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FABIEN CHARUAU
A view of the living room of Srila Chatterjee and Mahesh Mathai’s Mumbai apartment, page 80.
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LE F T: The drawing room of Ava
CONTENTS
WELCOME TO THE ISSUE 29
POV A look at urban design in a post-COVID world. Plus: An ode to city life today 35
WHAT’S HOT
BUILDER 55
TOOLBOX Part engineering marvel, part sculpture for the home, the statement staircase is having a moment. BY KATHRYN O’SHEAEVANS
106
The best design discoveries
RESOURCES
38
108
SHOWCASE The latest jewelry and tabletop items from Tiffany & Co. Plus: A new Cartier boutique opens in San Diego 42
TRUTH IN DECORATING Designers Christine Gachot and Rayman Boozer on the best new pieces from Milan, Europe’s furniture capital 46
SHORTLIST Alfredo Paredes and eight things he can’t live without 48
DANIEL’S KITCHENS Chef Daniel Boulud turns Thanksgiving leftovers into turkey potpie. AS TOLD TO MICHELE HUMES
52
RSVP Florence Lopez’s lively design for Mon Square, the hot Paris restaurant. BY WILLIAM MIDDLETON
NOT FOR SALE An eye-catching patchwork rug from Kyle Bunting
picture of gracious living without sacrificing the cool elegance of New York. BY DAVID NETTO DESIGNER TOM SCHEERER
80
THE MAXIMUM EFFECT In a century-old Mumbai apartment, a design entrepreneur and a filmmaker have styled a bold, immersive space that keeps dreams alive even in the most challenging times.
In the entry of the Milan apartment of Emiliano Salci of Dimorestudio, page 66.
DESIGNERS SRILA CHATTERJEE AND MAHESH MATHAI
86
FEATURES 60
TROOP BEVERLY HILLS For longtime clients, Michael S. Smith brings a jamboree of eclectic styles to a house in the wilds of Hollywood.
THE SPANISH AFFAIR
92
98
HOMECOMING
Isabel López-Quesada reimagines the legendary Madrid apartment where Ava Gardner once lived and partied until sunrise.
For a young family returning to their Pittsburgh roots, Janine Carendi MacMurray fashions a house that melds history and modernity.
CINCINNATI RISING
BY PAOLA SINGER DESIGNER ISABEL LÓPEZQUESADA
BY STEPHEN HEYMAN DESIGNER JANINE CARENDI MacMURRAY
Photographer Jerald Cooper turns his lens on unsung masterpieces. Here, he shows off some gems from his Ohio hometown. TEX T AND PHOTOGR APHS BY JERALD COOPER
BY JANELLE ZARA DESIGNER MICHAEL S. SMITH
66
DREAMING IN ITALIAN In Milan, Dimorestudio’s Emiliano Salci creates an atmospheric nest with theatrical flair befitting its storied surroundings.
ON THE COVER A view into the living room of Emiliano Salci’s apartment in Milan. PHOTOGR APH BY ANDREA FERRARI
BY MARELLA CHIA DESIGNER EMILIANO SALCI
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A VIEW OF MANHATTAN In a Park Avenue apartment, Tom Scheerer conjures a
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Gardner’s former apartment in Madrid, designed by Isabel López-Quesada, page 86.
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WELCOME TO THE ISSUE The New Orleans dining room of author Julia Reed (below), September 2012.
I
IN MEMORIAM
JULIA REED A Flower Flash on New York’s Fifth Avenue by Manhattan florist Lewis Miller.
S TAYED. B EC AUSE I D O N ’T FEEL SA FER O R H A PPI ER
anywhere else. Even during the darkest moments of the pandemic, when cities across the globe shut down, urban streets still offered some of the magic that draws millions to them. I know—I walked them daily. The facade of a closed Met still offered the hope of all that was inside. As we enter a new chapter of this global crisis, and as cities around the world manage both progress and unpredictability, we pay tribute to the spirit of the metropolis, the soul and character and beauty that have proven invincible. They are all evident in this issue and will also be on display in a two-day virtual event this fall Asad Syrkett. at New York’s 92nd Street Y that ELLE DECOR is proud to be a part of, not least because we love its name and all the faith and vision it implies: “City of Tomorrow” (92y.org/real-estate-summit). On October 13 and 14, please join us and our sponsors, EQ Office, SCAD, and YLighting, as leaders in design, architecture, real estate, and city planning and policy discuss what New York might look like in a post-COVID world. How can we make a city healthier? How can we build a more equitable and sustainable future through public policy, infrastructure, urban planning, and design? You will see me there, too, preaching my citymouse gospel. And you will meet Asad Syrkett, whose name appears for the first time in this issue at the top of the ELLE DECOR masthead as editor in chief. His mark on the magazine will become clear in the months ahead, but I knew when we had dinner outside recently, as soon as it was safe to do so in this city that we both adore, that Asad was a singular talent who loves all that ELLE DECOR stands for—the absolute best of design—while also having an acute understanding of everything else that it can be. He, like all of us, believes in the joy and power of design, and in the indisputable fact that it can change the world. Please join me in welcoming him to this wondrous world of ELLE Stellene Volandes Editorial Director, ELLE DECOR DECOR and, hopefully soon, to a city near you. 22
ELLE DECOR
There is one piece missing in this issue. Our tribute to cities around the world was scheduled to include the newly decorated New Orleans home of beloved ELLE DECOR contributor Julia Reed, who died at 59 on August 28 after a long battle with cancer. No one told a story like Julia, and no one hosted a party like her either. And we know ELLE DECOR readers always felt invited to one of her unforgettable cocktail parties whenever Julia wrote for the magazine. I first met her when I was Michael Boodro’s assistant at Vogue. Michael was Julia’s editor, and so I became her assistant too. She was everything I wanted magazine people—all people—to be. I still have her Rolodex card with all her phone numbers and can hear her voice on her answering-machine message in New Orleans: “You have reached 504-525...” in that amazing timbre. Anyone who has ever read a Julia Reed story—or the lucky ones who got to hear them in person—knows that voice. It was, like Julia herself, unforgettable. —S.V.
Reed’s library in New Orleans’s Garden District.
LEWIS MILLER DESIGN: NOEL Y. CALINGASAN @NYCLOVENYC; SYRKET T PORTR AIT: AUDREY LEVINE; INTERIORS: WILLIAM WALDRON; REED PORTR AIT: ERIC ENGL AND
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Buckminster Fuller’s Dome over Manhattan concept as interpreted in the 1980s by photographer Santi Visalli. Produced by Charles Curkin
The New Metropolis
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URBAN DESIGN WILL CHANGE IN OUR POST-COVID WORLD—WITH SKY-HIGH POTENTIAL FOR PROGRESS.
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RENCH NOVELIST AND SERIAL PROVOCATEUR MICHEL
Houellebecq told a radio audience in May what he believed the world would be like in the wake of the coronavirus pandemic. “It will be the same,” the writer declared. “Just a bit worse.” While Houellebecq’s pessimism shouldn’t be taken as gospel, it does serve as a useful tonic to some of the wilder-eyed prognostications about the post-COVID future that have emerged over the last few months. From houses to cities to workplaces, big changes are said to be afoot; repeatedly, critics and designers have drawn comparisons to the 1920s, when the devastating Spanish flu helped give rise to the modernist revolution in architecture, its spare,
sunlit aesthetic promising a built environment for a healthier tomorrow. Especially paired with the other simultaneous crises of our moment (economic, social, climatological), there’s a strong case to be made that we could be on track for an urban transformation every bit as sweeping as that which happened a century ago. Of course, we always could be. The past is littered with unrealized visions for the modern metropolis, from Norman Bel Geddes’s gee-whiz “Futurama” exhibition for the 1939 World’s Fair to the trippy dome-shielded Manhattan imagined by midcentury polymath Buckminster Fuller. It isn’t that such high-concept proposals don’t yield any results; in fact, bits and pieces of them frequently hide in ELLE DECOR
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POINT OF VIEW
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ELLE DECOR
The Theme Building, completed in 1961, at Los Angeles International Airport.
London-based Baca Architects have set an upcoming U.K. housing development on piles above the ground, surrounded by floodable gardens. Low on spectacle, high on ingenuity, the emerging urban prospect may not always set the imagination af lame, though—and there will always still be room for grander schemes, projects like China’s Xiong’an New Area, with its automated traffic-controlling “city brain,” or Japan’s Woven City, a hydrogen-powered community. Yet as often as not, such techno utopias not only fail to reckon squarely with the nitty-gritty problems facing the world, they also become dated fast: No doubt Osaka’s Expo ’70 seemed forward-looking at the time, but would anyone really want to live inside a giant molded-plastic dystopia today? In any case, more modest interventions can have pleasures all their own. As in Los Angeles, which is moving forward with the rehabilitation of its eponymous river, rewilding projects are poised to supplant the concrete jungle with actual jungle. In St. Louis, an ambitious plan from Stoss Landscape Urbanism, called the Loop + the Stitch, is set to revitalize the city not with elaborate new development but with pedestrian-friendly armatures connecting rich and poor neighborhoods, an attempt at physical rehabilitation for the country’s fractured body politic. With no grand programs in the offing and no bracing agendas on the A rendering of horizon, the future might very well be the Loop + the Stitch a lot like the present. Except maybe, if project in St. Louis. we’re lucky, a bit better. ◾
AIRPORT: AL AMY; RENDERING: STOSS L ANDSCAPE URBANISM
plain sight—the megastructure fantasias of the 1960s live on in projects like River Park Towers in New York City, a housing and recreational complex straddling a highway and railroad, and every visitor to Los Angeles International Airport gets a f leeting glimpse of the late-’50s space-age dream, courtesy of the celebrated Theme Building. But these are only fragments, intimations of the city as it might have been: not “constituent facts” (to recall 20th-century theorist Sigfried Giedion) but transitory gestures en route to the city’s true form. So what might be some real “constituent facts” in evidence today? “The first thing to recognize is that cities are going to be going broke,” says Greg Lindsay, a fellow at the urban think tank NewCities. Forget about bold infrastructural masterstrokes, like Elon Musk’s much-touted Hyperloop transit system: The f inancial fallout from the pandemic-induced recession will lead to less new construction overall and more “living with what’s already built,” as Lindsay puts it. For many cities and their citizens, that means small-ball strategic responses to anticipate future disease outbreaks, whether that’s people moving out of the center of town to more spacious work-from-home digs, or more warehouse- and delivery-based stores and restaurants instead of crowded commercial spaces on Main Street. The city might work a bit differently after COVID-19, but it won’t necessarily look that different. As to what does get built, the solutions likeliest to catch on aren’t all that dramatic in themselves. For transportation, look at what’s working elsewhere—dedicated bus-only lanes, rolling out now on an expanded scale in Boston, are economical and eco-friendly, and in the best cases (see Mexico City) they can be genuine visual enhancements to the streetscape. To address inequality, there’s still plenty of room for new affordable housing, but look also to conversions of existing building stock, like Chicago’s ongoing adaptive reuse of the gorgeous Lawson House YMCA. Climate change is already in train; to combat the rising waters,
design Mario Bellini - www.bebitalia.com
POINT OF VIEW
T
HIS PAST SPRING, AS
In recent years, as prices The Macy’s people a round the pushed the young and creThanksgiving ative to urban peripheries (or world fled cities for Day Parade in New York City, au-dela du Périph, if you’re in country houses and 1988. Paris), a lot of money went suburbs, a common into trying to replicate certain refrain was that they were salient elements for those who leaving because cities were didn’t like the hassle and no longer the bustling unglamorous aspects of urban metropolises that had originally lured them. Who, given life. In New York, there were the choice, would stay in a food-hall outposts of Di Fara Pizza and Katz’s Delicatessen, packed urban center when luxury developments built untethered from the anchor of offices and schools? around the concept that one A lot of people, as it turned should never have to venture out—myself included. I live in into the surrounding neighborhood and interact with New York City with my husband, and despite the general one’s neighbors, and—maybe experience of being largely worst of all—the much-aped reduced to the cramped conBrooklyn aesthetic, which was anathema to the very idea fines of my apartment, leavof a place where individual ing didn’t make much sense to expression is a hallmark. me. I liked New York even But now, there is a sense when I was mostly sitting that for all of the year’s hardinside my home, dreading ships, cities like New York trips to the grocery store. I have regained a little breathliked talking to my neighbors ing room. In Tokyo, life has and taking socially distanced walks with friends. Social life fou nd some mod ic u m of had been curtailed, but there normalcy—sort of: According to the Washington Post, were still stoops and sidewa l k s , pa rk s a nd people face-to-face meals in public watching. As so many were are still discouraged. “Customers in restaurants are divorcing the city amid the encouraged to sit side by coronavirus, it felt like I was going through a life crisis and side,” the Post reports, “to refrain from talking as much realizing that I had married AS GLOBAL CAPITALS the right person after all. as possible, and to consider SHUT DOWN THIS YEAR, There was a widespread listening to the background SOME PEOPLE RAN music a little more.” assumption that the coronaFOR THE HILLS WHILE We’ve turned our attention virus had exposed the underlying lie of city life, revealing back to the spaces we actually OTHERS STUCK IT OUT. live in and who we really are. what was, beneath the flashy BY KIM VELSEY facade, a miserable existence. “Design was already going In reality, it simply revealed toward aesthetic personalizathat a lot of people didn’t much like urban life. While they tion,” says ELLE DECOR A-List designer Thom Filicia. “Now may have enjoyed aspects of it—the vibrancy, the creativity, I think we’ll see a lot more lifestyle personalization as well.” Urbanites have been spending more time at home lately, the sense of infinite possibilities or, at least, the infinite shopping and dining options—they didn’t much care for the but, if anything, that’s been a reminder of how much our conditions that sustained and supported those things: the cramped apartments are, in many ways, the essence of why we remain. They heighten our appreciation of the little noise, the density, the mess. What has been interesting about the coronavirus is that, things: say, having a window in the kitchen or a coat closet by temporarily stripping cities of their allure, it has forced a in the foyer. They make hiding our true tastes and selves reckoning that might not have come for years. “Cities are incredibly difficult—besides, your neighbors know all of going through a shift, but one that we need to keep them your habits by now. And they encourage us to live a lot of vital and alive, with young creative people flowing into our lives outside, open to the people and possibilities that them,” says ELLE DECOR A-List designer Miles Redd. surround us. With masks on, of course. ◾ 32
ELLE DECOR
ELLIOT T ERWIT T/MAGNUM PHOTOS
FOR THE LOVE OF CITIES
Pug Pendant by Terzani | JWDA Table Lamp by Menu | Perspective Console by Lyon Beton
J U L I A N C H I C H ES T E R .C O M NEW YORK | ATLANTA | HIGH POINT | LONDON
THE BEST DESIGN DISCOVERIES
A Most Primary Color BRING A FUNDAMENTALLY FIERCE GLAMOUR TO BEDDING AND ACCENTS ALIKE. Part of K3, a new home-and-lifestyle brand from Japanese designer Kenzo Takada, this Maiko bedding, a collaboration with Sferra, features red, pink, and gold prints inspired by the kimonos and makeup of geisha apprentices. From $85 for a sham. sferra.com. Hampstead bed, $3,395. williams-sonoma.com
ELLE DECOR
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WHAT’S HOT
THE BEST DESIGN DISCOVERIES
With its cherry glazed-ceramic base, Vaughan’s Shoreham table lamp offers a contemporary and eye-catching take on a midcentury-modern lighting fixture. 9″ dia. x 18.5″ h., price upon request. vaughandesigns.com
A nod to the work of the Spanish Surrealist artist Joan Miró, this solid birch Mira side table by Maison Dada, in a glossy finish, melds an undulating, cerebral top with a precisely fluted base. 34.5″ w. x 21.5″ d. x 15.5″ h., $1,003. maisondada.com
NEWS FROM THE WORLD OF DESIGN The new Steven Holl–designed Nancy and Rich Kinder Building at the Museum of Fine Arts, Houston, is set to open November 21. Walking the tunnel of chromatic light by the late artist Carlos Cruz-Diez will be worth the price of admission. Beni Rugs offers handmade creations like this Key flatweave design, made of wool from sheep raised in the Atlas Mountains and employing Berber weaving techniques. From $875 for 5′ x 7′, available in other colors. benirugs.com
In January, the Black Artists + Designers Guild will unveil Obsidian, a virtual showhouse in Oakland, California, and a celebration of Black family identity. At Christie’s, the long-awaited Jayne Wrightsman auction took place on October 14. Lots from the late philanthropist’s collection included an Odalisque painting by Jean-Auguste-Dominique Ingres.
These handblown Murano glasses by Italian brand Stories of Italy for Moda Operandi have the utility of everyday objects but the appearance of special-occasion tabletop pieces. 3″ dia. x 4″ h., $165 for set of two. modaoperandi.com
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ELLE DECOR
Italian designer Vico Magistretti created the Nuvola Rossa bookcase for Cassina in 1977. It remains just as fresh today, thanks to its striking diagonal braces. 39.5″ w. x 15.5″ d. x 75.5″ h., available in other finishes, $5,110. cassina.com
my life, my style.
calligaris.com
SHOWCASE
DINNER THEATER FOR NOW, IT MIGHT BE A MEAL AT HOME WATCHING A ZOOM READING. BUT THAT DOESN’T MEAN ONE SHOULDN’T SET A TABLE AND DRESS IN JEWELS LIKE IT’S TONY NIGHT AT THE CARLYLE. BY STELLENE VOL ANDES
I
T I S A M ER I C A’S J E W EL ER, B U T T I FFA N Y & CO. WAS
born and bred in New York City. And it has seen its hometown through almost two centuries’ worth of ups and downs. Founded in 1837 as a stationery and fancygoods store, Tiffany operated several locations until 1940, when Cross & Cross designed its Fifth Avenue flagship. One of the first major projects in Midtown Manhattan following the Great Depression, the Art Moderne
PHOTOGR APH BY DON PENNY
building—with its limestone, granite, and marble facade, its entry framed in an etched wheat-leaf pattern, and its enormous stainless steel doors—is often cited as a catalyst for the area’s postwar recovery. The beauty and modernity of the store’s design lifted the spirits of the city. And so many years later, Tiffany—with a new tabletop and jewelry collection and a renovation of the flagship underway—is still at it. ◾
CLOCK WISE FROM LE F T: Pendant in platinum with a tanzanite of more than 31 carats and diamonds. Pendant in platinum with a blue
cuprian elbaite tourmaline of more than five carats. Necklace in platinum with diamonds. Paper Flowers collection necklace in platinum with diamonds. All prices upon request. Bone-china Brushstroke cup-and-saucer set, $100 each, and square platter, $200. tiffany.com Produced by Laurel J. Benedum
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ELLE DECOR
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SHOWCASE
Vitrine DREAMS HOW TO DESIGN A SERIOUS JEWELRY STORE ON THE BEACH. BY CATHERINE HONG
list of most San Diego travel guides, but the historic Spanish Village Art Center, a qui rk y col lection of Spanish-style stucco houses in Balboa Park, is one of the city’s most colorful and locally beloved public spaces. When Paris-based architect Marie-Eve Bidard of Bidard & Raissi saw the center, it presented just the type of inspiration she could use for her latest project: the new Cartier shop that opened this September in San Diego’s Fashion Valley mall, a few miles north of the park. The VIP salon “ While there a re cer ta in consistent at the new elements in every Cartier boutique, each Cartier store location also ref lects its environment,” in San Diego. explains Bidard, who has designed stores for the brand in Copenhagen, Bangkok, and Fukuoka, Japan. “What’s magical about San Diego is the dynamism of this modern American city, the mild climate, the mix of people, and the Mexican influence.” For the San Diego outpost, a 4,348-square-foot space that offers jewelry, accessories, perfume, and watches (including an exclusive watch strap with artwork of Balboa Park on the lining), Bidard enlisted Sika Viagbo of Atelier Lilikpó in Paris to create a mosaic inspired by the art center’s tilework. The six-foot-tall artwork features the brand’s signature panther prowling through a swirling landscape of intense blues, browns, and greens. “It’s a pattern that reminds me of the flowers everywhere in the village,” Viagbo says. It’s just one of a handful of special commissions that help inject San Diego’s sensibility into the classic Cartier retail experience of a pale palette, subtly curved furniture, and luxurious materials like bronze and stone. Bidard evoked the city’s relaxed beach-town vibes by creating a series of wide archways in light oak throughout the shop. Meanwhile, another custom installation, a straw-marquetry panel in the men’s salon, created by the Brittany, France–based workshop Jallu Straw, echoes the deep-blue expanse of the Pacific Ocean. (It’s also a nod to the “straw-marquetry savoir faire of Cartier watchmaking,” notes Bidard.) “When thinking about this new boutique, the spirit of home was always an important consideration,” says Cartier North America president and CEO Mercedes Abramo. “We wanted it to feel incredibly warm and welcoming—balancing the heritage of the maison with the modernity of a coastal California lifestyle.” cartier.com ◾ 40
ELLE DECOR
A mosaic by Atelier Lilikpó, which hangs in the VIP salon. ABOVE: A detail of the mosaic.
The men’s salon, which features art by Jallu Straw. Produced by Vanessa Lawrence
INTERIORS AND MOSAIC: DANIEL HENNESSY; MOSAIC DETAIL: SUSANNA POZ ZOLI
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OU WON’T FIND IT ON THE TOP 10
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Par is
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Ann Sacks
DOM Interiors
Paris Ceramics
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Ernestomeda Chicago
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Porcelanosa Tile/Kitchen/Bath/Hardwood
Belwith-Keeler
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Scully & Scully New York, NY www.scullyandscully.com
TRUTH IN DECOR ATING
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The blue accent colors really “set it apart. You can play off the shape with artwork.” RAYMAN BOOZER
Sempre Milano! DESIGNERS CHRISTINE GACHOT AND RAYMAN BOOZER SHOW US WHY THE NORTHERN ITALIAN CITY REMAINS EUROPE’S FURNITURE CAPITAL. 1
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VIA FUCINI 5 BENCH BY VITO NESTA
FLIRT TABLE BY MINOTTI
RULLA ROCKER BY MARIO MILANA
CG: I love a good drinks
RB: It’s giving me
METAPHYSICS SIDEBOARD BY HAGIT PINCOVICI
LITTLE ARMCHAIR BY BAXTER JORGEN
table. This would be ideal in one of my SoHo loft projects.
Josef Hoffmann vibes as well as S.C. Johnson & Son ones.
RB: This reminds me
RB: This metallic
CG: I appreciate the
CG: This is an entry table for a modern loft. A great price for something so exceptional.
renewed interest in the Memphis Group. I want one for my own vacation home.
the piece is wonderful. It’s playful without feeling at all campy.
CG: I think it’s so chic
This would be so charming in a child’s room.
piece is simple and practical. Perfect for a cocktail in small spaces.
53″ w. x 20″ d. x 71″ h.; $7,314. adorno.design
15″ w. x 12″ d. x 21″ h.; $3,825. minottiny.com
30″ w. x 43″ d. x 45″ h.; $7,600. mariomilana.com
64″ w. x 17″ d. x 39″ h.; $12,000. hagit-p.com
30″ w. x 33″ d. x 44″ h.; from $6,447. baxter.it
R AYMAN BOOZE R:
A postmodern moment. Great seating for social distancing in a hotel lobby. It is its own room. CHRISTINE GACHOT:
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ELLE DECOR
RB: The asymmetry of
of a saddle. It feels very midcentury but modernized, and I love the suede finish. without taking itself too seriously.
GACHOT: DAVID URBANKE; BOOZER: AL ARIC S. CAMPBELL
BY K ATE M C GREGOR
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TRUTH IN DECOR ATING It feels like a luxurious, “decadent Vitsoe system on acid.”
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CHRISTINE GACHOT
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Milan is to furniture design as Paris is to couture. The industry’s modern history in Milan begins in the 1930s with the Rationalism movement—a commitment to mathematical order—out of which came a new clean-lined aesthetic championed by the likes of architects Gio Ponti and designer Marco Zanuso. The next chapter starts in the ’60s, with the rise of Ettore Sottsass and Paolo Buffa and the launch of the annual Salone Internazionale del Mobile fair. The trade show truly turned Milan into Europe’s furniture capital and now boasts thousands of exhibitors each year. Many of today’s iconic pieces are iterations of ones first introduced decades ago, proving the timelessness and longevity of Italian design. Forza!
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OPANCA SOFA BY ATTICO DESIGN
BOOKCASE 01 RED BY LINEE STUDIO
GATSBY CHAIR BY FLEXFORM
CG: It’s refreshing to find
RB: I like that this
EQUILIBRIUM TABLE BY GIACOMO POLETTI
furniture that satisfies the current thirst for softer organic forms while still feeling timeless.
can act as a sculpture or a room divider in a larger space.
RB: It is the future of
would work really well as a standout piece in a classical environment. 63″ w. x 18″ d. x 116″ h.; $27,940. artemest.com
glamour. The suede accents really set it off. 94″ w. x 35″ d. x 28″ h.; $14,225. cristinacelestino.com
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ELLE DECOR
CG: This bookcase
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RB: This provides style
THE GENERAL STUDY TABLE BY MATTEO CIBIC
CG: The use of tension is a nice cerebral touch to an otherwise simple silhouette.
and comfort with an unsubtle nod to an exclusive cigar lounge.
CG: I’d go maximal with this piece. It pairs nicely with a Tom Ford silk robe.
CG: You had me at
RB: Dramatic though
RB: This black-and-white
utterly simple. It’s giving off chic science-fiction vibes, which I love.
cognac leather! This chair feels like an updated midcentury form.
masterpiece is the perfect example of a future antique.
63″ dia. x 29″ h.; $16,622. rossanaorlandi.com
28″ w. x 33″ d. x 33″ h.; from $5,704. flexform.it
47″ w. x 20″ d. x 41″ h.; price upon request. scarletsplendour.com
FOR DETAILS, SEE RESOURCES
DESIGN LEGACY
8
AZ Thomasville & More 602.278.3500 CA Cantoni-Irvine 949-585-9191 | Cantoni-Los Angeles 323.634.0909 | Lawrance 888.790.6477 | MichaelKate Interiors 805.963.1411 | Sunrise Home 415.456.3939 FL Wassers Exclusive Furniture & Interiors 954.454.9500 | Sklar Furnishings 561.862.0800 GA Cantoni-Atlanta 404.881.8111 IL Walter E. Smithe 800.with.an.E OR Parker Furnuture & Design 503.644.0155 PA Grossman Furniture 215.627.3634 TX Cantoni-Dallas 972.934.9191 | Cantoni-Houston 713.787.9494 UT San Francisco Design-Salt Lake City 800.497.2701 | San Francisco Design-Park City 800.497.7072 To-The-Trade Only | TX Cantoni Trade-Dallas 469-872-8503 | Cantoni Trade-Houston 713.439.0044
SHORTLIST
1
Alfredo Paredes.
Fantastic Man
5
John Coltrane
I’ve been wearing this scent for years. It’s a complex blend of spice, incense, and vetiver.
If there were a soundtrack to my life, it would be all Coltrane. His poetic and powerful music captures life’s complexities and is almost always on while I work.
byredo.com
6
Casamigos Reposada
National Gallery of Art I.M. Pei’s iconic East Building in Washington, D.C., houses works by two of my favorite artists: Mark Rothko and Alexander Calder. nga.gov
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Tank Américaine My husband gave me this Cartier watch for my 40th birthday. The engraving says With all my heart in Spanish. cartier.com
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Dean Antiques I’m a big fan of English country-house furniture for its luxurious proportions. deanantiques.co.uk
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casamigos.com
Alfredo Paredes THE RALPH LAUREN ALUMNUS STARTING HIS OWN FIRM SHARES THE EIGHT THINGS HE CAN’T LIVE WITHOUT. BY VANESSA L AWRENCE If most graduate degrees take six years or less to complete, then designer Alfredo Paredes, who compares the three decades he spent at Ralph Lauren to “being in school,” could dedicate an entire wall to his diplomas. As chief creative officer for the company, he oversaw the global retail environments, the home collections, and even the design of the beloved Polo Bar in New York City. In December 2019, Paredes went out on his own, founding an eponymous studio. “At Ralph Lauren, the store windows were always set-designed. The challenge was, How do you get an idea across in such a small space?” says Paredes, a first-generation Cuban American who grew up in Miami. “You have to hone the concepts, and that has been very beneficial when it comes to thinking about my interiors now.” Paredes got his design start at Laura Ashley and Britches of Georgetowne. His current projects at his new studio include a home in Cabo San Lucas, Mexico, for a celebrity couple; a modern penthouse apartment in Manhattan’s Chelsea neighborhood; and a furniture collection with EJ Victor that will debut in fall 2021. “It’s been very exciting to find my voice,” says Paredes, who describes his aesthetic as “bohemian industrial.” “The best interiors are the ones that look as if people live there.” alfredoparedesstudio.com
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Big Sur
Its raw and rugged landscape is incredible. From the giant trees to the mesmerizing sunsets, this national treasure is always inspiring.
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Keith Murray Ceramics The pieces he designed for Wedgwood in the 1930s and ’40s are the epitome of streamlined modernity. I have been collecting them for years. wedgwood.com
PORTR AIT: RICHARD PHIBBS; NATIONAL GALLERY, COLTR ANE: GET T Y IMAGES; BIG SUR: OFFSET
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This small-batch tequila is my drink of choice. I like it neat so you can taste the caramel, cocoa, and oak flavors.
DANIEL’S KITCHENS
Comfort CUISINE AFTER THANKSGIVING, WE’LL STILL NEED SOMETHING SOOTHING AND FAMILIAR, LIKE TURKEY POTPIE MADE WITH LEFTOVERS. AS TOLD TO MICHELE HUMES PHOTOGR APH BY NICHOL AS PROSCIA
H E N I WA S G R O W I N G U P I N LY O N ,
France, Thanksgiving wasn’t part of my childhood, but turkeys certainly were. Of all the birds my family raised—we also kept chickens, squab, ducks, and guinea hens—turkeys gave us the most trouble, always flying up into trees and roosting on the highest branches. Once we got them back down, we’d take them to the farmers’ market to sell. The French also like a whole roasted turkey, but it’s served at Christmastime, without a cranberry in sight. After many years living in New York, when I serve a turkey, it’s in the American style. But if my Thanksgiving table has all the traditional fixings, I still nod, here and there, to
France. My stuffing starts with duck fat and is studded with Toulouse sausage and confit turkey gizzards; my apple pie is a tarte tatin. Even my solution to the perennial problem of what to do with all the leftovers has a touch of France in it: I bind turkey and vegetables in a luscious béchamel, brighten this mixture with tarragon, and bake it under a buttery lid of puff pastry. Turkeys are a bit of a nuisance to farm, but making turkey potpie isn’t difficult. If you don’t have carrots or leeks on hand, feel free to substitute with leftover butternut squash or green beans. Don’t have puff pastry in your freezer? Top the pie with stuffing instead. The great virtue of this dish, in the lazy days following Thanksgiving, is its adaptability. ◾
FOR DETAILS, SEE RESOURCES
PORTR AIT BY DAVID PRINCE
1. Make the roux: Melt
the butter in a small saucepan over medium heat. Whisk the flour into the butter and mix continuously for 3 minutes, until the flour has been fully absorbed and the mixture is thick and bubbly. Transfer the roux into a bowl and set aside in the refrigerator. 2. Make the filling: In a
large pot, bring the stock to a boil over high heat. Plunge the leeks, celery, carrots, and mushrooms into the boiling stock and cook until just tender. Using a strainer, remove the vegetables from the stock and set aside. Add the turkey to the pot, bring the stock back up to a simmer, then remove the turkey and set it aside with the vegetables. Add the cream to the stock, whisk in the cold roux, and bring the mixture back up to a boil. Cook, whisking vigorously, until the mixture is thickened. Remove the pot from the heat and return the vegetables and turkey to the mixture. Stir in the tarragon and parsley and season to taste with cayenne, salt, and pepper. Transfer the contents of the pot to a 2½-quart baking dish or Dutch oven and refrigerate until chilled.
After Thanksgiving, a turkey potpie can be prepared in a Dutch oven by Le Creuset. Produced by Laurel J. Benedum
3. Make the crust: Once
TURKEY POTPIE SERVES 4
2 T butter ½ cup flour 5 cups turkey or chicken stock 6 oz. leeks, washed well and cut into ½-inch slices 4 oz. celery, cut into ½-inch pieces 4 oz. carrots, cut into ½-inch pieces
6 oz. mushrooms, quartered 1 lb. turkey, roughly pulled or chopped 1 cup heavy cream 3 sprigs tarragon, leaves picked and roughly chopped 4 sprigs parsley, leaves picked and roughly chopped
Pinch of cayenne pepper Salt and freshly ground black pepper 2 sheets puff pastry 1 egg, beaten
the pie filling is fully chilled, remove the puff pastry from the freezer and allow it to thaw just enough to unroll it or remove the plastic. Then use a fluted ring cutter, or any cookie cutter that you wish, to cut out different-sized shapes. Arrange them on top of the pie filling, covering as much of the surface as possible. (A slight overlap is OK.) Return the potpie
to the refrigerator, and preheat your oven to 425°F. 4. Remove the potpie
from the refrigerator and lightly brush the beaten egg over the puff pastry. Place in the oven and bake for 15 minutes, then lower the oven temperature to 350°F and bake for an additional 15 minutes. Lower the temperature again to 325°F and bake for a final 15 to 20 minutes, or until the potpie is bubbling around the edges.
WHAT TO DRINK “I would choose something delicious but unpretentious, like a rich white Burgundy from the southern Mâconnais. The prestigious Domaine Leflaive in Puligny also produces a lovely Mâcon-Verzé that possesses enough weight for the dish, while its ripping acidity cuts through the richness of the sauce.” —Raj Vaidya, head sommelier, Daniel
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MINOTTI Scandinavian values meet Italian tradition in Fynn. The Saddle-Hide version combines fine cabinetmaking in the wooden elements with sophisticated upholstering via saddle-hide. Designed by Italian-Danish duo GamFratesi for Minotti, the family of seats is part of the Italian company’s new 2020 Collection. minotti.com
PHILLIP JEFFRIES A new normal brings new perspective. Discover the cozy comforts and nurturing surroundings of nature that inspired Phillip Jeffries’ latest Fall 2020 Collection, AWAKENING. Rise and shine with Gilded Ascent (shown here) as the art of Japanese metallic leafing is captured in this bold wallcovering where glamour soars to new heights. phillipjeffries.com
SCANDIA HOME The world’s finest goose down and most refined fabrics are crafted in America to become luxurious Scandia Down comforters and pillows. Add exquisite Italian bed linens, Portuguese bath collections and renowned white glove-service, and you have Scandia Home. Discover the Scandia Down Difference™ at scandiahome.com
P R E S E NTE D BY S TE A R N S & FOS TE R
Build a Better Bedroom With so many daily distractions, downshifting into sleep mode seems tougher than ever. If your bedroom isn’t set up to soothe, it’s hard to get the quality rest you crave. But, thanks to a few design-driven choices, you can get more shut-eye. “An ideal bedroom provides an environment for rest, positivity, and relaxation,” says interior designer Natalie Kraiem. From going all-in on a Stearns & Foster mattress to ditching the screens, here are four easy ways to make your space more serene. SLEEP STAR The ultimate in luxurious comfort and support, the Stearns & Foster Reserve Hepburn Mattress suits any sleeping style.
THE REST IS EASY
Follow these simple principles to prep your room for maximum zzz’s. 1. INVEST IN A QUALITY MATTRESS
2. LAYER
3. PICK A
PEACEFUL PALETTE
4. GO SCREEN-FREE
When it comes to getting a good night’s sleep, “the mattress is the most important element,” says Kraiem. “My key recommendation is to source one from a company with a good, long-lasting reputation, like Stearns & Foster.”
Kraiem favors a mix, from table lamps and reading sconces to recessed lights and chandeliers. Try bulbs with lower wattages and dimmers to control the mood. To block outside light, Kraiem suggests lightweight curtains or Roman shades with blackout lining.
A bedroom’s color scheme can affect your mood and routine. Kraiem tends toward soothing hues, like shades of blue, ivory, mauve, and gray, with light bedding to anchor the room. “White and ivory sheets are classics and make the bed feel clean and crisp,” she says.
Most of us are guilty of screens in the bedroom (no shame, just reality!). But blue light from electronics can interfere with your circadian rhythms, so try to check them at the door.
YOUR LIGHTING
D E S I G N YO U R S PAC E FO R YO U R B E S T R E S T. LE A R N M O R E AT S TE A R N SA N D FOS TE R .CO M
RSVP At Mon Square, a new restaurant in the Faubourg Saint-Germain neighborhood of Paris, the Salon Rose features quartz-topped tables and a mural by artist Sacha Floch Poliakoff. BE LOW: The restaurant’s designer, Florence Lopez. Produced by Ingrid Abramovitch
Café Society WITH HER LIVELY DESIGN FOR MON SQUARE, FLORENCE LOPEZ HAS CREATED PARIS’S HOTTEST NEW RESTAURANT.
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style,” says the French designer Florence Lopez, standing in the middle of her first public project, Mon Square, a striking new restaurant on the Left Bank of Paris. “What matters the most in any interior is its personality—it should have a real sense of place, one that is not quite like any other.” Mon Square is situated in a corner of Paris that is almost achingly beautiful. It is in the heart of the Faubourg Saint-Germain, directly across from the Sainte-Clotilde Basilica, a 19th-century neo-Gothic structure in pale limestone with twin spires. Across the street from the church is a small park, Square Samuel Rousseau, with an oval green lawn and towering chestnuts and plane trees, bordered by a black wrought-iron fence. 52
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The restaurant’s owner, 32-year-old Quentin de Fleuriau, is a veteran of the Costes brothers’ empire. He spent more than six years learning the ropes at the Hôtel Costes, had stints at L’Avenue, La Belle Armée, and La Société, and was director of Café Marly. He’d known since he was a teenager, throwing parties at boarding school, that he wanted to have his own spot. After spending more than two years tracking down the location, he found a faded neighborhood bistro and signed a lease within 30 minutes. “At first, we were just going to redo the banquettes and repaint the walls,” de Fleuriau explains. “But we took everything down and brought in Florence, who has been a friend for many years. She was immediately inspired to make the restaurant feel as though you are dining in the square across the street.”
INTERIORS AND PORTR AIT: PHILIPPE GARCIA; EX TERIOR: MAT THIEU SALVAING
BY WILLIA M MIDDLETON
Lopez was born and raised in Bordeaux, into the Dourthe family, who have produced Médoc wine since 1840. Design was never far away: Her mother was a designer with great flair and the niece of Henri Frugès, who, in 1920, commissioned Le Corbusier to build a modernist neighborhood in Bordeaux, the Cité Frugès, now a UNESCO World Heritage site. At 18, Lopez moved to Paris and befriended such tastemakers as the artists Les Lalanne, the designer Eric Schmitt, the artist and architect Olivier Gagnère, and the sculptor César. She worked for the fabric house Etamine, then headed to New York for an internship at Christie’s and stints with Parish-Hadley and McMillen Inc. Returning to Paris, she worked with Jacques Garcia before striking out on her own. For more than two decades, Lopez’s atelier has worked out of a walk-up studio on the rue du Dragon, not far from Mon Square, where her clients have included François Pinault, Charlotte Gainsbourg, Daft Punk’s Thomas Bangalter, Carole Bouquet, and Gérard Depardieu. “I had been approached about doing hotels and commercial projects but was never interested until now,” Lopez says of her first foray into restaurant design. “As soon as I visited the site, I had a vision: an imaginary garden, very Parisian, accompanied by the sounds of Claude Debussy, a composer I adore.” She created four main spaces at Mon Square: a large terrace protected by a long awning; a dramatic central bar; and two dining salons—a pink room to the left of the bar and a green one
up some stairs. Elements of nature are everywhere: The front doors have brass handles in the form of branches; the floors and many walls are dark green; and tables have brass bases with tops in green agate or pink quartz. To complete Mon Square, Lopez called on a trio of artists and artisans. Painter Sacha Floch Poliakoff, the 24-year-old great-granddaughter of Russian-French artist Serge Poliakoff, created murals of bucolic scenes. Bela Silva, a ceramist from Lisbon, made a number of exotic pieces: a flock of colorful birds in brass sconces perched along the outside walls; a massive tree that rises above the bar; and an elaborate mantel in leaves of textured, green-enameled porcelain. A private room off the upstairs dining room is a collaboration with contemporary artist Mathias Kiss. The low-ceilinged space, known as the Ma Kiss Room, has a banana leaf–motif carpet by Madeleine Castaing, a ceiling mosaic depicting nine different skies, and mirrors along all four walls. Since opening in January, the 150-seat restaurant, which serves seasonal French cuisine, has begun to pull in a lively crowd of film stars, politicians, diplomats, neighborhood regulars, and young and trendy Parisians. “This feels,” de Fleuriau says, “like the beginning of a beautiful story.” ◾
ABOVE: An elaborate
tree and birds by Portuguese ceramist Bela Silva, in a birdcage by Lopez, stand behind the central bar, which is adjacent to the green dining room. BE LOW LE F T: A vintage 1960s lamp by Hans-Agne Jakobsson rests on a green agate shelf in the bar area. BE LOW RIGHT: The outdoor terrace in front of Mon Square, which faces a small park, the Square Samuel Rousseau, and the SainteClotilde Basilica. For details, see Resources.
6ˇKLˏLFDWL ųQǝ ƬW\ More than just an office, a place for your best business creations.
officedepot.com/elledecor The Office Depot name and logo are registered trademarks of The Office Club, Inc.© 2020 Office Depot, LLC. All rights reserved.
INSPIR ATION FOR YOUR RENOVATION
BUILDER A leopard-carpeted black-granite staircase in designer Hutton Wilkinson’s maximalist Beverly Hills home. Produced by Laurel J. Benedum
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Flights of Fancy PART ENGINEERING MARVEL, PART SCULPTURE FOR THE HOME, THE STATEMENT STAIRCASE IS HAVING A MOMENT.
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is rapidly becoming a moment of eye candy that’s all but required in the homes of the design cognoscenti—not just in grand suburban houses, but in city dwellings as well. “Trends come in waves, and right now staircases are absolutely the focus,” says Thomas Kligerman, a partner at architecture and interiors firm Ike Kligerman Barkley. “I would not call this a thread going through the world of design—it’s a cable. Everyone’s talking about it.”
At their first meeting, Kligerman’s clients now regularly say a showstopping staircase is essential; one, an art collector, asked for one “like a Brâncuşi,” Kligerman says. “Like anything good, he wants it sculptural and beautiful but not overwhelming. He doesn’t want it to steal the show, but it can’t be a simpering pile of a structure either.” Designer Hutton Wilkinson had a similar thought when he built his Beverly Hills house: “I said to the architect, ‘The staircase can cost any amount of money because it’s a sculpture.’” What
Wi l k i n son i n st a l led—a sn a k i ng three-story spiral staircase padded with leopard carpet—does drop a jaw. “You have to make an entrance. Stairs deserve a lot of attention.” One possible reason staircases have new import in the current aesthetic climate: “It’s an opportunity to be more decorative in modern homes where we don’t do that much decoration,” says Cherie Goff, a principal of HMH Architecture + Interiors, which won an award from the American Institute of Architects for a zigzagging staircase ELLE DECOR
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one contemporary project in San Francisco, we specif ied a hidden LED light strip in a reveal between the stair treads and risers to light the space between the wall and stairs. The indirect light casts a beautiful glow all the way up the stairs to the top floor.” As with anything, the beauty is in the details. When Brooklyn architect and E L L E DECOR A-List desig ner Leyden Lew is transformed four units of a Lower East Side tenement building into a loftli ke duplex, he wrapped the A sweeping balustrade reclaimed-maple stairs in frames a floating staircase in susta i nably acqui red a New Delhi home designed by Jean-Louis Deniot. u nt a n ne d le at her t h at would oxidize over time. inspired by origami trees. Goff’s firm “When you have the opportunity for often builds them with steel, which can something utilitarian to be expressive, be sturdy even while it’s comparatively the question is, Why not?” Lewis sees razor-thin at an eighth of an inch in the theater in the act of ascending and thickness; in her own Golden, Colo- descending. And when Wilkinson’s clients balk at rado, home, currently under construction, the staircase is a circular spiral in a megawatt central escalier on occapatinated black steel. “You can do sion, he will balk right back: “You’re really cool things you can’t do with taking out the best part. How are you wood,” she says. For a client’s 18-acre going to come down the stairs in a chifproperty in Bridgehampton, New York, fon dress and greet your guests if you Kligerman designed what appears to hide the staircase over to the side?” ◾ be a floating staircase—complete with glass handrails and oak treads on a black steel carriage—that maximizes the view out the 25-foot-tall windows overlooking bucolic fields. “We used low-iron glass, so it’s clear, not green,” he says. “You look right through it. We did a lot to make it as light as possible.” Speaking of light: It’s a key element for any staircase, a de facto stage. “You have to have a really great chandelier down the middle,” says Wilkinson, whose own staircase f ixture dangles three stories and is finished in red lacquer with Lucite balls and eight-inch candles. “If possible, we recommend a laylight or skylight at the top of a staircase to bring light down through the circulation area of A corkscrew staircase by Steven Harris the house,” says designer Heather HilArchitects in a historic liard. “Now we’re seeing more lights home in Boston. integrated into the actual staircase. In 56
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Next-Level Ideas THREE OF THE MOST INSPIRING STAIRCASES AROUND THE WORLD.
Keita Turner “I’m in love with the intertwined spiral staircases wrapping Hiroshi Nakamura’s Ribbon Chapel in Hiroshima, Japan.”
Pierre Yovanovitch “In Capri, Italy, Casa Malaparte is radical with its roof stairs. It shows a fascinating contrast between nature and the built environment.”
Annabelle Selldorf “The staircase at Museo del Pueblo Gallego in Santiago de Compostela, Spain, is beautiful, with its intertwined double runs and delicate construction.”
STAIRS, CLOCK WISE FROM TOP LEFT: RICHARD POWERS; JOHN S L ANDER/LIGHTROCKET VIA GET T Y IMAGES; GIUSEPPE GRECO/REDA&CO/UNIVERSAL IMAGES GROUP VIA GET T Y IMAGES; COURTESY OF SELLDORF; SCOT T FR ANCES/ OT TO. PORTR AITS, FROM TOP: EDGAR SCOT T; STEFANIE MOSHAMMER; D. DIPASUPIL /FILMMAGIC
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Peak THESE STAIRCASE ACCOUTREMENTS ARE A STEP ABOVE THE REST.
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Opera Pendant
Gazelle Carpet
Pelle Sconce This origami-style brass piece by Kelly Wearstler adds charm and a little cheekiness to your daily climb.
Louis XV Newel Finial
Brighton Pavilion Wallpaper
For a classic finishing touch, top off the banister with this finial, based on a design from 1857.
The wallpaper maketh the staircase, and this 12-foothigh chinoiserie pattern is a perfect choice.
$719. circalighting.com
$1,741. peguerin.com
An abstract twist on Gino Sarfatti’s Sputnik light, this blown-glass fixture by Kelly Behun is the ultimate accent piece.
A rich blue animal print in plush wool makes the act of descending a staircase all the more glamorous.
31″ w. x 26.5″ h., $2,590. hvlgroup.com
To the trade. starkcarpet.com
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To the trade. fschumacher.com
E X C L U S I V E
C A R P E T S
A N D
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LIGHT BETWEEN from the Looking Glass Collection
www.deirdredyson.com
LOS ANGELES
TROOP BEVERLY HILLS FOR LONGTIME CLIENTS, DESIGNER MICHAEL S. SMITH BRINGS A JAMBOREE OF ECLECTIC STYLES TO A HOUSE IN THE WILDS OF HOLLYWOOD. BY JANELLE Z AR A PHOTOGR APHS BY MICHAEL MUNDY
The front facade of a 1932 Beverly Hills home whose interiors were designed by Michael S. Smith.
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In the entry, the 18thcentury Italian carvedwalnut console is topped with a 19th-century Italian marble vase.
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dates back only as far as the early 20th century, the relatively young city holds an unlikely affinity for oldworld charms. Michael S. Smith, the L .A. designer who redesigned the White House during the Obama administration, recently completed the interiors of a Beverly Hills home dating to 1932 that closely resembles a classic Mediterranean villa—terra-cotta roof tiles, stucco walls, and all. Inside, Smith’s approach embraces that likeness, as the arched entryway opens to a foyer evocative of a European courtyard; the floors are paved in reclaimed Spanish stone, and miniature antiquities, including a small obelisk carved from marble, sit atop an 18th-century northern Italian walnut console. As the skylight at the top of the central staircase illuminates the vase of freshly cut olive branches below, one gets the distinct sensation of standing in the open Mediterranean air. The rest of the 12,000-square-foot, ninebedroom home likewise unfolds as a journey through different eras and destinations, a convergence of various historic European sensibilities: the layering of boldly patterned textiles, an abundance of exquisitely crafted marble and stone, and a formidable collection of 17th- and 18th-century art and design. Sm it h descr ibes t hese i nter iors a s a “greatest-hits album,” a testament to the clients’ world travels. For decades, he and the couple who own the house have done a fair amount of globe-trotting together, scouring f lea markets and auction houses to furnish their residences in New York, California, Majorca, and beyond. For this home, Smith decided to pull different design elements from the couple’s rich past, “reshuffling the deck,” he says, by bringing them together under one roof. “This is sort of the distillation of what they’ve loved about all the houses they’ve had.”
TOP LE F T: In the breakfast nook, the 17th-century dining table sits to the right of cabinets fronted with a Jasper fabric. The lantern is by Jamb, and the André Metthey plates on display are vintage. ABOVE: In a study, the sofa is covered in a Pierre Frey fabric, the cocktail table is by Jasper, and the Bessarabian rug is antique. BE LOW: By the pool, the chaise longues are by Prestigio.
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Dialing up his yen for pattern, Smith says his “jumping-off point” was his use of French fabrics to bring color and warmth into the home. In the formal living room, surrounding the newly installed Louis XVI–style marble fireplace, the sofas are upholstered in an archival Pierre Frey print, a romantic motif of floral branches that first emerged in the salons of 17th- and 18th-century Europe. Working with Pierre Frey, Smith fine-tuned the pattern to a shade of persimmon, a complement to the custom terra cotta–pink Venetian-plaster walls. “This idea of a pink living room was something that we thought about for their other houses in the past,” Smith says, but it hadn’t been realized until now. “When you work with the same people for so long, you know that one 64
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day you’ll be able to use an idea, so you kind of file it away in your head.” On the second f loor, as part of the mainbedroom suite, the wife’s attached bathroom and study evoke the airiness of a French garden; the study walls are covered in a Zuber chinoiserie, the leaves and petals of which have been delicately painted onto the ceiling. On the opposite side of the main bedroom, “the husband had a very specific fabric in mind,” Smith says—a classic red-and-white toile pattern. Smith paired it with dark cabinetry and shelves to strike a masculine tone, echoed by the wood paneling of his study on the first floor. Alongside a robust inventory of antiques, newly commissioned pieces were inspired by
A B OV E : In a guest
bedroom, the bed is upholstered in a fabric by Namay Samay and dressed in Matouk linens; the sofa is in a Harbinger fabric. The walls and ceiling are covered in a fabric by Cowtan & Tout. The vintage pendant light is from the 1930s.
the past, like the main bedroom’s re-creation of Hubert de Givenchy’s bed at his Clos de Fiorentina estate. In the dining room, the walls are covered in exquisitely patterned, embossed, and hand-painted leather, rising to the level of craftsmanship seen in the ornate gold frames of the antique mirrors and 18th-century oil paintings hung around the room. It was the couple’s personal history, however, that inspired the blue and white–tiled wainscoting of the garden room, a decidedly more relaxed corner of the ground floor where their grandchildren can play with their toys. In the late 1990s, they had owned a home outside Santa Barbara that Smith decorated as a traditional Portuguese country house, complete with azulejo-style tiles. “They loved them,”
Smith says, and with that house having long been sold, he reproduced those tiles here. The patterns resonate with the blue and white of the couple’s English paisley upholstery. “Taking all these different pieces and fitting them together, it’s beautiful how they all work in a different context,” Smith says. As furniture follows you from home to home, he adds, “it’s the ultimate long-term investment.” Reflecting on the decades that he and his clients have shared, the same might be said of a good interior designer. ◾
ABOVE , FROM TOP: In the entry hall, the Louis XV chairs are in a Namay Samay fabric, the lanterns are custom, and the sconces are from Rose Uniacke. In another guest bedroom, the bedcurtains and canopy are of a fabric by Lee Jofa; the antique desk is from the 18th century, the curtains are of a Pierre Frey fabric, and the rug is Turkish. For details, see Resources.
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In the living room of Emiliano Salciâ&#x20AC;&#x2122;s Milan apartment, the Vico Magistretti sofa is vintage, the cocktail table is by Dimoremilano, the bookcase is by Giulio Zappa, and the sconces are by Ignazio Gardella. The artwork (far right) behind a collection of antique candlesticks is by Enrico Castellani.
MILAN
DREAMING IN ITALIAN DIMORESTUDIO’S EMILIANO SALCI CREATES AN ATMOSPHERIC NEST WITH THEATRICAL FLAIR BEFITTING ITS STORIED SURROUNDINGS.
BY M ARELL A CHIA PHOTOGR APHS BY ANDREA FERR ARI PRODUCED BY INGRID ABR A MOVITCH
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behind the Milan-based design and architecture firm Dimorestudio, was left temporarily stranded. He had just sold the apartment he owned with Britt Moran, his partner in Dimorestudio, having amicably agreed to live separately for the first time since they got together in the mid-1990s. Just as the pandemic was hitting Milan, Salci moved and found himself immersed in a gut renovation. “It felt strange striving to get my flat finished at that moment,” he says. All he could do was dive headfirst—and hands on— into what he describes as the most personal of all his projects: the creation, under duress, of his new home—a place where he could weather the storm. Stepping into Salci’s apartment is like entering a cinematic interior that fuses together the smoky, urban exoticism of Arthur Geiger’s house in The Big Sleep with the modernist precision of a Luca Guadagnino movie set. The compact space is situated on the ground floor of a late-1940s building block near Piazza Risorgimento, a stylishly bohemian area replete with up-and-coming art galleries, cafés, and restaurants; Salci’s home looks onto a back garden filled with palm trees and other exotic plants. As you walk into the hallway, painted a ripe orange, and onto the leopard carpet by Dimoremilano, Salci and Moran’s home-furnishings brand, you are enveloped by a nocturnal ambience of saturated colors and dimmed lighting. “I wanted the relaxed atmosphere of an evening retreat,” the designer explains. The hallway opens onto the apartment’s main living area, where an oval mahogany table by the American modernist George Nelson converses with a pair of armchairs by Piero Portaluppi, the architect behind the Villa Necchi Campiglio, the 1930s Milanese gem. Seated on a velvet sectional, Salci ELLE DECOR
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recalls months of lockdown when he had to use the only resources available to him: cans of paint, beautifully textured fabrics from Dimoremilano, and his own trove of vintage furniture and memorabilia. “When we started Dimorestudio in 2003, the design culture in Milan was dominated by minimalism,” he observes. “From the very start, our work, though far from being traditional, was open to reminiscences from the past.” The walls of the living room are painted a deep maroon, the windows draped with a fine gauze that cuts the sunlight. Windows and door fixtures are varnished black. In a seating area, a bookshelf by the Rationalist architect Giulio Zappa is filled with coffee-table books and a collection of Chinese vases. These, together with the Turkish rug, are the only bright elements in a space ruled by muted colors. There are playful touches, too. The designer’s extensive collection of clothes (GQ Italia recently included Salci on its list of best-dressed men) occupies an entire room. His wardrobes, which line all four walls, are hung ceiling to floor in shiny purple satin, like a Houdini magic theater set. Although Salci and Moran are no longer a couple, their friendship runs deep and their working partnership is as solid as ever. One of the characteristics they share is an ability to weave off-kilter eclecticism into a credible narrative. At Leo’s, a supper and music club at London’s Arts Club, they echoed the feel of the 1920s French Riviera. In Rome, above the Fendi headquarters, they fashioned a VIP space that resembles an art collector’s lair. So what was the narrative behind Salci’s stylishly moody interiors? Designing this apartment during the pandemic, he agrees, certainly imbued it with its somber atmosphere. “But most of all,” he adds, “it made me realize the importance of creating a home that was not only interesting from an aesthetic point of view but also livable. A place in which I could just be myself: comfortable, grounded, uncompromising.” ◾
ABOVE: In the bedroom, a Tommaso Barbi lamp rests on a Meret Oppenheim table. BE LOW LE F T: The dressing room’s walls are cur-
tained in a Dimoremilano satin, the 1970s sideboard is by Giotto Stoppino and Lodovico Acerbis, the floor lamp is by Flos, and the ceiling light is by Angelo Lelli. BE LOW: The kitchen’s cabinetry is custom, and the stools are by Dimoremilano. OPPOSITE: In the living room, the George Nelson table and Piero Portaluppi chairs are vintage, the lighting is by Ignazio Gardella, and the carpet is by Dimorestudio.
ABOVE: A Luciano Frigerio bed in Salci’s bedroom. BE LOW: A Carlo Mollino chair sits in front of the bedroom’s casement window. RIGHT:
In the studio, the vintage furnishings include a daybed re-covered in a Dimoremilano fabric, an Eero Saarinen stool, a Jean Prouvé mounted shelf (left), and a sconce by Serge Mouille. The custom carpet is by Dimorestudio. For details, see Resources.
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A VIEW OF MANHATTAN
IN A PARK AVENUE APARTMENT, TOM SCHEERER CREATES A PICTURE OF GRACIOUS LIVING WITHOUT EVER SACRIFICING THE COOL ELEGANCE OF NEW YORK. WRIT TEN AND PRODUCED BY DAVID NET TO
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PHOTOGR APHS BY FR ANCESCO L AGNESE
In the living room of a 1920s apartment on New Yorkâ&#x20AC;&#x2122;s Upper East Side, which was designed by Tom Scheerer with the architect Gil P. Schafer, the sofa, in a Lee Jofa velvet, is custom. The side chair (left), in a Holland & Sherry fabric, and club chairs (right), in a Borderline fabric, were re-covered by Luther Quintana Upholstery. The 1950s Danish desk is by Jacob Kjaer, the rug is by Brunschwig & Fils, and the curtains are of a Kravet tweed. The artwork above the 19th-century French marble mantel is by Robert Motherwell, and the painting above the sofa is by Howard Hodgkin.
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go crazy. Pinterest is a good one. Bringing your children to every meeting could be another. But one of the most diabolical methods, right at the top, is asking a designer to do his or her best work all over again. Not because one isn’t glad to have the job, mind you, but because creatively there is almost no bigger challenge than reimagining a space to which you’ve already given your best shot. This is the story of one time when that challenge (ahem, opportunity) did go really, really well—one that involves Tom Scheerer and one of his most loyal clients, refereed by the architect Gil P. Schafer. If you follow Scheerer’s work, you may recognize this apartment, in one of the most quietly elegant buildings on the Upper East Side: It appeared on the cover of his first book, Tom Scheerer Decorates, in 2013. It also conta i n s my favor ite Scheerer space, a dining room with one foot in the coral-glazed past and the other on the pulse of the moment, all contemporary photography paired with an Allegra Hicks rug. Scheerer has been work i ng on t he apartment since the mid1980s, room by room, all the time maintaining a close friendship with the client. This is a tale of its rebirth—but first, a word about context. There’s a certain take on how to live well in New York that’s nearly gone now but, like most things on the brink of extinction, still has a lot to teach us. There was a time when knowing how to keep an elegant house in the city was a small club. The buildings were few; the people in them who might be served a cheese puff on a silver tray knew that it came from William Poll; the gin was cold, and the jazz was hot. Not anymore. The intersection of privilege and family life on the Upper East Side is alive and well, but with a new and more opulent vocabulary involving SUVs, Barbour jackets, and Jeff Koons. This apartment represents the opposite—a friendly, natural, dog-centric take on patrician New York style. There are piles of books and family photographs. Flowers are not bought, they’re brought in from the country. There is a smoking room. Cheese puff? “Emotionally, I just wasn’t ready to leave,” says the homeowner. “My mother moved a lot.” It’s impossible 74
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to understand the life in these pictures without appreciating the central importance to it of family: The client’s mother was the late Lady Sarah Consuelo Spencer-Churchill, the life of the party—whether she was dancing the limbo in Jamaica, where she had a home, or hobnobbing in international café society. In childhood, the owner was very close to (and for a time lived with) her great-grandmother, Consuelo Vanderbilt Balsan, former Duchess of Marlborough. A portrait by Sargent of this legendary Gilded Age figure now brightens the entry. (How many projects contain the decorator-client exchange, “Is this a Sargent under your mother’s bed?”) There are fabled houses like Blenheim in this family’s story, but ultimately this is about an American woman living in New York today. After raising three children in this apartment, she wanted to “turn it into an apartment for me.” Says Sch a fer : “Her brief to us was really practical. We just ever so slightly raised the level of things to where we thought they should be.” What does that mean, exactly? “Architraves for w i ndow s t h at d id n’t have them. Higher doors with paneled jambs. The kitchen was built as a service space, not really for use by the owner at all, and we had to f ix that. But I never wanted to upstage Tom’s understated elegance—or the owner’s. She has real warmth as a person.” Scheerer, not known for overintellectualizing his projects, gets right to the point. “I couldn’t m a k e it wo r s e , s o I had to make it better, somehow,” he says. He reimag i ned t he f loor plan with fewer, more persona l room s. T he library, opened up to the main bedroom, is now a sitting room. A child’s room was transformed into the aforementioned smoking room (a wink to old New York). The dining room became dramatic. “When Tom said he wanted to paint it black”—an homage to Louise Grunwald’s famous dining room by Albert Hadley—“that scared me,” the owner admits. “I loved my orange dining room. But I trust Tom implicitly. Why hire a decorator if you’re going to fight them every step of the way?” Nobody went crazy, but with so much understatement going around, what is Schafer most proud of? “That no one would know we did anything.” ◾
In the dining room, the table is custom, the Regency chair cushions were embroidered by Penn & Fletcher, and the custom columns are topped with Isabelle Sicart ceramic lights from Rose Uniacke. The rug is by Allegra Hicks for Christopher Farr, and the Roman shade is of a Zimmer + Rohde linen. OPPOSITE: In the gallery, a pencil portrait of the ownerâ&#x20AC;&#x2122;s greatgrandmother by John Singer Sargent hangs above an 18th-century marquetry commode. The umbrella stand is by Fornasetti, and the walls are sheathed in Caba Companyâ&#x20AC;&#x2122;s Barkskin.
ABOVE: In the kitchen, the Josef
Hoffmann stools are from Bauhaus 2 Your House, the cabinetry is custom, and the subway tiles are by Ann Sacks. The billiard-style pendant is from Ann-Morris, the flooring is by APC Cork, and the decoupaged trays on the wall are by John Derian. LE F T: A sitting room’s sofa and side chair are in a Quadrille paisley, the antique slipper chair is French, and the cocktail table is an antique Chinese trunk. The walls are painted in Blue Muscari by Benjamin Moore, and the artwork over the sofa is by Donald Baechler. OPPOSITE: In the breakfast room, a Saarinen table is surrounded by Sika Design chairs with cushions in a Holland & Sherry stripe. The pendant is from Rose Uniacke, the bone-inlay mirror is from John Rosselli & Associates, and the walls are papered in 1890s botanical prints by João Barbosa Rodrigues. The rug is from Studio Four NYC, and the matchstick blinds are by Hartmann & Forbes. 76
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OPPOSITE: In the sitting room next
to the main bedroom, a Georgian gilt-wood mirror hangs on a wall sheathed in a Robert Kime silk. The armchair is in a Zimmer + Rohde linen, the slipper chair is in a Lisa Fine Textiles fabric, and the custom carpet is from Studio Four NYC. RIGHT, CLOC K WISE FROM TOP LE F T: The powder roomâ&#x20AC;&#x2122;s sink is
from Urban Archaeology, the mirror is from the estate of Mario Buatta, the sconce is from Ann-Morris, and the walls are sheathed in Ann Sacks mirrored tiles. In the guest bedroom, the custom headboard and 18th-century chair are in Holland & Sherry fabrics, and the bed is dressed in Sferra linens; the nightstand is from Chelsea Textiles, and the wallcovering is by Phillip Jeffries. In the main bedroom sitting room, a Verner Panton chair for Vitra pulls up to a custom desk, and the Regency bench was reupholstered by Luther Quintana Upholstery. For details, see Resources.
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MUMBAI
PHOTOGR APHS BY FA BIEN CH ARUAU
In the living room of Srila Chatterjee and Mahesh Mathai’s Mumbai apartment, the sectional is by Baro, the star-shaped bone-inlay tables are from Pune, and the chairs and ottoman are custom. The vintage Art Deco pendant is from the Mumbai flea market, the rugs are Moroccan, and the tiger sculpture is from Kerala. The room features artworks by Anjum Singh, Adeela Suleman, F.N. Souza, Sushil Soni, and Rekha Rodwittiya.
IN A CENTURY-OLD APARTMENT IN INDIA, DESIGN ENTREPRENEUR HAVE MADE A BOLD, IMMERSIVE SPACE THAT KEEPS DREAMS
SRILA CHATTERJEE AND FILMMAKER MAHESH MATHAI ALIVE EVEN IN THE MOST CHALLENGING TIMES.
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ABOVE: On the terrace, which boasts sweeping views of Mumbai, the table was
made from a vintage wood panel engraved with Arabic calligraphy, and the metal chairs are from Jodhpur. A vintage Pichwai textile hangs behind the table, and the mounted vintage mask (left) is from Kerala. LE F T, FROM TOP: The guest roomâ&#x20AC;&#x2122;s mural was hand-painted by Prashant Miranda, and the embroidered artworks are by Kruti Thaker. The dining table, created by the owners, features a glass top over two pieces of carved sandstone; the Baro chairs are upholstered in custom Meera Dabir fabrics, the vintage chandelier is from the Thieves Market, the piano (right) is from Berlin and belonged to Chatterjeeâ&#x20AC;&#x2122;s grandmother, and the artworks are by Jogen Chowdhury and K. Muralidharan, among others. 82
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T
WENT Y-SEVEN YEARS AGO, SRIL A CHAT TER JEE AND
Mahesh Mathai walked into an apartment in a 1904 Indian Colonial–style building in a historic area of Mumbai and knew within minutes that it was exactly where they were supposed to be. The space, in a building once called the Castle for its turret, had been shoddily carved up into four separate flats. But Mathai, a filmmaker, and Chatterjee, a film producer turned interior designer who owns the lifestyle site Baro Market, were undeterred. They tore down extraneous walls, opening the space up, and fixed floors damaged by a leaky roof. Ten years later, they added an outdoor terrace. The home’s exuberant decor has simi-
larly grown organically as they have amassed pieces from near (pottery tiles from Jaipur, antiques from Mumbai’s Thieves Market) and far (a rug from Morocco, a pendant light from Turkey). “My home reflects my upbringing—of being true to myself and what I believe,” says Chatterjee, who grew up in Calcutta. That unwavering authenticity has made her home even more comforting during a period when India has been hit hard by COVID-19. “This is a time to reset and think about how to make our lives more local,” she says. “Design needs to answer honest questions about how you really feel about something, rather than just following it because it’s the done thing.” —The Editors of ELLE DECOR ◾ ELLE DECOR
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LE F T, FROM TOP: In the powder room, the sink was made from an Indian brass
wok, the hand-painted corner cabinet is from Jodhpur, the custom wall tiles are from Jaipur, and the walls are painted in Oriental Blue by Asian Paints. In a corner of the dining room, the bull skull on the wall is from Bali, the jars on the windowsill are from street bazaars, and the bull sculpture is from the Thieves Market. BE LOW: The stair hall, which the owners call their â&#x20AC;&#x153;wall of fame,â&#x20AC;? is hung with photographs of friends and family; the walls are painted in Red Red by Asian Paints. OPPOSITE: In an attic guest room, the bed by Red Blue & Yellow is dressed with Anokhi linens, the chair is covered in a traditional phulkari textile, and the teak trunk is vintage. The Art Deco chandelier is from the Thieves Market, the kilim is Afghan, and the artworks include pieces by Krishen Khanna, F.N. Souza, and Somnath Hore. For details, see Resources.
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THE SPANISH AFFAIR
KEYSTONE-FR ANCE/GAMMA-KEYSTONE VIA GET T Y IMAGES
The drawing room of Ava Gardner’s former apartment in Madrid, which was renovated by designer Isabel López-Quesada. The 1954 photograph (inset) shows Gardner with her lover, Spanish toreador Luis Miguel Dominguín.
MADRID
In the breakfast room, the marble-topped vintage table is Italian, the banquette is in a Dedar fabric, and the antique chairs are French. The pendant is vintage, and the wallpaper is by Cole & Son.
DESIGNER ISABEL LÃ&#x201C;PEZ-QUESADA REIMAGINES THE LEGENDARY APARTMENT WHERE AVA GARDNER ONCE LIVED AND PARTIED UNTIL SUNRISE. ELLE DECOR
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LEFT: In the dining room, custom chairs with slipcovers in a Christopher Farr Cloth fabric and mirrors from LópezQuesada’s showroom flank lacquer-and-brass sliding doors leading into the drawing room. RIGHT: The oak staircase in the entry is custom. BE LOW, FROM LE F T:
Antique tureens and bespoke baskets in the pantry. In a child’s room, the daybed is covered in a linen from Güell Lamadrid, the chair is in a Schumacher fabric, and the wallpaper is by Cavern. On the terrace, teak sofas face an antique French wicker chaise; the copper lantern and table lamps are from Caruncho Gardens of Light.
A
MONG AVA GARDNER’S MANY LOVE AFFAIRS, ONE OF
her most enduring was her embrace of Spain—a place she found irresistible for its “earthiness” and “whimsy” (not to mention its handsome toreadors). In the mid-1950s, the Hollywood legend purchased an apartment in Madrid’s El Viso neighborhood. Set in a discreet four-story building, the duplex had grand proportions, including a nearly 2,000-square-foot rooftop terrace where she was known to play jazz and flamenco until the wee hours of the morning, irking her downstairs neighbor, exiled Argentine ruler Juan Perón. To renovate such a storied property would be any designer’s dream, but for Isabel López-Quesada, it was more than that: It was a necessity. The apartment had been in her husband’s family for half a century, ever since Gardner herself sold it to his grandfather, the Marqués de San Damián, in the 1960s. When the longtime tenants left and the family decided to put it on the market, López-Quesada couldn’t bear to think of another designer reimagining the space. “I realized I had to get one of my clients to buy it,” she says. “And when you want something really badly, the stars somehow align.” Not long afterward, she began working with a young family who were looking for a home near the city center. The Gardner apartment, in one of the most exclusive pockets of Madrid, was outside of their price range, but López-Quesada took them to see it anyway. “We visited on a rainy, nostalgic kind of day, and it was love at first sight,” says the client. “The layout was bad and the bedrooms were small, but my husband and I felt the potential was magnificent.” The Spanish designer, whose romantic approach to interiors was chronicled in her 2018 book Isabel López-Quesada: At Home (Vendome), already had a new layout in mind. “I ELLE DECOR
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felt the home spoke for itself, telling me what it needed,” she says. “Looking at the high ceilings and incredible light, I decided to create something elegant and clean, with a neutral base that would allow me to play with colors.” She began by making some major alterations to the floor plan. A narrow U-shaped staircase was replaced with a gorgeously curved one in unfinished oak, its sleek iron balustrade topped with brass handrails. One of the former reception rooms on the lower level became the main bedroom suite, complete with a sunlit walk-in closet. The upper level now has bedrooms for the children and a family room that opens onto the sprawling terrace, where the overgrown tops of neighborhood trees provide not just shade but also the delightful sense of being in an urban forest. When it came time to decorate, she unleashed her signature eclecticism. López-Quesada is the kind of designer who can nod to British clubhouses, French country homes, and Park Avenue apartments within a single space, weaving it all together into an effortlessly chic atmosphere. In one corner of the drawing room, she placed a camel velvet sofa with midcentury lines under a marine-hued abstract painting by Donna Huanca and paired it with two 1960s Pierre Paulin Mushroom chairs reupholstered in black. The opposite corner features a rustic French vintage table topped with huge glass vases in different colors and motifs. “The way she mixes styles is truly unique,” says the client. “She’ll pair a valuable antique with something very rustic, almost as if to make it less serious or important. Every room in our house has its own personality.” Meanwhile, on the rooftop terrace amid a garden designed by Fernando Martos, López-Quesada created an enchanting space furnished with pillowed sofas and wicker armchairs. One could easily imagine Gardner there, drinking sangria with Luis Miguel Dominguín, the dashing bullfighter who was her paramour, and entertaining friends with music until sunrise. “We love hosting, and often our guests don’t want to leave,” the client says. “We joke that it’s the spirit of Ava Gardner—she knew how to enjoy life.” ◾ 90
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ABOVE LE F T: Isabel López-Quesada on the terrace. ABOVE: In the main bedroom, the 1950s table is Italian, and the curtain and valance are of a Brunschwig & Fils fabric. BE LOW: In a bathroom, a 1940s inlaid dresser was converted into a vanity, and the walls are in a Schumacher striped fabric.
In a corner of the family room, the vintage table is Danish, the suede chairs are by Geoffrey Harcourt, and the Provençal oak cabinet is from LópezQuesada’s showroom. The rug is by the Rug Company, the walls are sheathed in a Kravet stripe, and the artwork is by Elena del Rivero. For details, see Resources.
PIT TSBURGH
HOMECOMING FOR A YOUNG FAMILY RETURNING TO THEIR PENNSYLVANIA ROOTS, DESIGNER JANINE CARENDI M AC MURRAY HAS CREATED A HOUSE THAT MELDS HISTORY AND MODERNITY. BY STEPHEN HEYM AN PRODUCED BY CYNTHIA FR ANK PHOTOGR APHS BY SIMON UPTON
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In the game room of an early-20th-century Tudor Revival home in Pittsburgh, designed by Janine Carendi MacMurray, the fireplace guard is from 1stdibs, and the rug is from Stark. Delft vases from the 17th century sit atop the home’s original mantel, and the artwork is by Ben Shahn. OPPOSITE: In the entry hall, the 19thcentury English mahogany table is topped with an antique Chinese porcelain bowl; the front door, hardwood floors, and ceiling beams are original to the home. The chandelier is by Gaetano Sciolari, the window-seat cushion is in a Hines & Company fabric, and the throw pillow is in a Donghia fabric. The artwork is by Jack Levine.
O
UTSIDE OF THE PIT TSBURGH
area, Squirrel Hill is better k now n a s M r. Ro ger s ’s neighborhood. The beloved children’s-television personality lived on leafy, broad Beechwood Boulevard. For architecture buffs, however, the neighborhood’s chief interest lies farther west on a private street running through a forested oasis in Pittsburgh’s East End. The road conceals a wealth of adventurous and architect u r a l ly sig n i f ic a nt home s , f rom Andrew Mellon’s redbrick Tudor mansion (la ndscaped by the Olmsted Brothers) to modernist houses by Walter Gropius and Richard Meier to a postmodern folly by Robert Venturi. For a prosperous young family seeking to reconnect with their deep Pittsburgh roots after years spent away from the city, this street felt like the perfect la nding pad. Yet the 94
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five-bedroom Tudor Revival house they bought on the southern end of the street in 2016, while steeped in the city’s history, did not exactly suit the needs of a modern family. Built by the architects Vrydaugh and Wolfe in 1902 for an attorney and styled like a robber baron’s idea of a medieval hunting lodge, the place reeked of musty books and riding boots. The challenge of showcasing the house’s heritage while softening its edges fell to the New York City–based designer Janine Carendi MacMurray. The theme of her design was “coming home.” The clients wanted the house to feel sophisticated, light, and contemporary while honoring the family’s history. “In every room, we tried to incorporate pieces from the couple’s respective families—many of which had been passed down for generations,” MacMurray says. She also strived to
preserve what was authentically Pittsburgh about the house: exposing original walnut beams in the entryway, sourcing local stone for the kitchen countertops, and respecting elements that spoke to the city’s industrial history—even if they weren’t the most practical things. “On the second floor, there is this fabulous linen closet with tiny doors from floor to ceiling,” says MacMurray. “This is where the white linens were kept so they wouldn’t be covered in coal dust” from nearby factories in the early 20th century. In other respects, MacMurray was free to play, mixing midcentury light fixtures, 17th-century English furniture, and swinging ’60s rugs. She also drew from the family’s enviable collection of heirlooms and antiquities. In the dining room, a 19th-century English mahogany table anchors the space; the Gracie wallpaper alludes to
ABOVE: In the dining room, the 19th-century mahogany table, topped with a mix of Delft and 18th-century Chinese porcelain, is flanked by chairs from Artistic Frame upholstered in a Holland & Sherry fabric; the ceiling light is by Jean-Boris Lacroix, the wallpaper is by Gracie, and the window-seat fabric is from Scalamandré. BE LOW: The family room features custom sofas in a Schumacher fabric, a 19th-century Chinese rattan bed used as a cocktail table, a 19th-century English leather armchair, a 17th-century iron chandelier, an antique Heriz rug, and an artwork by Robert Indiana. ABOVE: The kitchen
countertops’ stone is from a local quarry, the cabinetry is custom, and the cabinet hardware is from Rejuvenation; the range and vent hood are by Wolf, and the hood cover is custom. The barstools are upholstered in a Schumacher fabric, and the floor was painted by David A. Wilson of Masterpiece Painting. OPPO SITE: In the living room, the sofa is custom, the Art Deco armchair (left) is vintage, the pair of chairs are by Edward Wormley for Dunbar, and the cocktail tables were custom made by Silvercrane. The 1950s floor lamp is by Stilux Milano, the wallpaper is from Hines & Company, the curtain is of a Lee Jofa fabric, and the artwork above the sofa is by Richard Estes.
CLOCK WISE FROM ABOVE: In the game
room, the chess table is from Art Deco Collection, the Artistic Frame chairs are covered in a Perennials fabric, the Swedish armchairs are from Eileen Lane Antiques, and the midcentury bar cart is from 1stdibs; the walls are in a Benjamin Moore paint, the Roman shade fabric is from Zimmer + Rohde, the rug is from Stark, and the antique watercolors are by Thomas Rowlandson. In the main bathroom, the Signature Hardware castiron bathtub has California Faucets ďŹ xtures, and the ďŹ&#x201A;oor tiles were custom made by Lapicida. The vintage benches in the playroom were found in a church in Maine; the table, chairs, and rug are from Pottery Barn, and the wall is covered in a Rebel Walls wallpaper.
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In the main bedroom, the 17th-century English Jacobean chaise has a cushion in a Taffard fabric, the chandelier is from Arteriors, and the bed is draped in a Spanish sheepskin throw. The wallpaper is by Thibaut, the rug is by Brunschwig & Fils, and the artwork (right) is a hand-painted Japanese screen from the early 19th century. For details, see Resources.
the boats traveling down the Allegheny and Monongahela rivers. At the head of the table is a John Singer Sargent portrait of a family ancestor. A Jean-Boris Lacroix light fixture gives the space a warm Deco glow, and graphic blue throw pillows click in a surprising way with the Delft and Chinese porcelain on display. While a room such as this feels richly layered, others, like the kitchen, are starkly elegant. A vintage checkerboard pattern lends a graphic, modern quality to the floor. Working with the architect Liza Cruze, MacMurray sketched a pot rack and hood over the stove that elongates the space. The austerity of the kitchen is contrasted by a bright breakfast nook, with a miniature velvety sofa fit for the kids.
Designing for children is a passion for MacMurray, as evidenced by the top-floor playroom she created. The room’s most prominent feature was a slanted wall. Rather than ignoring that odd angle, MacMurray leaned into it—blowing up the scale of a wallpaper pattern from the Swedish company Rebel Walls and arranging it so it took on a three-dimensional quality. The family room posed the biggest challenge in the home, and as such, it is the area of which MacMurray is the proudest. Originally a covered portico with a hulking stone hearth, the space was turned into a sunroom with windows in the 1940s and then weatherized by previous owners, who made the dubious choice of installing a massive television over the fireplace. Mac-
Murray designed custom bookshelves on the opposite end of the room to discreetly house the TV. A pair of “mirror-image” chaises allow for both fireside lounging and movie watching. As a final flourish for the room, MacMurray suggested a Robert Indiana painting from the client’s art collection, which they had struggled to find a home for. It was too loud for the dining room, too big for the entry, too bright for the bedroom. Not only did it fit perfectly over the fireplace, the pattern reflected the geometries of the original architecture, the gridded metal windows, and the dark wood beams. Here and throughout the home, an unexpected splash of the new dynamizes the old, while the old lends the new a deepened sense of place. ◾ ELLE DECOR
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CINCINNATI RISING
IN HIS WILDLY POPULAR INSTAGRAM @ HOODMIDCENTURYMODERN, PHOTOGRAPHER AND CITY CHRONICLER JERALD COOPER TURNS A LENS ON UNSUNG MASTERPIECES. HERE, HE SHOWS OFF THE GEMS IN HIS OHIO HOMETOWN. TEX T AND PHOTOGR APHS BY JER ALD COOPER
I
’M FROM CINCINNATI, WHICH HAS ALWAYS BEEN
one of those cities to which people reply, “Nope, never been.” Those who have been never fail to mention the chili, which is something we’re best known for. But the city has much more to offer beyond the meat and beans. It is also considered the final stop on the Underground Railroad and has inspired countless works of literature, such as Toni Morrison’s iconic novel Beloved. It’s where the late Pritzker Prize– winning architect Zaha Hadid designed her first 98
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building in America and where the legendary African American poet Nikki Giovanni grew up. Rarely are these things mentioned. But the day I found out that the suspension bridge designed by John A. Roebling, which connects Cincinnati with Covington, Kentucky, was actually the prototype for the Brooklyn Bridge, I was so gassed! When it opened in 1866, there was no bridge on earth that was longer. How crazy is that? It’s what inspired me to seek out more of these rare, mythical gems in my hometown. ◾
UNION TERMINAL There isn’t a building more important in Cincinnati than Union Terminal. It’s known nationwide as one of the best examples of American Art Deco.
WEST END LIBRARY I grew up going here in the summer, starting in the first grade. In retrospect, it may have been one of the first midcentury-modern buildings I’d seen or interacted with in my life. I think that explains my obsession with zigzag roofs. ELLE DECOR
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2240 HARRISON AVENUE My favorite apartment building in Cincinnati. Those curves and squiggles let us know it’s definitely an example of Streamline Moderne.
LAUREL HOMES Dating to 1933, this is one of the first three housing projects built in America. Whoever got Laurel Homes approved for historic preservation, I thank you! But why only three buildings? The rest were razed in the early 2000s and replaced by condos. Were they not also historic?
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CONTEMPORARY ARTS CENTER Zaha Hadid’s first building in America, completed in 2003. Mic drop!
1800 FREEMAN AVENUE Cincinnati is home to many Italianate duplexes, including this one that my brother and I bought in 2019. It was built in the mid-1800s in the West End of Cincy, a historically Black neighborhood, and where my family has been since they arrived here in the early 1930s.
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Jerald Cooper is the founder of Hood Century, an editorial brand focusing on the history of midcentury modernism in BIPOC neighborhoods across the country.
JOHN A. ROEBLING SUSPENSION BRIDGE This is the Brooklyn Bridge prototype. It was built during the Civil War and was the world’s longest suspension bridge when it was completed in 1866. Its younger cousin spanning New York City’s East River took the title away in 1883.
RIGHT: This has to be my
favorite picture of my mother. Behind her is the building we bought on Freeman Avenue with a double-exposed image of Union Terminal in its Art Deco glory.
ELLE DECOR COLLECTION elleboutique.com/elledecor|#parisiananywhere
RESOURCES
Items pictured but not listed are from private collections. TRUTH IN DECORATING PAGES 42–44: Rayman Boozer, apartment48.com. Christine Gachot, gachotstudios.com.
DANIEL’S KITCHENS
Daniel Boulud, danielboulud.com. PAGES 48–49: Tablecloth: Sferra, sferra.com. Dutch oven: Williams Sonoma, williams-sonoma.com. RSVP
Interior design: Florence Lopez, florencelopez.com. PAGES 52–53: Ceramics: Bela Silva, belasilva.com. TROOP BEVERLY HILLS
Interior design: Michael S. Smith, michaelsmithinc.com. PAGES 62–63: Cabinet fabric: Jasper, michaelsmithinc.com. Lantern: Jamb, jamb.co.uk. Sofa fabric: Pierre Frey, pierrefrey .com. Cocktail table: Jasper. Chaise longues: Prestigio, prestigiocustom.com. PAGES 64–65: Bed fabric: Namay Samay, namaysamay.com. Bed linens: Matouk, matouk.com. Sofa fabric: Harbinger, harbingerla.com. Wall and ceiling fabric: Cowtan & Tout, cowtan .com. Chairs fabric: Namay Samay. Sconces: Rose Uniacke, roseuniacke.com. Bed curtains and canopy fabric: Lee Jofa, kravet.com. Curtains fabric: Pierre Frey. DREAMING IN ITALIAN
Interior design: Emiliano Salci, dimorestudio.eu. PAGES 66–67: Cocktail table: Dimoremilano, dimoremilano .com. PAGES 68–69: Curtains fabric: Dimoremilano. Floor lamp: Flos, flos.com. Kitchen stools: Dimoremilano. Rug: Dimorestudio, dimorestudio.eu. PAGES 70–71: Daybed fabric: Dimoremilano. Sconce: Design Within Reach, dwr.com. Carpet: Dimorestudio.
Holland & Sherry, hollandand sherry.com. Club chairs fabric: Borderline, borderlinefabrics .com. Sofa and club chairs upholstery: Luther Quintana Upholstery, lqupholstery.com. Rug: Brunschwig & Fils, kravet .com. Curtains fabric: Kravet, kravet.com. Artwork: Howard Hodgkin, howard-hodgkin.com. PAGES 74–75: Chair embroidery: Penn & Fletcher, pennandfletcher .com. Ceramic lights: Rose Uniacke, roseuniacke.com. Rug: Allegra Hicks, christopherfarr .com. Roman shade fabric: Zimmer + Rohde, zimmer-rohde .com. Umbrella stand: Fornasetti, fornasetti.com. Wallcovering: Barkskin, barkskin.com. PAGES 76–77: Stools: Bauhaus 2 Your House, bauhaus2yourhouse .com. Tiles: Ann Sacks, annsacks .com. Pendant: Ann-Morris, ann morrislighting.com. Flooring: APC Cork, apccork.com. Trays: John Derian, johnderian.com. Sofa and side chair fabric: Quadrille, quadrillefabrics.com. Wall paint: Benjamin Moore, benjaminmoore .com. Artwork: Donald Baechler, donaldbaechler.com. Chairs: Sika Design, sikadesignusa.com. Chair cushions fabric: Holland & Sherry. Pendant: Rose Uniacke. Mirror: John Rosselli & Associates, johnrosselli.com. Rug: Studio Four NYC, studiofournyc.com. Blinds: Hartmann & Forbes, hartmann forbes.com. PAGES 78–79: Wallcovering: Robert Kime, robertkime.com. Armchair fabric: Zimmer + Rohde. Slipper chair fabric: Lisa Fine Textiles, lisafinetextiles.com. Carpet: Studio Four NYC. Sink: Urban Archaeology, urbanarchaeology .com. Sconce: Ann-Morris. Wall tiles: Ann Sacks. Headboard and chair fabric: Holland & Sherry. Bed linens: Sferra, sferra.com. Nightstand: Chelsea Textiles, chelseatextiles.com. Wallcovering: Phillip Jeffries, phillipjeffries.com. Chair: Vitra, vitra.com. Bench upholstery: Luther Quintana Upholstery.
A VIEW OF MANHATTAN
Interior design: Tom Scheerer, tomscheerer.com. Architecture: Gil P. Schafer, gpschafer.com. PAGES 72–73: Sofa fabric: Lee Jofa, kravet.com. Side chair fabric: 106 E L L E D E C O R
THE MAXIMUM EFFECT
Interior design: Srila Chatterjee and Mahesh Mathai. PAGES 80–81: Sectional: Baro, baro-india.com. PAGES 82–83:
Chairs: Baro. Artwork: Jogen Chowdhury, jogenchowdhury.net. PAGES 84–85: Wall paint: Asian Paints, asianpaints.com. Bed linens: Anokhi, anokhiusa.com. THE SPANISH AFFAIR
Interior design: Isabel LópezQuesada, isabellopezquesada.com. Garden design: Fernando Martos, fernandomartos.com. PAGES 86–87: Banquette fabric: Dedar, dedar.com. Wallpaper: Cole & Son, cole-and-son.com. PAGES 88–89: Chair fabric: Christopher Farr Cloth, christopherfarrcloth.com. Daybed linen: Güell Lamadrid, g-lamadrid.com. Chair fabric: Schumacher, fschumacher.com. Wallpaper: Cavern, cavernhome .com. Lamps: Caruncho Gardens of Light, gardensoflight.com. PAGES 90–91: Curtain and valance fabric: Brunschwig & Fils, kravet .com. Wallcovering: Schumacher. Rug: The Rug Company, therug company.com. Wallpaper: Kravet, kravet.com. HOMECOMING
Interior design: Janine Carendi MacMurray, areainteriordesign .com. Architecture: Liza Cruze, cruzearchitects.com. PAGES 92–93: Fireplace guard: 1stdibs, 1stdibs.com. Rug: Stark, starkcarpet.com. Window seat cushion fabric: Hines & Company, hinescompany.com. Throw pillow fabric: Donghia, kravet.com.
PAGES 94–95: Cabinet hardware:
Rejuvenation, rejuvenation.com. Range and vent hood: Wolf, subzero-wolf.com. Barstools fabric: Schumacher, fschumacher .com. Wallpaper: Hines & Company. Curtains fabric: Lee Jofa, kravet.com. Chairs: Artistic Frame, artisticframe.com. Chairs fabric: Holland & Sherry, holland andsherry.com. Wallpaper: Gracie, graciestudio.com. Window seat fabric: Scalamandré, scalamandre.com. Sofas fabric: Schumacher. Artwork: Robert Indiana, robertindiana.com. PAGES 96–97: Chess table: Art Deco Collection, artdecocollection .com. Chairs: Artistic Frame. Chairs fabric: Perennials, perennialsfabric.com. Armchairs: Eileen Lane Antiques, eileenlane .com. Bar cart: 1stdibs. Wall paint: Benjamin Moore, benjaminmoore .com. Roman shade fabric: Zimmer + Rohde, zimmer-rohde .com. Rug: Stark. Bathtub: Signature Hardware, signature hardware.com. Fixtures: California Faucets, calfaucets .com. Floor tiles: Lapicida, lapicida.com. Table, chairs, and rug: Pottery Barn, potterybarn .com. Wallpaper: Rebel Walls, rebelwalls.com. Chaise cushion fabric: Taffard, taffard.com. Chandelier: Arteriors, arteriors home.com. Wallpaper: Thibaut, thibautdesign.com. Rug: Brunschwig & Fils, kravet.com.
ELLE DECOR (ISSN 1046-1957) Volume 31, Number 8, November 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.
NOT FOR SALE 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.
Fantastic Voyage A DESIGNER’S CHILDHOOD SUMMERS IN SEOUL INSPIRE AN EYE-CATCHING PATCHWORK RUG. PHOTOGR APH BY PHILIP FRIEDM AN Natural hide, the material of choice for Kyle Bunting, founder of his eponymous rug company, lends itself well to complicated compositions. The skin’s inherent textures add a sense of movement to an already animated motif. It was an easy choice, then, for Bunting to collaborate with Eun Sun Chun, cofounder of the New York City–based design and architecture firm 212box, on this layered piece. “One of the compelling things about Chun’s work is how she integrates our stitchless seaming into the design so easily,” he says. Having grown up in South Korea, Chun infuses a distinct combination of local and global inspirations into her work. For this rug, she was inspired by childhood summers with her grandmother in Seoul. “The patterns and colors remind me of the traditional opal- and mother of pearl–inlaid cabinetry, the hanbok dress, the geometric patterns, and the vibrant colors of the textiles,” Chun explains. “It takes me back to the ornamental and structural forms of the buildings there.” —Kate McGregor kylebunting.com
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