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Photo Michel Gibert, photograph used for reference only. 1Conditions apply, ask your store for more details. 2Program available on selected items and subject to availability.

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This collection is a tribute to the adventurer we all dreamed of being. A journey is a transformative experience, and we wanted each piece to capture the feeling of bringing home worldly treasures from faraway places.

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Montgolfière, sofa. La Parisienne, Chess, cocktail tables. Up, lamps.

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Set your shades in motion at sunrise, sunset and anytime in-between—automatically. Hunter Douglas shades with PowerView® Motorization move to schedules you create. hunterdouglas.com © 2018 Hunter Douglas. All trademarks used herein are the property of their respective owners.

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THERE ARE PIECES THAT FURNISH A HOME AND THOSE THAT DEFINE IT.®

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W I T H O U T G ET T I N G U P .

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C O N T E N T S OCTOBER 2018

28 P. 144

AZORES OF ENERGY On a remote Portuguese island, architect Luís Bernardo Brito e Abreu has renovated his family’s manor to reﬂect their maritime and artistic heritage. BY GISELA WILLIAMS

FR ANCISCO NOGUEIR A

DESIGNER LUÍS BERNARDO BRITO E ABREU

ELLE DECOR

DAVIDYURMAN.COM

888-DYURMAN

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C O N T E N T S

P. 132

P. 138

P. 150

P. 156

MAKER’S MARK

TRE’S COMPANY

MORE IS MÁS

SMOKIN’ ADOBE

Arkansas native Brad Ford brings his passion for handcrafted design to a traditional prewar apartment on New York’s Upper West Side.

In the same Milan enclave where Costanza Paravicini creates her cult dinnerware hides an apartment that brings her family’s artisanal aesthetic to life.

Amaro Sánchez de Moya has created a maximalist global retreat in the capital of Andalusia— one that celebrates local craft.

Arts pioneer Virginia Lebermann researched indigenous methods to transform a run-down structure in Marfa, Texas, into a minimalist family home.

DESIGNER BRAD FORD

BY WHITNEY ROBINSON BY NANCY HASS DESIGNER COSTANZA PARAVICINI

ELLE DECOR

DESIGNER AMARO SÁNCHEZ DE MOYA

BY RIMA SUQI DESIGNER VIRGINIA LEBERMANN

RICARDO L ABOUGLE

FEATURES

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R ALPHL AUREN.COM/ HOME

R ALPHL AURENHOME

Home

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Home

N E W YO R K

B E V E R LY H I L L S

PA L M B E AC H

C H I C AG O

PHOENIX

DA L L A S

LONDON

MANHASSET

BRUSSELS

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D E PA RT M E N TS

P. 44

EDITOR’S LETTER P. 48

CONTRIBUTORS 34

POV A Portuguese company

C O N T E N T S

P. 52

supporting local artists, a moment with Portia de Rossi, Jefrey Bilhuber throws shade, and more P. 61

WHAT’S HOT Dispatches from the world of design P. 70

BUYER’S LAMENT Five ED editors talk about the handmade pieces they should have bought. P. 72

TALENT Interiors ﬁrm Hancock Design collaborates with the Cartorialist. P. 74

TALENT Celebrating 10 years of Bunny Williams Home P. 76

TALENT Andria Mitsakos scours the globe in search of artisanal design. P. 78

TOOLBOX The season’s hottest lighting designs P. 84

P. 94 The polishedbronze Atoll lamp by Liaigre, liaigre.com.

ESSAY A paean to needlepoint. BY SHEILA MARIKAR

P. 86

SHOWCASE A Los Angeles cake visionary bakes this season’s best rugs.

ON THE COVER

Designer Amaro Sánchez de Moya reinterprets Empire style in the entrance to the library of his clients’ home in Seville, Spain. PHOTOGR APH BY RICARDO LABOUGLE

ELLE DECOR

P. 94

TRUTH IN DECORATING Finally, bronze takes ﬁrst place.

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P. 102

MOOD BOARD

ED editor at large Sophie Pera’s eye is always traveling. P. 104

JEWELRY BOX A 21st-century take on emeralds P. 106

SHORTLIST Marie-Aude Rose and the nine things she can’t live without P. 108

AT HOME WITH Tina Seidenfaden Busck’s haven of Danish design. BY ADAM SACHS

P. 114

ED DESIGN HOTELS Shinola opens its ﬁrst hotel in the Motor City. BY INGRID ABRAMOVITCH

P. 116

ZODIAC TABLESCAPE

A romantic setting for the astrologically minded P. 118

DANIEL’S KITCHENS Raclette: an Alpine feast. BY DANIEL BOULUD

P. 122

TALENT

Jewelry designer Ariel de Ravenel’s Parisian ﬂat P. 130

ANATOMY OF A HOUSE Patrick Planeta revives a Shingle Style home. P. 166

RESOURCES

Where to ﬁnd it P. 168

NOT FOR SALE A gilded ceramic teapot by German designer Bernhard Kühn

Enter Our Cambria Natural Stone Countertops Giveaway Is it time to refresh your kitchen counters? Cambria—a producer of American-made natural stone surfaces—is here to help. One winner will receive up to $5,000 credit to use toward Cambria natural stone surfaces, including fabrication and installation, when purchased from a Cambria-approved retailer. See page 166 for sweepstakes rules, and visit cambria.elledecor.com for your chance to win.

Visit service.elledecor.com to order a print subscription, pay your bill, renew your subscription, update your mailing and e-mail addresses, and more. Or write to: Customer Service Department, ELLE DECOR, P.O. Box 37870, Boone, IA 50037. One-year subscription rate $15 for U.S. and possessions, $41 for Canada, and $60 for other international. To purchase digital back issues, please go to backissues.elledecor.com. ELLE DECOR

TOP: JAMES MERRELL

C O N T E N T S

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Te xt u re d . To n a l . T ime l e ss. feat. T H E I D R I S C O L L E C T I O N

Rugs for the thoughtfully layered home.

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EDITOR IN CHIEF

Whitney Robinson 38

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was originally intended to be “In Defense of Craft.” It’s an idea I’ve been knocking around in my head for some time. In the digital age, where we’re a l l con nec ted 2 4/ 7, wh at need defending, in many cases, are individual métiers: weav i ng, t h row i ng clay, pa i nti ng (see t he Dolce & Gabbana suit I’m wearing at right, which was hand-painted by New York artist Jody Morlock). At ELLE DECOR , we’re always defending craft, and that is our mission—one that is immutable. But at the same time, craft seems to be everywhere. As more and more companies lay claim to the handmade, suddenly every bottle of whiskey is sold as small-batch, every chair is supposedly bench-made, every goblet is handblown (Murano glass, of course), and so on. The question is, How do we tell the beard that’s machineclipped from the one that’s hand-waxed? Luckily for you, you picked up this magazine. In this issue, we go behind the closed doors of the makers, the ateliers, and the homes and spaces that are truly one of a kind. Like the prewar Upper West Side apartment that Brad Ford designed, in which he highlighted the exquisite original elements instead of removing them. So many of the details—from the wood paneling on the walls to the gargantuan marble ﬁreplace— were inherited. When I asked him, “Why not change it?” he said he wanted to maintain the integrity of the original craftsmanship. There’s the much-loved atelier Laboratorio Paravicini in Milan, whose dinnerware is a favorite of everyone from Italian dukes to American royalty (here’s looking at you, Aerin). Then there’s Virginia Lebermann, who took a rundown adobe structure in the tiny town of Marfa, Texas (she was instrumental in its renaissance), and, with her discerning eye and a lot of pieces from Axel Vervoordt, transformed it into a chic home that celebrates arts and crafts. In São Miguel, Portugal, newly minted architect Luís HE THEME OF THIS ISSUE

Bernardo Brito e Abreu, whose ancestors settled on the island centuries ago, has completed a renovation of his family’s home that’s worthy of its artistic and maritime legacy. And cover star Amaro Sánchez de Moya, who is redefining maximalist interiors, kept the ancient traditions of countless artisans alive during the three years the house in Seville, Spain, took to finish. In the spirit of this issue, we’re also introducing a few new concepts, including Anatomy of a House. In the first installment, ED’s Charles Curkin goes behind the scenes of an 1883 Shingle Style house by Peabody & Stearns in Brookline, Massachusetts, whose interiors were assiduously restored to their former glory by Boston designer Patrick Planeta. ED also gets a first look at Detroit design brand Shinola’s new hotel in a converted department store, in downtown Motor City. Writer Sheila Marikar explains why needlepoint isn’t just your grandmother’s favorite pastime anymore. And finally, the mega-talented Los Angeles baker and photographer Alana Jones-Mann turns the latest floor fashions into edible cakes. Although I first encountered her work online, I would stake our esteemed reputation on the fact that it demands both your attention and your taste buds. The rugs are pretty great, too. Bon appétit!

elledecor@hearst.com Follow me on Instagram: @whowhatwhit

PHILIP FRIEDMAN/STUDIO D

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GISELA WILLIAMS Writer, “Azores of Energy,” p. 144 HQ: Berlin GOOD LIBATIONS:

“A strong ﬂat white, green juice with lots of ginger, and a margarita. In that order.”

C O N T R I B U T O R S

LUÍS BERNARDO BRITO E ABREU Designer, “Azores of Energy,” p. 144 HQ: Azores, Portugal PRIZED POSSESSION:

“An 18th-century ﬁgurehead from a wrecked ship that now stands proudly in my living room.”

ALANA JONES-MANN Baker and photographer, “Don’t Be Crewel,” p. 86 HQ: Los Angeles PRIDE AND JOY:

Photographer, “Friends in Haute Places,” p. 122, and “Tre’s Company,” p. 138 HQ: “A houseboat outside London, where I live surrounded by water, swans, and oak trees.” Personal Acquisitions: “A 16th-century carving from India, a camel-teeth necklace from Morocco, a bird’s skull from France, dried leaves from Mexico, and antlers from Scotland.”

BRAD FORD Designer, “Maker’s Mark,” p. 132 HQ: New York City CHANGING STYLES:

“Growing up in the South, I was originally drawn to a more traditional, layered style of decorating. After moving to NYC, I became fascinated by how to create more with less.”

VANESSA LAWRENCE Writer, “Friends in Haute Places,” p. 122 HQ: New York City GEM THEORY:

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“The ﬁrst piece of jewelry I bought for myself was a pavé black diamond love-knot ring that my talented friend Soraya Silchenstedt designed for me.”

BRITO E ABREU: FR ANCISCO NOGUEIR A; FORD: KEVIN TACHMAN; L AWRENCE: PRUE HYMAN

JAMES MERRELL

“I’m very proud of my vanilla cake recipe. When it’s layered with buttercream and fresh, seasonal fruit preserves, there is no better combination.”

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PROM OT I O N

E L L E D E CO R L I FE

ELLE DECOR A-LIST 2018 Editor in Chief Whitney Robinson hosted the ELLE DECOR 2018 A-List in a penthouse by Related Companies designed by Zaha Hadid and in partnership with Fifteen Hudson Yards. Notable attendees included Ken Fulk, Peter Marino, Nate Berkus, Sheila Bridges, Bunny Williams, Robert Stilin, Martyn Lawrence Bullard and many more. This year marked the ﬁrst A-List for Robinson, and in celebration he ordered miniature 3D action ﬁgures of each designer, which served as their awards. ELLE DECOR thanks our A-List sponsors: Hudson Yards, Benjamin Moore, Kravet, Loloi and The Urban Electric Co. 1. David Mann; Ford Huniford; Jesse Carrier; Mara Miller; Whitney Robinson, ELLE DECOR; Paloma Contreras; Ken Fulk 2. William Pittel, ELLE DECOR; Meg Sharpe 3. Sara Gilbane; Anne Maxwell Foster; Suysel dePedro Cunningham 4. Whitney Robinson, Peter Marino 5. Greg Gushee, Related Companies; Sherry Tobak, Related Companies 6. Kate Kelly Smith, Hearst Design Group; Brian McCarthy; Lisa Kravet, Kravet; Cary Kravet, Kravet 7. Charles Curkin, ELLE DECOR; Steven Gambrel

photo Emanuele Tortora

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Skorpio Keramik table Norma H Couture chairs Cellini lamps Airport bookcase

The Place we Live

cattelanitalia.com contact@cattelanitalia.com

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ELLE DECOR

Behold the handmade! There’s no greater defender of craft than Reed Krakof. Just witness Color Theory, his latest movement for Tifany & Co.’s famed Blue Book collection. Here, an aquamarine-and-diamond pendant set in platinum shimmers, with the soft blue hues graduating and intensifying as the wheel turns. There’s so much to be said, and it’s a circular conversation worth having. Price upon request; tiffany.com. P R O D U C E D BY C H A R L E S C U R K I N

PHILIP FRIEDMAN/STUDIO D

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Decor Rapport Beauty and inspiration in three hits.

1. Crucial Whips Channel Michael Schumacher on your morning commute with the street-legal McLaren 570S. 2. Everyday Objets The sinuous lines of this glazed-stoneware sculpture by Japanese artist Koike Shoko (on exhibit at Joan B. Mirviss in New York City through October 19) would give Hector Guimard a run for his money. 3. Noticing Patterns The Caresses, by Fernand Khnopff, is featured in the new book Fierce: The History of Leopard Print (Harper Design) and has us wondering: Why, oh why, would a leopard ever want to change its spots?

V I E W

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J A N E ’ S TA K E 1

INSURANCE POLICIES 3

ELLE DECOR

I’m what you’d call a secret slob. There’s always a hem being held up by a few safety pins, and my pedicures are usually self-amended with erratic swipes only over the toes that are visible through my shoes. I depend on certain beauty items to help keep up appearances. Philip B Icelandic Blonde Deep Conditioner (6, $48) helps this cool blonde stay that way, and Verb Ghost Dry Oil (4, $16) keeps my blowout fresh and shiny for days. Lancôme Big Lashes Extension Fibers mascara booster (5, $12) ensures mine will be longer and fuller, and Tifany Eau de Parfum Intense (1, $142) has a sparkling iris, mandarin, and amber blend that lives up to its name. D.S. & Durga’s I Don’t Know What (8, $175) extends a scent’s life, including a new favorite, Eau d’Italie Fior Fiore (3, $160). Now that I’m riding my bike everywhere, Verso’s retinol-based Hand Serum (2, $55) keeps the backs of my hands spot-free, and thanks to the volcanic ash and essential oils in Linné Activate Body Wash (7, $48), an uphill ride to a business meeting won’t end with everyone avoiding the seat next to mine. —Jane Larkworthy

Lisbon by Hand A quick trip to one of the world’s great craft centers. On a recent visit to Lisbon, I fell in love with A Vida Portuguesa (avidaportuguesa.com), a company founded in 2007 by former journalist Catarina Portas with the mission of supporting historic Portuguese companies and goods. Since then, Portas has diversiﬁed the offerings to include pieces by younger brands like Ideal & Co (idealandco.com), which specializes in handcrafted bags made from the best-quality Lusitanian leather. Although A Vida Portuguesa has several stores throughout Lisbon—and one in Porto—my favorite is the biggest one in the city’s up-and-coming Intendente neighborhood: a landmark building with a facade covered in ornate hand-painted tiles. One of the brands that Portas helped to save was the ceramics company Bordallo Pinheiro (bordallopinheiro.pt), founded in the late 1800s by the famous Portuguese artist Raphael Bordallo Pinheiro. I have long been taken by their platters that resemble cabbage leaves, but there is so much more: a water pitcher in the shape of a cat; ornamental cockles and crabs; a tureen in the shape of an orange. It’s obvious that craft is alive and well in Portugal, which is the unofﬁcial world capital of ceramic tiles. I just wish I had more room in my carry-on. —Gisela Williams

JANE’S TAKE: STUART T YSON/STUDIO D; SOLID AND WOVEN FABRICS IN BACKGROUND BY MANUEL CANOVAS

G I S E L A’ S L I S T

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MATOUK.COM BED

B AT H

TA B L E

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ON THE SPOT

P O I N T

O F

V I E W

BY THE NUMBERS “ D E L AC R O I X ” AT T H E M E T R O P O L I T A N M U S E U M O F A R T, N E W Y O R K ( S E P T. 1 7 – J A N . 6 , 2 0 1 9 )

1832 1 537,782

The year Eugène Delacroix set off on his Moroccan adventure (notebook pictured above).

The number of comprehensive retrospectives dedicated to the work of Delacroix in the U.S.

IN THE BOOKS

“WE WERE ALL NEW ONCE, BUT YOU CAN’T DISPUTE THE VALUE OF EXPERIENCE. IT’S MORE THAN JUST SAYING, ‘TAG, YOU’RE IT.’ SORRY NEWBIES, BUT MISTAKES ARE EXPENSIVE.”

Visitors during the exhibition’s run at the Louvre in Paris. It was the museum’s most-attended show ever.

Jeffrey Bilhuber says, before liking his own Instagram post.

ED X HODINKEE

FLASH IN THE PANTHER

ED GOES TO THE MOVIES

In The Children Act (limited release September 14), Emma Thompson plays a hard-nosed high-court judge in London whose life diverts from its course when she befriends a dying boy who, for religious reasons, is refusing lifesaving treatment. If that’s not enough Sturm und Drang, her university-professor husband, played by Stanley Tucci, is feeling unappreciated. Perhaps he would be better served staring at the gorgeous William Morris–esque wallpaper photobombing the unfolding drama?

ELLE DECOR

William Abranowicz, one of ED’s most trusted lensmen, has released American Originals ($65, Vendome), a survey of more than 250 original photos. It’s the cofee table book to end it all.

Rarely do we see watches that literally take people’s breath away, but at this year’s Salon International de la Haute Horlogerie, you could tell exactly where the Cartier Révélation d’Une Panthère was at any given time by the audible gasps. Each watch’s jewel-tone dial is ringed by 45 brilliant-cut diamonds, but it’s the 900 tiny gold balls swishing around inside that are the real surprise: When you turn the watch over to check the time, hidden architecture and a patented liquid allow them to ﬂow in the shape of a panther’s face. Watching it in action is mesmerizing and a good reminder of the black magic that can be worked with thoughtful design and a little imagination. $112,000; cartier.com. —Cara Barrett and Stephen Pulvirent, hodinkee.com

BY THE NUMBERS: WHITNEY ROBINSON; ED GOES TO THE MOVIES: PHOTO BY NICK WALL /COURTESY OF A24; ON THE SPOT: KERYN LOWRY; ED X HODINKEE: COURTESY OF CARTIER

State of Design

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Introducing The World of Mark D. Sikes FURNITURE

RUGS

PIL LOWS

ART

ACCESSORIES

O N E K I N G S L A N E .CO M /M A R K D S I K E S

V I N TA G E

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60 SECONDS WITH... IN THE WORKS: THE URBAN ELECTRIC CO.

This summer, I ﬂew to Charleston, South Carolina, to visit the Urban Electric Co. factory. I wasn’t entirely sure what to expect in a giant room full of people making lights, but I immediately discovered a fun, off-kilter world populated by charming craftspeople and affable electricians, like Jeff Peek (right). Over the course of a day, they showed me an unexpected, personal side to one of my favorite American lighting companies. —Lucy Bamman

P O I N T

O F

V I E W

Your new company, General Public, makes 3D-printed copies of paintings. It’s more like two-and-half-D. It’s a textured print, which people have been trying to do for a century. You can purchase them at RH, Restoration Hardware. How much do they cost? $671 to $2,846 each. JEFF PEEK Job: Runs VS3, the custom team which produces for the likes of Ken Fulk and Martin Brudnizki. Previous gig: Record producer in Nashville. Extracurricular: Cofounder of the Bourbon Electric whiskey-tasting club, which meets every other Wednesday.

R E A L N E S S E S TAT E

The lobby at 40 Bleecker.

RYAN KORBAN New York’s changing skyline: Boom or bust? It started boomy, and now it’s getting busty. New York always ruins a good thing. It’s like the “How can we top each other?” game. Then it turns into the saturation game. You’re decorating 40 Bleecker in Manhattan. What’s the ﬁrst thing you told yourself you wouldn’t do? I would not do what everyone else in NoLIta is doing. That handcrafted, beamed ceiling, unﬁnished sort of thing. What’s more important to have in a lobby, an Hervé Van der Straeten mirror or a doorman? Doorman. I have both in mine, though. A beautiful lobby with no help is a failure, and vice versa. Which older building in New York needs a Ryan Korban refresh? The city has some of the dumpiest hotels in the world, so I’d start there. Also, I feel like the Dakota could use a face-lift. It’s such a beautiful building, but it needs a “Welcome to 2018!” moment. Would you ever consider decorating a luxury hotel? Sure. What about a roadside motel? I go anywhere there’s a check. If Kim Kardashian can make it to the Oval Oice, I can design a roadside motel.

ELLE DECOR

So precise! What’s going to entice people to buy your prints rather than a poster? They’re people who just really like the image and like the idea. That’s how you should approach purchasing art. Do you fear diluting the value of the painting? No. A great book isn’t any less great because there are many copies in circulation. Do you ever go into a museum and think, Which painting would I like to take off the wall? I would take Boy Leading a Horse, by Pablo Picasso, from the Museum of Modern Art in New York. Oh, I had a poster of that in college. When I see something like it, I want to weep. Could you use your technology to replicate stolen or lost works? No, we’d need to scan the original. Has there been any negative response to the project from artists? The only negative feedback is through lack of understanding. But that’s our fault for not making it clear.

IN THE WORKS: LUCY BAMMAN; REALNESS ESTATE: BJÖRN WALL ANDER; 60 SECONDS WITH: ART WORK COURTESY OF RH, RESTOR ATION HARDWARE

The company’s Grayfoy Hang pendant.

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Cabinetry & Hardware by Waterworks. Design Authenticity. Meticulous Craftsmanship. Service Excellence.

WATERWORKS.COM

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ARTWORK: MAJOR VISUAL

HUDSON VALLEY LIGHTING TROY LIGHTING MITZI CORBETT LIGHTING

Four Brands. Unlimited Design Possibilities. Raef Chandelier, Troy Lighting | Cyrus Table Lamps, Hudson Valley Lighting | Layla Floor Lamp, Mitzi | Calligraphy Sconces, Corbett Lighting

hvlgroup.com

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W H AT ’ S

DI SPATCH E S FROM THE WORLD

Not all umbrellas function merely as protection from the elements: Some are works of art, like this washi paper, bamboo, wood, and urushi (Japanese lacquer) one from Kyoto-based company Tsujikura. It’s coated in vegetable oil to repel water; each takes one to two months to make by hand. 29″ dia. x 41″ h., available in other colors and styles, $436. kyoto-tsujikura.com P R O D U C E D BY B E N J A M I N R E Y N A E R T

W R I T T E N BY VA N E S S A L AW R E N C E

STUART T YSON/STUDIO D

OF DESIGN

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Gianluca Pacchioni had a jewelry setting in mind when he cradled this pink onyx in a mirrored brass–and-bronze base for his Cremino cocktail table. 19″ w. x 19″ d. x 18″ h., available in other colors and sizes, $26,500. gianluca-pacchioni.com

W H A T ’ S

H O T

This F. Taylor Magic Carpet, shown in Indigo Blue, lives up to its name with an environmentally friendly mat made from clear, biodegradable, phthalate-free plastic and a hand-knotted wool-blend fringe. Available in other colors and sizes, $595 for 3′ x 5′. ftaylor.co

Martin Brudnizki and Nicholas Jeanes collaborated on this luxuriously upholstered Abbas dining chair from &Objects for the redesign of the iconic London private club Annabel’s, which reopened this year. Now even nonmembers can take a seat in their creation. 17.5″ w. x 21″ d. x 33″ h., shown in Red Leopard and Ancient Green, available in other colors, from $2,780 each. andobjects.com

ELLE DECOR

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

Ray, seat system designed by Antonio Citterio. www.bebitalia.com B&B Italia Stores New York: 150 E. 58th Street - 135 Madison Avenue Other B&B Italia Stores: Washington DC - Chicago - Dallas - Miami - Seattle Los Angeles - San Francisco - Sun Valley - Mexico City - Belo Horizonte - Sao Paulo Please call 1 800 872 1697 - info.usa@bebitalia.com Time_Less Program: select B&B Italia pieces now in stock: www.bbitaliatimeless.com

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Yali Glass’s handmade Murano glass Cocktail stirrers are the ultimate ﬁnishing touch for a perfectly crafted drink. 7″ l., $41 each. chiarastellacattana.com

STUART T YSON/STUDIO D

W H A T ’ S

H O T

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0 5 % 5 2 : 1 / 2 1 ' 2 1 & 2 0 1HZ <RUN _ /H[LQJWRQ $YH _

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13″ w. x 15″ d. x 11″ h., available in other ﬁnishes, $3,735. liaigre.com

W H A T ’ S

The Kyushu, Japan– based forestry company Hisatsune Sanrin makes its Forest Mist room spray out of distilled water and essential oils from the organic wood of Hinoki cypress, Japanese cedar, and kuro-moji trees, all of which grow almost exclusively in Japan. It also happens to smell divine. $19 for 100 ml. uguisustore.com

The hand-painted coral motif on Pierfrancesco Solimene’s ceramic Mediterraneo Corallo plate is so striking, you may be tempted to mount it on your wall as art when you’re not using it for serving. 12″ dia., $180 for three. artemest.com

Andrew Finnigan’s handmade ebonizedcherry Ofset Ball Foot Low table features a witty take on casters. 27″ w. x 15″ h., available in other ﬁnishes and custom sizes, to the trade. fair-design.com

ELLE DECOR

VASE, MIST, TABLE: STUART T YSON/STUDIO D

H O T

Friedemann Buehler uses a meticulous wood-turning technique to create this one-of-a-kind Wood vase out of oiled red oak from forests in Hohenlohe, Germany.

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B U Y E R ’ S

L A M E N T

SABINE ROTHMAN MARKET DIRECTOR

ROBERT RUFINO INTERIORS EDITOR

DAYLE WOOD MARKET EDITOR

CHARLES CURKIN ARTICLES EDITOR

VANESSA LAWRENCE SENIOR EDITOR

“Why didn’t I bring home one of the Ottoman Kandilli textiles from Joss Graham in London? I couldn’t decide between the pink-and-white on pink, with its adorable berries, or those orderly folksy ﬂowers. The decision to leave them behind haunts me to this day.”

“In Provence, Atelier Vime makes urns out of wicker, which are beautifully unexpected. One would be perfect in my country house, ﬁlled with seasonal foliage. But alas, I messed up. I guess I could ﬁnd it online, but those shipping charges are death!”

“I won’t be leaving Venice again without a photo album from Paolo Olbi’s bookbindery near Campo Santa Margherita. I dream about his exquisitely crafted books covered with handmade Italian papers—a set in the trailing blue-ﬂower pattern will one day be mine! If not, the dreams will likely become nightmares.”

“República das Flores in Lisbon, Portugal, is an alternate universe, where ugliness is just a rumor. I brought back a few things but left behind a kooky ceramic vase that looked like the product of Auguste Rodin after taking a pottery class in Williamsburg, Brooklyn. I shudder to think that it’s already been sold. I need help.”

“I was recently in Greenport, New York, and I wish I’d bought a Tuscan glazed terra-cotta olive-oil bottle at the Doofpot—a design so familiar, the mere sight of it transports you to Italy. The pangs of regret hit me every time I cook pasta or make an arugulaand-tomato salad.”

ELLE DECOR

TOP: COURTESY OF SONY PICTURES

The Craft We Left Behind Five ED editors lament the handmade pieces they could—and should—have bought.

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ANTI-WRINKLE CARE, AT ANY AGE.

WITH RETINO-PEPTIDES REDUCES WRINKLES, IMPROVES TONE, 24HR HYDRATION

WITH CALCIUM REDUCES WRINKLES, DENSIFIES SKIN, REDEFINES CONTOURS, 24HR HYDRATION

WITH COLLAGEN REDUCES FINE LINES, IMPROVES ELASTICITY, 24HR HYDRATION

55+ EYE IMPROVES THE LOOK OF CROW’S FEET; SKIN AROUND THE EYE FEELS FIRMER, MORE ELASTIC

EXCLUSIVE

WRINKLE EXPERT 3 ANTI-WRINKLE SOLUTIONS FOR EVERY AGE

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From left: Estee Stanley, Carly Kuhn, and Brigette Romanek with their new collection, Hancock Design x the Cartorialist.

T A L E N T

Great on Paper The interiors ﬁrm Hancock Design collaborates with artist Carly Kuhn on a line of upbeat, stylish wallcoverings.

TOP: DOUGL AS FRIEDMAN; BOT TOM: MICHAEL SIMON (4). FOR DETAILS, SEE RESOURCES

BY VA N E S S A L AW R E N C E

as a mood lifter? In the hands of Estee Stanley and Brigette Romanek, the cofounders of the Los Angeles–based Hancock Design, happiness is just a few panels away. The duo, known for their elegantly relaxed work—clients include actresses Ellen Pompeo and Lea Michele—met illustrator Carly Kuhn, aka the Cartorialist, and knew they wanted to collaborate with her. “Carly’s work shows joy and playfulness. Who doesn’t want that?” says Romanek. Realizing Kuhn’s ﬁnely etched drawings of stylish women would resonate beautifully in repeat, they enlisted her to choose her favorite sketches for a wallpaper collaboration: Hancock Design x the Cartorialist, available for sale on the Hancock Design site this month. The collection, which is the ﬁrst product from Romanek and Stanley, features four patterns in a palette of pink, teal, blue, and white. Explains Stanley: “We wanted it to feel like Carly came into your home and painted on your walls.” ◾ AN WALLPAPE R DOUBLE

Stanley and Romanek took over the private room of Petit Trois in Sherman Oaks, California (whose interiors they designed), for a party sponsored by Thumbtack to celebrate their wallpaper. ABOVE , FROM LE F T: Stanley and designer Nate Berkus. The dinner scene. Jewelry designer Jennifer Meyer, fashion designer Rachel Zoe, and actresses Erin and Sara Foster. Designer Jeremiah Brent and musician Kelly Rowland.

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Portrait of a Home the

FALL CO LLE C TI ON

2018

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Your home is your reflection. It captures your taste, your personality, and the memories you have collected over a lifetime. As the years roll by, it evolves from somewhere new, to somewhere you.

Portrait of a Home the

FALL CO LLE C TI ON

2018

This season, we’re here to help you craft the new chapters that tell your home’s unique story. From the cozy sofa you sink into with your family, to the handturned pottery that punctuates your mealtimes, these unique, artisanal pieces are designed and curated to be an integral part of the moments that matter – and you’ll only find them at Anthropologie.

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P O R TAIT

of a

HOME

Frames of Nature / “There’s no better designer than nature,” said the late, great, Alexander McQueen. True comfort is defined by a feeling of ease and relaxation, something we took to heart when crafting a collection of products inspired by the natural world.

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Table Talk / While a neutral palette creates a clean, curated look, take care to incorporate moments of color and texture for visual interest. Here, the cool blue wash of our handcrafted Cabarita Dinnerware – starting at $8 – complements the natural beauty of oak, with its organic knots and charming imperfections.

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Bunny Means Business The doyenne of design dishes about 10 years of crafting her line, Bunny Williams Home. BY S A M A N T H A S W E N S O N

10 YEARS OF BUNNY WILLIAMS HOME

2013

2008

TRAY CHIC OTTOMAN “I got so tired of looking for the perfect tray to go on top of an ottoman that I decided to design my own ottoman with a tray in the middle.”

HOURGLASS TABLE “Furniture with a beautiful shape always gives a space some interest.”

2009

2015

CHICKEN FEATHER LAMP “This pattern was inspired by the feathers of one of my favorite roosters at my home in Connecticut.”

BAMBOO BED “Although this is a classic reproduction of a 19th-century Victorian bamboo bed, it still looks contemporary.”

2016 and then there’s Bunny Williams. For 30 years, the Sister Parish alum has been decorating houses in her trademark English style for a smattering of billionaires, A-Listers, and those who know better than to trust themselves. Throughout it all, Williams has never given in to fads or trends— the secret sauce to her continued success and the hallmark of the decade-old furniture line that bears her signature. “What is interesting, always—and why it is so important to look at the past—is that the past can look so new,” she says. bunnywilliamshome.com

KINGSLEY DRINKS TABLE “This table, with a hand-applied burlwood veneer and a faux-painted bone ﬁnish, is particularly special to me.”

HE RE ARE DE SIGNE R S,

2010 WORKHORSE DESK “Designed to be clean, sleek, and modern, this desk is equipped with practical functions.”

2011 BRUSH STROKE LAMP “The Japanese brush stroke is quite an old technique, but it has a modern look.”

HENLEY CABINET “This is a perfect piece of furniture— it can work in a living room, a dining room, or a bedroom.”

2018

2012 JACK CHAIR “A simple chair with an elegant frame, this features a scroll shape and Chippendale legs.” ELLE DECOR

2017

Bunny Williams’s studio at her home in Connecticut.

JARDIN MIRROR “Mirrors are so important for rooms, and they should have lots of personality. This was inspired by 1940s French furnishings.”

PORTR AIT: FR ANCES JANISCH; STUDIO: CARTER BERG

T A L E N T

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DOMINICAN REPUBLIC C E NTE R: I work closely

with several artisans to keep the history of bronze metalwork alive. FAR LE F T, FROM TOP: A hand-dipped and -painted papiermâché mask at Galería Bolós. An artisan working on rattan furniture. LE F T, FROM TOP: Walking into José Ignacio Morales’s El Artístico ironwork studio is like stepping back in time. At Desireé Cepeda’s Madé, these trays exemplify the heritage and art of painting on wood.

T A L E N T

Gone for Good Andria Mitsakos, also known as @Wanderlista, scours the globe in search of artisanal design.

SRI LANKA

A S T O L D T O VA N E S S A L AW R E N C E

Each village on the road from Colombo to Kandy specializes in a trade. These chairs made it into my container for a client.

GREECE FROM LE F T: Akrokerama line the rooftops here, but this one, from an Athens ceramics maker, can also be used as an objet. I worked with a Cretan potter on an exclusive line for a restaurant in Mykonos. John Shortall in Mykonos creates jewelry out of 400-year-old smoking pipes.

C E NTE R: Bright pigments and detailed craftsmanship are the hallmarks of Zoe Lugo’s work—I can’t resist her coasters. LE F T: I never walk out of T Playa, a chic San Juan boutique, without something, like the African batiks here.

COURTESY OF ANDRIA MITSAKOS. FOR DETAILS, SEE RESOURCES

PUERTO RICO

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T O O L B O X

Charge of the Light Brigade The future looks bright— just don’t gaze directly into the bulb. BY S T E P H E N H E Y M A N

P R O D U C E D BY S A B I N E R O T H M A N & BENJAMIN REYNAERT

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M I C H A E L VOLTAGG I O Award-Winning Chef & Restaurateur

The Litze™ Kitchen Collection by Brizo strips away the vestiges of tradition for a simplified yet versatile aesthetic. The articulating design exemplifies this pioneering spirit, one that is echoed in award-winning Chef Michael Voltaggio’s own culinary reinterpretations. Available exclusively in showrooms. brizo.com

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1. ARR ANGEME NT S BY MIC HAE L ANA STA SSIADE S FOR FLOS

2 . LYR A BY ALISON BE RGE R FOR HOLLY HUNT

Inspired by vintage telescopes and other scientific esoterica, Berger’s Lyra lighting system—aptly named for a constellation—is an expandable bronze grid housing filament bulbs, hand-carved crystal lenses, and reflective mirrors. The intricate look seems to have been dug up from a bygone century, yet Berger’s chandeliers are uncannily at home in contemporary spaces. Balancing historical intrigue and timeless elegance has become her calling card. Her artisanship—which has earned her an impressive client list that includes Hermès and Comme des Garçons—is the result of thousands of hours of practice blowing glass, a craft 3 she began studying at the tender age of 15. Where to Put It: In the library of a large industrial loft with a contemporary aesthetic. 3. ARIE S BY BEC BRIT TAIN X JOHN HOGAN

Brittain dreamed up her Aries collection after seeing Olafur Eliasson’s set design for the ballet Tree of Codes, which featured dancers wearing all-black suits on a dark stage, their movements apparent only via flashing LEDs. The resulting fixture looks like a floating satellite, its narrow arms connecting a series of metal rods that glow at each tip. By day, natural light striking the lenses and rods makes the entire structure sparkle, but at night, the rods all but disappear, and the light reflecting off the darkened metal throws subtle rainbows throughout. Where to Put It: Above a dining table in a traditionally designed home. It would give the space an immediate lift. 4 . LUMINOUS RE FLEC TIONS BY TORD BOONTJE FOR SWAROVSKI

The Dutch-born designer Boontje wanted his Luminous Bough chandelier (shown) to sway like a willow tree in the breeze or a mobile by Alexander Calder. The leaf-like oval lights at the ends of the metal branches are actually Swarovski crystals, set aglow by a core of LEDs. Where to Put It: In a den, descending from original Victorian molding, with walls upholstered in cashmere or houndstooth.

5. OB SE RVATORY BY LE E BROOM

Broom’s lighting designs appear simple and streamlined but are covertly complex. Take his latest collection, Observatory, which is inspired by stargazing. The centerpiece, Aurora (shown), is a scalable Bauhaus-style chandelier, its LED-ﬁlament glass tubes arrayed around a ring. The tubes are carefully reeded to magnify the light, giving the impression of multiple ﬁlaments instead of just one. The ring holding the tubes is made of a polished stainless steel that acts as a mirror. Where to Put It: An entrance hall with high ceilings and electric green–lacquered walls or shiny silver wallpaper.

WALLPAPERS, THIS PAGE AND PREVIOUS: MARTHE ARMITAGE THROUGH HAMILTON WESTON WALLPAPERS

T O O L B O X

Why can’t a lamp be as graceful, weightless, and striking as a piece of ﬁne jewelry? Anastassiades’s Arrangements design for Flos includes a variety of simple aluminum shapes with matte ﬁnishes—squares, circles, teardrops—that can be linked together with dovetail joints, creating bewitching chains of light. This adaptability offers the opportunity to build something slight and delicate, like a pendant, or dramatic and substantial, like a chandelier. Where to Put It: Hang miles of it down the center of a large room for use as a divider.

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SELF-TANNING THAT IS EFFORTLESSLY SUBLIME.

YOU’RE GOLDEN.

CAMILA CABELLO

LIGHTWEIGHT MILK WITH VITAMIN E HYDRATES AND NOURISHES SKIN. DELIVERS A BUILDABLE, NATURAL-LOOKING GLOW THAT’S EVEN AND STREAK-FREE.

5 WALLPAPER: MARTHE ARMITAGE THROUGH HAMILTON WESTON WALLPAPERS. FOR DETAILS, SEE RESOURCES

T O O L B O X

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A Los Angeles writer’s paean to the ’point. BY S H E I L A M A R I K A R

so I spent a lot of time avoiding it. It was the 1990s, and the great indoors offered so much: Nickelodeon on TV and “art” projects galore. (It seems a stretch to call the papier-mâché of a Café du Monde coffee can art without quotation marks.) It got messy around the house, with glue adhering to fingers and flaking off on the floor, oil paint rubbing into shag carpet, and the smell of turpentine lingering like bad cologne. These pursuits, which demanded vast swaths of space and time, could not be packed for the road when my parents wanted to, say, take a family trip to Yosemite, which was my own kind of prescribed hell. I was more moved by the music playing on my Discman than by the towering sequoia groves. That’s why I took up needlepoint: as something for my small, idle hands to do while in transit. For the uninitiated, needlepoint is a form of embroidery in which thread is stitched, according to a pattern, through a stiff, open-weave canvas. It was big among beheaded queens (Marie-Antoinette and Mary, Queen of Scots) and remains so today with modern American royalty (Jonathan Adler, Mario Buatta). It’s not lost on me now that because of it, I probably missed out on a lot of life experiences, weaving a vaguely Aztec pattern of sea-foam green and burnt sienna into a needlepointyour-own-eyeglass-case kit. But that’s the benefit—while it doesn’t physically remove you from your surroundings, needlepoint shifts your consciousness elsewhere, allowing you to focus on the facile task of completing the pink petal of a rose. I’ve been yearning for it lately, at a time AT U R E M A D E M E N E R V O U S A S A C H I L D ,

of screens and talking heads and institutions breaking down or changing too fast. The needle comes up through the canvas, then loops back down. Up and down. Rhythmically, forevermore. Needlepoint had a kind of fusty connotation when I took it up. I put my embroidery floss aside when I went to college, and my hobby remained dormant for 13 years until, while wandering through a boutique—a kind of indie Urban Outfitters—in northern California, I saw, hanging on a wall, a spare, embroidered message in a gold rococo frame: It’s not mean if it’s hilarious. (It was not your grandma’s change purse.) Instead of the florid hummingbirds and chintzy f lorals that proliferated through the needlepoint kits of my youth, this said more with less. The kit had come from a website that specialized in snarky, subversive patterns, ideal for those among us still in touch with his or her petulant inner child. I needed one. I ordered a PDF template for The Internet Is Made of Cats, made a trip to Michael’s, the big-box crafting store, and ran my fingers over the little loops of silk floss, so sensibly packaged, nicely in a row. This is a form of art—no quotation marks—that makes sense in a world that frequently does not. I wish I could say the project was done, complete, hanging on my wall in a gold rococo frame. Alas, that’s not the case. I worked on it while watching reruns of Anthony Bourdain: No Reservations and moved apartments shortly after; sadly, the template and threads got lost in the process. These days, loath to spend my free time glued to yet another device, I’ve been eyeing a new kit, for a throw pillow, that’s subversive for a different reason. The pattern features hunks of jagged aqua and amber meant to resemble an archipelago, but one that’s out of this world. One that’s removed from reality, the way we all sometimes yearn to be. I picture myself on my couch, working my way through one vaguely oceanic splotch after another, a glass of wine by my side and a car alarm sounding in the distance, so faint from this place where I’ve brought myself that I can barely hear it. ◾ ART WORK BY

Emma Bazilian

STUART T YSON/STUDIO D

E S S A Y

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Our longwear goes real-life-proof through: 200 bites 120 sips countless kisses

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Antique Malayer West Persian rug from Mansour, mansour.com.

S H O W C A S E

Don’t Be Crewel A Los Angeles cake visionary bakes this season’s best rugs. P R O D U C E D BY L U C Y B A M M A N A N D C H A R L E S C U R K I N CAKES AND PHOTOGRAPHS BY

Alana Jones-Mann

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custom SHADES, BLINDS & DRAPERY HANDCRAFTED IN THE USA SINCE 1946. MADE FROM EXCLUSIVE DESIGNER MATERIALS. ALL PRODUCTS SHIP FREE IN 10 DAYS OR LESS. SHOP: 60+ SHOWROOMS | THESHADESTORE.COM | 800.754.1455

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S H O W C A S E

Vintage Moroccan wool runner from ABC Carpet & Home, abchome.com.

Strada rug from Fort Street Studio’s Progetto Passione collection, fortstreetstudio.com.

ELLE DECOR

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S H O W C A S E

Three reissued archival rugs from La Manufacture Cogolin’s Les Intemporels collection, manufacturecogolin.com.

Lattice ﬁque-and-tin rug by Azulina Home for ALT for Living, altforliving.com.

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Cloudburst Concrete 4011

Classic style gets a fresh perspective. From the 2018 Metropolitan Collection, Cloudburst Concrete blends beloved whites with the modern industrial look. With the superior performance of quartz, this dynamic surface is a statement for any space. Visit the collection at caesarstoneus.com/metropolitan.

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FOR DETAILS, SEE RESOURCES

S H O W C A S E

XY rug by David Kaihoi for Patterson Flynn Martin, pattersonﬂynnmartin.com.

Highland rug by Vivienne Westwood for The Rug Company, therugcompany.com.

ELLE DECOR

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White linen. In a red wine world.

Crypton Home creates intelligent fabrics, giving designers the canvas to create and homeowners the freedom to live life without limits. Available in a wide variety of colors and patterns. Like white linen. And with stain, moisture, and odor protection, it’s designed to stay clean. And ready for anything.

See the possibilities at cryptonhomefabric.com/find

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Bronze Age Revisited Finally, the yellowish-brown alloy takes ﬁrst place. bronze is synonymous with “Close, but no cigar.” Not so in the world of art and design. I’d like to think that if given the option to work in gold or silver, Rodin, Giacometti, and whoever sculpted the equestrian statue of Marcus Aurelius in Rome would still have opted for bronze. It may not have the same intrinsic value, but bronze brings something more ineffable to the table—especially when it’s used to make one—and designers Christina Z. Antonio and Harry Nuriev see it similarly. This is a topsy-turvy age we’ve found ourselves living in, and perhaps one day soon, bronze will get that cigar.

FOR OLYMPIC ATHLE TE S,

T R U T H

I N

D E C O R A T I N G

A R A M A Z CONSOLE BY A LINE H A ZA R I AN

CZA: It has a sylphlike quality, very sleek and feminine, yet also really robust and heavy. BY C H A R L E S C U R K I N P R O D U C E D BY L U C Y B A M M A N

ST YLIST: GUVANCH AGAJUMAYEV

64″ w. x 16.5″ d. x 36″ h., $42,000. maisongerard.com

HN: I like how the bronze seems to be inside out. It’s like a diamond mounted on a ring with the rough parts exposed.

PHOTOGRAPH BY

Philip Friedman

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ALCHEMY experience the genesis of design

abc carpet & home manhattan | industry city, brooklyn | abchome.com

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HN: It reminds me of 1980s Russian outdoor sculptures. It’s like Alice in Wonderland in New York City’s Central Park.

CZA: It’s so alive. You can see the hands that made it. It looks as if it’s been pulled from the earth.

DRU M SI DE TA B L E B Y SA MU EL A MOI A

SER PENT TA B L E B Y B L AC K M A N CRUZ

18″ h. x 15″ dia., $18,000. samuelamoia.com

CZA: I picture it in a commercial setting, to offset an institutional look with a bit of texture.

HN: I’m a big fan of Herzog & de Meuron. I can see the architectural minds here. It’s very well priced for a bronze piece.

UNTERLIND E N TA B L E LA MP BY HERZOG & DE M EU RON

CZA: I love selenite and I love bronze, but I don’t know if this is the perfect use of them together. It’s very Gianni Versace.

HN: The only client I would buy it for is Liz Taylor— I can see this in her bathroom!

CZA: It’s a sculpture ﬁrst and a chair second. The ski-like legs are interesting—you could slide down a hill on this. But there should only be one in a room.

HN: I would use this in one of my projects. I actually think two of them would make a living room very special.

IC A RUS CH A IR BY PA T R I C K N AG G A R 43″ w. x 28″ d. x 26″ h., $24,960. ralphpucci.net

12″ w. x 20″ h., $645. artemide.net

ELLE DECOR

The opinions featured are those of ELLE DECOR ’s guest experts and do not necessarily represent those of the editors. All measurements and prices are approximate.

4: PHILIP FRIEDMAN/STUDIO D

T R U T H

I N

D E C O R A T I N G

23″ h. x 15″ dia. (12″ dia. tabletop), $7,500. blackman cruz.com

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HN: The combination of the minimalist chair and the dramatic ﬁnish of the iridium is great. I would use a cream velvet for the cushion instead of leather.

CZA: I wonder which metalsmithing technique was used here. It’s fairly comfortable. I’d place this as a showpiece in an entertaining space.

FR EDER I K CH A I R B Y J O H N LY L E 19″ w. x 22″ d. x 29.5″ h., to the trade. johnlyledesign.com

D E C O R A T I N G

K E I TA B L E LIGH T BY A LEX A N DR E LOGÉ

T R U T H

I N

12.5″ w. x 5″ d. x 27″ h., $12,500. donzella.com

CZA: There’s almost something religious about it. It’s a sculpture most of the time, or until you turn the light on. I’d love this on a bedside table.

CZA: I see this, and I think of Milan. I love the ﬂuted legs.

HN: I’d use it as a dining table if it were bigger.

CZA: I love the smooth surface. If I had a grand bathroom, I’d put it in there.

HN: I like the shape. I would powder-coat this and put it on a dining-room table.

HN: I can see Salvador Dalí in this. And also Harry Potter. I look in it, and I don’t see myself but a different person from 100 years ago.

C A P I TA L C E N T E R TA B L E B Y D E M U R O DA S 53″ w. x 24″ d. x 17″ h., $13,540. demurodas.com

40″ w. x 62″ h., to the trade. lorinmarsh.com

ELLE DECOR

6, 7: PHILIP FRIEDMAN/STUDIO D. FOR DETAILS, SEE RESOURCES

SUR R EA LIST M I R ROR BY V ICTOR ROM A N

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60th Anniversary PH Artichoke Pendant Light in Brass from Louis Poulsen. Exclusively at YLighting.com or Call 855 451 6758.

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PROM OT I O N

E L L E D E CO R L I FE

1. 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.

4. MODERN FORMS Transitional style meets smart technology with the versatile Wynd smart fan available in four weather-resistant finishes. The LED luminaire, powered by WAC Lighting, takes this design from beautiful to brilliant. The exclusive Modern Forms app makes life easier by suggesting optimized schedules. An efficient DC motor keeps things running smooth and quiet. modernforms.com

2. HUDSON VALLEY LIGHTING Tumbling cubes of open iron frame a Sputnikinspired central light cluster in Roundout, a statement-maker that mixes metals and geometries. Design by Rachel Cannon Limited. Photography by Jessie Preza. hudsonvalleylighting.hvlgroup.com

5. DELLAROBBIA Say YES to Comfort and Style with DellaRobbia’s Rosen Chair. A soft sun kissed hue of orange brings an enriching pop of color, creating a warm summer glow to any room. dellarobbia.com

3. ONE KINGS LANE PRESENTS MARK D. SIKES One Kings Lane is proud to present the most complete online collection from designer Mark D. Sikes, including furniture for Henredon, rugs for Merida, textiles for Schumacher, even vintage finds handpicked by Mark himself. onekingslane.com/markdsikes

6. MINOTTI Alexander is a seating system with squared and curved elements that can be used together in the same composition to create areas with an intimate atmosphere. The modules can have high or low backrests, or a combination of both, contributing to the versatility of the system. minotti.com

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Marquette

800.801.1621 SavoyHouse.com

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Domino wallcovering. A subtle blush for the walls.

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TOUR DU MONDE

DEDON COLLECTION MBRACE Design by Sebastian Herkner DEDON Inc · (877) MY DEDON · ofice@dedon.us www.dedon.us

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28 28 by Omer Arbel Standard fixtures and bespoke installations View the full colour range here: 28.bocci.ca

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Some like it

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So much beauty - not enough walls! Visit the experts at wallpaperdirect.com

Shower Cladding and Vanity Top: Calacatta Gold Polished I Residential Project, Dana Point, CA (USA) I Designed by Patterson Custom Homes I Fabricated by South Bay Stone

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www.neolith.com

NEOLITH®: DESIGN, VERSATILITY, DURABILITY, SUSTAINABILITY. Interior and exterior applications: Cladding, Flooring, Countertops, Furniture, Facades. Resistant to stains, scratches, chemicals, extreme temperatures and UV exposure. Light, 100% natural and recyclable. Maximum format, minimum thickness, different inishes. More than 50 selections available.

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A DV ER T ISEMEN T

ELLE DECOR salutes the

artisanal masters who have impacted the world of design in a major way.

MYSTIC JOURNEY Mystic Journey Crystals is recognized globally as the purveyor of extraordinary, investment-quality crystals and geodes for residential and hospitality spaces— bringing energy and balance to interior design and lifestyles. Founder Jeff Segal receives ﬁrst selection from limited-access South American mines to procure these large treasures. Visit mysticjourneycrystals.com to view the current collection.

CHRIS BARRETT TEXTILES Chris Barrett Textiles is a beautifully curated collection of hand-drawn designs with unique patterns and weaves. The camouflage-inspired pattern here is hand-stamped with black and a metallic gold blend on natural linen burlap. In true nomadic style, this design travels from reﬁned luxury to basic comfort. Visit ChrisBarrettTextiles.com to view the collection.

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A DV ER T ISEMEN T

THE MASTERS

HECTOR FINCH Hector Finch Lighting is a manufacturer and supplier of beautiful hand-crafted lights. The company is developing a range of strong modern design products. The Onos Pendant Lamp is a perfect example. The Onos is made in Germany with characteristic precision engineering. It is a beautiful solid brass ﬁtting designed by a company whose roots are in the Bauhaus. Visit hectorfinch.com to view the collection.

FORBES & LOMAX Forbes & Lomax approaches the light-switch market from an aesthetic perspective. The company is famous for its Invisible Lightswitch®, a stylish toggle with a transparent acrylic faceplate that allows wallpaper or paint to show through. Its latest offering is The Aged Brass Collection, which has brass faceplates hand-ﬁnished to look beautifully antiqued. Visit forbesandlomax.com to view the collection.

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FURNITURE LIGHTING CARPETS WALLCOVERINGS OUTDOOR NEW YORK DESIGN CENTER 200 LEXINGTON AVENUE, SUITE 1207 212.488.7000 LEPEREINC.COM

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Jonathan Adler Canaan ﬂatweave rug.

The Palais-Royal in Paris.

M O O D

B O A R D

102

Gianvito Rossi leopardprint mule.

Caroline Constas Diamond Ruffle earrings. A Kelly Wearstler interior.

Stark Power The yin and yang of the color wheel springs eternal.

A gown from Giambattista Valli fall 2018 haute couture.

A Frédéric Méchiche interior.

What is more classic than black and white? The great thing is you can mix and match patterns within this minimal palette: So long as it’s graphic, you really can’t go wrong. How about a Swiss-dot evening gown with leopard mules? Or why not try an optical-illusion rug with an animal-print glass? Fabulous striped chairs and a charming polka-dot fabric will liven up any room, no matter its inclination. If you like it, go for it!

Sophie Pera in Ibiza.

Kravet Scatter Dot fabric.

Vintage Regencystyle chaise longue.

ELLE DECOR

PRODUCED BY SOPHIE PER A

EARRINGS: COURTESY OF MODA OPER ANDI; GOWN: VOGUE.COM; MÉCHICHE INTERIOR: ANDREAS VON EINSIEDEL; WEARSTLER INTERIOR: MA X KIM-BEE; GL ASS: ARTEMEST; CHAISE LONGUE: 1STDIBS.COM

Stories of Italy Murano glass.

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HANDCAST BRONZE HARDWARE | OVER 150 STYLES | 10 FINISHES |

rockymountainhardware.com

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Being Vert Since antiquity, emeralds have been transformed into eye-catching jewels. Here, a 21st-century take on the stately rock. P R O D U C E D BY C L AU D I A M ATA G L A D I S H

1. EMERALD-AND-TURQUOISE SWALLOW EARRINGS BY SYLVA & CIE $87,000. bergdorfgoodman .com

2. EMERALD, YELLOW GOLD, CARNELIAN, AND DIAMOND EARRINGS BY CARTIER Price upon request. cartier.com 3. EMERALD, DIAMOND, GARNET, AND ROSE GOLD EARRINGS BY FEDERICA RETTORE $6,650. bergdorfgoodman.com 4. EMERALD, DIAMOND, GOLD, AND PLATINUM SNAKE EARRINGS BY DAVID WEBB Price upon request. davidwebb.com

PHOTOGRAPH BY

Stephen Lewis

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DXV presents the Equility™ Freestanding Soaking Tub and Percy® Collection Faucets and Shower.

ART

Mid-Century Sculpture Garden Take a daily stroll through this reimagining of the Modern Movement. View our complete catalogue of bathroom products at dxv.com

This DXV bathroom was designed by Jonathan Legate

CLASSIC

GOLDEN ERA

MODERN

CONTEMPORARY

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Paris-Brest from Stohrer

Stohrer is a very old pastry shop on rue Montorgueil in Paris—I dream about this pastry from there.

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Pyla-sur-Mer

This is on the southern Atlantic coast of France, where I used to spend my summers as a child. The beaches are a dream, and the pine-tree forests smell so good.

Marie-Aude Rose and nine things she can’t live without. —

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Claude Monet

I went to the Musée d’Orsay and Musée Marmottan Monet a lot when I was a kid. I have always loved Monet’s Woman with a Parasol (above) and The Magpie in particular, but also Impressionism in general.

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The ﬁrst dish chef Marie-Aude Rose cooked on her own, when she was 15, was a creamy chicken tarragon she prepared for a dinner party of her older sister’s friends. “It was my way of feeling there was a purpose for me to be there,” explains the Paris native, who put a version of this creation, encased in a buckwheat crepe, on the menu of La Mercerie, her all-day café in New York’s SoHo. Since opening this year in the Roman and Williams Guild store, La Mercerie has become an instant hot spot with its pairing of elegant FrenchMediterranean cuisine—Rose has worked in the kitchens of Michelin-starred restaurants like Laurent and Guy Savoy’s Le Chiberta—with woodand-velvet decor. Having Roman and Williams’s dinnerware for her plating—everything from the tablesettings to the seating is for sale—doesn’t hurt, either. Says Rose: “They’re both a little bit rustic and really well crafted, like what I do with the food.” V A N E S S A L A W R E N C E

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Tensira Quilted Mattress

These are made in Africa, and they’re so soft, with the perfect thickness. My motherin-law, Lisa, who has amazing taste, bought one ﬁrst, and I fell in love with them.

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Music Picks

Christine and the Queens (above), Eddy de Pretto, and Portishead are the bands I’m listening to right now.

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Must-Have Cookbooks I need these to work. Joël Robuchon, Alain Ducasse, and Pierre and Michel Troisgros are chefs I respect so much for carrying on the best of French cooking traditions. They are my inspiration.

ELLE DECOR

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Mikiko Iyama plates for Roman and Williams Guild These are the cutest plates ever—so delicate, simple, and chic at the same time.

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Cholente Kids

One of my favorite places to shop for my kids. I now buy more clothes for them than I do for myself!

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Yves Saint Laurent Touche Éclat

This concealer pen is like magic—I immediately look less tired when I put it on.

PORTR AIT, 4,7: COURTESY OF ROMAN AND WILLIAMS GUILD; 1: AL AMY; 2,3: SHUT TERSTOCK; 5: GET T Y IMAGES. FOR DETAILS, SEE RESOURCES

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Sonoma Headboard: Tansman. Wallpaper: Jules. Duvet Cover & Shams: Montecito. Pillows: Tarascon Trellis Applique. Drapes: Sheer Stripe.

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The Palampore Fabric & Wallpaper Collection www.annafrench.co.uk Anna French is a division of Thibaut, Inc.

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Let’s Dansk At Tina Seidenfaden Busck’s Copenhagen residence, family and business are kept separate— but only by a few ﬂights of stairs. BY A DA M S AC H S

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The living room of Tina Seidenfaden Busck’s home in Copenhagen, Denmark.

IKE A VILLAGE in

the city,” says gallerist Tina Seidenfaden Busck of Christianshavn, the stylish, canal-bisected neighborhood of Copenhagen, Denmark. It is home to both the Apartment, her shoppable design-ﬁlled space in an elegant 18th-century residential building, and, a few ﬂoors away, the light-filled 2,800-square-foot apartment she shares with her husband and three young children. PHOTOGRAPHS BY

Wichmann + Bendtsen

“I love the diversity here,” she says. “You have people living in houseboats, amazing historical buildings like the home of [Danish painter] Vilhelm Hammershøi, and top restaurants like Noma and Amass, in addition to smaller shops like Lille Bakery for bread and pastries.” That lively mix is key to her personal aesthetic, which includes an unbridled enthusiasm for color and pattern as well as an eye for great lines, transcending perceived PRODUCTION AND ST YLING BY

Helle Walsted

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CUSTOM CLOSETS. MASTERED.

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Seidenfaden Busck in her home. BE LOW: A sculpture by artist Tomás Saraceno.

The children’s playroom features a scrap-wood bunk bed by Piet Hein Eek, and the rug is by Ann-Mari Forsberg for Märta Måås-Fjetterström.

The living room walls are in a paint by Farrow & Ball, the blue rag rug is vintage Moroccan, and the ﬂoor is whitewashed oak.

The original wrought-iron staircase from 1750.

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The bathroom pendant light is by Massimo Vignelli for Venini, the green marble is Swedish, and the pink sink is from Italy.

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Striped wallpaper in the hallway covers both the walls and the ceiling.

FAR RIGHT: In a

kitchen area, the pendant light in green perforated metal is by Mathieu Matégot, and the dining table is by Eero Saarinen. ELLE DECOR

notions of Scandinavian design as mere neutral minimalism. In her living room, art by Anselm Reyle hangs behind a vintage Josef Frank daybed re-covered in red-and-white stripes. A green Snoopy lamp by Achille & Pier Giacomo Castiglioni sits on a Børge Mogensen desk next to a ﬁrst edition of the Flag Halyard chair by Hans Wegner. In the bathroom: a pink Italian sink and green-marble walls and ﬂooring. This summer, the Apartment expanded to another floor, but the new space is open to overnight guests: It’s a two-bedroom “hotel concept,” where visitors can spend a few nights in Seidenfaden Busck’s colorful village. Does Seiden faden Busck draw a li ne between curating for a sophisticated design audience and picking pieces for her own family? At home, she says, the important thing is that it “feels lived in, welcoming, and unpretentious. Sometimes the pieces get some extra patina, but that’s what happens when things are used. It is not an exhibition space.” ◾

FOR DETAILS, SEE RESOURCES

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Déco Collection Art Deco, reinvented

Available at: AF New York - New York, NY, 212-243-5400 • Home & Stone - Brooklyn, NY, 800-853-3077 Jack London Kitchen & Bath - Oakland, CA, 510-832-2284 • Snyder Diamond - Santa Monica, CA, 310-450-10005

H A N D C R A F T E D

I N

M O N T R E A L , C A N A D A

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W W W . W E T S T Y L E . C O M

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Rise and Shinola The luxury brand’s ﬁrst hotel opens in the Motor City. BY I N G R I D A B R A M OV I T C H

114 in the 1940s and ’50s, the corner of Woodward and Grand River Avenues in Detroit was the place to be, whether you were cruising around in your Thunderbird or window-shopping at the many shops along the stretch. Now Shinola—the made-in-Detroit brand that counterintuitively launched in 2011, two years before the city filed for Chapter 9 bankruptcy—is reviving this intersection at the heart of the city’s astonishingly resurgent downtown. By year’s end, Shinola will inaugurate a massive feat of urban reengineering, transforming two vintage buildings into a 129-room hotel complex with an events space, a coffee shop, a restaurant, and a bar by Gachot, the New York design firm behind the brand’s flagship stores in Brooklyn and Los Angeles. What’s more, the project will incorporate a new pedestrian-friendly alley lined with small shops, including a florist and a vintage clothing boutique—along with, naturally, a Shinola depot stocked with their stylish watches, handmade bicycles, and leather goods. “Ten years ago, a lot of the buildings around here were abandoned,” says Daniel Caudill, Shinola’s creative director. “But today, the city needs world-class hospitality.” The heart of the hotel is a 1916 terra cotta–faced structure at 1400 Woodward Avenue that originally housed Rayl’s department store. Over the years, the handsome building’s windows had been filled with cinder blocks and the interior stripped of its original detail. When Shinola and its partner on the project, Bedrock Detroit, bought it, Caudill says, “there was a wig store on the main floor, and the rest was boarded up.” Boston Valley Terra Cotta took molds of the 50 types of tiles on the facade and re-created them; the clock on the exterior corner was restored, and the windows were unsealed. Meanwhile, Gachot scraped samples on-site of the original paint. “We used them to develop custom colors for the hotel, like the one we call Shinola Blue, a light gray–navy,” says Christine Gachot, the firm’s principal. “We also found traces of wallpaper behind the paint and had it refabricated for the guest rooms by the Detroit Wallpaper Company.” The hotel’s interiors are a paean to all-American artisanship, from the Amish-made furniture and millwork to the Michigan-made Serta mattresses to the Heath Ceramics dishware in the restaurant. “We wanted the sense of craft to come through in an authentic way,” Gachot says. “We’re uncovering history. Detroit these days is a fascinating place. It feels like you can make anything happen.” shinolahotel.com ◾

Shinola is transforming a 1916 former department store in downtown Detroit into the brand’s ﬁrst hotel. RIGHT: A rendering of the lobby “living room” of the hotel, which is being designed by Gachot.

FROM LE F T: Waterworks’ new Shinola faucet. A re-creation of the original wallpaper.

A mood board of materials used in the hotel’s interiors.

COURTESY OF GACHOT AND THE SHINOL A HOTEL; WALLPAPER: STUART T YSON/STUDIO D

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D E S I G N

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U R I N G I T S H E Y DAY

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PRODUCED BY ROBERT RUFINO

Fabrics from Antique Textiles Collections set the backdrop for an Asprey hexagonal footed bowl, a Buccellati pumpkin tureen and bamboo ﬂatware, a Match engraved-pewter chalice, a decanter from James Robinson, a Jung Lee octagonal charger, and a John Derian marbleized dinner plate.

FOR DETAILS, SEE RESOURCES

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Haarlem Nights With its lush layering of textiles and bounty inspired by the Dutch Masters, this spread is perfect for romantic, beauty-loving Libras.

PHOTOGRAPH BY

Jens Mortensen

WEDGWOOD® VERA METROPOLITAN SHOWN WEDGWOOD.COM

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Wheels on Fire In the Alps, sometimes a meal is best served cold—drenched in molten raclette.

TR AVIS R ATHBONE/ TRUNK ARCHIVE

BY DA N I E L B O U L U D P R O D U C E D B Y A DA M S AC H S

ELLE DECOR

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OME TIME S THE

Chef Daniel Boulud showing of his perfectly melted raclette during a recent trip to the French Alps.

R AC L E T T E B OA R D Serves 8 2 lbs. whole ﬁngerling or German butterball potatoes, washed and boiled with the garlic (below) 3 heads garlic, boiled whole with the potatoes, then cloves removed and reserved 8 endives, stems removed and leaves pulled apart ½ lb. jambon de Paris ¼ lb. viande des Grisons or prosciutto ¼ lb. coppa 1 cup cornichons ½ cup pickled pearl onions 1 cup assorted pickles (cauliﬂower, carrots, garlic scapes, etc.) 3 lbs. raclette cheese, thickly sliced

WHAT TO DRINK “ G R E E N C H AU D ” Makes 1 cocktail 10 oz. hot water 1 tsp. each of lemon verbena and chamomile teas 2½ oz. yellow Chartreuse

This twist on the Green Chaud, a classic après ski cocktail, would be fun with the raclette: Instead

of pairing the creaminess of the cheese with rich Chartreuse-spiked hot chocolate, try something lighter—a tea infusion of dried lemon verbena and chamomile ﬂowers with a shot of yellow Chartreuse. The verbena gives body and hightoned herbal aromatics, while the chamomile brings out the spicier and sweeter notes in the chartreuse.

ALEX ANDR A UHART (2). FOR DETAILS, SEE RESOURCES

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simplest things make you the happiest. Raclette, a dish made with the sweet-tasting Savoie cow’s-milk cheese of the same name, with an intense aroma, is melted over bread and potatoes, and accompanied by a range of charcuterie and pickles. It’s a ritual, a little do-it-yourself feast, made as you go. There’s almost nothing to cook but the cheese itself. The only preparation necessary is to gather your friends around the traditional grill (pictured at right) and let them melt their cheese and serve themselves. With that said, raclette is more than just melted cheese. It’s an express ticket to Haute Savoie, the beautiful mountains above Lake Annecy, with family-run fromageries everywhere and cowbells clanging musically in the distance. Every time I return here, even in summer, I make sure to ﬁnd a good farmhouse restaurant for raclette. Little wood-charcoal grills are brought to the table. On top, you toast the bread and warm the potatoes. Meanwhile, slices of the cheese are placed in a small pan and tucked under the charcoal until gratinéed. Scrape the molten cheese over your potatoes and take a bite of prosciutto-like jambon cru de Savoie: Nothing’s more decadent. Nothing, that is, except adding a few slices of black trufﬂe— a very nice upgrade. Beyond that, it’s all about choosing what to add to your charcuterie board. Saucisson de campagne, jambon de Paris, and even pancetta are all traditional. I like to pair it with a chicory salad tossed with nutty rapeseed oil. Raclette calls for a gathering. The key is to bring the heat to the table, whether with a traditional grill or an electric one, so you don’t have to get up, and everyone can contribute to the cooking of the meal. You can pull something together for 10 people in no time. This is the fast food of the mountains. Just add cowbells.

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Friends in Haute Places Jewelry designer Ariel de Ravenel’s Parisian ﬂat is as vivacious and colorful as her singular pieces. T A L E N T

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BY VA N E S S A L AW R E N C E P R O D U C E D BY R O B E R T R U F I N O

Ariel de Ravenel in the dining room of her apartment in Paris’s 7th arrondissement.

ELLE DECOR

PHOTOGRAPH BY

James Merrell

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T H E P L A C E T O S TAY

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A needlepoint camellia cushion in the corner of the dining room was made by de Ravenel’s late mother, Zozo. The photograph of Loulou de la Falaise is by Jean-Pierre Masclet.

The sofa in the drawing room is by Nobilis; a Jean Cocteau sketch of Denise Bourdet, de Ravenel’s godmother, hangs above the lamp.

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is often a nucleus of hyperbole. A new collection is never just good, it’s divine. A successful designer isn’t merely talented, he or she is a genius. Thus, when the fashion consultant and jewelry designer Ariel de Ravenel uses the word extraordinary over a dozen times in the course of a 55-minute interview, one could be tempted to dismiss her sentiments as inﬂated. But it is immediately clear that her choice of adjectives stems not from a lack of perspective, but rather from a deeply felt sense of gratitude for the rareﬁed and inspiring life she has been able to lead and continues to build. Extraordinary is pretty much the only way to describe it. After all, she started as an assistant in the late 1960s to Françoise de Langlade, the editor in chief of French Vogue. De Ravenel worked her way up to accessories editor of that publication, styling shoots for iconic photographers like Bob Richardson, Guy Bourdin, and Henry Clark. She has also served as a correspondent for Harper’s Bazaar and head of worldwide communications for both the clothing house Kenzo and the perfume division at Yves Saint Laurent (having been personally hired by H E FA S H I O N I N D U S TRY

the designer himself, a close friend, and his business partner Pierre Bergé). At Yves Saint Laurent she would sometimes team with her dear friend Loulou de la Falaise, who designed the house’s jewelry and accessories, and she subsequently collaborated with the style icon on her eponymous line of unabashedly colorful and chic jewelry. Since de la Falaise’s death in 2011, de Ravenel has continued to design her collections, which are sold at Creel and Gow in New York. She also co-authored the 2014 Rizzoli book Loulou de la Falaise. “We all used to go out to the same places, and everybody kind of fell into each other—what can I say?” muses de Ravenel of participating in, and bearing witness to, one of the headiest periods in 20th-century fashion. “The whole thing was completely normal and natural.” Normal, of course, is a relative term. De Ravenel was born and raised in Paris’s tony 16th arrondissement in a townhouse she describes as: “Very personal. There was nice furniture, but it wasn’t high antiques. It was chic but relaxed.” Her parents—Wladimir and Zozo, the Marquis and Marquise de Ravenel—were a prominent couple who socialized with the Rothschilds and such personalities as Betsy Bloomingdale and Nancy Reagan. Her maternal

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Conident. Cultured. Discerning. Elegant. Gracious. VERANDAFINEFURNITURE.COM

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In the dining room, a set of Napoléon III chairs have seats upholstered in crimson linen velvet. The gouache fashion artworks are by de Ravenel’s grandmother, Baba, and the oil painting is by James X. Mitchell.

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TIF ER IE

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AFT MA S

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de Ravenel continues this tradition: Everything is handmade, 95 percent of it in Paris because of her belief in supporting the local métiers des arts. She works from her charmingly cluttered 800-square foot apartment in Paris’s 7th arrondissement, a 10-minute walk from Café de Flore and a two-minute stroll from the Musée d’Orsay. De Ravenel has lived here for 18 years, and the space is a testament to her deep fashion roots. A wall in the dining room is lined with gouache paintings by Baba; in the drawing room, there are works by famed fashion illustrators Michael Vollbracht and Tony Viramontes. Serene abstracts and pastels by de Ravenel’s artist son, Kim Rebholz, anchor nearly every room, including the bedroom, and her passion for anything glass or reflective is evident in the Trumeau mirrors, the frames from the Porte de Vanves flea market, and the mirrored tables that catch the light like jewels. “When people first come here they’re not very surprised,” says de Ravenel. “Most people who have never been here before say, ‘Oh my goodness, it’s so you.’” ◾

In the bedroom, the bed is by Roche Bobois, the curtains are of a Colefax and Fowler print, and the blue pastel is by de Ravenel’s son, Kim Rebholz. RIGHT, FROM TOP: A detail of the Madeleine Castaing cocktail table in the drawing room. A portrait of Lilia Ralli in a hallway.

FOR DETAILS, SEE RESOURCES

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grandparents, Prince Jean-Louis de Faucigny-Lucinge and his wife, Baba, were at the center of the European aristocratic set. Baba, known for her elegance, was a good friend of the designer Jacques Fath and served as a muse to the couturier Lucien Lelong. The legacy of this aesthetic lineage is evident in de Ravenel’s current, main gig as a jewelry designer. (She’s also a consultant for fashion designers like Olivier Theyskens, with whom she is very close.) Since she worked with top jewelry names like Roger Scemama, Gripoix, and Lina Baretti while at French Vogue, and watched de la Falaise craft her own pieces on a daily basis for years, de Ravenel’s sensibility was so finely honed that taking the reins of the line, as she puts it, “Just happened. I still sometimes think, How is it that this is what I’m really doing today?” De la Falaise’s jewelry was remarkable for its uncanny treatment of materials (“She was as happy with a stone as she was with a diamond,” says de Ravenel) and ravishing color sense, often inspired by nature. Today,

ELLE DECOR

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No Sleep Till Brookline A 19th-century Shingle Style house in a tony Boston suburb has suddenly awoken.

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In the library, interior designer Patrick Planeta of Boston’s Planeta Design Group had the wood paneling stripped, reconditioned, and reﬁnished.

The dining room’s silk wallcovering features hand-painted blossoms and embroidery.

The house was designed in 1883 by Boston architects Peabody & Stearns. In keeping with its Shingle Style construction, each shingle was manipulated and deployed as decoration. The ﬁrst owner, a railroad executive, had many neighbors who were doctors; this area of Brookline is afectionately known today as Pill Hill.

COURTESY OF CORY GANS. FOR DETAILS, SEE RESOURCES

The carved-oak ﬁreplace medallion was in very bad shape. Planeta restored it to its former glory and stained it to match the original color.

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This custom Cherry Bomb Fringe chandelier, now one of Brooklyn lighting queen Lindsey Adelman’s signature products, hangs in the dining room.

Detail of an antique Spanish gilt-wood sunburst mirror from 1stdibs in the living room.

Patrick Planeta of Planeta Design Group.

In the kitchen, wooden elements like cedar ceiling planks were added to harmonize with the existing paneling. The island top and counters are in Jet Mist granite, and the lighting in brass and matte python is by Apparatus.

A previous owner had painted the house’s exterior red, so Planeta replaced all of the shingles with ones that had been custom made and stained a natural color, to reinstate the original style. ELLE DECOR

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In the family room of a New York City apartment designed by Brad Ford, the sofa is by Flexform, the chairs are by Arﬂex, and the vintage Italian bookcase is from R.E. Steele Antiques. The cocktail table is by McCollin Bryan from Holly Hunt, and the rug is by Sacco Carpet.

PHOTOGRAPHS BY TR EVOR TONDRO PRODUCED BY ROBERT RUFINO

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Arkansas native Brad Ford brings his passion for handcrafted design to a traditional prewar apartment on New York’s Upper West Side.

The dining room’s custom table is surrounded by vintage Niels Otto Møller chairs from Sputnik Modern. The chandelier is by Apparatus, the artwork is by Doug and Mike Starn, and the new oak ﬂooring is by Fox Floors.

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This issue’s theme is the handmade. In the age of Instagram, it seems we have to defend the importance of making things by hand more than ever, especially in our world of furniture, fabrics, architecture, and interiors. We wanted to get your thoughts on the topic, especially as it relates to this project. To start, there’s a lot of wood. BR AD FORD: This apartment had so much craft already built in, especially that wood paneling in the living room. And there was an equal amount of wood paneling in the family room, but it felt like too much with the two rooms being right next to each other. Because so much workmanship had gone into creating the woodwork, we really debated how to handle it. We decided to keep the living room as is, and to retain but paint over the paneling in the family room. It was just too beautiful to get rid of. E D: Was it hard to reconcile the classic architecture of the space with the way this modern family wants to live? BF: That’s what they were struggling with when they were thinking about buying this apartment. They had a contemporary loft near Union Square, which they had outgrown. Then they found this place on the Upper West Side. They came to me and said, “We’re modernists, and this apartment is so traditional.” But I told them I loved the juxtaposition. I always think it’s better to have that kind of backdrop with modern furnishings rather than try to weave a narrative with a plain white box. E D: Let’s talk about the bones of the building. Is it historic? BF: It’s a prewar Renaissance Revival apartment building. There is a very decorative lobby with sculpted marble walls, and the architecture throughout is really beautiful. E D: Did the building’s craftsmanship inspire your use of handmade and vintage pieces here? Every piece of furniture seems to tell its own story. BF: My clients are fond of midcentury pieces, so that was the starting point. And because midcentury furniture is very organic in shape, it works well alongside handcrafted pieces. I’ve never warmed to edgy, kooky furniture. I like timeless style, and I try to find a balance between architecture, art, and furnishings. E D: There’s a bookcase with finely made, highly detailed inlays, and the library features parquet floors that blend perfectly with the architecture. I thought they were original, but in fact, they are new. BF: The old floors were handsome and well executed, but they had become too worn to refinish. We wanted to keep the spirit of the apartment and honor its craft, so we ended up replicating the floors as best as possible. E D: Is the marble mantelpiece in the dining room new or old? BF: It’s original, and a wonderful example of craftsmanship. The way that marble is chiseled—it’s just lovely. E LLE DECOR:

The living room’s custom sofa is in a Zinc Textile fabric, the chaise longue and Stilnovo ﬂoor lamp are from Lost City Arts, and the leather chair is by reGeneration. The chandelier is by Apparatus, the rug is by Marc Phillips, and the wall paneling and plaster ceiling are original.

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And what about the grates you installed for the radiators? BF: Those were existing, too. E D: You lucked into the best apartment, Brad! BF: Oh, I know! It was stunning, and that’s why I was able to reassure the clients that these rooms would be a really cool backdrop for any kind of furniture. E D: You have become such a huge proponent of craft with Field + Supply, your annual fall makers’ fair in Kingston, New York. How did that come about? BF: I grew up in a very small town in Arkansas, and the local arts-and-crafts shows were really my ﬁrst exposure to design. I’ve always had a soft spot for them. Long story short, I noticed a barn in upstate New York that was being renovated. The owner was doing such a beautiful job, and I got to know him and asked, “What are your plans for this property?” He wasn’t sure what to do with it. I said, “Well, I have an idea. Maybe we could just gather some local craftspeople, because there are so many talented people around here, and start a crafts show.” And he said, “Why not? Let’s try it.” The ﬁrst year was 2014, and we had an immediate response: Nearly 2,000 people showed up! We realized how much interest there is in craftsmanship. E D: So you now wear two hats—interior designer and booster of the handmade. How do you meld those two worlds? BF: For me, it’s all about integrity. Whether something is handcrafted or mass-produced, I’m going to support it if it’s done beautifully and consciously. But I do believe strongly in craft because of the skill set that it takes—the patience, the courage, the vulnerability. I insert handmade objects into almost every project I do. They bring character to a home’s narrative. And that’s much more interesting to me than a space that’s been designed to within an inch of its life. ◾ E D:

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In the foyer, the vintage bench is from Pierre Anthony Galleries, and the artwork is by Carmen Herrera.

The 1960s Italian table in the family room is from Gaspare Asaro, the vintage Harry Østergaard chairs are from House of Blu, and the ceramic sculpture on the mantel is by Marcello Fantoni. The mantel is original and the walls are in Benjamin Moore’s Steam.

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In the master bedroom, the custom bed is in a Brochier fabric, and the wallpaper is by Wolf-Gordon. The artwork is by Erin Shirref. For details, see Resources.

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IN THE SAME MILAN ENCLAVE WHERE COSTANZA PARAVICINI CREATES HER CULT DINNERWARE HIDES AN APARTMENT THAT BRINGS HER FAMILY’S ARTISANAL AESTHETIC TO LIFE. BY NANCY HASS

PHOTOGR APHS BY JAMES MERRELL

PRODUCED BY M I E K E T E N H AV E

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Costanza Paravicini’s Milan apartment occupies the attic of a former palace in the city’s historic center. In the sitting room, a table displays semiprecious stone spheres made by Paravicini’s father, Lodovico, who previously lived here. OPPOSITE: Paravicini (left) with her daughters Benedetta (center) and Margherita in front of the Laboratorio Paravicini store and workshop.

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A mix of vintage prints and watercolors in the master bedroom. The stairs have a runner in red velvet.

“I MAKE PLATES THAT FEEL LIKE YOU HAVE ALWAYS HAD THEM. OLD THINGS, EVEN IF THEY ARE DAMAGED, REMAIN BEAUTIFUL.” Milan is not merely the sophisticated locus of Italy’s fashion industry—it is a sma ll town. Her life revolves around an intimate corner of the city: the historic arts district of Cinque Vie, home to both her sprawling apartment and Laboratorio Paravicini, the workshop for her famed hand-painted ceramics. “Milan is not like Rome,” she says. “It is not that old or grand. My Milan is very cozy.” TO COSTANZ A PAR AVICINI,

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The workshop is nearly hidden in an 18th-century building, down a labyrinthine lane and through an ancient inner courtyard. The scene contrasts with much of Milan, which, after the bombings of World War II, saw construction of charmless apartment blocks. Cinque Vie, however, was reassembled brick by brick, preserving its post-Renaissance aura. The workshop is marked by gently lit display windows, themselves

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A Pierre Frey toile covers the interior of the bar cabinet. The glasses are Moroccan.

Paravicini’s iconic Serpi plates appear on the dining room walls; on the table, her Zodiac dishes.

A pair of 17thcentury paintings of musical instruments hangs above a sofa inherited from Paravicini’s grandparents. The circa1900 standing lamp was purchased in Milan, and the table lamp has a wood base made by Lodovico.

revealed by two swinging wooden barn doors. Bedecked with her pl ate s — exq u i sitely del ic ate designs that range from classical motifs to bold entwined snakes— the glowing window is a beacon of a near-gone luxury craft. Rustic yet functional, the workshop has stone floors and paintedbrick walls hung with dishes and platters that represent nearly 25 years of patterns. At the center, on a tall stool with a brush in ha nd, sits Pa rav ici n i, whose effortless elegance seems quintessentially northern Italian. She began the business as a hobby in the early 1990s because she could not find finely wrought everyday dinnerware made in the traditional manner, a technique called Gran Fuoco sulla Terraglia Bianca, which involves ha nd-painted underglaze decorations fired at high heat on white earthenware. Over the decades, Laboratorio Paravicini has become a Milanese institution, attracting a cult

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THE FURNISHINGS ARE BY TURNS ELEGANT AND ECLECTIC. 142

In the kitchen, the custom cabinetry is ﬁtted with marble counters, and the ceramic pendant is vintage.

On a terrace planted with roses and lavender, the iron chairs are by SOTOW, and the pendant is a vintage boat lamp.

following; the unveiling of a new collection is hotly awaited at Salone del Mobile, the annual Milan design fair, and last year, Laboratorio Paravicini collaborated on a capsule collection with Dior. Two of Paravicini’s grown daughters, Benedetta and Margherita, help run the company. “You don’t ﬁnd this kind of craft any longer,” says Melanie Courbet, owner of Les Ateliers Courbet, a design gallery in New York and Miami. “You see the mastery and detail in every stroke.” Paravicini and her husband, Gian Giacomo Medici, who owns a working farm outside the city, live nearby in the capacious attic apartment of a building that has been in her family for generations. Before her parents bought it, the 3,000-square-foot space was redesigned in the 1950s by the legendary Marco Zanuso, creator of the iconic Lady Chair. Paravicini and her family took it over in 2004, keeping much of Zanuso’s layout and characteristic brio. “The space has great meaning to me,” she says. Today, the apartment, with its dramatically pitched beamed ceilings, is the embodiment of Paravicini’s aesthetic: a vivid mix of antiques, brightly hued upholstery, and centuries-old art. The entryway is laid with a custom Venetia n- st yle ter ra zzo; she chose the mix of warm-colored stones that artisans bonded with cement and resin. Near a window, a table displays orbs—agate, quartz, malachite, marble—made by her father, a connoisseur of semiprecious stones. In the dining room, a set of her Serpi plates on a deep-red background are mounted on marigold walls. While the furnishings are by turns elegant, eclectic, and artisanal, the organically chic ambiance is relaxed and unpretentious. “The problem with a minimalist interior or white bone china is that they have to be perfect,” she says. “That’s why I make plates that feel like you have always had them. Old things, even if they are damaged, remain beautiful.” ◾

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Paravicini paints plates by hand at a desk in her workshop. Her Circus collection—featuring tightrope walkers and trapeze artists, among others—is displayed on the atelier’s walls. Built-in shelving holds the Play Plates collection, whose images become animated when the dishes are spun. For details, see Resources.

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On a remote Portuguese island, architect Luís Bernardo Brito e Abreu has renovated his family’s manor to reﬂect their maritime and artistic heritage.

WR ITTEN AND PRODUCED BY GISELA WILLIAMS PHOTOGR APHS BY FRANCISCO NOGUEIRA

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The master bedroom of Lisbon architect Luís Bernardo Brito e Abreu’s second home on the Portuguese island of São Miguel, which was built in the 16th century. The bed, dresser, and pendant light are all from Area. The throw was handmade by Brito e Abreu’s mother, Luísa Constantina, the home’s former owner. The chest and mirror are family heirlooms, and the ﬂooring is local clay tile. OPPOSITE: In the living room, the sofa is Italian, and the cocktail table was constructed in the 1990s by Brito e Abreu and his father from the remains of a ship. The gold painting is by the owner’s grandmother, Maria Luísa Ataíde, and the others are by Luís Bernardo Leite de Ataíde, his great-grandfather.

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“You can get rid of a lot of things and still maintain the spirit of a place,” says Brito e Abreu. turned architect Luís Berna rdo Brito e Abreu returned to his centuries-old family manor—on the remote Azorean island of São Miguel in Portugal—in 2006 after a six-year absence, he faced a number of design challenges familiar to those who inherit ancestral homes and significant historical properties. How do you pay respect to the legacy of the past while adapting it to modern tastes and sensibilities? And, when almost everything in the house has been painstakingly handmade by artists and artisans, some of them family members, how do you decide what stays and what goes? According to Brito e Abreu, it’s a craft, much like writing a novel where one is constantly editing, taking passages away and then adding something new and surprising in the right places. “It is about defining what is essential and what is superfluous,” says Brito e Abreu, who recently earned a degree in architecture and is now working on another property on São Miguel owned by his brother. “You can get rid of a lot of things and still maintain the spirit of a place.” The son of a well-known Portuguese sculptor, Luísa Constantina, and a navy admiral, Brito e Abreu comes from a long line of artists: Both his great-grandfather and grandmother on his mother’s side were accomplished painters. When his mother moved her young brood to this 16th-century hilltop estate in the 1970s, it was little more than a ruin, last used by her family as a tea plantation and orange orchard. (Brito e Abreu’s grandparents owned and resided in a grand former convent nearby, filled with religious antiquities.) It took more than a year to complete the renovation, and for much of it, they lived without water or electricity. “I remember that a mule cart would bring us 50-liter milk cans filled with hot water,” recalls Brito e Abreu, who was about three years old at the time. “Our TV was connected to a car battery, and we used oil lamps at night. When we first moved in, the locals thought the house was haunted.” W H E N N AVA L O F F I C E R

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Brito e Abreu made the table in the dining room out of a dead oak tree. The 1960s chairs are by Daciano da Costa, and the armoire is 18th-century Indo-Portuguese. The ceiling is Japanese cedar, the doors are pine, and the ﬂooring is local basalt.

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An 18th-century ship ﬁgurehead in a corner of the living room mixes with a 19th-century cannon from a Portuguese civil war and a copper cauldron ﬁlled with a Monstera deliciosa plant.

Acacia and Japanesecedar shelves in the guest room are lined with books inherited from Brito e Abreu’s great-grandfather.

Brito e Abreu in the entrance hall.

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In the living room, the vintage chair is by Illum Wikkelsø, and the mantel and stone benches are both of local basalt. The sculpture of a head on the bench at right is by Ernesto Canto da Maya, and the wall sculpture above the mantel is a 16thcentury naval decoration. For details, see Resources.

When his mother died in the 1990s, the young Brito e Abreu, not quite finished with high school, followed in his father’s footsteps and joined the Portuguese navy. After two decades at sea, Brito e Abreu felt a strong pull toward home. In the mid-aughts, he got himself stationed on São Miguel and started to renovate the estate, which also included several historical agricultural buildings at the bottom of the hill and a rural hotel, which he now manages. As an artist who loved natural materials like wood and stone, his mother had left uneven bands of raw stone surrounding the interior doorways unpainted and exposed the ceiling’s ancient wood beams. “For her, revealing the essence of the house meant revealing its raw materials,” says Brito e Abreu. “And it was something I kept because she was right.” Some of her other decorative flourishes didn’t fare as well: One of the first things Brito e Abreu did was declutter, eliminating Constantina’s velvet curtains, throne-like leather chairs, and some of her larger religious antiquities. He also replaced the windowpanes with bigger slats of glass so that the views of the sea and the surrounding landscape were as commanding as the art objects. “I wanted to make the space lighter and see the ocean from every room,” he explains. The spirit of family still abounds: Mixing with a dramatic carved wooden figurehead of a maiden from the 18th century on a living room wall are several of his mother’s sculptures, paintings that belonged to his grandmother, and maritime-themed pieces that remind Brito e Abreu of his father and his own career. In the dining room is a metal diving helmet from the early 1900s that he was given by a family friend, and his office is filled with an extensive library of vintage nautical books. Over the fireplace is a wooden fragment of a ship from the 16th century, on which is sculpted, according to Brito e Abreu, a figure of a mermaid. In almost every room, he replaced one or two heavy antique chairs and side tables with vintage midcentury furniture. The result is that each of the objects in the house has a profound, almost vibrating presence. There’s a sense throughout that the specters of Brito e Abreu’s ancestors still reside in the house’s quarters. “I had a friend visit me here after the renovation who claimed she was able to read the energy and aura of a place,” says Brito e Abreu. “She came with a pendulum and went through the rooms. I thought she might find a ghost or two, but when she finished, she said, ‘It’s clean! There’s no bad energy here.’” ◾ ELLE DECOR

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The Chinese salon of a house in the Old Town of Seville, Spain, designed by the Spanish architect and interior decorator Amaro Sánchez de Moya. The custom sofas are in a Nobilis velvet and a Gastón y Daniela damask, and the Regency-style chandelier was purchased at a Paris ﬂea market. The walls and ceiling are covered in a custom hand-painted silver-gilt paper, and the carpet is by Ulster. OPPOSITE: Inspired by Sir John Soane’s house in London, the interior courtyard displays sculptures including a 19th-century Italian statue of a boxer (left) and wall reliefs on classical themes. The antique garden furniture is French, and a pair of 19th-century bronze vases rests atop trompe l’oeil columns hand-painted by Seville artisans.

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In Seville, a city known for its over-the-top Baroque splendor, Amaro Sánchez de Moya has created a maximalist global retreat that celebrates craft in every form. BY WHITNEY ROBINSON

PHOTOGR APHS BY RICARDO LABOUGLE

PRODUCED BY CYNTHIA FRANK

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The custom sofas in the library are upholstered in a Nobilis velvet and a Madeleine Castaing fabric from Kravet. The 19th-century chairs and bronze side table are Italian, the Empire chandelier is French, and the mantel is Louis XVI. The custom wallpaper is by Zuber, and the ﬂoor tiles are a combination of Carrara, Nero Marquina, and Bardiglio gray marbles.

Homeowner Isabel Sáez de la Fuente at the entrance to the breakfast room.

we ask of designers and decorators in this magazine is, Where do you begin? Where does an idea take hold? Where do four blank walls transform from a designer’s imagination into rooms to remember? But that’s not the question I had for Amaro Sánchez de Moya, who h a s b e c o m e k n ow n for h i s resplendent and unapologetically ma ximalist interiors. What I wanted to ask him was, How do you know when a room is finished? At the center of the Old Town of Seville, Spain, arguably one of Europe’s great maker cities, the palace he recently built for two doctors—Isabel Sáez de la Fuente a nd Pa scua l Sá nchez Martín—is a study in craft, both a ncient a nd ot her w i se. T he patrons have been amassing art and antiques for many years, and SO OF TE N, THE QUE STION

this house is the perfect receptacle for their blue-chip collection, which ranges from classical sculptures to artworks from the 17th through the 20th centuries. The space took dozens of craftsmen almost three years of working nonstop to complete. The result? Nothing short of spectacular. Sánchez de Moya described the process to me as follows: AMARO SÁNC HE Z DE MOYA: I met these collectors some years ago. Both Isabel and Pascual have traveled widely and gathered a rich collection of antiques from all over the world. Every piece they owned was beautiful, but none were being displayed to their full potential. When they came to me, they had just bought the house next to theirs. And so we began a three-year project to unite the two homes, thereby creating a new

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The master bath’s tub and sinks are by Devon&Devon, the chair is Napoleon III, and the 19thcentury statue is Italian.

In the guest room, the 18th-century Spanish bed is topped with a blanket made from a 19th-century Chinese textile. The walls are sheathed in a vintage fabric from the Madrid ﬂea market, and the carpet is by Ulster.

architecture that would show off this wonderful collection at its best, as it deserves to be shown. W hen we merged t he t wo houses, we started from scratch. The architecture was completely redone à la ancienne, using traditional methods. Along the way, we invented a new history for the house—a tale told through objects and art. It’s a very 19th-century approach. There is a Chinese salon, a neoclassical library, and a Baroque salon. I compare the design process to a musical composition: We had the notes; we just needed to ﬁnd the melody. It can be a challenge to place antiques in a new building. You need to understand what a space requires and what is right. And that was not an easy process. My clients had to let go of some beautiful pieces that just didn’t work. While the house was being rebuilt, we commissioned artisans from all over Europe. The bronze

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In the tented master bedroom, the French Empire campaign bed is in a Nobilis fabric and the custom chair is in a Rubelli silk velvet and a 19th-century French embroidery. The walls and ceiling are in a Zuber wallcovering, the mirror is Edwardian, and the chandelier came from the former Ritz hotel in Barcelona.

The living room’s custom sofa (foreground) is in a Colony fabric, the love seat is in a Nobilis leopard print, and the armchairs are Louis XVI. The cocktail table has a 19th-century Italian scagliola top, the walls are in a Gancedo cotton, and the 17th-century paintings depict Philip IV (left) and Charles II of Spain.

accents in one bathroom were made in Florence, Italy. In the Chinese salon, the bronze tables and sconces were made in Lisbon, Portugal. We used artisans who still work with that old-school savoir faire. We also bought antiques. For example, the doors to the dining room are from a Paris house that used to belong to the Shah of Iran. The fireplaces are antique, and the 19th-century statues in the garden are from Paris as well. I love maximalism. It’s my look. It’s also not an easy style. Not everyone is comfortable with it, and not every client has the means to achieve this level of grandeur. In this project, though, we had total symbiosis. What they wanted to do is exactly what I enjoy doing. And even though the house has French and English inspirations, the clients wanted to stay true to its Seville roots, especially in the architecture. I also wanted to play with color in this project. The library is a mix of purple, mauve, and electric blue. That color blue is very rich, seductive, and strong. The master bedroom’s design comes from my imagination. The starting point was a statue that we bought in Rome, a copy of one of [Antonio] Canova’s dancers. The master bath is very grand and in a neoclassical mood. I placed the bathtub in the center framed by symmetrical washbasins and topped it with a painted-glass ceiling. The guest room has an 18th-century Spanish bed, which the couple already owned; I added a canopy in a French fabric. It ended up looking very Louis XVI. Pascual adores classical sculpture, so I created an interior sculpture courtyard like the one at Sir John Soane’s house in London. I adore the wonderful mixture of sculpELLE DECOR

tures; together, they create a beautiful open-ended composition that we can add to in the future. The homeowners entertain a lot. Isabel is a doctor as well as a diplomat. Pascual is a doctor who runs his own foundation. They often serve aperitifs or after-dinner whiskeys in the Chinese salon. That room has a bit of a Napoleon III thing going on—it’s very welcoming, with flattering light. I imagined the space like a fumoir. And even though the home is so big and rich, it’s actually very comfortable. The dining room is designed to fit 20 people. There was no room for more! It’s a big house, but the spaces aren’t huge. It’s lots of little rooms that nestle against one another. In the master bedroom on the top floor, I used the slope of the ceiling to craft the illusion of a tent. I am drawn to symmetry, so I imagined a tent in the vein of Malmaison. The whole private area—bedroom, dressing room, bathroom—is very Empire in spirit. The iron bed is a 19thcentury country bed that I had covered in a tiger fabric. When you do what I do, it’s not easy to stop! This house is filled to the brim. But there is always a moment when one must stop—when adding even a single extra thing will break the equilibrium. You have to know when to say to yourself, “This is it. I have achieved what I wanted.” That understanding comes with experience. When I was younger I was a painter, and that has really helped me to understand the idea of contrast—between emptiness and fullness, color and noncolor, darkness and light. In art and decor, it is all about balance. In the end, we wanted to design a home that is eternal— not one influenced by trends or fads. It feels timeless. ◾

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In the dining room, the custom table is surrounded by early-20th-century French chairs with seats in a Lelièvre silk brocade. The 19th-century chandelier is French, the walls are in a Luigi Bevilacqua silk damask, and the artwork is by Antoni Tàpies. For details, see Resources.

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In Marfa, Texas, local arts pioneer Virginia Lebermann researched indigenous methods to transform a run-down structure into a minimalist family home. BY RIMA SUQI PHOTOGRAPHS BY DOUGLAS FRIEDMAN

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A house on the grounds of Virginia Lebermann and Rocky Barnette’s estate in Marfa, Texas, that dates to the early 1900s. The roof is cedar shingle, and the adobe facade is covered in trumpet vines.

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“The architecture had so much soul. I did not want to change it in a big way. The house just needed to be listened to.”

high-desert landscape, cavernous blue skies, and “views for 50 miles,” as the artist Donald Judd once put it, the far west–Texas town of Marfa has been a magnet for artists, writers, and other creatives since the 1970s. These days, the boho clan comes for the art, including the obligatory pilgrimage to Judd’s Chinati Foundation, and is summarily awed by the setting. And some, like me, end up buying property here despite the fact that (or because) this globally renowned cultural mecca consists of a single stoplight, a few dusty streets, and a hodgepodge of mostly unassuming architecture. Not that there aren’t gems to be found here. It’s just that more often than not, the most enviable spaces in town are like the geodes in the surrounding Chihuahuan Desert: outwardly modest, but a completely different story inside. Virginia Lebermann’s home is one of them. A native Texan, Lebermann moved to Marfa 16 years ago when she and Fairfax Dorn cofounded the nonprofit cultural-arts space Ballroom Marfa (she also owns the Thunderbird Hotel and the Capri, a restaurant and events space, in town). When she first laid eyes on the adobe building that would eventually become her home, it was “a ruin.” The modest structure, which appeared on local maps in 1880, had partial dirt floors and a weathered tin roof, and it lacked electricity and plumbing. Still, Lebermann saw the potential. “The architecture had so much soul,” she says. “I did not want to manipulate or change it in a big way. The house just needed to be listened to a bit more.” In conversation, Lebermann has a habit of hanging back and taking things in before responding. So it’s no surprise that she “stared at” the home for six months before devising a plan and hiring contractors. During that time, she researched both the architecture and style of the lower Rio Grande Valley, learning about traditional methods of construction. She finally set out to renovate the building into a four-bedroom house for her family, including her husband, the chef Rocky Barnette, and Henry, her 11-year-old son from a previous marriage. The meticulous renovation took two-and-a-half years to complete. Part of that had to do with replastering the original adobe walls. Lebermann discovered that the most indigenous method—which is known as earth plaster— involves fermenting barrel-cactus pads in water, creating WITH IT S E THE RE AL

Barnette with Lebermann and her son, Henry, on the roof of their 1969 Jeep in front of the main house.

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In the guest room, a Spanish chair pulls up to an antique desk, and the artworks are by Nick Terry.

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In the kitchen’s ﬁreplace, a barro rojo bowl from Oaxaca, Mexico, holds onions. The antique furniture, including a French table, was inherited from Lebermann’s family. The ﬂoor is poured concrete, the ceiling is reclaimed longleaf pine, and the print is by Jonah Freeman, Justin Lowe, and Alexandre Singh.

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In Lebermann’s dressing room, vintage cowboy boots are arranged on an antique table. The chest is by Maria Yee, the antique bench is Spanish, and the Huichol beaded skull is from Mexico. The painting is by Mark Flood, and the ﬂoor tiles are Mexican.

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Spray-painted tumbleweeds hang from the cedar ceiling in the living room. The sofa is by Minotti, the white chair is by Axel Vervoordt, and the ﬂoor lamp (foreground) is from John Derian. The painting is by Charlotte Culot.

In Lebermann’s bathroom, a Waterworks tub is encased in mahogany, and the photograph is by Kate Breakey.

The guest bath’s sink is by Waterworks, the mirror is from BDDW, and the artwork is by Julio Larraz.

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In the master bedroom, a British Khaki bed is dressed in Matteo sheets. The side table is by Maria Yee, the chair is by Michael Tracy, and the rug is from ABC Carpet & Home.

an adhesive that is added to the local mud. “You end up with proper, old-school plaster,” says Lebermann, who supervised the fermentation process in horse troughs installed for the purpose in her backyard. Her new cedar-shingle roof is also west-Texas traditional, but because Lebermann, who grew up on a ranch, wanted exposed shingles inside the house as well as out, two separate roofs ended up being built. And rather than standardize the home’s asymmetrical openings, she found an artisan in the town of Presidio, about an hour’s drive away, to handmake on-site new windows and doors ﬁtted with copper screens and hinges forged by a local blacksmith. To furnish her new space, Lebermann looked far beyond the Texas desert all the way to Belgium, where she sourced many of her home’s cornerstone pieces from the legendary designer Axel Vervoordt. Indeed, the rustic aesthetic of her house—handcrafted white walls, exposed wooden ceiling beams, oiled mesquite ﬂoors, and an overall sense of calm—have much in common with Vervoordt’s elemental interiors. “His style of furniture, big and comfortable, ELLE DECOR

visually just works so well in a minimal setting such as the Chihuahuan Desert,” Lebermann says. The neutral palette also made it easy to layer in the colorful textiles that Lebermann and Barnette have collected from Mexico and South America, as well as vintage and antique furniture from Spain, Italy, and France. And, of course, in Marfa there is plenty of art. One might expect the founder of a renowned arts-and-culture institution (the Prada Marfa installation was one of Ballroom Marfa’s early commissions) to live in a museum of sorts, but Lebermann’s personal collection is refreshingly unostentatious; here, pieces by such well-known contemporary artists as Raymond Pettibon and Peter Doig coexist with works by local artists and friends. Several were originally commissioned for Ballroom Marfa shows, but they receive no special treatment or attention, never detracting from the comfortable, hospitable spirit of the home. “People are surprised when they walk in here,” says Lebermann. “The house is humble on the outside, and then you enter and there’s magic. It turned out to be pretty dreamy.” ◾

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A pair of vintage Italian chairs frames an Axel Vervoordt cocktail table in the library. The custom bookshelves are mahogany, the burlap-and-tinsel chandelier is by Sean Daly, and the rug is by Society Limonta. The three adobe sculptures under the table are by Rafa Esparza. For details, see Resources.

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is used by LF Products, PTE.LTD, under licence from HACHETTE FILIPACCHI PRESSE SA, Paris, France.

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- FUSED WITH -

AT OFFICE DEPOT

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Sophistication and style Wh ere durable function meets simple, sleek design.

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Items pictured but not listed are from private collections. TALENT PAGE 72: Estee Stanley and

Brigette Romanek, Hancock Design, hancockdesign.net. Carly Kuhn, The Cartorialist, cartorialist.com. PAGE 76: Andria Mitsakos, Wanderlista, wanderlista.com.

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TOOLBOX PAGES 78–82: Michael Anastassiades,

flos.com. Alison Berger, hollyhunt .com. Bec Brittain, becbrittain.com. Tord Boontje, atelierswarovski.com. Lee Broom, leebroom.com. Wallpapers: Marthe Armitage, hamiltonweston.com. SHOWCASE PAGES 86–92: Cakes: Alana Jones-

Jung Lee, jungleeny.com. Dinner plate: John Derian, johnderian.com.

Pierre Frey, pierrefrey.com. PAGE 142: Iron chairs: SOTOW, sotow.it. Plates: Laboratorio Paravicini.

DANIEL’S KITCHENS PAGES 118–120: Daniel Boulud of

Restaurant Daniel, danielnyc.com. TALENT PAGE 124: Sofa: Nobilis, nobilis.fr. PAGE 128: Bed: Roche Bobois,

roche-bobois.com. Curtains fabric: Colefax and Fowler, cowtan.com. ANATOMY OF A HOUSE

Interior design: Patrick Planeta, Planeta Design Group, planetadesign group.com. PAGES 130–131: Chandelier: Lindsey Adelman, lindseyadelman.com. Light ﬁxture: Apparatus, apparatus studio.com.

AZORES OF ENERGY

Interior design: Luís Bernardo Brito e Abreu, Pico do Refúgio, picodorefugio.com. PAGE 145: Bed, dresser, and pendant light: Area, areastore.com.

Mann, alanajonesmann.com. TRUTH IN DECORATING PAGES 94–98: Christina Z.

Antonio, christinazantonio.com. Harry Nuriev, Crosby Studios, crosby-studios.com. Necklace: Christina Z. Antonio. Suit: Victoria Hayes, victoriahayesnyc.com. MOOD BOARD PAGE 102: Rug: Jonathan Adler,

jonathanadler.com. Mule: Gianvito Rossi, gianvitorossi.com. Gown: Giambattista Valli, giambattistavalli .com. Fabric: Kravet, kravet.com. Murano glass: Stories of Italy, artemest.com. Earrings: Caroline Constas, modaoperandi.com. SHORTLIST PAGE 106: Marie-Aude Rose, La Mer-

cerie, lamerceriecafe.com. Bakery: Stohrer, stohrer.fr. Mattress: Tensira, tensira.com. Museums: Musée d’Orsay, musee-orsay.fr. Musée Marmottan Monet, marmottan.fr. Plates: Roman and Williams Guild, rwguild.com. Clothing: Cholente Kids, cholente.com. Concealer: Yves Saint Laurent, yslbeautyus.com. AT HOME WITH

Interior design: Tina Seidenfaden Busck, The Apartment, theapartment.dk. PAGE 110: Sculpture: Tomás Saraceno, tomassaraceno.com. Bunk bed: Piet Hein Eek, pietheineek.com. Rug: Märta Måås-Fjetterstöm, mmf .se. Paint: Farrow & Ball, farrow-ball .com. PAGE 112: Pendant light: Venini, venini.com. Table: Eero Saarinen through Knoll, knoll.com.

MORE IS MÁS

MAKER’S MARK

Interior design: Brad Ford, bradfordid.com. PAGE 132: Sofa: Flexform, flexform.it. Chairs: Arflex, arflex.it. Cocktail table: Holly Hunt, hollyhunt.com. Rug: Sacco Carpet, saccocarpet.com. PAGE 133: Chairs: Sputnik Modern, sputnikmodern.com. Chandelier: Apparatus, apparatusstudio.com. Artwork: Doug and Mike Starn, dmstarn .com. Flooring: Fox Floors, foxfloors statenisland.com. PAGES 134–135: Sofa fabric: Zinc Textile, zinctextile .com. Chaise longue and floor lamp: Lost City Arts, lostcityarts.com. Leather chair: Regeneration, regenerationfurniture.com. Chandelier: Apparatus. Rug: Marc Phillips, marcphillipsrugs.com. PAGE 136: Table: Gaspare Asaro, gaspareasaro .com. Paint: Benjamin Moore, benjaminmoore.com. PAGE 137: Headboard fabric: Brochier, brochier .it. Wallpaper: Wolf-Gordon, wolf gordon.com. Artwork: Erin Shirref, erinshirreff.com.

ZODIAC TABLESCAPE PAGE 116: Fabrics: Antique Textiles

Collections, antiquetextilescollections .com. Hexagonal bowl: Asprey, asprey.com. Pumpkin tureen and bamboo ﬂatware: Buccellati, buccellati.com. Chalice: Match, match1995.com. Decanter: James Robinson, jrobinson.com. Charger: ELLE DECOR

Bathtub and sinks: Devon&Devon, devon-devon.com. Carpet: Ulster. PAGE 154: Sofa upholstery: Colony, colonyfabrics.com. Love seat upholstery: Nobilis. Wallcovering: Gancedo, gancedo.com. PAGE 155: Dining chairs upholstery: Lelièvre, lelievreparis.com. Wallcovering: Luigi Bevilacqua, luigi-bevilacqua.com.

TRE’S COMPANY

Interior design: Costanza Paravicini, Laboratorio Paravicini, paravicini.it. PAGE 140: Plates: Laboratorio Paravicini. PAGE 141: Bar cabinet wallpaper:

Interior design: Amaro Sánchez de Moya, amarosanchezdemoya.com. PAGE 150: Sofa upholstery: Nobilis, nobilis.fr; Gastón y Daniela, gastony daniela.com. Carpet: Ulster, ulster carpets.com. PAGE 152: Sofa upholstery: Nobilis; Kravet, kravet.com. Wallpaper: Zuber, zuber.fr. PAGE 153:

SMOKIN’ ADOBE

Interior design: Virginia Lebermann, ballroommarfa.org. PAGE 160: Chest: Maria Yee, mariayee .com. PAGE 161: Sofa: Minotti, minotti .com. Armchair: Axel Vervoordt, axel-vervoordt.com. Floor lamp: John Derian, johnderian.com. Painting: Charlotte Culot, charlotteculot .com. Bathtub: Waterworks, waterworks.com. Photograph: Kate Breakey, katebreakey.com. Sink: Waterworks. Mirror: BDDW, bddw .com. Artwork: Julio Larraz, juliolarraz .com. PAGE 162: Sheets: Matteo, matteola.com. Side table: Maria Yee. Rug: ABC Carpet & Home, abchome .com. PAGE 163: Cocktail table: Axel Vervoordt. Rug: Society Limonta, societylimonta.com.

NO PURCHASE NECESSARY TO ENTER OR WIN. ELLE DECOR Cambria Countertop Sweepstakes. Sponsored by Hearst Communications, Inc. Beginning August 28, 2018, at 12:01 A.M. (ET) through October 8, 2018, at 11:59 P.M. (ET), go to cambria.elledecor.com on a computer or wireless device and complete the entry form pursuant to the on-screen instructions. One (1) Winner will receive up to $5,000 credit to use toward Cambria quartz surface products, and/or related fabrication and installation services, purchased from a Cambria approved dealer/fabricator/installer. Total ARV: $5,000. Important Notice: You may be charged for visiting the mobile website in accordance with the terms of your service agreement with your carrier. Odds of winning will depend upon the total number of eligible entries received. Sweepstakes open to legal residents of the 50 United States or the District of Columbia who are 18 years or older at time of entry. Void in Puerto Rico and where prohibited by law. Sweepstakes subject to complete oicial rules available at cambria.elledecor.com.

ELLE DECOR (ISSN 1046-1957) Volume 29, Number 8, October 2018, is published monthly except bimonthly in January/February and July/August, 10 times a year, by Hearst Communications, Inc., 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief Executive Oicer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Catherine A. Bostron, Secretary. Hearst Magazines Division: David Carey, Chairman; Troy Young, President; John A. Rohan, Jr., Senior Vice President, Finance. © 2018 by Hearst Communications, Inc. All rights reserved. ELLE DECOR is a registered trademark of Hearst Communications, Inc. Periodicals postage paid at N.Y., N.Y., and additional mailing oices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Oices: 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 ofers 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 ofers 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.

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Equal parts Beauty and the Beast and Aladdin, this gilded teapot elevates the notion of teatime. Handmade in Berlin by Bernhard Kühn, whose workshop is in the former laboratory of a 19th-century apothecary shop, the one-of-a-kind piece is cast in clay from Germany’s Westerwald mountain region and plated in gold. The artist’s stunning ceramic work, at once peculiar and elegant, was spotted at John Derian’s Provincetown, Massachusetts, shop—the ultimate trove of superlative curiosities— by our editor in chief. So really, then, the only question is, Cream or sugar? —Samantha Swenson kuehn-keramik.com

P R O D U C E D BY B E N J A M I N R E Y N A E R T

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Each month, ELLE DECOR asks an artisan to create a unique item for us. At the end of the year, these pieces will be auctioned off to beneﬁt the charity of each maker’s choice.

Philip Friedman

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Three specialists. One exceptional kitchen.