Excerpt: The New Elegance by Rizzoli International Publications

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in the second half of the nineteenth century. There is only one apartment per floor, so each receives light from both east and west. The layout is severely symmetrical, with a long central corridor with double doors on both sides. Fortunately, the apartment had retained all its original paneling and plasterwork, parquet floors, and fireplaces in every room. As elegant as it was, however, the layout didnâ&#x20AC;&#x2122;t really correspond with the way I wanted to use

the space. I wanted it to serve as a showplace for decorative arts from the eighteenth through the twentieth centuries, yes, but also as a place where I could relax, put my feet up, have a drink, invite friends for the weekend, or host intimate dinner parties for six. (I donâ&#x20AC;&#x2122;t cook, but Fauchon is just a block away.) I made no permanent changes to the historic interior, but I reconfigured the ways the rooms are used to make the apartment more livable. It now consists of an entryway, living and dining rooms, a study, three bedrooms with baths, and an eat-in kitchen. In the living room, for example, there were six pairs of doors opening onto other rooms, as well as French doors with Juliet balconies. With all those doors, furniture would have had to be placed in the middle of the room, which was neither practical nor convenient. I removed one pair of doors, set an antiqued mirror panel into another, and disguised the other four by placing consoles, mirrors, and paintings in front of them, with the ornate plasterwork serving as frames. This gave the space, which had been more of passageway than a room, greater versatility and a sheltering, comforting atmosphere. The great conceit of the room is what appears to be a large gilded mirror behind the sofa, but is in actuality an internal window looking onto what is now the dining room beyond. I furthered the illusion by placing an

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THE NEW ELEGA NCE

A BOV E , OPPOSITE , A ND PR EV IOUS SPR EA D:

THE NEW ELEGA NCE

ART & MIRRORS

t always surprises me how many clients don’t understand the importance that walls play in creating a finished, comfortable, elegant room. Any large expanse of empty wall is likely to make a room feel incomplete or cold. Walls cry out for adornment. You don’t need great works to make a great room. I personally think it is better to showcase a poster of a work you love than to live with bare walls. Don’t think about art as an investment, but as an expression of your interests and your tastes. Good works can be had at a variety of price points. I often find lovely works for very little money at auction houses, and the internet has made buying and bidding for art online easy. Mirrors are a great way to dress up a wall and add depth. Outside the bathroom, mirrors are not about vanity. They open up a room, add interest, expand light, play with reflections. In fact, I often position mirrors high on the walls, or angled to reflect up to the ceiling. I will hang mirrors as a kind of faux window opposite an actual window. In fact, there are few places where a mirror won’t work. And mirrors are a fantastic way to highlight a beautiful frame. There are any number of other ways to add richness and depth to your walls. Hang a length of beautiful fabric, a vintage suzani or a tapestry, a flatweave rug, or a piece of needlework. Place a beautiful illustrated book on an easel to serve as a freestanding artwork. Group smaller works together to fill a wall. What is important is that artwork and mirrors work with the scale and furnishings of the room and that they enhance and complete the desired effect.

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In this house belonging to the newest generation of an old Hollywood family, diverse styles and cultures meet to vivid effect. The bright orange sofa stands out against the blue-and-teal rug. The 19th-century lamp had belonged to the client’s grandmother, and we fitted it with an overthe-top new shade. The woven Balinese chair and graphic sculpture are unexpected elements, especially when

THE NEW ELEGA NCE

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THE NEW ELEGA NCE