alicia Adams

Alpaca Hudson Euro pillows, $285 each; aliciaadamsalpaca .com. Matouk Essex bedding, from $54 for a standard sham; matouk.com.

St. Frank Cowhide throw pillow, $315; stfrank.com. Tamam throw-pillow covers, from $96 each; shoptamam.com. Naked

Cashmere Cable dog sweater, $85; nakedcashmere.com.

Roger Vivier Hotel Vivier mules, $1,295; rogervivier.com.

Mantas Ezcaray Matisse throw, $350; neimanmarcus.com.

Juniper Books Contemporary ﬁction subscription, $60; juniperbooks.com.

Ballard Designs Emile side table, $499; ballarddesigns .com. Hermès

Animaux Camouﬂés change tray, $700; hermes.com. Bunny Williams Home Small Speckled lamp, $795, and Cranborne lampshade, $275; bunnywilliamshome .com. Tudor Black Bay 58 watch, $3,375; tudorwatch.com.

Aerin Ambrette de Noir perfume, $240 for 1.7 oz.; aerin.com.

Fornasetti Flora Coromandel candle, $228; amara.com.

ELLE DECOR

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COCKTAIL HOUR ANYTIME In 2020, the special occasion for elevated drinkware is every day. CLOCK WISE FROM TOP LE F T:

De Gournay Scenes of Central Park hand-painted wallpaper three-panel screen, $13,500; degournay.com.

Serena & Lily Parisian bar cart, $998; serenaandlily .com. Baccarat Mille

Nuits decanter, $890; baccarat.com.

Waterford Short Stories Retro Bond decanter, $275; waterford.com.

Ralph Lauren Home Rhinelander Flagship candle, $75; ralph laurenhome.com.

Baccarat Mille Nuits bowl, $155; baccarat .com. Saint-Louis Small Amethyst Royal box, $595; saint-louis.com.

Waterford Lismore Connoisseur Diamond tumbler, $110 for two; waterford .com. Ralph Lauren

Home Montgomery olive tray and picks, $195; amara.com.

ELLE DECOR

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WHAT’S HOT | THE BEST DESIGN DISCOVERIES

IN ON THE TOWN You don’t have to brave the cold when you can keep warm on a romantic night indoors. CLOCK WISE FROM LE F T: Arteriors

Scout side table, $1,420; arteriorshome .com. Williams

Sonoma Ingrid table lamp, $295; williamssonoma.com. Tom Dixon Swirl Small vase, $510; tomdixon .net. L’Objet Safari candle, $150; l-objet .com. Jayson Home Match cloche, $32; jaysonhome.com.

Farrow & Ball Calamine paint, $110 per gallon; farrow-ball .com. B&B Italia Atoll sofa, $17,700; bebitalia.com. Jayson

Home Piece Blue pillow, $430; jayson home.com. Élitis Gemmail cushion cover, $223; elitis.fr. Reﬂections Copenhagen Panama tray, $660; reflectionscopenhagen.com.

Gucci Rouge à Lèvres Lunaison glitter lipstick, $46; gucci.com. Byredo Slow Dance perfume, $180 for 1.7 oz.; byredo.com.

Minotti West pouf, price upon request; minotti.com. Paul

Smith Modern Swirl rug, $8,532 for 6′ x 9′; therugcompany .com. Chanel Ankle

boots in Tweed & Calfskin, $1,425; chanel .com. DuChateau Golden Eye ﬂooring, $18 per sq. ft.; du chateau.com. Assou-

line Marrakech Flair, Travel by Design, and Paris Chic books, $95 each; assouline.com.

Neuhaus Luxury Belgian chocolate 42-piece gift box, $90; neuhauschocolate.com.

North South Confections Fruits Both Familiar and Curious chocolates, $52; north southconfections.com.

Saban Glass Twisty wineglass, $60; saban glassware.com.

ELLE DECOR

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TRUTH IN DECORATING

Soft Landings DESIGNERS COURTNEY M C LEOD AND KRSNAA MEHTA COZY UP TO VELVET, THE SEASON’S MOST SUMPTUOUS FABRIC. BY K ATE M C GREGOR

4 LILAC GEOMETRIC STRIPE POUF BY LORENZA BOZZOLI

BLANCHE BERGÈRE BY LUCA NICHETTO

CM: A cheeky piece

with my ottoman and make it a comfortable work-from-home station.

CHUBBY OTTOMAN BY MODSHOP

MAH JONG BED BY ROCHE BOBOIS

ROWAN CHAIR BY INTERIOR DEFINE

KR SNA A ME HTA:

CM: I like the mix of fabrics. It would look great in a downtown loft.

KM: I love the practicality

This gives off that ’80s modernist vibe with its bright pop of color. COURTNE Y Mc LEOD:

I’d use it in a small space as a multifunctional accent piece. 21″ dia. x 21″ h.; $295. 1stdibs.com

ELLE DECOR

KM: This would be the

ideal thing for that cozy feeling in a contemporary bedroom. 90.5″ w. x 97″ d. x 40″ h.; from $6,565. roche-bobois.com

and the way in which this would make its presence felt in any home. CM: This is perfect in

tailor-made for a playfully glamorous interior. Not for the faint of heart! KM: Such interesting

a pair for a starter apartment. I’m fond of the open arms.

colors. It would work well in a white space.

28″ w. x 31″ d. x 33″ h.; $995. interiordeﬁne.com

51″ w. x 16″ d. x 18″ h.; $4,395. artemest.com

5 KM: I want to pair this

CM: This chair is amazing.

The fabric can take on so many personalities. 32.5″ w. x 33.5″ d. x 48.5″ h.; from $5,820. thefutureperfect.com

McLEOD PORTR AIT: RIGHT MEETS LEFT DESIGN. MEHTA PORTR AIT: COURTESY OF KRSNA A MEHTA . FOR DETAILS, SEE RESOURCES

CO N G R AT U L AT I O N S A N D WA R M W ELCO M E AS A D SY R K E T T FRO M A L L O F U S AT A RT E

arte-international.com | 866-943-2783 | Instagram, Facebook, Pinterest: @artewalls

TRUTH IN DECORATING

8 execution of asymmetry, “Atheperfect Moving Mountains chaise is an all-time favorite.” COURTNEY M C LEOD

9 10 6

VERSO SCREEN BY PIERRE FREY

IMAN CHAISE BY MIMINAT DESIGNS

ALEXANDER SOFA BY HICKORY CHAIR

KM: This screen is the

KM: A great piece to be

SEGMENT ARMCHAIR BY TRNK COLLECTION

best combination of decorative and functional.

placed in front of full-length windows with a sunset view.

CM: Be still my heart! In pink, the new traditional sofa is perfection.

CHAISE LOUNGER BY MOVING MOUNTAINS KM: This chaise lulls one

CM: It’s intriguing how different this chair looks from every angle.

CM: I love the modern

CM: This is deﬁnitely

reinterpretation of early-20th-century Viennese design.

that showstopper for a modern interior—the base is beautiful.

59″ w. x 2″ d. x 65″ h.; $11,944. pierrefrey.com

24.5″ w. x 67.5″ d. x 40.5″ h.; $8,430. miminat.com

ELLE DECOR

into a feeling of calm.

KM: The clean design and bright color is ideal for brainstorming in a home office.

CM: An excellent exam-

ple of how simple lines and proportions combine to create a statement.

88″ w. x 37.5″ d. x 34″ h.; from $6,000. hickorychair.com

80″ w. x 38″ d. x 25″ h.; price upon request. mvngmtns.com

KM: This is one reﬁned

piece of furniture. I especially love the gaps between the planes. 26″ w. x 26″ d. x 28″ h.; $2,495. trnk-nyc.com

SHORTLIST

1. Eileen Gray E-1027 Table

Sarah Sze.

Great design marries beauty and practicality. This is brilliant as both a sculpture and as something usable.

5. Louisiana Museum

At this museum outside Copenhagen, you’re able to contemplate nature and art equally. And the choreography of the spaces is always surprising.

6. Lao Gan Ma Chili Crisp

3. Temple of Queen Hatshepsut

I studied this Egyptian temple as a student. It shows a union of the human hand and this gorgeous architecture dug out of the surrounding desert.

4. Ise Grand Shrine

Every 20 years, local artisans reconstruct these buildings in Japan. You can see different stages of growth and demise depending on when you visit. 40

ELLE DECOR

Sarah Sze THE MULTIMEDIA ARTIST WITH A NEW PARIS SHOW SHARES EIGHT THINGS THAT FAN HER CREATIVE FLAME. BY VANESSA L AWRENCE When Sarah Sze had her first solo show at the Fondation Cartier in Paris, in 1999, she built her entire multimedia installation, Everything That Rises Must Converge, on-site. For “Night into Day,” her current exhibition at the same institution, the process couldn’t have been more divergent. As a result of the pandemic, Sze created her two works—a planetarium of found and pop-culture images that unfolds in immersive layers, and a pendulum that melds filmic imagery with objects—in her studio in New York. She then used live digital feeds to erect them in Paris, an approach completely in sync with the show’s focus. “The work is about being in a state between the digital and physical,” says Sze, who is known for her boundary-collapsing, site-specific pieces. “I’ve always been interested in how you can create an experience that feels very live.” She did just that earlier in 2020 when she unveiled Shorter than the Day, her commission for the new Terminal B at LaGuardia Airport; also in New York, next year, Sze will add an outdoor sculpture to Storm King Art Center upstate. “The challenge is making work in a permanent space still play with time,” Sze says. “And how to be anti-monumental in a piece that, inevitably, has a monumentality to it.” sarahsze.com

7. Chris Oﬁli

This watercolor was a gift for my 50th birthday. Chris has great conﬁdence of mark and color. There’s a real sculptural strength to the way everything is depicted.

8. Chinese Workers’ Stools

I have these all over my house because I ﬁnd them useful. They’re simple, exquisite, and—despite being small—can hold the weight of the largest human.

PORTR AIT AND OFILI PAINTING: COURTESY OF SAR AH SZE; TABLE AND STOOL: 1STDIBS; LOUISIANA MUSEUM: EMMA MORTENSEN; TEMPLE: GET T Y IMAGES; SHRINE: AL AMY

2. Jantar Mantar

When you walk into this sundial in New Delhi, your body feels physically very small. It’s an incredible structure.

We love spice in my household. You can put this on anything, and it will make it taste better.

STUDIO VISIT

In the living area at Villa San Francisco, which was designed by Amir Mortazavi, the sofa is by Yves Béhar and the bookcase is backed with black-and-white images by the French artist JR.

Artiste in Residence

IN SAN FRANCISCO, A MACARON-HUED NEW CULTURAL SPACE CONNECTS FRENCH CREATIVES WITH SILICON VALLEY THINKERS. BY LYDIA LEE

N THE 17TH CENTURY, LOUIS XIV BEGAN

funding promising young artists so that they could study in Rome, creating one of the earliest artistin-residence programs. Since then, the French government has established an academy at the Villa Medici in Rome, Casa de Velázquez in Madrid, Villa Kujoyama in Kyoto, Japan, and smaller cultural outposts in about a dozen other places around the globe. In that grand tradition, Villa San Francisco recently opened to support French creatives in the City by the Bay. But rather than providing a monastic retreat, this residency—which is aimed at everyone from visual artists to writ-

ELLE DECOR

PHOTOGR APHS BY NICOLE MORRISON

ers and photographers—uniquely focuses on making connections, with colorful rooms that underscore that ambition. “The idea is to be outside the walls and meet with the people from many ecosystems here: the entrepreneurs, the university researchers, the artists, the venture capitalists,” says Juliette Donadieu, cultural attaché of the French Embassy in San Francisco, which is managing the program. She and the nonproﬁt French American Cultural Society, which is funding the four- to six-week-long residencies, will help make those connections and arrange meetings with people working in each resident’s area of exploration.

To help them feel at home, designer Amir Mortazavi of Studio Mortazavi conjured a cross-cultural mélange that enlivens the residency accommodations. “I wanted to create a thread between artists in France and here in San Francisco,” says Mortazavi, who, as cofounder of the coworking company Canopy, has also collaborated on work spaces with Yves Béhar. The two-bedroom apartment, situated within the French consulate’s residence in San Francisco’s Parnassus Heights neighborhood, overlooks a spectacula r city pa nora ma, with Golden Gate Park in the distance and two giant redwood trees in the

CO N G R AT U L AT I O N S, AS A D. W E CA N â&#x20AC;&#x2122; T WA I T TO SEE YO U R V I S I O N CO M E TO L I FE.

STUDIO VISIT

CLOCK WISE FROM TOP LE F T: The kitchen’s hues were inspired by Wayne Thiebaud’s French Pastries. San Francisco artist Yvonne Mouser made the custom bent-ash dining set, whose curves nod to the Arc de Triomphe. Designer Amir Mortazavi in front of a photograph by Agnès Varda. The work of Nathalie du Pasquier, a founding member of the Memphis design movement, inspired the striped walls in a bedroom. A multicolored door leads into another bedroom, where the artwork, River, is by Paris-based duo Mrzyk & Moriceau. For details, see Resources.

ELLE DECOR

foreground. The playful palette of pink, yellow, and other pastel hues is drawn from the American painter Wayne Thiebaud’s French Pastries (1963), and a visual room divider of black and white stripes is an homage to conceptual artist Daniel Buren. Two French artists who have been speciﬁcally inspired by the Bay Area are represented here: The wallpaper lining the bookcase and a closet comprises stills from street artist JR’s 2018 digital mural The Chronicles of San Francisco. There’s also a framed print from Agnès Varda’s 1968 documentary Black Panthers. Mortazavi commissioned most of the naturalwood furnishings from local designers, including a pine-dowel sofa by Béhar, Jay Nelson cedar pendants, and a dining set by Yvonne Mouser. The arrival of the ﬁrst French artist, science-f iction writer A lain Damasio, has been postponed to next year. But recognizing that artists need support during the pandemic, Villa SF opened at the end of August (with a virtual ceremony, bien sûr) and began hosting micro-residencies for local artists. Multimedia artist Summer Mei Ling Lee spent a recent week working on a collaborative installation that “questions Zoom as a platform during this era of isolation” and described the stay as akin to visiting a museum. “The designer really paid attention to the space—every corner has some intervention,” she says. “It’s an artwork in itself.” ◾

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A hand-painted wallpaper by Paul Montgomery depicts a scene from The Jungle Book above the bar at designer Michelle Nussbaumer’s Dallas home. Produced by Laurel J. Benedum

DOUGL AS FRIEDMAN

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ELLE DECOR

BUILDER | TOOLBOX

through what remains of 2020, you’re among friends. “We’re seeing clients make space for a home bar even if one didn’t exist before,” says Dallas designer Jean Liu, whose friend stuck one in a coat closet as COVID-19 descended. The standing order: a bar with all the glitz of Bemelmans at the Carlyle hotel in New York City, without the socially condensed throngs. As with a Cabernet Sauvignon, boldness wins. “It’s the perfect place to paint something bright or dark or moody that they wouldn’t A leafy wallpaper and Jean Royère have had the nerve to do otherwise,” says Liu, barstools at Martyn Lawrence Bullard’s home bar in West Hollywood. who has had clients request cast-pewter bar tops in recent months. New Jersey designer Beth Diana Smith concurs: “It’s important now when we’re Don’t think these bars have to be tucked just off the living entertaining at home that you’re giving someone the feeling room, either. Dallas designer Michelle Nussbaumer has stationed them everywhere from a home spa to a dressing that they’re not at home,” she says. According to ELLE DECOR A-List designer J. Randall room tailor-made for Champagne cocktails and playing Powers, who is based in Houston, clients love their houses, dress-up. For her space at this year’s inaugural Kips Bay yet they always had a life and did social things. “Now we Decorator Show House Dallas, she settled a bar in an don’t really get to do that, so everybody seems to be focused upstairs bedroom secreted behind a Moorish arch, then on interesting little parts of their house that maybe got over- ornamented it further with a mix of 19th-century French looked, like a bar,” he says. Powers recently fashioned a bar glasses, American pressed glass, and her decades-in-thefor a bourbon-obsessed client atop a 19th-century Portu- making horde of swizzle sticks. “There’s something intiguese table, the bottles corralled on a shagreen tray. “It used mate about inviting people to a smaller area for a drink,” she to be, ‘Come look at my rare antique book collection.’ Now, says. “It’s almost like a vacation.” it’s a little bit like, ‘Hey, check out my Pappy Van Winkle.’” In comparatively cramped quarters, even a classic bar cart can suffice. “I was definitely one of the people who jumped onto the bar-cart bandwagon during COVID when we were sheltering in place,” Smith says. “The fact that liquor stores were considered essential businesses was very telling.” She offset her brass cart by flanking it with textured pieces, including an ovoid basket to hold bottles. “This is the time where you should be splurging on yourself. Fancy and not casual is the way to go.” Some clients are veering toward the British tradition of a dry bar (sans sink for spaces that can’t be plumbed), Powers says: “In an interesting way, people are going back to the art of making a cocktail as opposed to just having a cocktail.” While a simple jigger and shaker can get the job done, there are high-tech upgrades; Nussbaumer has installed dishwashers specifically designed for crystal barware and refrigerator drawers aplenty. “We’re even buying little machines from Williams Sonoma that smoke your drink,” she says. For a bar concealed behind jib doors in a Dallas family room, Liu placed floating shelves painted a shamrock green before an antiqued-mirror backsplash, which visually doubles the homeowner’s crystal barware. But for Powers, such exposed glasses can be dust traps. “I don’t need to see your passed-down crystal collection. I’d rather drink out of a good everyday glass. If I get smashed and drop it, I don’t feel the need to go buy you another one,” he says. “If you’re going to display it, it really should be behind glass doors. Otherwise, I’m like, ‘When’s the last time that was A bar lined with silver mosaic tiles in a London dusted?’ ” Liu, however, has a very 2020 rebuttal to that home designed by argument: “I don’t know anyone who is letting dust accuHaynes-Roberts. mulate on their glasses right now.” ◾ 48

ELLE DECOR

FROM TOP: DOUGL AS FRIEDMAN; SIMON UPTON

F YO U ’ V E T U R N E D TO D R I N K TO M U D D L E

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Bottle Service WHEN IT COMES TO ALCOHOL STORAGE, THESE ARE STRAIGHT OFF THE TOP SHELF. BY L AUREL J. BENEDUM

2 1

4 5

1 Diamante Bar Cabinet

2 Wine Column

3 Tumbler Cart

Rockstar Bar

Fayette Bar Cabinet

True to its name, this faceted mounted bar is a piece of statement jewelry for your wall.

Aside from housing an impressive 150 bottles, this LED-lit wine refrigerator is a showstopper itself in emerald green and copper.

Fear no spills with this sleek marble-and-brass cart: Each shelf is treated with a waterrepellent oil ﬁnish.

A quilted-silk backing gives this midcenturymodern silhouette a dose of glamour, while a caged bulb illuminates barware.

71″ w. x 18″ d. x 71″ h., price upon request. sicis.com

30″ w. x 24″ d. x 84″ h., $9,644. true-residential.com

18.5″ w. x 21″ d. x 36″ h., price upon request. baxter.it

57″ w. x 19″ d. x 45″ h., $6,125. busterandpunch.com

ELLE DECOR

This Art Deco–inspired piece adds French ﬂair to any room with its ﬂuted mango wood, Carrara marble, and brass details. 36″ w. x 19″ d. x 46″ h., $1,299. crateandbarrel.com

the great american outdoors Ć&#x2019;

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The BGA 57 is built in the United States with domestic and foreign components. Batteries and chargers are sourced internationally.

MANUFACTURING AMERICA’S WORKFORCE ƒ

he National Association of Manufacturers estimates that by 2025, manufacturers in America will need to ﬁll more than 4.6 million high-skilled jobs. Two million of these jobs are expected to go unﬁlled due to the skilled trade gap. Creating workforce development initiatives to reskill employees is part of the solution. STIHL Inc., located in Virginia Beach, VA, uses a multifaceted approach to close the skilled trades gap. While automation is key to remaining competitive in the global market, at STIHL Inc. no full-time employee has ever been replaced due to automation but is instead retrained. In addition to reskilling employees, STIHL supports manufacturing career training and workforce development through several initiatives including: a Manufacturing Technology Summer Camp, held annually at the STIHL manufacturing facility to introduce high school students to careers in manufacturing, a Dual Enrollment Program through a partnership with the local public high schools and community college, sponsorships of local STEM education programs and the STIHL manufacturing apprenticeship program that’s been in place for more than 35 years. The STIHL Inc. commitment to these initiatives creates opportunities for people like Bradley Holmes, a manufacturing technology summer camp participant, who went on to complete his associate’s degree in Mechatronics and graduate from the four-year STIHL apprentice program. Bradley now works as a full-time mechatronics technician at STIHL Inc. ensuring the assembly line keeps running to produce more than 80 models of products that are built in America.* Bradley’s story is a great example of how a company can invest in America’s workforce to bridge the skilled trade gap in U.S. manufacturing.

TO LEARN MORE ABOUT HOW TO ADDRESS AMERICA’S SKILLED TRADE SHORTAGE, VISIT STIHLUSA.COM/STIHL-BUILT-IN-AMERICA. A majority of STIHL gasoline-powered units sold in the United States are built in the United States from domestic and foreign parts and components. The BGA 57 featured in this ad is built in the United States with foreign and domestic parts. Batteries and chargers are sourced internationally.

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The pergola outside the Malibu, California, home of Sue and Alex Glasscock, whose wellness retreat, the Ranch, is also part of their nearly 200-acre property. Built in 1932, the hacienda-style house was recently renovated by Steven Gambrel with landscape design by Scott Shrader. The Bielecky Brothers wicker chairs have cushions in a Janus et Cie fabric, and the vintage French stone table and pots are from Inner Gardens. The plants in the foreground are dwarf olive shrubs. 56

ELLE DECOR

BACK AT THE RANCH STEVEN GAMBREL HELPS TWO MALIBU WELLNESS ENTREPRENEURS RETHINK THEIR STORIED 1930S HACIENDA.

N 1929, T H E A M ER I C A N M OV I E S TA R W I L L I A M B OYD

began building a hacienda-style home on almost 150 acres of land in the Santa Monica Mountains in California. Boyd, who would soon become famous for playing the cowboy hero Hopalong Cassidy, had recently been on location in Spain shooting a movie. There, he fell in love with the local architecture and realized that the style would work equally well in the dry Malibu climate. He envisioned his house, which was completed in 1932 and overlooks Boney Mountain and the Paciﬁc Ocean, as a place where he could detox from his Hollywood life. Nearly 50 years after Boyd’s death, the property now belongs to Alex and Sue Glasscock, who, incidentally, are continuing the actor’s vision for the site as a place to unwind from the stresses of modern existence. The Glasscocks are

the founders and owners of the Ranch, a wellness and fitness retreat touting rigorous regimes (think 5 A.M. wake-ups, four-hour daily hikes, and a caffeine- and gluten-free vegan diet) and a celebrity clientele (actresses Mandy Moore, Rebel Wilson, and Brooke Shields have all been guests). When the couple purchased Boyd’s former land in 2009, they also bought an adjacent parcel that was being used as a children’s camp. The Glasscocks transformed its cabins and grounds into the Ranch Malibu (they have since opened an additional location at the Four Seasons in Westlake Village). They decided to live next door in Boyd’s U-shaped house, which retained its original tapestries, Spanish Colonial furniture, and 90-year-old carpets. Initially, they reconfigured the main bedroom suite and upgraded the finishes, but otherwise kept the spaces intact.

LE F T: A reclaimed-wood

gate leads to a garden path lined with terra-cotta pavers. The bench and vintage plant pots are from Inner Gardens, and the teak bowl ďŹ lled with lemons is by Andrianna Shamaris. BE LOW LE F T: Alex and Sue Glasscock and their dogs (from left) Clara, Max, and Pip. BE LOW: The breakfast areaâ&#x20AC;&#x2122;s custom furnishings include a banquette in a Janus et Cie fabric, chairs in a Perennials textile, and a table by Groundwork. OPPOSITE: In the great room, the custom sofa by Dune is in a Cowtan & Tout fabric, and the vintage Spanish chair (left) and armchair are in Arabel fabrics. The cocktail table is topped with a tray by Robert Kuo, and the artworks include pieces by Lukas Machnik and Claude Lawrence.

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In the kitchen, custom stools with cushions in a Dualoy leather pull up to an island topped with French limestone. The range is by Lacanche, the refrigerator is paneled in reclaimed oak, and the industrial pendants are vintage. The copper table lamp is from JF Chen. OPPOSITE: In the den, the arched bar is original to the house. The tray is by Made Goods, and the star pendant is vintage. The walls were reclad in two shades of custom mixed plaster, and the artwork is by David Silka.

“We had all these dark, heavy carved pieces of furniture,” Sue explains. “In the spirit of the moment, we felt we should keep a lot of it.” As time passed, the decor seemed at odds with their more relaxed, outdoorsy lifestyle. A year and a half ago, they sought help from their friend of two decades, New York–based interior designer Steven Gambrel, though who exactly initiated the intervention is up for debate. “‘Maybe your house is a bit dark and monastic,’ ” Alex recalls Gambrel saying to them. “Sue said to me, ‘I think the house is a bit gloomy, and the ceiling is so dark,’ ” says Gambrel. “And I was like, ‘God, I never thought about it.’ Honestly. The coolest thing about this project is that it was so beautiful before.” He certainly made the most of the house’s stellar bones. With an eye toward adding lightness and serenity, Gambrel replastered the walls and painted the exposed ceiling beams white. The couple loves entertaining and hosting dinner parties, so in concert with the landscape designer Scott Shrader, Gambrel revamped the outdoor spaces, adding vintage stone garden furniture and wicker seating to facilitate social gatherings. Indoors, he continued this theme, transforming the great room from an underutilized space into a central hub. Now, vintage and custom sofas and ottomans mix with antique marble tables and contemporary Japanese ink drawings. Glass bell-jar lanterns add expansiveness. In a breakfast nook off the k itchen, Ga mbrel desig ned a custom 17-inch-high banquette in a Janus et Cie fabric. It clocks in

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In Sue’s bathroom, the limestone shower has ﬁttings by Zucchetti and a powder coated–steel enclosure. The table is topped with a lamp made from an Eric Roinestad vessel, a 19th-century footed bowl from Balsamo, and a Fratelli Mannelli travertine bowl from JF Chen. OPPOSITE , FROM TOP: In the main bedroom, the custom bed is by Dune, the vintage Giacometti bench has a cushion in a Janus et Cie fabric, and the nightstand is by Kathy Kuo Home; the large painting is by Richard Serra, and the three smaller artworks are by Claude Lawrence. The guest bedroom’s 19th-century Spanish bed is topped with an Annie Selke coverlet, and the rug is from J&D Oriental Rugs Co. For details, see Resources.

at two inches lower than the standard, giving the entire corner a laid-back, easier feel. Perhaps the most noteworthy changes come from what Gambrel did without: color. The Glasscocks prefer a neutral palette, the better to keep the focus on the natural bounty outside. Gambrel, whose New York projects often feature bold and artful hues, obliged, limewashing walls and layering in shades of taupe, putty, and gray for an aged ﬁnish that still exudes the sophistication for which he is known. “When you can rely on texture and patina, then color is not as relevant,” the designer explains. “I’m not sure that I’m the ﬁrst name that comes to mind when you think of California, but I love the vernacular and the freshness.” For the Glasscocks, Gambrel’s work on their home is not entirely dissimilar from the wellness goals they set for their human clients at the Ranch. “When you look at something that’s beautifully sited and has the right scale,” says Alex, “then it’s fun to make it its best self.” ◾ ELLE DECOR

S U R P R I S E, S U R P R I S E

IN HIS SEVILLE PIED-À-TERRE, AMARO SÁNCHEZ DE MOYA PROVES THAT EVEN AN AVOWED CLASSICIST IS CAPABLE OF SOME ARTFULLY IMPROMPTU MOVES. BY LISA ABEND

PHOTOGR APHS BY RICARDO L ABOUGLE

PRODUCED BY CYNTHIA FR ANK

In the salon of Amaro Sánchez de Moya’s apartment in Seville, Spain, the 19thcentury French sofa is in a Nobilis fabric, the wicker chairs are American, and the cocktail table is custom. The Napoleon III screen is in a Pierre Frey fabric, the Makrana wallcovering is by Matthew Williamson, and the 18th-century artwork is French.

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The kitchen’s vintage garden table and chairs are Spanish, the pendant is Napoleon III, and the custom hood is ﬂanked by 19th-century Spanish vases. The antique backsplash tiles are from Manises, Spain, and the checkered ﬂoor is in Carrara and Nero Marquina marbles.

AP R I CE I S N OT A WO R D U S UA L LY AS S O CI AT E D W I T H A M A RO SÁ N CH E Z D E M OYA . W H E T H E R H E’S

transforming an Andalusian palacio or a chic Portuguese eco-resort, the Spanish architect and designer is known for a maximalist classicism that embraces symmetry, ordered lines, and enough sumptuous textiles to outﬁt a royal court or two. But when it came time to design his own pied-à-terre in the ancient city of Seville, his normal rigor was tempered with a bit of spontaneity and even whimsy. “It’s true that a taste for the classical, a certain historicism, underlines almost all of my work,” he says. “But because it was my home, I could make it a little more capricious.” It helped that he had a relatively blank slate with which to begin. After moving to Madrid, Sánchez de Moya bought the apartment in the Andalusian capital, where he was born, with the intention of using it as a second home. Built in the early 20th century, its 1,000 square feet held little architectural interest, and except for a few interior doors, none of its original features were worth keeping. The building’s wonky layout—all odd angles and unevenly shaped rooms—posed a challenge, but they eventually gave Sánchez de Moya his point of creative entry. “I wanted to try to make all the rooms geometrically perfect,” he says. “Despite the irregular footprint.”

Once I had that fireplace, for Inspired by the small apartexample, I had to make sure ments of Haussm a n n- era t h at t he mold i n g s were P a r i s , S á nc he z de Moya coherent with it, so they indulged in some sleight of hand. After remaking the floor became Regency instead of Louis XVI.” plan to fit his symmetrical Yet with the architectural ideals, he enclosed the “leftelements i n place, t he over” spaces behind what appear to be doors to passagedesig ner sudden ly found ways. The trick not only hid himself worrying that fate the newly generated storage, had led him too far astray. but also altered the apart“All the walls had moldings. ment’s proportions. “In one The etched glass, the fireplace, the doors—I had found room you’ll find four or five them all in Paris. So now, doors, but not all of them lead even with those marble floors somewhere,” he says. “Some from Seville, I thought it was of them open into a wardrobe turning out too refined, too or a bookcase, and some of Parisian,” he recalls with a them don’t open onto anything at all. They’re there to chuck le. “ T h at ’s when I balance the room, but they decided to make the decorative elements a bit more folk.” also make the apartment seem much bigger than it is.” He chose what he calls The f looring in the salon “less pretentious” wicker for and bedroom also fosters illuthe salon’s seating and opted sions. The black and white for a lea f y ha nd-pa i nted marbles are a nod to Seville’s Zuber wa l lpaper for t he history—it’s an inland river- ABOVE: Amaro Sánchez de Moya in the salon, where the red and bed room , wh ich added a white–checked curtains are in an Alessandro Bini fabric. port city that has served as a garden ambience. Instead of hub for materials from Genoa, h idi ng the coffeepot a nd Italy—but the erratic patterns create dynamism. “It’s as if other household items behind cabinets, he keeps them on the rhombuses are turning concentrically around the display in the kitchen to give it a country feel. squares,” Sánchez de Moya says. “I like that kind of geometBrightly colored fabrics—including striking red checked ric game, where you can bring a sense of motion to some- curtains in the salon—injected more lightness. “Because it’s thing that is normally fixed and heavy.” a second home, I didn’t want it to be too serious,” he says. “I If his choice for the floors was intentional, other early ele- wanted it to have that sense of pleasure and recreation. So ments were more serendipitous. The designer hadn’t consid- even though the architecture itself was very sedate and ered installing etched glass, for example, but when he classical, the decor is united by a kind of freshness.” Perhaps nowhere is that freshness—some might even call stumbled across some old windows from the Hôtel Lutetia at an antiques shop in Paris, he realized they would add it capriciousness—more evident than behind the kitchen interest and coherence to the apartment’s two bathrooms. doors that were the sole components repurposed from the Equally exciting was the moment he came across the mas- original apartment. “I like an element of surprise,” the classive French Regency fireplace that now anchors the salon. sicist admits. “So I create a door that looks banal from the “I wasn’t even sure that I wanted a fireplace,” he says. “But outside but opens onto an interior that is entirely hot pink or you find something like that, and one thing leads to the next. lime green. It gives you a tiny moment of joy.” ◾ ELLE DECOR

ABOVE: In the bedroom, the bed is dressed in linens from Matarranz Ropa de Casa and

the curtains and upholstery on the early-20th-century French settee are in a Zuber fabric; the wallpaper panels are in the same Zuber pattern. The gilded 19th-century table and chair are Italian, the 1940s crystal La Granja chandelier is Spanish, and the engraving is by Pierre Paul Prudâ&#x20AC;&#x2122;hon. 68

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ABOVE: The main bathroom’s tub and ﬁttings are by Ciﬁal, the 1950s

boat-shaped chandelier is Spanish, and the antique sconce is French. A collection of 19th-century Italian cameos ﬂank a window originally from the Hôtel Lutetia in Paris. BE LOW: In the powder room, a Louis XIV–style mirror hangs above a Ceramica Althea sink, and the antique wallcovering is French. For details, see Resources.

The taller of two stone towers at hotelier Carlos Couturier’s vacation home in Mazunte, Mexico. The architecture is by Mauricio Rocha and Gabriela Carrillo, and the home’s interior design is by Yann Le Coadic and Alessandro Scotto. Atop the roof, daybeds have custom cushions in handmade textiles from Khadi Oaxaca.

FORTRESS OF

ON MEXICO’S PACIFIC COAST, HOTELIER CARLOS COUTURIER ESCAPES BY ELISABETH M ALKIN

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PHOTOGR APHS BY UNDINE PRÖHL

PRODUCED BY INGRID ABR A MOVITCH

SOLITUDE

TO A MONUMENTAL RETREAT THAT ALLUDES TO THE REGIONâ&#x20AC;&#x2122;S ANCIENT PAST.

N THE PACIFIC COAST OF MEXICO, THERE

is a rocky headland where you can watch the sun both rise and set over the ocean. The phenomenon gives a mystical aura to Punta Cometa, the bluff at the western edge of the beach town of Mazunte. Hotelier Carlos Couturier fell under the site’s spell during a trip there some 15 years ago. “I thought, This place is magic,” says Couturier, who bought land here next to a nature preserve. “It almost feels a bit spiritual.” As a founding partner of Grupo Habita, a boutique-hotel firm in Mexico known for innovative design, he was constantly on the move. Six years ago, he was finally ready to plan his ocean-view retreat. “I wanted a place a bit like a monastery and where I could feel safe, so a bit like a fortress,” he says. “I also wanted it to feel pre-Hispanic.” Mazunte is in the state of Oaxaca, where the strata of Mexico’s ancient civilizations lie exposed against those of their Spanish colonizers and where Indigenous culture resonates strongly. Couturier looked for an architect who “understood Oaxaca.” He hired Mauricio Rocha, who with his partner at the time, Gabriela Carrillo, had turned an ancient Dominican monastery in the city of Oaxaca into a light-flooded cultural center. The design of the house had to be integrated into the site’s 72

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steep topography and tropical vegetation. The solution was a series of platforms framed by two stone towers. The platforms evoke the ancient Zapotec city of Monte Albán. Rocha also looked at a more recent reference, Casa Malaparte, a modernist house on the island of Capri in Italy. “We wanted to create something that was timeless,” Rocha says. Couturier brought in the Parisian interior design firm LeCoadic-Scotto almost from the start. The project offered a chance to work in a “very minimalistic, very pure” way, says Yann Le Coadic. To learn more about Oaxacan culture, Le Coadic and his partner, Alessandro Scotto, explored local villages with Couturier, drawing inspiration from the daily life of those communities. That trip persuaded Le Coadic that the house should have an open kitchen, like Mexican rural homes, so that guests can watch their food being prepared. The kitchen is situated at the base of the upper tower below a reading room and opens onto the focal point of the house: a giant open-sided, thatch-roofed structure known as a palapa. The design is the distinct vernacular of Mexico’s Paciﬁc Coast villages, casting shade and stirring a breeze in the heat. Below and parallel to it lies an 82-foot-long swimming pool. A terra-cotta deck links the upper tower to the middle of the lower tower, which houses the main bedroom and overlooks a spa and plunge pool.

OPPOSITE: A massive

palapa, characterized by open sides and a thatched roof, shelters areas for lounging and dining. The sofas are custom, and the dining table and chairs were made by a local carpenter. The counter is terra-cotta. RIGHT: In the reading room, the sectional, in a Pierre Frey fabric, cocktail tables, and lamps are all custom, and the handmade rug is from Andalusia. BE LOW: The homeâ&#x20AC;&#x2122;s second tower, which houses Couturierâ&#x20AC;&#x2122;s bedroom, overlooks a sundeck. The daybeds are custom, and the basket is from Oaxaca.

In an alcove at the base of the second tower, a cabinet by the French modernist architect Charlotte Perriand is on display—even before starting work on the project, Couturier told the designers that he wanted that precious piece on the property. Below the pool, in a suspended wooden structure, are three guest bedrooms; like every room in the house, they look out onto the Pacific. Although Couturier built the house to enjoy Mazunte’s laid-back beach vibe, it is also a place where he retreats to be alone. “I wanted him to feel very peaceful in this huge space,” Le Coadic says. He divided the palapa into zones, creating intimacy around each activity with a plainspoken vocabulary. A terra-cotta counter centers one end. There is a section for dining, another with inviting, casual sofas, and at the other end, an outdoor stove and bar in volcanic rock, arranged to suggest what Le Coadic describes as “an antique sculpture of a god.” To furnish the palapa, the designers went no further than Mazunte’s beaches, where fishing families serve the catch of the day on wooden tables set out on the sand. Spotting a table and chair that could serve as a model, they began working with a local carpenter, ordering several prototypes before arriving at the final design. To complete the house, Couturier took Scotto and Le Coadic on a journey in search of fabrics and ceramics. They traveled to the Zapotec town of San Sebastián Río Hondo, where a cooperative of artisans produces organic cotton using natural dyes and handlooms. On that trip, the hotelier and European designers slept on the floor of a village house, wrapped in woolen blankets against the highland cold—and ordered all the upholstery, sheets, and towels. In Los Reyes Metzontla, a desert town in the neighboring state of Puebla, they bought simple clay dishes for the kitchen. After six years of construction, Couturier finally spent his first New Year’s Eve at his Mazunte home last December. Over that time, his partnership with the Parisians has grown. They are finishing the renovation of his house on the Spanish Balearic island of Minorca. They are also redoing a 12-room hotel for Grupo Habita in San Agustinillo, the village less than a mile down the road from Mazunte. For a hotelier who craves a monastic peace, it’s exactly the right distance. ◾ 74

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The main bedroomâ&#x20AC;&#x2122;s walls are in local stone and concrete. The bed, atop a custom platform, is dressed with linens from Coco-Mat and Khadi Oaxaca, and the rug is from Andalusia. OPPO SITE , CLOCK WISE FROM TOP LE F T: Next to the

kitchen island, a butcher block sits on a volcanic stone base; the sink is by Alia, the backsplash and open cabinets are clad in Portuguese tiles, and the handmade glassware is Mexican. The main bathroom has a sink carved from local stone with walls to match; the copper plumbing was made by a local artisan. A guest room has a beamed ceiling, columns, and ďŹ&#x201A;oors in guapinol, a local wood, and a custom bed and nightstand. For details, see Resources.

A 19th-century French plaster bust of the Greek mythological character Niobe is silhouetted against a Japanese Art Deco gold-leaf screen at Form Atelierâ&#x20AC;&#x2122;s showroom. OPPOSITE: A 1970s Vico Magistretti chair for Artemide at Lichen.

C O O L,

C O L L E C T E D IN NEW YORK CITY, ANTIQUES AND VINTAGE FURNITURE ARE RESURGENT THANKS TO A NEW SQUAD OF DIGITALLY SAVVY DEALERS AND THEIR FASHIONABLE CLIENTELE. BY CA MILLE OKHIO PHOTOGR APHS BY M ALIKE SIDIBE ST YLED BY RYAN YOUNG

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T A MOMENT WHEN THE

present is so complicated, many people are discovering joy and beauty in artifacts from the past. As technology creeps further into our lives, design buffs are ﬁnding themselves drawn to the analog opposite: antiques and vintage furnishings that reﬂect the craftsmanship and quality of earlier times. Joining the many trusted and veteran dealers who have long made our homes beautiful is a bright new crop of design purveyors who combine a sophisticated eye with a fashionable flair and an approach that speaks to a new generation. Whether they specialize in Georgian furniture, Bauhaus objects, or Japanese ceramics, the new vanguard is putting antiques in a fresh context. In a world where information used to be jealously guarded, today’s dealers know that comparison prices are just a Google search away. Transparency and technology are often their keys to success, along with a knack for storytelling and marketing strategies that incorporate social media. Narratives are built around every piece, helping buyers to better understand and appreciate each treasure. As important as the objects themselves are, the spaces in which they are presented are increasingly found in the neighborhoods where their diverse clientele lives—from London’s Dalston to Paris’s Haut-Marais. In New York City, dealers are popping up in neighborhoods from the East Village, in Manhattan, to Bushwick and Greenpoint, in Brooklyn. In the pages that follow, we visit t h ree up -a nd- comer s: L ichen , Claude Home, and Form Atelier, and recommend a few others as well. Each gallery has a distinct aesthetic and design philosophy. And with their well-curated digital presences, they’ve extended their reach and engaged a discerning and enthusiastic new customer base.

DEAL WITH IT Don’t miss these trendsetting New York City galleries for vintage furniture, antiques, and new designs.

LICHEN ED BE AND JARED BL AKE TEA MED UP

Ed Be (left) and Jared Blake inside their 98 Moore Street showroom, one of Lichen’s two locations in Brooklyn. Blake wears a Pyer Moss shirt, and both he and Be are dressed in Dickies pants and shoes. The vintage Eames shelving unit is by Herman Miller, the cocktail table is by Stefan Ayon, and the custom side table is by Lichen. ABOVE RIGHT: A custom metal side table from Lichen.

after meeting on a Craigslist furniture pickup. The two had a lot in common. Both were self-taught in design and, as men of color, had struggled to find antiques and vintage shops where they felt at home. So in 2017, they founded Lichen, specializing in vintage furniture. At first, their inventory was entirely online; today they have two thriving showrooms in Brooklyn. They specialize in well-priced 20th-century pieces by such design greats as Gaetano Pesce, Charles and Ray Eames, and Achille and Pier Giacomo Castiglioni. The duo also design their own furniture, including a Donald Judd–esque cocktail table. In addition, they recently exhibited pieces by emerging artists and designers (James “RONG” Williams III and Soft Studio, to name two) in collaboration with the digital-design platform Pink Essay. Be and Blake have worked hard to create a welcoming space within a historically exclusive world. Their customers include Lichen’s neighbors: young Brooklynites who work in creative fields such as music, fashion, and art. “Empathy has always been an important part of what we do,” Blake says. “We don’t want someone to walk into our store and leave with a complex because everything is out of reach.” lichennyc.com

BI-RITE STUDIO From her gallery in Brooklyn’s Greenpoint, Cat Snodgrass specializes in punchy, Popinspired 20th-century furniture and objects. Her boldly hued aesthetic is well priced and fun, like a 1980s postmodern cocktail table in pink, gray, and aqua. This year, Snodgrass also launched a colorful line of furniture and bookends. biritestudio.com MDFG Brooklyn’s MDFG (Modern Design Furniture Gallery) specializes in rare 20th-century design, from Pierre Jeanneret to Isamu Noguchi, sought after by high-end collectors. Founders Jeffrey Graetsch and Ashley Booth Klein recently moved from a smaller space to a 3,200-squarefoot storefront in Williamsburg on the ground ﬂoor of a Morris Adjmi–designed townhouse. The building’s elegant curved facade sets a perfect tone for the masterworks found within. mdfg.nyc OBJECTS IN GENERAL Marlon Orr, the former head of midcentury furniture at ABC Carpet & Home, now focuses on one-of-a-kind Bauhaus pieces, like a 1930s table designed by Le Corbusier for a Swiss university. Orr and fashion photographer Ellinor Stigle, his wife and business partner, curate exhibitions, often highlighting just one item at a time, at their loft on the Bowery. For the latest news, follow their Instagram, @objectsingeneral.

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CLAUDE HOME M AGGIE HOLL ADAY WAS AN

editorial assistant at a fashion magazine when she started collecting design. There was no turning back. The San Diego native, who operates out of her apartment in New York’s East Village, quickly settled into a chic, minimalist aesthetic. “I buy what I like,” she says. “If I wouldn’t put it in my apartment, I’m not going to buy it.” Her business model is thoroughly modern: She posts images of her offerings—anything from a Gerrit Rietveld Utrecht chair to a 1970s Vladimir Kagan sectional—on her Instagram account, while keeping almost 100,000 followers engaged with archival images of peaceful

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20th-century interiors. She does not offer appointments: Purchases are made via her website (or direct message), aided by the detailed information she provides. This month, Holladay is expanding her own furniture collection, which already includes a channel-back sofa in a creamy Italian bouclé, a dining table, and a marble chaise. For Holladay, though, a beautiful home is not just about standout design—it’s also about a personal touch. “People hide family photos because they want their spaces to be Instagram-friendly, but to me, those memories are the most important thing of all,” she says. claudehome.com

LE F T: A wooden

sculpture by Chandler McLellan from Claude Home. BE LOW: Claude Home’s Maggie Holladay, in a dress and boots by Khaite, is seated on a custom sofa of her own design. The vintage marble cocktail table by Gae Aulenti is topped with a clay sculpture by Le Minou Studio, the vase behind the sofa is by Simone Bodmer-Turner, and the rug is by Nordic Knots.

FORM ATE LI E R A TANG DYNAST Y SCULPTURE.

CLOCK WISE FROM ABOVE: Form Atelier’s

Avril Nolan (left), in a Valentino gown, and Quy Nguyen, in an Hermès shirt and vintage pants, are seated on 1980s Italian chairs in their Brooklyn showroom; the Art Deco silver-leaf screen is Japanese, the mounted vintage Grebo mask is from the Ivory Coast, and the faience rabbit is French. A circa-1960 Jacques Quinet table and Chinese neolithic bi sculpture at Form Atelier. Nolan and Nguyen set a ceremonial spoon from the Ivory Coast in front of an antique Amish quilt. For details, see Resources.

A Japanese Art Deco screen. An 18th-century black basalt Wedgwood vase. For Form Atelier’s owners, Quy Nguyen and Avril Nolan, the common thread is that every object in their showroom must resonate within the context of contemporary life. “Modernity is a state of mind,” Nguyen says. Until recently, the pair, who are partners in life as well as work, operated out of a closet-sized showroom in Manhattan’s SoHo neighborhood. Their business thrived, but the tiny space was limiting. Putting a lot on the line in the midst of a pandemic, they moved in September into a sizable loft space in East Williamsburg. The risk paid off, with their loyal clientele following them out to Brooklyn (where many of them lived). “Just like the pieces we collect, our customers are pretty diverse,” Nolan observes. The pair like to foster an element of discovery. They research everything that passes through their doors, from Scandinavian ceramics to West African objects, unearthing historical depth and buying only from reputable sources. “We see ourselves as custodians,” Nguyen says. “We look after things we love in the same way you would tend a communal garden. Everyone reaps the beneﬁts.” form-atelier.com ◾ ELLE DECOR

CHEC KING IN

HT C I L N R STE NG I Y T R T R O A R B E -T UL B O G L O G M S I L OTE BY H TA L I T Y. H , D E H R I C P LE SPI I BEA UA RY I N S O M H NA HA A N I F A L M O A IN S BY NCT LOV E A S GR APH D O T A N O A S H P LE NSON C R E AT E I B L I F ES T Y O R EY WRIT T

DP EN A N

ITN BY W H D E C RO D U

The living room of Barry Sternlicht’s home in Miami Beach, which he designed with Clint Nicholas of Haus of Design. The custom sofas are in a Loro Piana fabric, the Kimberly Denman armchair is from Jean de Merry, the cocktail table is by (Wh)ore Haüs Studios, and the side tables are from MS Ceramic Design (left) and Galerie Half. The artwork above the staircase is by Andreas Gursky.

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H E WO R L D O F H O S P I TA L I T Y I S

often divided into two camps: the developers and the designers. And then there is the hotel magnate Barry Sternlicht, who straddles both categories. Sternlicht created W Hotels (the international “boutique” chain), 1 Hotels (an eco concept known for its residential feel), and the Baccarat Hotel (the decor incorporates crystal from the famed French brand). He is also chairman and CEO of Starwood Capital Group, a private investment firm with a focus on global real estate. But for all of Sternlicht’s entrepreneurial prowess, one of his biggest strengths has always been his superior design eye. He is an unabashed architecture and design buff, and his eye for detail is the key to his much-lauded projects. Witness the Instagramperfect beveled-glass wall he installed in the Grand Salon of New York’s Baccarat Hotel or the equally photogenic reclaimed wood and plant–filled atrium he placed “It’s a big house, but it’s not an in-your-face house,” Sternlicht says. “I had never inside the 1 Hotel in Brooklyn. before owned a modern house, and I really wanted to try living in a home of this If it’s true that future home style, but I didn’t want it to feel cold.” trends are often found in the hotels That sense of warmth extends to the light hues, a mix of whites, creams, and of today, then there’s no better lab- beiges, and natural materials, including quartz, limestone, and bronze, used throughoratory than Sternlicht’s own out. Sternlicht collaborated on the interior design with Clint Nicholas of the Los showcase houses. His latest is a Angeles–based firm Haus of Design. glass-and-steel gem in a residential The palette was partly inspired by a project that Sternlicht had seen in Malibu by Miami Beach neighborhood. After the architect Scott Mitchell. But he adds that his hand was also forced, rather comipurchasing the spec house, Stern- cally, by none other than his yellow Labrador retriever, Tucker. “I knew that if everylicht totally transformed it with his thing was light, his hair wouldn’t show,” he says. deft touch. “I bought the shell and A sweeping staircase of Sternlicht’s own design leads to an immense living room then I said, ‘OK, I’m taking over,’” anchored by a triple-height fireplace, a space he refers to as his home’s “lobby.” (Hotehe says via Zoom from his office at liers definitely know something about making an entrance.) Starwood’s headquarters in Miami Much of his extensive collection of art and decorative objects was purchased at a Beach, not far from his home. handful of global art fairs. Sternlicht acquired a monumental Andreas Gursky photoHe started with the exterior, graph recently at Art Basel and borrowed a sterling collection of African art from his replacing window mullions on other residences in Nantucket and New York City. As studied as the final product the 14,000 -square-foot manse appears, however, Sternlicht isn’t precious about it. “I just brought the pieces down, and reworking the hardscape. and we found places for them,” he says. Many furnishings were custom made for the The eaves under the roof line home, including the living room’s cream sofas and a giant quartz counter in front of were covered in a pekoe-wood the bar. The main bedroom’s dramatic floating bed, which faces a view of Biscayne veneer, which helps to soften the Bay through a large plate-glass window, was based on a similar design he saw at the angular facade of the home. Upper House hotel in Hong Kong. 84

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LE F T: The home’s courtyard centers on a pool with

a Hydrazzo ﬁnish in Mediterranean Blue. The chaise longues, in a Sunbrella fabric, and umbrellas are from Teak Warehouse. ABOVE: Sternlicht and his yellow Labrador retriever, Tucker, in the library. The custom sofa is from Wabi, the vintage cocktail table is by Vladimir Kagan, and the rug is by Stark. A collection of trilobite fossils is displayed on custom walnut shelves.

RIGHT: Polished-concrete

steps lead to the front door of the home, which is ﬁtted with Fleetwood windows. The artworks include geese from Erin Martin Design. FAR RIGHT: In the living room, the custom chairs and ottoman are upholstered in a Holly Hunt fabric, the Senufo stools are from Africa, and the rug is by Woven Accents. The ceiling is clad in pecky cypress, and the artwork is by Andreas Gursky.

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ABOVE: The billiard table in the bar and

games room is from RH, Restoration Hardware. The (Wh)ore Haüs Studios stools are upholstered in a Rogers & Goffigon alpaca bouclé, the bar’s countertop is white quartz, the mobile is from Rewire, and the framed artwork on the wall is by Michele Oka Doner. OPPOSITE: In the breakfast room, the custom dining table is surrounded by chairs from RH, Restoration Hardware, the curtains are of a Holland & Sherry fabric, and the antique wooden bust was purchased in Argentina.

As much as Sternlicht put his handprint on the interiors of his Miami Beach home, it’s when talking about his property’s landscaping that he really lights up. “I grew up in the Northeast as one of three boys who loved to be in the garden with my mom,” he says with a hint of nostalgia. “I know my impatiens from my pachysandra.” But gardening in a tropical climate like Florida is something else altogether. “It’s totally different in Miami Beach: Did you know there are more than 50 kinds of palm trees? Picking the correct one and getting the scale right is the tricky part, because they grow like weeds. So now I have a jungle on my hands.” Which is not to say that Sternlicht is playing Howard Hughes in some Henri Rousseau tropical fantasy. He is planning for the day, post-COVID, when his home will be “an amazing party house.” “All the doors open, and the rooms spill onto the lawn,” he says. “I also furnished the roof deck, which has a really pretty view.” About that, says the hotelier, he has no reservations. ◾ ELLE DECOR

ABOVE: The main bed-

room’s chairs and cocktail table are from L’Artigiano Studio, and the 1940s Swedish ﬂoor lamp is from Galerie Half. The curtains are of a Holland & Sherry sheer and a Coraggio alpaca, and the walls are clad in a Great Plains fabric from Holly Hunt. LE F T: In the library, a backgammon table from Orange Furniture is surrounded by vintage chairs from the Brimﬁeld Flea Market. RIGHT: Custom steeland-glass doors in the main bathroom lead into the shower. OPPOSITE : A custom staircase with a bronze railing extends from the central courtyard in front of the home. For details, see Resources.

ELLE DECOR

A HOUSE OF

HER OWN AFTER 50 YEARS LIVING ABROAD, ARTIST ANITA CALERO RETURNS TO HER NATIVE COLOMBIA AND DESIGNS A HOME THAT IS UTTERLY HERS. BY PAOL A SINGER PHOTOGR APHS BY ANITA CALERO PRODUCED BY INGRID ABR A MOVITCH

The exterior of photographer Anita Calero’s home, which she designed herself, in the mountains of Cali, Colombia. The roof is made from asphalt, the decking’s achapo wood is native to Colombia, and the urn was purchased in Sag Harbor, New York. Calero’s dog, Lulow, can be seen through the window.

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In the homeâ&#x20AC;&#x2122;s kitchen, the cabinetry and countertops are custom, the stove and dishwasher are by Bosch, the sink is from Blanco, the water pitcher is from Turpan, and the artwork is by Calero. The living room chairs in the foreground are midcentury Danish, the white sofa is Finnish, the coffee table is by George Nakashima, and the rug is by Dolma. OPPOSITE , FROM TOP: Calero, wearing a vintage Susie Tompkins dress, stands on the deck. A downstairs area of the home features wood pieces left over from construction that were placed to mimic the New York City skyline; the hammock is from Anuiki, and the birdcage (center) is from Bloom.

PORTR AIT: HAROLD VALENCIA

NITA CALERO HAS NEVER REALLY CARED FOR

conventions. In her teens, she said goodbye to a cosseted life in her hometown of Cali, Colombia, to study in Europe, where she immersed herself in both the hippie and punk countercultures of the late 1960s. In her 20s, she left the stability of her marriage to a man to explore her feelings for a woman, then moved to New York City in pursuit of her artistic dreams. “I’m the only one of my siblings who didn’t ﬁnish college,” she says. “Everyone else is married with children and grandchildren. They followed the rules. I just wanted to be Anita.” Shortly after arriving in Manhattan in the late ’70s, Calero found her calling as a prop stylist and still-life photographer. She gained notoriety for her sublime images that show painstakingly arranged, highly evocative compositions: a delicate ﬂower that bends just so against the wind, or a piece of fruit that comes alive under a ray of sunshine. Over the past four decades, she has risen through the creative ranks, collaborating with top magazines and luxury brands such as Bergdorf Goodman and Costume National, all while being resolutely herself. So her decision to return to Cali, a place that in her youth represented staidness, may have come as a surprise to friends and colleagues. But like everything else, Calero did this on her terms: “I’m a

Virgo, which means I’m very organized. When I turned 60, I started to think about coming back,” says the artist, who is now 68. “I wanted to build a house where I could ease into old age, and I wanted to be the one to design it.” Instead of looking for an urban property, she went up into the mountains that surround Cali, which is in the Cauca Valley of western Colombia, and found a hillside plot with sweeping city views. She tore down an existing structure and began to dream up a home that suited her sensibilities. Her concept was both simple and masterful: a pitched-roof house with tall ceilings, big windows, and lots of wood, built perpendicular to the downslope of the hill, almost as if suspended in the air. “It’s so special and beautifully situated,” says creative director Peggy Bennett, a longtime friend of Calero’s who visited the artist in Cali last year. “The mountain rises up in the back, and in the front it just disappears from view; all you see is a huge avocado tree that grows from below the railing of the deck.” As a lover of the natural world, Calero wanted the subtropical foliage of the Cauca Valley to have a starring role in her design. The exterior of the house was painted black to make the greenery stand out. Inside, glass panes with thick wooden frames display vibrant views of overgrown ferns and lanky palms and blooming trees, backed by Cali’s sprawl in the distance. The main living area, a large, open space surrounded by a cantilevered deck made of local achapo wood, is furnished with cherished pieces from Calero’s previous homes in Ma n hatta n a nd the Ha mptons: a round George Nakashima table with matching chairs in walnut and woven grass, a set of Hans Wegner lounge chairs with pillows upholstered in linen, and a Carl-Gustaf Hiort af Ornäs armless sofa. Throughout the home, there is a balance between strength and softness, between the sharp lines of

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In the upstairs dining room, the dining table, chairs, and stools (right) are by George Nakashima, the ďŹ&#x201A;oor lamp is from OK, the pendant light (left) is from the Conran Shop, the deer head is German, the broom is made from palm fronds and is traditionally used by street sweepers, and the rug was purchased in Munich.

ELLE DECOR

ABOVE: The primary bedroom

features nightstands made by Calero’s mother. The midcentury lamps are German, and the small Tibetan rug is vintage. A vintage Japanese fabric hangs above the bed. BE LOW: In a guest bathroom, the Thai sink and ﬁttings, bought in the Hamptons, sit atop a custom cement countertop. The Agape mirror is from Moss, and the stool is from Bloom.

It’s like the “ showroom of my soul.” ANITA CALERO

ABOVE: The guest office features a recycled-plastic desk from the Netherlands and a vintage chair from an ice cream parlor; the storage boxes (left) are from the Container Store, the midcentury lamp is from Paris, and the rug is by West Elm. The wall (left) is covered in panels by artist Richard Wood.

the interiors and the fluidity of the rustling leaves right outside, between the rusticity of the wood floors and ceilings and the delicacy of carefully arranged objets d’art. “A person can walk into this space and know exactly who I am, even if I don’t say a word,” Calero says. “It’s like the showroom of my soul.” Calero has succeeded in building the house of her dreams, yet she never intended for her homecoming to be permanent. For the past few years, she has been splitting her time between Cali and Barcelona, where her photographer partner, Gemma Comas, is based. When the pandemic hit, Calero was in Colombia getting ready to fly to Spain. As of October, she had not yet been able to leave the country, which has imposed strict lockdowns. “This house is perfect and I can’t complain, but there are so many things I miss,” she says with a sigh. In true Anita fashion, she has made the most of the situation. In June, she was asked to photograph the home of Latin music superstar J Balvin, and since she wasn’t allowed to travel to Medellín (domestic Colombian travel was limited at the time), Calero directed the entire shoot via FaceTime. “I don’t like taking ‘no’ for an answer, so I had to find a way to make it work,” she says. “Life goes on. Nothing is going to stop my creativity.” ◾

In Caleroâ&#x20AC;&#x2122;s office, the custom daybed is topped with vintage linens, the desk chair is vintage, the sculpture is a store-mannequin arm, the lamp is from ABC Carpet & Home, and the rug is French. For details, see Resources.

ELLE DECOR

RESOURCES Items pictured but not listed are from private collections. CONTENTS PAGES 10–12: Dress: Valentino,

valentino.com. Shirt: Hermès, hermes.com. Club chair: Dune, dune-ny.com. Club chair fabric: Romo, romo.com. Benches: Christian Liaigre, liaigre.com. Benches leather: Keleen Leathers, keleenleathers.com. TRUTH IN DECORATING PAGES 36–38: Courtney McLeod, rightmeetsleftdesign.com. Krsnaa Mehta, indiacircus.com.

STUDIO VISIT

Amir Mortazavi, studio mortazavi.com. Villa San Francisco, villasanfrancisco.org. PAGES 42–44: Sofa: Yves Béhar, fuseproject.com. Artworks: JR, jr-art.net; Mrzyk & Moriceau, 1000dessins.com. BACK AT THE RANCH

Interior design: Steven Gambrel, srgambrel.com. Landscape design: Scott Shrader, shrader design.com. PAGES 56–57: Chairs: Bielecky Brothers, bieleckybrothers .com. Chair cushions fabric: Janus et Cie, janusetcie.com. Table and pots: Inner Gardens, innergardens.com. PAGES 58–59: Bench and plant pots: Inner Gardens. Teak bowl: Andrianna Shamaris, andriannashamaris inc.com. Banquette fabric: Janus et Cie. Chairs fabric: Perennials, perennialsfabrics .com. Table: Groundwork, groundworkhome.com. Sofa: Dune, dune-ny.com. Sofa fabric: Cowtan & Tout, cowtan .com. Chairs fabrics: Arabel, arabelfabrics.com. Tray: Robert Kuo, robertkuo.com. Artwork: Lukas Machnik, lukasmachnik .com. PAGES 60–61: Stools cushion fabric: Dualoy Leather, dualoy.com. Range: Lacanche, frenchranges.com. Table lamp: JF Chen, jfchen.com. Tray: Made Goods, madegoods.com. PAGES 62–63: Shower fittings: Zucchetti, zucchettikos.it. Lamp base: Eric Roinestad, erstudiola.com. Bowls: Balsamo, balsamoantiques .com; JF Chen. Bed: Dune.

Bench cushion: Janus et Cie. Nightstand: Kathy Kuo Home, kathykuohome.com. Coverlet: Annie Selke, annieselke.com. Rug: J&D Oriental Rugs Co., jdorientalrugs.com. SURPRISE, SURPRISE

Interior design: Amaro Sánchez de Moya, amarosanchezdemoya .com. PAGES 64–65: Sofa fabric: Nobilis, nobilis.fr. Screen fabric: Pierre Frey, pierrefrey .com. Wallcovering: Matthew Williamson, matthew williamson.com. PAGES 66–67: Curtain fabric: Alessandro Bini, alessandrobini.com. PAGES 68–69: Bed linens: Matarranz Ropa de Casa, matarranz1911.com. Wallcovering, curtains, and settee fabric: Zuber, zuber.fr. Bathtub and fittings: Cifial, cifial.co.uk. Sink: Ceramica Althea, en.altheaceramica.com. FORTRESS OF SOLITUDE

Interior design: Yann Le Coadic and Alessandro Scotto, lecoadicscotto.com. Architecture: Taller, tallerdearquitectura.com.mx. PAGES 70–71: Daybed cushions: Khadi Oaxaca, khadioaxaca .com. PAGES 72–73: Sofa fabric: Pierre Frey, pierrefrey.com. PAGES 74–75: Bed linens: Coco-Mat, coco-mat.com. Bed linens: Khadi Oaxaca. Sink: Allia, houseofrohl.com. COOL, COLLECTED PAGES 78–79: Shirt: Pyer Moss, pyermoss.com. Pants and shoes: Dickies, dickies.com. PAGES 80–81: Dress and boots: Khaite, khaite.com. Gown: Valentino, valentino.com. Shirt: Hermès, hermes.com.

CHECKING IN?

Interior design: Clint Nicholas, instagram.com/hausofdesignla. PAGES 82–83: Sofas fabric: Loro Piana, loropiana.com. Armchair: Jean de Merry, jeandemerry.com. Cocktail table: (Wh)ore Haüs Studios, whorehausstudios.com. Side tables: MS Ceramic Design, mscdinc.com; Galerie Half, galeriehalf.com. Artwork: Andreas Gursky, andreasgursky .com. PAGES 84–85: Chaises

fabric: Sunbrella, sunbrella .com. Umbrellas: Teak Warehouse, teakwarehouse .com. Rug: Stark, starkcarpet .com. Windows: Fleetwood Windows & Doors, fleetwood usa.com. Artwork: Erin Martin Design, erinmartin.com. Chairs and ottoman fabric: Holly Hunt, hollyhunt.com. Rug: Woven Accents, woven.is. Artwork: Andreas Gursky. PAGES 86–87: Billiard table: RH, Restoration Hardware, rh.com. Stools: (Wh)ore Haüs Studios. Stools fabric: Rogers & Goffigon, rogersandgoffigon .com. Mobile: Rewire, rewirela .com. Artwork: Michele Oka Doner, micheleokadoner.com. Dining chairs: RH, Restoration Hardware. Curtains fabric: Holland & Sherry, hollandand sherry.com. PAGES 88–89: Chairs and cocktail table: L’Artigiano Studio, lartigianostudio.com. Lamp: Galerie Half. Curtains fabrics: Holland & Sherry; Coraggio, coraggio.com. Wallcovering: Holly Hunt. Backgammon table: Orange Furniture, orange furniture.com. A HOUSE OF HER OWN

Interior design: Anita Calero, anitacalero.com. PAGES 92–93: Stove and dishwasher: Bosch, bosch.us. Sink: Blanco, blanco.com. Water pitcher: Turpan, turpanonline.com. Coffee table: George Nakashima, nakashimawoodworkers.com. Rug: Dolma, dolmarugs.com. Hammock: Anuiki, anuiki.com. PAGES 94–95: Table, chairs, and stools: George Nakashima. Floor lamp: OK, okthestore .com. Pendant light: The Conran Shop, conranshop.co .uk. PAGES 96–97: Boxes: The Container Store, containerstore .com. Rug: West Elm, westelm .com. Lamp: ABC Carpet & Home, abchome.com. NOT FOR SALE PAGE 100: Fabric: Thibaut,

thibautdesign.com. Rug: Solo Rugs, solorugs.com. Books: Juniper Books, juniperbooks .com. Backdrop: Society6, society6.com.

STATEMENT OF OWNERSHIP, MANAGEMENT & CIRCULATION 1.

Publication Title: ELLE DECOR

Publication Number: 0005-5830

Filing Date: October 1, 2020

Issue Frequency: Monthly; except combined in January/February and Summer

No. of Issues Published Annually: 9

Annual Subscription Price: $15.00

Complete Mailing Address of Known Office of Publication: 300 West 57th St., New York, NY 10019

Complete Mailing Address of Headquarters or General Business Office of Publisher: 300 West 57th St., New York, NY 10019

Full Names and Complete Mailing Addresses of Publisher, Editor, and Managing Editor: Publisher: Jennifer Levene-Bruno, 300 West 57th St., New York, NY 10019 Editor: Asad Syrkett, 300 West 57th St., New York, NY 10019 Managing Editor: Jeffrey Bauman, 300 West 57th St., New York, NY 10019

10. Owner: Hearst Magazine Media, Inc., 300 West 57th St., New York, NY 10019 Stockholder of Hearst Magazine Media, Inc., is: Hearst Communications, Inc., 300 West 57th St., New York, NY 10019. 11.

Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None.

12. Tax Status: Not applicable. 13. Publication Title: ELLE DECOR 14. Issue Date for Circulation Data: September 2020 15. Extent and Nature of Circulation: Average No. Copies Each Issue During Preceding 12 Months:

No. Copies of Single Issue Published Nearest to Filing Date:

601,508

607,351

b. 1. Mailed outside-county paid subscriptions stated on PS Form 3541 (include paid distribution above nominal rate, advertiser’s proof copies, and exchange copies):

411,324

420,283

2. Mailed in-county paid subscriptions stated on PS Form 3541 (Include paid distribution above nominal rate, advertiser’s proof copies, and exchange copies):

n/a

22,799

12,600

n/a

434,123

432,883

a. Total no. of copies (net press run):

3. Paid distribution outside the mails including sales through dealers and carriers, street vendors, counter sales, and other paid distribution outside USPS®: 4. Paid distribution by other classes of mail through the USPS® (e.g., First-Class Mail): c. Total paid distribution [sum of 15b (1), (2), (3), and (4)]: d. 1. Free or nominal rate outside-county copies included on PS Form 3541:

94,610

96,864

2. Free or nominal rate in-county copies included on PS Form 3541:

n/a

3. Free or nominal rate copies mailed at other classes through the USPS® (e.g., First-Class Mail):

n/a

12,802

13,410

4. Free or nominal rate distribution outside the mail (carriers or other means): e. Total free or nominal rate distribution [sum of 15d (1), (2), (3), and (4)]:

107,412

110,274

f. Total distribution (sum of 15c and 15e):

541,535

543,157

g. Copies not distributed: h. Total (sum of 15f and 15g): i. Percent paid (15c divided by 15f times 100) 16. a. Requested and paid electronic copies

ELLE DECOR (ISSN 1046-1957) Volume 31, Number 9, December 2020, is published monthly except for combined issues in January/ February and Summer, by Hearst, 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Mark E. Aldam, Chief Operating Officer. Hearst Magazine Media, Inc.: Debi Chirichella, Acting President, Hearst Magazines Group & Treasurer; Kate Lewis, Chief Content Officer; Kristen M. O’Hara, Chief Business Officer; Catherine A. Bostron, Secretary. © 2020 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.

ELLE DECOR

b. Total requested and paid print copies and requested/paid electronic copies (15c) c. Total requested copy distribution (15f) and requested/paid electronic copies d. Percent paid and/or requested circulation (both print & electronic copies)

59,973

64,193

601,508

607,351

80.17%

79.70%

28,995

43,500

463,118

476,383

570,530

586,657

81.17%

81.20%

17. Publication Statement of Ownership If the publication is a general publication, publication of this statement is required. Will be printed in the December 2020 issue of this publication. 18. Signature and Title of Publisher I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including civil penalties). Jennifer Levene-Bruno Publisher

We may be keeping our distance, but we are in this together.

Stay Calm. Stay Connected. Stay Active.

Go to AloneTogether.com for ways to take care of yourself and others.

NOT FOR SALE

Completely Charmed A LUXURIOUS TRUNK EMBELLISHED WITH BRASS SYMBOLS ASKS US TO LOOK INWARD FOR MEANING. PHOTOGR APH BY PHILIP FRIEDM AN

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 ED’s choice.

Across its collection, the jewelry brand Foundrae employs a lexicon of symbols ranging from numbers to the classical elements of nature, rendered in gold, enamel, and various stones. Clients choose icons that represent the qualities they hope to embody: A lion is meant to impart strength, for example, while metal bestows tenacity. Despite not being wearable, this trunk offers a similar talismanic power. Handmade from lacquered wood, covered in leather, and ﬁnished with brass symbols from the brand’s full array, it was inspired by a quilt-ﬁlled chest that Foundrae cofounder and creative director Beth Bugdaycay saw at the foot of her parents’ bed in her childhood home, as well as by Moroccan wedding trunks with brass designs. As Bugdaycay explains: “I wanted this trunk to be a private retreat, containing cherished items and plenty of storage for our most treasured heirlooms.” —Kate McGregor foundrae.com

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