Suzanne Kasler: Timeless Style

AT HOME

CLASSIC

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GLAMOUR

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NATUR AL

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AUTHENTIC

RELAXED

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CHIC

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ORGANIC

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and, sea, and sky—that’s the view

from the windows of this beach house on the coast of South Carolina. In a simple, sunlit place like this, you feel very close to nature and it seemed appropriate to use natural materials like wood, wicker, jute, and linen. And I wanted to use colors you see outside because the house is very open to the landscape, with French doors everywhere and wide, wraparound porches. Even when you’re in the house it feels almost as if you’re out on the water, and it just seemed right that the inside and the outside of the house should relate to each other. So I chose all sorts of blue and white and sand-colored fabrics and comfortable slipcovered furniture. But this is not your typical beach house. It’s not cute and it’s not casual in that tossed-together, just-for-the-season way. The furniture is a little more serious because this is more than a weekend house. Eventually the clients plan to live here full-time, and the house was designed by the architect William Hughie with that in mind. I also kept that thought in the back of my head as we did each room. Some of the furnishings are antique and some are modern, but they’re all solid, substantial pieces that will last forever. When you walk through the door, it feels like a warm, welcoming home.

Out on the porch, a teak table is always ready for an impromptu gathering. The family and their guests can sit back in one of the sturdy director’s chairs from the East African Canvas Company and feel the sea breeze.

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W

obody wanted to tamper with the

existing architecture, but I decided to soften it a bit. In the entrance hall, the details had been picked out in various colors, which made it seem very dressy. The room became simpler and purer after we painted the walls, the trim, and the ceiling bone white. Then I waxed the walls to add a little patina. On either side of the hall was a large doorway. One led to the dining room, the other to the library. Each doorway was topped by a pediment and framed in pilasters, and I thought it would be interesting to paint just that woodwork a subtle grayAd ut videnit que quis endam quia que assunt, as explitaero et ut eum core labore ius qui odit mo temolum qui nempos eaque ipiduci musapid eatianiature esti berum repra audam am, sum si sectam que ma quis adi omnihilia consed quame eritiatus moluptatem dolo con reptibus dunt ut que nobis eiciducium as et etur, aut vero qui inulluptum in nus re odis enita explam adignihit Lenestius. Evenihita con rectatias vel magnatq uundias aut qui deliquaspere doluptatem custrum qui officim agnimai onsentio. Nam ut expliquid, que invelib. Um, addum opor la in sendees intiae cauro con sedo, deraetra rem mus moric re furnihili, C. Quam, utuusata avena, curnihilica rehebatia videra postert eriamdiis cla maio, viristre terfirm aximus, consimili, omnicon sulvissa potertuid re, quam se conendit actuis, simunu 240

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above, clockwise from top left: Above: A breakfast table, topped with bluestone, separates the kitchen from the family room. I slipcovered my Chastain chairs for Hickory Chair in a striped linen that has the look and feel of a dishcloth. OPPOSITE : Held together by structural steel cables, the ceiling in the family room soars. Shades of ivory, taupe, brown, and black make up the palette. Thereâ&#x20AC;&#x2122;s just a hint of blue in the curtain fabric, Montague by Rose Tarlow, but again it has that faded look. Flax-colored linen covers the sofa and the chairs. Flax becomes the background color and keeps the large room looking light and airy.

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A BOv E :

Glass-fronted cabinets add charm. I’ve always wanted a CornuFé range because they’re so beautifully made, almost like a piece of jewelry trimmed in chrome and brass. Opposite: Sun pours into the breakfast area from steel casement windows that look like something you’d see in one of those chic, renovated farmhouses in the south of France. Pewter lights hang over an antique Swedish table and reiterate the industrial look.

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In a large room with a great wooden roof like a barn, I decided to do a few large pieces. The Belaire French settee has long, graceful lines and a lovely undulating curve to the seat. I had the headboard custom made with curved sides, like a wing chair, and upholstered it in platinum velvet from J. Robert Scott in the same color as the silk curtains. The bed linens were custom made by Leontine Linens. Pillows pick up the lavender, used as an accent. The Percival chandelier in rusted iron and whitewashed wood, from my collection for visual Comfort, was modeled after a French original.

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