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JET-SET StyleEXTRAORDINARY HOMES IN PARIS, ROME, MARRAKECH, AND BEYOND
THE ALLURE OF THE LOIRE VALLEY
Global Chic!
Breguet, the innovator.The first wristwatch, 1810
In tribute to the first wristwatch created between 1810 and 1812 for the Queen of Naples, Breguet reinvents the ladies’ watch in a classic case with a contemporary profile. The various models in the Reine de Naples collection radiate a refined blend of expertise, elegance and precious materials, lending their aesthetic backdrop to an array of horological complications, art and jewellery. History is still being written ...
www.breguet.com/inventions
B R E G U E T B O U T I Q U E S – N E W Y O R K F I F T H A V E N U E 6 4 6 6 9 2 - 6 4 6 9 – N E W Y O R K M A D I S O N A V E N U E 2 12 2 8 8 - 4 0 14
B E V E R L Y H I L L S 310 8 6 0 - 9 911 – B A L H A R B O U R 3 0 5 8 6 6 -10 6 1 – L A S V E G A S 70 2 73 3 - 74 3 5 – T O L L F R E E 8 6 6 - 4 5 8 - 7 4 8 8 – W W W. B R E G U E T. C O M
Freshness above all.
Dual refrigeration keeps food
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tested for exceptionally long
life–not just years but decades.
As long as there is Sub-Zero,
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Sophie is in love with Ray and Contemporary Art. Ray is designed by Antonio Citterio.
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Time_Less Program Select B&B Italia pieces now in stock: www.bbitaliaquickship.com
DESIGN PORTRAIT.
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PROMOTION
Christian Darnaud-Maroselli, co-founder, Jean de Merry; Michael
Boodro, editor in chief, ELLE DECOR; Jean de Merry, co-founder,
Jean de Merry.
JEAN DE MERRY CELEBRATES NEW CHICAGO SHOWROOM
Editor in chief Michael Boodro cohosted an
event to celebrate the grand opening of the
Jean de Merry Showroom on the Merchandise
Mart's reimagined 14th floor. Renowned
architects and Chicago designers enjoyed an
intimate dinner, in honor of the showroom, at
The Arts Club of Chicago.
KIPS BAY CELEBRATES THE BEST IN DESIGN
Industry professionals and design enthusiasts
gathered to celebrate the opening of the 41st
Annual Kips Bay Boys & Girls Club Decorator
Show House, an exhibition of the very best
in fine furnishings, art, and technology. Since
its inception, the project has raised over $17
million for the Kips Bay Boys & Girls Club—
one of the most prominent youth development
agencies in New York City.
ELLE DECOR fêted interior design luminaries at its annual A-List Luncheon held at The Modern at the Museum of Modern Art. Cohosted by Kravet
and Baccarat, the event recognized the 10 newest additions to ELLE DECOR’s prestigious designer list. The A-List Luncheon is the magazine’s fourth
annual salute to the country’s top talents—designers who continue to excite, inspire, and intrigue ELLE DECOR readers and editors.
Bunny Williams, interior designer; Jim Druckman, president
and CEO, New York Design Center. Photo: Sylvain Gaboury/
PatrickMcMullan.com.
HAPPENINGS
Jesse Carrier and Mara Miller, 2013 A-List designers. Kristen Buckingham, 2013 A-List designer. Kate Kelly Smith, SVP and publishing director, Hearst Design
Group; Beth Greene, executive vice president, director of
marketing and strategic branding, Kravet.
ELLE DECOR CELEBRATES ANNUAL A-LIST LUNCHEON
FIND OUT ABOUT ALL ELLE DECOR EVENTS AND PROMOTIONS ONLINE AT ELLEDECOR.COM/HAPPENINGS
Francois Sulic, head of marketing, Gloster; Barbara Friedmann,
VP, publisher & chief revenue officer, ELLE DECOR; Joanne
Medeiros, western U.S. regional sales director, ELLE DECOR.
GLOSTER CELEBRATES BELLA OUTDOOR COLLECTION
Editor in chief Michael Boodro and Gloster
hosted a cocktail event to celebrate the
launch of the brand’s new Bella Outdoor
collection at the Gloster showroom in
Los Angeles. Designers and tastemakers
enjoyed a preview of the highly anticipated
collection, conceived by leading European
product designer Carsten Astheimer.
SCAVOLINI USA429 West Broadway, New York, NY 10012
T. 212.334.6776 - [email protected]
www.scavolini .com/dsk
12 ELLEDECOR.COM
CONTENTS
DEPARTMENTS28 EDITOR’S PAGE
By Michael Boodro
32 ON THE SCENE The people and events behind the making of this issue
34 MAILBOX Our readers write, Tweet, and post
36 STYLE SHEET What we’ve seen, what we’ve heard
43 WHAT’S HOT! Dispatches from the world of design
49 WHAT’S NEXT The iconic Paris images of Charles Marville, a swank new Venice hotel, a celebration of Brit wit Tom Dixon, Formica for the 21st century, new stores from Knoll and Habitat, and more
62 TALENT
The designers of Atlas Industries take a hands-on approach to creating sleek furnishings—and to reviving an upstate New York town. By Kathleen Hackett
66 GREAT IDEAS The best home offices are studies in style as well as efficiency
72 TREND ALERT Studs, grommets, and rivets are adding a touch of industrial chic to the latest fashions and the home
74 RSVP
An artful alfresco party at the Los Angeles County Museum of Art brings glamour to light. By Deborah Sharpe
148
LEFT: A hallway at Russborough House in County Wicklow, Ireland. ON THE COVER: The study of Samuel and Caitlin Dowe-Sandes’s home in Marrakech. “Morocco Moderne,” page 122. Photography by Simon Upton; produced by Anita Sarsidi.
62
A cantilever chair by Atlas
Industries.
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CONTENTS
76 SHORTLIST The 12 things that innovative and iconoclastic Danish architect Bjarke Ingels can’t live without
80 IN THE SHOWROOMSWhat’s new to the trade
82 UNCONVENTIONAL WISDOM British designer Anouska Hempel on creating lushly layered rooms that are both theatrical and soothing
84 TRUTH IN DECORATING Designers Barrie Benson and Stefan Steil on 10 plaster pieces that add a cool edge to any room. By Tim McKeough
91 TOOLBOX Smart products for stylish homes
96 DANIEL’S DISH A classic international dish, chicken Milanese, gets an easy update thanks to a surprising ingredient. By Daniel Boulud
100 ELLE DECOR GOES TO THE LOIRE VALLEY This historic region, once the play-ground of aristocrats and royalty, retains its stunning array of châteaus and gardens, even as its wineries and fine restaurants delight new generations of pleasure seekers. By Ian Phillips
158 RESOURCES Where to find it
160 ETCETERA Whether you’re storing paper clips or precious jewels, think inside the box.
A château in France’s Loire Valley, with
grounds designed by Louis Benech.
80
128
Pillows by Perennials.
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CONTENTS
Looking for more ideas, inspiration, and information? Be sure to check out elledecor.com for all the latest
PLAYFUL CHARACTERSIf the colorful kid’s room in “Morocco
Moderne” has you longing for more
pint-size sophistication, check out our
slideshow of children’s rooms that
most design-savvy adults would envy,
such as a playroom designed by Robert
Couturier, above (elledecor.com/kids).
OFFICE ATTIREDoes our roundup of stylish studies moti-
vate you to spiff up your own home
office? Don’t miss more inspiring images,
plus tips from professionals and our array
of chic desk accessories, including items
from, clockwise from top left, Muji, Jona-
than Adler, Alexcious, and Ordning & Reda
for JCP (elledecor.com/office).
WHAT’S NEW at ELLE DECOR ONLINE
The entry of the Paris loft of fash-
ion designer Yvan Mispelaere.
A side table by Mr. Brown.
FEATURES113 ELLE DECOR STYLE
114 ALL THINGS CONSIDERED A classic, old-world apartment in a prestigious arrondissement on Paris’s Left Bank becomes a connoisseur and book lover’s trove of high-style treasures. By Ian Phillips
122 MOROCCO MODERNE For a creative couple long based in Marrakech, a move to a new area of the city signals a shift to a more Paris- centric approach. By Gisela Williams
128 RESTORED TO GLORY A grand 18th-century château in the Loire Valley gets a garden worthy of the 21st century, courtesy of landscape designer Louis Benech. By Jane Garmey
142
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CONTENTS
TRAVEL COMPANIONSDoes this issue stimulate your wander-
lust? Don’t call your travel agent without
perusing our guides to the highlights
of major European cities—such as Rome’s
Villa Borghese, above—as well as insider
tips on hotels, restaurants, and cultural life
in Brussels, Amsterdam, Milan, Barcelona,
and more (elledecor.com/europe).
FLOOR PLANSCool, colorful tile floors pop up
throughout this issue. Tempted to try
them at home? We’ve collected some
of the best patterned tiles on the market,
including these from, clockwise from
top left, Waterworks, Ann Sacks, New
Ravenna, and Clé (elledecor.com/tile).
Visit service.elledecor.com to order a print sub-scription, 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 order a back issue dated within the past two years, please go to backissues.elledecor.com.
WHAT’S NEW at ELLE DECOR ONLINE
114
43
Vases by Saint-Louis.
136 COLLECTED WISDOM The flea-market finds and rare art-works assembled by a world traveler end up in a suitable setting in one of the most famous palazzos in Rome. By Craig Seligman
142 HIGH-WIRE ACT Fashion designer Yvan Mispelaere finds that a derelict circus school in a remote area of Paris is the ideal place to let loose his flights of design fancy. By Dana Thomas
148 IRISH HERITAGE One of the oldest and grandest country estates in Ireland, Russborough House has witnessed nights of glitter-ing excess and decades of neglect, yet it still stands as a stunning tribute to Irish artistry. By Robert O’Byrne
The sitting room of a Paris apartment designed by François-Joseph Graf.
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Our tribute to women.Pavonina
Pavonina. A brilliant tribute to women in all their facets. Glashütte Original introduces a new collection of glamorous timepieces that combine
seductive femininity, timeless elegance and highest precision. Timepieces from the Pavonina Collection are available at Tourbillon Boutiques:
South Coast Plaza . New York . Las Vegas . Beverly Hills . San Francisco . Short Hills . Chicago . Tel. +1-866-462-4037 and select retail outlets. For store
locations please refer to: www.glashuette-original-pavonina.com.
International Coordinator MONIQUE BONIOL
Group Production Director CHUCK LODATO
Group Production Manager JULIE BOSCO
Associate Production Manager DEIDRA J. ROBINSON
Consulting Editor DANIEL BOULUD
Special Projects Editors KATE RHEINSTEIN BRODSKY, TAMZIN GREENHILL,
MELISSA BARRETT RHODES, BETTINA ZILKHA
Contributing EditorsJORGE ALMADA, DEBORAH BANCROFT, KATE BETTS, KEVIN CARRIGAN, NINA GRISCOM, KATHLEEN HACKETT,
NANCY HASS, MAC HOAK, JAY HOLMAN, LULU DE KWIATKOWSKI, ROBERT LITTMAN, TIM MCKEOUGH, KEITH MEACHAM,
JULIA REED, NINA SANTISI, DEBORAH SHARPE, PAUL SINCLAIRE, KIM VERNON, BUNNY WILLIAMS,
WILLIAM YEOWARD, SUSAN ZEVON
Published by Hearst Communications, Inc.
President & Chief Executive Officer STEVEN R. SWARTZ
Chairman WILLIAM R. HEARST III Executive Vice Chairman FRANK A. BENNACK, JR.
HEARST MAGAZINES DIVISION
President DAVID CAREY
President, Marketing & Publishing Director MICHAEL CLINTON
Executive Vice President & General Manager JOHN P. LOUGHLIN
Editorial Director ELLEN LEVINE
Publishing Consultants GILBERT C. MAURER, MARK F. MILLER
HEARST MAGAZINES INTERNATIONAL
President, Chief Executive Officer DUNCAN EDWARDS
Senior Vice President, Chief Financial Officer & General Manager SIMON HORNE
Senior Vice President, International Publishing Director JEANNETTE CHANG
Senior Vice President, Editorial Director KIM ST. CLAIR BODDEN
Executive Director, Editorial ASTRID O. BERTONCINI
Creative Director PETER YATES
Fashion and Entertainment Director KRISTEN INGERSOLL
Hearst Design Group Editorial DirectorNEWELL TURNER
Managing EditorGYNA SOUCY
Executive Managing Editor JEFFREY BAUMAN
Design Director FLORENTINO PAMINTUAN
Photography Director DAVID M. MURPHY
Associate Art Director ALEXANDER WOLF
Senior Associate Photo Editor LUIGI MENDUNI
Associate Photo Editor KATHRYN MARX
Assistant Managing EditorANGELA C. TAORMINA
Digital Production Manager LILLIAN DONDERO
Editorial Assistant FABIO MORELLI
Digital Imaging Specialist TRACEY BURROWS
Executive Assistant ANNIE ARMSTRONG
Interiors Editor ROBERT RUFINO
Contributing Design Editor ANITA SARSIDI
Market Director SABINE ROTHMAN
Market Editors ORLI BEN-DOR
CATHERINE LEE DAVIS SAMANTHA EMMERLING
VICTORIA JONES EUGENIA SANTIESTEBAN SOTO
Market Editorial Assistants ALEXIS ANSELMI KATHRYN GIVEN HANNAH MARTIN
DAYLE WOOD LORA YOON
Contributing Editor at LargeCYNTHIA FRANK
Features Director VICKY LOWRY
Senior Editor/Writer INGRID ABRAMOVITCH
Articles Editor PETER TERZIAN
Deputy Editor, Copy MEEGHAN TRUELOVE
Features Copy Editors ELIZABETH HERR AMANDA WOYTUS
General Manager, Shelter, Hearst Digital Media
ALLISON M. MEZZAFONTE
Digital DirectorJEN DEROSE
ELLEDECOR.COM Editor AMY PREISER
ELLEDECOR.COM Assistant Editor OLIVIA RASSOW
All correspondence should be addressed to 300 West 57th Street, New York, NY 10019. Tel: 212-649-2000. The ELLE and ELLE DECOR trademarks and logos are owned in Canada by France-Canada Editions et Publications, Inc.
and in the rest of the world by Hachette Filipacchi Presse (France), each Lagardère Active Group Companies. ELLE and ELLE DECOR are used under license from the trademark owners.
Copyright © 2013 Hearst Communications, Inc. Printed in the USA.
To order back issues dated within the past two years (please note the issue dates), go to backissues.elledecor.com. For information on reprints and e-prints, please contact Brian Kolb at Wright’s Reprints, 877-652-5295 or [email protected].
EDITOR IN CHIEF
MICHAEL BOODRO
Be inventive. When details are unusual, even subtly unusual, that’s exciting.
Designer Matthew Patrick Smyth
Winner of the 2011 Stars of Design Award for Interior Design
Watch Matthew as he shares how details large and small all add up, and see more experts, at jennair.com/details
“The kitchen is part of the décor of the overall home now. The details, the choices you
make for it tell the story of what you love. Get excited about materials, and blend them
in interesting ways. Consider open shelving, not just for pots and plates but for pottery
and other statement pieces. Bring in artwork. Embrace clean lines, but make it dramatic.
Details can be simple but sophisticated and surprising, too.”
“The new Jenn-Air® Accolade Downdraft Ventilation
System’s elegant curve and fluid movement create a
visual masterpiece. It’s sleek and quiet, yet powerful.”
“Consider mixing diverse
materials on an island to
define separate spaces.”
“Open shelving can bring
other elements of your
home into the kitchen.”
®/™
©2013 Jen
n-A
ir. All rig
hts reserved
.
Associate Publisher DAVID HAMILTON
Executive Director, Fashion and Luxury CARL KIESEL Executive Director, Home Furnishings KAREN MARX
ADVERTISING SALESNew York 300 WEST 57TH STREET, NEW YORK, NY 10019
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HEARST DESIGN GROUPSenior Vice President, Group Publishing Director KATE KELLY SMITH
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Senior Marketing Manager ESTHER DEMING
Marketing Managers MATT HARE, MEAGHAN TRIMARCHI
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Associate Marketing Manager AIMEE COUTURE
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Marketing Coordinators DELISHA FIELDS, JANA SEGAL
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C H I C A G O D A L L A S L O S A N G E L E S N E W Y O R K / 8 7 7 . D E . M E R R Y / J E A N D E M E R R Y . C O M
As seen through the eyes of Nicholas Alan Cope & Dustin Edward Arnold
RACHIS side table by Hamel + Farrell / RAMO mirror by Jean de Merry / YVAN arm chair by Jean de Merry
mark dvorak & gary spain COLLECTORS/CURATORS
SAN FRANCISCO, CALIFORNIA
The timekeepers, reflecting on
the nature of time as they're
surrounded by the world's most
prized historical, industrial and
shop clocks.
28 ELLEDECOR.COM
EDITOR’S PAGE
How different are American homes from European ones? While I remain a devoted fan of American decorating and American decorative arts, I have to admit that I often look at European interiors with a twinge of envy. And this issue, which focuses on homes in Ireland, England, and France (and one as far afield as Morocco, although even that has a distinctly Gallic air), has provoked more than a couple of jealous thoughts.
The most immediate difference, of course, is architecture. American homes tend to lack the sweeping high ceilings, paneling, ornate plasterwork, enfilades of rooms, and strik-ing patterned tile floors that are signature elements of so many of the homes we feature this month. But these homes, and their own-ers, provide lessons and inspirations that can apply anywhere. They share a passion for rich color, an acceptance of history and wear (objects we might consider beat-up, they think of as having a beautiful patina), an appreciation for groaning bookshelves, and a relaxed approach to inhabiting—and really using—every room, even the grandest ones.
On a recent trip, I stumbled upon the clear-est and most charming demonstration of how interior design has evolved both here and abroad: the Thorne Miniature Rooms at the Art Institute of Chicago. These 68 small-scale masterpieces, commissioned by Mrs. James Ward Thorne and meticulously hand-crafted between 1932 and 1940, begin in 13th-century England and end in 1930s California. Virtually every period and style in between is represented: late Tudor and Shaker, Louis XV and English Georgian, French Empire and California modern. Attention has been lavished on the tiniest details. Wall murals and paneling, Persian rugs and silver tea sets,
ROOM TO GROW
Michael Boodro, Editor in [email protected] me on Twitter: @MichaelBoodro
candlesticks and crystal chandeliers, have all been documented at a scale of one inch to a foot. Each vignette, none much larger than 17 inches wide, is marvelously specific.
Clearly Mrs. Thorne was a woman in thrall to the decorative arts, with a voracious curi-osity, extensive historical knowledge, and vast determination. But the reason these rooms, relatively unknown even to many design aficionados, continue to exert a pow-erful pull is that Mrs. Thorne also under-stood that it is the particularities of a space and a style that make a room fascinating—and that’s true on every continent.
Two of the Thorne Miniature Rooms. ABOVE: An English great room of the late 16th century. LEFT: A Massachusetts dining room, circa 1720.
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California -Ê�>Þv>�ÀÊ��ÕÃiÊ UÊ �>Ê*iÀ�>Ê�iÃ�}Ê�>��iÀÞÊ UÊ �iÊ*>«����Ê UÊ -Ìi«�iÊ�À> Ê�>À`iÊEÊ���iÊ - Georgia -Ê �À>}��iÊ - Illinois -Ê�>ÌiÀ�>�Ê *�ÃÃiÃÃ��ÃÊUÊ*i>V�ÌÀiiÊ*�>ViÊUÊ*�iÀViÊ �ÌiÀ��ÀÃÊ - Kansas - /�iÊ��ÀÃÌÊ *�>ViÊ - North Carolina -Ê -V��vv�>½ÃÊ - New York -Ê �>iÌÊ���iVÌ��Ê - Pennsylvania -Ê���iÊ�À�ÜSouth CarolinaÊ *�ÃÌV>À`Ê vÀ��Ê *>À�ÃÊ - Texas -Ê ÛiÌÃÊ UÊ �Õ�����ÃV��LÊ UÊ -Ìii�âÊ - Canada -Ê �>Ê 6�V�½ÃÊ ���iÊ - 7����>�Ê �Ã��iÞÊ ��>Ê - Also available at �����}`>�i½ÃÊUÊ i��>Ê�>ÀVÕÃÊUÊ �À`ÃÌÀ��ÊUÊ-> ÃÊ��vÌ�Ê�ÛiÕiÊUÊ6�Ê�>ÕÀÊUÊ-i�iVÌÊ�>VÞ½ÃÊ-Ê�Ìi�ÃÊÃ��Ü\ÊÊf£x�Ê�ÊfÎ�x
32 ELLEDECOR.COM
ON THE SCENE
The landscape architect behind the gardens at a Loire Valley château (see page 128) has taken on projects around the world, from Chicago to Egypt to New Zealand. But the core of his work lies in his native France. A sampling of his lush creations can be seen in Louis Benech: Twelve
POPHAM DESIGN
“Travel is definitely a cata-lyst for new designs,” says Caitlin Dowe-Sandes of the cement tiles she creates with her husband, Samuel. Their antiques-filled bunga-low, featured on page 122
ROBERTO BEGNINI
Despite his two Italian residences—including his apartment in Rome’s historic Palazzo Doria Pamphilj, featured on page 136—Roberto Begnini isn’t tied to his native country. Recently he’s been spending time in Montevi-deo, the capital of Uruguay, where he’s restoring an
French Gardens, to be published next month by Papier and Co. One highlight is his design for a property in St. Tropez, above. “All my gardens are unique,” Benech says, “so I feel like a chameleon. But I hope to create peaceful places that make the peo-ple living in them happy.”
of this issue, is located in the Gueliz neighborhood of Marrakech; their studio, Popham Design, below left, is just a few minutes away. “It’s so easy for us to reach Europe, even for a long weekend,” she adds. Their newest tiles were inspired by an exhibition of Op art the couple saw in Berlin and a vintage Goan fabric. Other recent pat-terns, including Headlight, left, and Long Shadow, below, are a graphic twist on classic Moroccan style.
early-20th-century house, which he is turning into a small hotel. Casa Roberto (casaroberto.uy) is scheduled to open its doors in November, with four rooms in the wunderkam-mer style of his Roman residence. The building will also house an interior design studio and a gallery that sells vintage and con-temporary furnishings from around the world.
SIMON UPTON
London resident Simon Upton has been photo-graphing interiors for ELLE
DECOR for more than 10 years—he estimates that he must have shot nearly 100 stories. Two are in this
LOUIS BENECH
issue, including the Paris apartment on page 114. “Doing shoots in Paris, there’s the added delight of seeing what’s behind the windows and balconies, what is hidden in court-yards and behind walls,” he says. When he’s not on assignment for us or such British publications as World of Interiors and House & Garden, he works on his own art photogra-phy, which can be seen at simonupton.com. “I love to shoot landscapes on an 8″ x 10″ camera, partly as a good excuse to get outside,” he says. “I also do still lifes of flora and fauna, which I am slowly making into a body of work.” His shot of a peregrine, left, is part of a series on falconry, soon to be featured in a book and an exhibition.
A 1912 elevation of Casa Roberto.
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Dallas · Houston · Los Angeles · Miami · New York | [email protected] | www.baxter.it/us
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MAILBOX
The Tuxedo Park, New York, home in your story “Game for Anything” [June] is a colorful escape from the sterile and the staid. These rooms encourage comfort and conversation. It’s refreshing to see a variety of colors that reflect warmth and sophistication at the same time.Lauren D. Hall, Punta Gorda, FL
This time you’ve outdone yourselves. Your June issue is loaded with taste, subtlety, and inspiration. Naturally, I have a personal favorite: John Saladino’s work in “Repeat Performance” is masterful. He continues to raise the bar in design excellence. And ELLE DECOR
continues to make me happy.Esther Horvath, Dallas, GA
Love the new issue...so much color!TeckieGirl, @TeckieGirl
First issue of my @ELLEDECOR subscrip-tion arrived this week. Tucking into it on the terrace w/ glass of wine, cheese & hubby. #blissWhitney, @Coffeebuzzer
Reading June @ELLEDECOR and am excited to try Daniel Boulud’s strawberry-rhubarb mille-feuille recipe! #frenchpastriesStephanie Sam, @calibabe82
Todd Romano looking so handsome—love him! Swifty’s New York, @Swiftys_NYC
Every potential design client needs to read “Succeeding by Design” in this month’s @ELLEDECOR. Heather List, @HeatherList
The faceted-mirror letter installation [on the June cover] had me at hello. #love @ ELLEDECOR.Rebecca, @lovelivesmall
On the June cover: The whole room is gorgeous. Love that fireplace!Ta Tanisha Meadows
On “Succeeding by Design”: I love this article. The most inspired interiors come from collaborative, trusting, and fun-loving relationships between designer and client.At Home Interior Design
On Todd Alexander Romano’s kitchen:This is so bright and energetic, I think I could skip my morning coffee. Rachel Schofield
On a drawing room designed by John Saladino: Sensual and sophisticated...the painting really sets the tone.Deb Lawrence
On Steven Gambrel’s kitchen: Heaven! That bench, a book, coffee—sunny or rainy, every day would be perfection.Susan Langworthy
SEPTEMBER 2013
ABOVE: The living room of a house
designed by Jeffrey Bilhuber in Tuxedo
Park, New York. RIGHT: The June issue cover.
Although I will agree that decorator Todd Alexander Romano’s New York City apartment is timeless [“Dressed to the Nines,” June], the photo of him smoking a cigarette was so passé. Please—it’s not 1938.Dede Mays, via e-mail
Ever since reading the Eloise books as a child, I’ve had a fantasy of living at the Plaza Hotel in Manhattan. Steven Gambrel’s design of a pied-à-terre in the grande dame [“Panache at the Plaza,” June] is a grown-up’s version of that dream. Each room is a study of colors, textures, and moods, with gorgeous artwork and sumptuous materials.Catherine Brandt, Boston
Your April issue was such a delight that I renewed my subscription. “Paris on the Hudson” was by far the most excep-tional home I have seen featured in anymagazine. I keep a photo from the story under an old glass paperweight, and it keeps me focused on the aesthetic that I hope to achieve in my own home.Jill Waldmann, Cromwell, CT
Write to us: Mailbox, ELLE DECOR, 300 West 57th Street, 27th floor, New York, NY 10019. E-mail: [email protected]. Follow us on Twitter: @elledecor. Like us on Facebook: facebook.com/ ELLEDECORmag.
TWEETS
A Manhattan dining room
by designer John Saladino.
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36 ELLEDECOR.COM
STYLE SHEET
Suddenly, pumped-up pastels are the palette of the moment. The sugar-sweet French film Popu-laire, already a hit in Paris, opens in U.S. theaters September 6. The debut of director Régis Roin-sard, the film follows Rose (played by Déborah François), a flailing secretary turned speed-typing champion who inhabits a cotton candy–hued version of the 1950s. Offscreen, industrial design icon Tolix nods to the era, issuing its classic furni-ture in four fresh shades taken from Le Corbusier’s color charts (tolix.fr). Moooi’s Pepto-Bismol–pink Lolita lamp is named for the ’50s nymphet (moooi.com). And new colors from Farrow & Ball (farrow-ball.com) and RGB nail polish (rgbcosmetics.com) mimic Rose’s typewriter-ready manicure. FROM LEFT: A fall
2012 Peter Som look. The Liona rug by Surya.
TAKING THE FLOOR “Brooke Astor meets Courtney Love” is how Peter Som describes his recent collections, which instill a hint of grunge into his trade-mark femininity. The New York fashion designer is now channel-
ing the same aesthetic in his collaboration with Surya. A collection of eight rugs based on prints Som de-buted on the runway, the carpets range from a hand-tufted chevron to a wool shag, shown, inspired by
the furry and fantastical “soundsuits” by perfor-mance artist Nick Cave that took over Grand
Central Terminal in March (surya.com).
WHAT WE LOVECALL IT A MATCH MADE IN
HEAVEN. ITALIAN FASHION HOUSE
BOTTEGA VENETA HAS COLLAB-
ORATED WITH THE CENTURIES-
OLD GERMAN PORCELAIN MAKER
KÖNIGLICHE PORZELLAN-
MANUFAKTUR ON A COLLECTION
OF ELEGANT PORCELAIN-AND–
BURNT-GOLD JEWELRY. THE
GLEAMING STATEMENT PIECES
FEATURE HANDCRAFTED MEDAL-
LIONS CARVED WITH ANGELS,
A TRIBUTE TO VENETIAN NEO-
CLASSICAL SCULPTOR ANTONIO
CANOVA (BOTTEGAVENETA.COM).
FROM TOP: A scene from Populaire.
Nail polish by RGB. Tolix A chair. Lolita table
lamp by Moooi. St Giles Blue, Yellowcake,
and Nancy’s Blushes by Farrow & Ball.
FROM LEFT: Marimekko’s designs for Finnair. Vivienne
Westwood’s sketches for Virgin Atlantic.
ELEVATED STYLE Harking back to the era when flying was the epitome of glamour, several airlines are making travel a study in style again. Finnish tex-tile company Marimekko recently adorned the exteriors of Finnair jets with its iconic poppies, and the cabins with its punchy prints on tableware and blankets (finnair.com). For Virgin Atlantic, Vivi-enne Westwood has designed sleek flight-attendant uniforms in the airline’s signature red (virgin-atlantic.com). And All Nippon Air-ways has commissioned Prabal Gurung to dress its attendants in outfits with a bit of traditional Japanese flair (ana.co.jp).
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D A R L A N A M E D I U M L A N T E R N I N G I L D E D I R O N B Y S A N D Y C H A P M A N
FA B R I C S F U R N I T U R E T R I M M I N G S C A R P E T S K R AV E T. C O M
THOM FILICIA for KRAVET COLLECTIONS
inspired. kravet®
PROMOTION
ELLE DECOR AND ROSE TARLOW MELROSE HOUSE
The Hearst Design Group was the media
sponsor of the 2013 LEGENDS of La Cienega’s
Time Capsule: Past, Present and Future of
Design Power Lunch at the Rose Tarlow
Melrose House showroom in Los Angeles. 500
industry partners and designers enjoyed a
refreshing lunch while exploring the exceptional
showroom space.
The Hearst Design Group—ELLE DECOR, HOUSE BEAUTIFUL, VERANDA—will bring its
Inside Design event series to the San Francisco Design Center on September 12. Created to
bring each magazine’s signature voice to life, the series will provide the magazines’ loyal and
passionate audiences with an inside look at the latest products, hottest designers, and newest
design trends.
Michael Boodro, ELLE DECOR editor in chief, will moderate the not-to-be-missed
keynote presentation with acclaimed designers. For a full schedule of events, please visit
sfdesigncenter.com.
The Hearst Design Group thanks our Inside Design sponsors: Baker, Decorative Furnishings
Association, and Sunbrella.
Sabine Rothman; market director, Hearst Design Group; Gary Gibson,
Gary Gibson Studio; Shari Korn, general showroom manager, Rose
Tarlow Melrose House; Jobi Blachy, president and CEO, Rose Tarlow
Melrose House.
HAPPENINGS
NEW YORK DESIGN CENTER WHAT'S NEW, WHAT'S NEXT
Join the New York Design Center on
September 19, from 2pm – 9pm, for the
fi fth annual "What's New, What's Next,"
a showcase of new ideas, materials, and
products. The event will feature exciting
presentations from ELLE DECOR editors
and top industry professionals. For more
information and to RSVP, please visit
nydc.com/wnwn.
Thomas Jayne, designer, Jayne Design Studio; Jim Druckman,
president & CEO of The New York Design Center; Thom Filicia,
designer, Thom Filicia, Inc.
JOIN US IN SAN FRANCISCO
FIND OUT ABOUT ALL ELLE DECOR EVENTS AND PROMOTIONS ONLINE AT ELLEDECOR.COM/HAPPENINGS
SEPTEMBER 12
DRAGONETTE HOSTS A PANEL AT LEGENDS OF LA CIENEGA
During the LEGENDS of La Cienega 5th annual
design fête, Dragonette hosted a lively panel,
Cycling Through History: Why Certain Periods
Come Into (and Go Out of) Style Repeatedly…
And What’s Next on the Horizon, featuring
acclaimed design professionals. More than
100 guests enjoyed the exceptional program
discussing design that transcends time.
Alex Papachristidis, interior designer; Patrick Dragonette, owner,
Dragonette; Kim Alexandriuk, interior designer; Timothy
Corrigan, interior designer; Madeline Stuart, interior designer.
8 0 0 . 8 9 9 . 6 7 5 7 | W W W.WAT E R WO R K S .C O M
INSPIRED ILLUMINATIONS
43
WHAT’S HOT!DISPATCHES FROM THE WORLD OF DESIGN
LET IT POURDutch designer Piet Hein Eek has created a set of geometric pitchers
with Art Deco flair. Ideal for serving drinks or displaying flowers, his
Facet jugs range from 9″ to 13.5″ h. Made of white-glazed ceramic,
they cost $1,688 each; silver-plated brass versions are $3,128 each.
212-473-2500; thefutureperfect.com
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WHAT’S HOT!
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1 / SUSPENDED ANIMATIONWoven by Colombian artisans displaced by guerrilla warfare, the PET hanging lamps by designer Alvaro Catalán de Ocón take their name from the recycled plastic bottles from which they are made. Nine styles are offered in various colors and sizes. Prices range from $235 for small to $475 for extra-large. petlamp.org
2 / BLACK BEAUTYInspired by a midcentury bureau with reeded detailing and playful drawer pulls, designer Bunny Williams has created her Button Down Chest. Measuring 45.5″ h. x 36″ w. x 21″ d., the chest costs $3,000 and comes in an ebony fin-ish, shown; a cerused-oak finish is also offered.212-935-5930; bunnywilliamshome.com
3 / SWEET DREAMSRalph Lauren Home’s new mix-and-match bed linens include percale sheets, pillowcases, and shams in white with colorful trim, and an array of vivid solids, as well as luxurious blankets and accent pillows. Prices range from $100 for a throw pillow to $595 for a cable cashmere throw. 888-475-7674; ralphlaurenhome.com
4 / REFRESHER COURSECelerie Kemble’s bar cart for Maitland-Smith incorporates some of the designer’s favorite materials: Caramel-colored, lacquered leather with white stitching wraps around a gleaming brass frame shaped to resemble bamboo. The 33″ h. x 28″ w. x 18″ d. cart costs $3,597. 336-812-2400; maitland-smith.com
5 / TIME FOR TEADesigner Tom Dixon’s Eclectic tea set, made of brass with a gleaming gold wash, raises the bar on the classic English accessory. The set includes a tray, $210, and, clockwise from left, a teapot, $200; a tall jug, $140; a milk jug, $85; and a sugar dish and spoon, $102.212-228-7674; tomdixon.com
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Explore thesecret world of jewelry in Paris
www.lecolevancleefarpels.com
The Maison Van Cleef & Arpels has created a school in order to cast a light on the secretive jewelry métiers.Through innovative and varied courses, l’Ecole unveils, reveals and shares its savoir-faire, enabling enthusiasts to become enlightened amateurs.
46 ELLEDECOR.COM
WHAT’S HOT!
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1 / ALL SEWN UPThe Portuguese embroidery firm Patrício & Gouveia adds a striking white appliqué to its linen tablecloth for E. Braun that comes in green, shown, or yellow. It measures 70″ w. x 108″ l. and costs $4,000; match-ing napkins are also available.800-372-7286; ebraunnewyork.com
2 / BLAZE OF GLORYIranian designer Soheila Shayegan’s Mazandaran wool kilim is named for the province where her rugs are woven. Fire, shown, is 11′ l. x 9′ w. and costs $9,300. It can be ordered in any color and size. 011-39-02-8901-1553; albertolevi.com
3 / TABLE OF ELEMENTSSwedish design team Claesson Koivisto Rune looked to both Arab and Scandinavian influences for its Marrakech table of cement tiles within a metal frame. The 40″ sq. x 30″ h. piece is $306 and comes in several colorways, including icicle/azure, shown. Rectangular and hexagonal versions are also offered. 011-46-491-280-10; bergaform.se
4 / SIGHT LINESSaint-Louis, Europe’s oldest glassmaking firm, brings a colorful touch and a minimalist sensibility to its trio of enamel-painted crystal vases, Les Trois Cycles. Each vessel measures 9.5″ h. x 4″ dia. and costs $5,300.212-835-6448
5 / ROCK STEADYLondon’s dynamic design duo Edward Barber and Jay Osgerby were inspired by Japanese gar-den stones for their Tobi-Ishi table for B&B Italia. The 64″ w. x 29″ h. piece has a wood top and a polyurethane base, and is coated in a glossy blue, shown, or red lacquer. It costs $9,370. 800-872-1697; bebitalia.com 1,
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w w w . b a ke r f u r n i t u r e . c o m 1 8 0 0 5 9 2 2 5 3 7
The ar t of things chosen well rather than of ten.
PERENNIALS FABRICS ARE AVAILABLE EXCLUSIVELY TO INTERIOR DESIGNERS AND ARCHITECTS THROUGH FINE SHOWROOMS AUSTRALIA BELGIUM BRAZIL CANADA FRANCE GERMANY HONG KONG INDONESIA JAPAN LEBANON MAURITIUS MEXICO NETHERLANDS NEW ZEALAND
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49
WHAT’S
NEXT
In the middle of the 19th century, Napoleon III, ruler of the French Empire, appointed urban plan-ner Baron Haussmann to tear up the warren-like, medieval streets and houses of Paris and replace them with the orderly boulevards, stately apart-ment buildings, and trim parks we know today. The project was ferociously divisive, but it proved to be a boon for Charles Marville, an ambitious maga-zine and book illustrator who had recently taken up the developing medium of photography. Marville’s early pictures of artifacts in the Louvre, the sculp-tures of Chartres Cathedral, and other works of art and architecture soon won him a commission from the city to document the old, fairy-tale Paris that was rapidly disappearing.
Marville’s richly detailed photos offer a rare glimpse of a city in dramatic transition—often, lit-
erally, in rubble. They are also thrillingly beautiful. (He developed his artist’s eye while photographing alongside members of the Barbizon school of paint-ers.) “Charles Marville: Photographer of Paris,”a new exhibition of more than 100 works at the National Gallery of Art in Washington, D.C., dis-plays the breadth of his work: moody cloud studies, stark landscapes of the Bois de Boulogne, and heart-stopping scenes taken from the spires of Notre-Dame. And the show’s sumptuous catalog reveals heretofore unknown facets of his biography—including his long-lost birth name—unearthed by the museum (Septem-ber 29 to January 5, 2014; nga.gov).
PARIS’S LOST HORIZONS
CLOCKWISE FROM TOP: Sky Study, Paris, 1856–7. Fontaine des Innocents, 1858. Horse Market, c. 1867.
PRODUCED BY PETER TERZIAN
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WHAT’S NEXT
THE OWNERS OF THE FOURTH, A SPACIOUS
NEW MANHATTAN BRASSERIE, ASSEMBLED A
SUPERGROUP OF RISING DESIGNERS FOR THE
DAZZLING DINING ROOM. JONAH MEYER OF
SAWKILLE CO. CRAFTED CHERRY FURNITURE,
AND PAUL AND VENNIE VEGA FASHIONED A
TIMBER, STEEL, AND LIMESTONE INTERIOR
HUNG WITH DRAMATIC PHOTOS BY JAMES SAL-
ZANO. BUT THE SHOWSTOPPER IS AN INSTAL-
LATION BY BRINTON JAECKS: A RING OF 10
WOOD BED FRAMES SUSPENDED FROM THE
CEILING THAT PROMISES AN ANYTHING-BUT-
TIRED MEAL (ONEFIVEHOSPITALITY.COM).
BEAUTY SLEEP
He was part of Italy’s second wave of modernists, but with his obsession with preservation and his love of the handcrafted, Carlo Scarpa (1906–78) could be considered the quintessen-tial architect for the 21st century.
He was a son of Venice and the Veneto, so for him history was as much in the air as oxygen, something essential and inescapable. In his first major project, the 1935 renovation of
PAST MASTERthe Ca’ Foscari palazzo in Venice, he placed an elegantly proportioned glass wall behind a screen of neo-Gothic columns, blending the past and the present. His renovations of the city’s Correr Museum and the Acca-demia Gallery show that no detail was too small: the hinge of a display case, the structure of an easel. And through-out his career, Scarpa worked with the artisans of Murano, each year creating stunning glass vases and objects, often reviving forgotten techniques or devising new ones. For the designer, making an object was a sacred thing, no matter what its scale or cost.
With 350 images and drawings, Carlo Scarpa, by Robert McCarter (Phaidon), documents the architect’s dramatic modernism—the sweeping red staircase of his Banca Popolare in Verona, his sleek concrete-and-wood Olivetti showroom in Venice—even as it celebrates his poetic vision, closing with the famous Brion Cemetery out-side Treviso that fittingly served as Scarpa’s final masterwork before his untimely death.
An interior wall at the Banca Popolare
in Verona, 1973–78.
The courtyard of the Italian pavilion
at the Venice Biennale, 1951–52.
A gallery at the Correr Museum in
Venice, 1952–60.
A 1926 vase.
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Get more, go digital.
Save 67%
off the cover price!
Go to: my.elledecor.com
PROMOTION
From classic to contemporary to everything in between, each issue of ELLE DECOR delivers inspiring ideas for decorating, renovating, and entertaining with style. Subscribe to our all-new digital edition today and watch it all come to life.my.elledecor.com
52 ELLEDECOR.COM
WHAT’S NEXT
Which came first: the chicken or the chicken-
shaped S-chair? For Dixonary (Violette Editions), Tom Dixon’s first self-penned monograph, the British industrial designer came up with the ingenious idea of displaying each of his creations—not only the funky and inventive chairs for which he’s famous, but also candela-bras, rugs, doorstops, and even a water tower and a motorized espresso cart—opposite the image or object that inspired it. Thus, from top, Dixon’s 2005 reflective Copper Shade chandelier is revealed to be modeled after the bulbous, reflective visors of space suits, while his 1991 Pylon chair takes its angular construction from an electric trans-mission tower, and his 2008 Plump chair is shown to have a porcine prototype. (“I don’t know about you,” he writes, “but for me a proper sofa has to be fat and stuffed.”) Visually witty and engagingly chatty, Dixonary is a tonic to the typical design book, and a fitting catalog of the self-taught wunderkind’s three-decade career.
MAKER’S MARK
ARCHITECT SERGEI TCHOBAN, WHOSE BUILDINGS ADORN BOTH
HIS NATIVE RUSSIA AND HIS ADOPTED BERLIN, HAS CONSTRUCTED
THE STRIKING TCHOBAN FOUNDATION MUSEUM FOR ARCHITEC-
TURAL DRAWING IN THE GERMAN CAPITAL’S PRENZLAUER BERG
AREA. THE STRUCTURE HOUSES HIS COLLECTION OF WORKS
FROM THE 16TH CENTURY TO THE PRESENT, AS WELL AS TEMPO-
RARY EXHIBITIONS. ITS CONCRETE FACADE WARRANTS A CLOSE
LOOK: IT IS INSCRIBED WITH SKETCHES OF ROTUNDAS, COLUMNS,
ARCHWAYS, AND OTHER DETAILS (TCHOBAN-FOUNDATION.DE).
PALACE INTRIGUEVenice dazzles with antiquities, but that doesn’t mean a new hotel can’t be just as resplendent—espe-cially when it’s an Aman resort housed in a 16th-century palazzo. Situated on the bank of the Grand Canal in the San Polo district near the Rialto Bridge, the Aman retains much of its original interior deco-ration, including extravagant gild-ing, historic frescoes, and even a Tiepolo ceiling painting in one of the 24 sumptuous suites. There’s a tranquil garden for sipping Pro-secco, a spa with three treatment rooms, and a menu that highlights both Asian and Venetian special-ties (amanresorts.com).
DRAWING INTEREST
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Bistro: Blending classic iron, elegant crystal and a playful array of spoons, forks and knives, Bistro infuses eclectic style into the traditional chandelier. The collection includes three different sized pendants, a ceiling mount and a wall sconce — each piece sure to please foodies and lighting lovers alike.
INNOVATIVE DESIGNSINCE 1963
W W W . T R O Y - L I G H T I N G . C O M
For additional distinctive lighting choices, visit Littman Brands family of lighting: www.littmanbrands.com
A Division of Troy-CSL Lighting, Inc.
56 ELLEDECOR.COM
WHAT’S NEXT
DURABLE, COLORFUL, AND EASY TO CLEAN, FORMICA LAMINATE—
KRAFT PAPER THAT HAS BEEN DIPPED IN RESIN, COATED WITH
MELAMINE, COMPRESSED, AND HEATED—IS ALL AROUND US, AS
ILLUSTRATED BY FORMICA FOREVER (METROPOLIS), A CELEBRA-
TION OF THE COMPANY’S CENTENNIAL. PACKED WITH IRRESISTIBLY
KITSCHY VINTAGE ADS, THE BOOK DETAILS THE MATERIAL’S MANY
USES, INCLUDING IN THE INTERIOR OF THE QE2, IN KITCHENS AND
BATHROOMS ACROSS AMERICA (REMEMBER THE UBIQUITOUS
BOOMERANG PATTERN?), AND IN ARTWORK BY CONTEMPORARY
ARCHITECTS ZAHA HADID AND FRANK GEHRY.
If it weren’t for William Kent, would there even be a Downton Abbey? The 18th-century architect, furniture maker, landscape designer, and painter cre-ated extraordinary Itali-anate and neoclassical vil-las and townhouses for British aristocrats seek-ing quarters worthy of their Grand Tour finds and newly sophisticated tastes. In the process, Kent de-fined Georgian style and estab-lished forever the ideal of the English country house.
“William Kent: Designing Georgian Britain,” the first sur-vey of his career, is on view at the Bard Graduate Center in Manhat-tan (it will then travel to London’s Victoria and Albert Museum).
With nearly 200 pieces—ranging
from drawings for such great estates as
Houghton Hall and Chiswick House to gilded consoles, chairs, and other
ornate furnishings—the ex-hibition proves that Kent not only understood the aspirations of his wealthy clientele, but could also distill Continental style in a uniquely British, and still
resonant, way (September 20 to February 16, 2014; bgc.bard.edu).
MIRACLE MATERIAL
GRAND INTENTIONS
A screen for Westminster Hall, c. 1744.
Cirrus, a seating unit of
Formica by Zaha Hadid,
2008.
Console table for Chiswick House,
c. 1727–32.
A Formica table by Hiroshi Tsunoda, 2005.
A bar on the QE2, 1970.
The Marble Hall at Holkham Hall, 1734–59.
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NEIMAN-MARCUSPRECIOUS JEWELS SALONS
JEWELS
More info: (540) 837-3088 or www.elizabethlockejewels.com ‘An
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58 ELLEDECOR.COM
It’s only fitting that the first retail space Knoll has opened in its 75-year history is just around the corner from New York City’s Museum of Modern Art—the same Mies van der Rohe Barcelona lounges and Eero Saarinen Womb chairs that are part of the mu-seum’s design collection will be available on the shop floor. The sleek emporium is as bright as a flower garden, with a wall of iconic chairs—Tulips, Birds, and Wassilys, among others—as well as Maya Lin’s colorful, slab-like cocktail tables; outdoor fur-niture ensembles that recall midcentury poolside parties; and eye-popping textiles. That’s not to say the space will feel like a time capsule. Expect to find up-to-date work by new generations of designers, such as Daniel Stromborg’s elegant marble-top table and Jonathan Olivares’s fluid aluminum chair in neon hues (knoll.com).
RAINBOW DIVISION
PIPE DREAMAT AUSTRALIA’S REVAMPED PRAHRAN HOTEL—
NOT AN ACTUAL HOTEL, BUT A GASTROPUB IN
MELBOURNE’S VIBRANT PRAHRAN NEIGHBOR-HOOD
—IT’S TIME TO ROLL OUT THE BARREL.
ENLISTED TO CREATE SOMETHING “OUTLANDISH,”
TECHNÉ ARCHITECTS DELIVERED WITH A FACADE
OF 17 CUSTOM-MADE CONCRETE PIPES STACKED
ON TOP OF ONE ANOTHER. EACH OF THE WOOD-
LINED ENCLOSURES IS OUTFITTED WITH LEATHER
BANQUETTES AND PROVIDES A COZY NOOK FOR
DRINKING AND DINING—FULLY VISIBLE TO PASS-
ERSBY, OF COURSE. ACCORDING TO PRAHRAN CO-
OWNER MATT MULLINS, THE TEAM LOOKED FOR
SIMILAR PROJECTS AROUND THE WORLD IN
ORDER TO LEARN CONSTRUCTION TECHNIQUES—
AND COULDN’T FIND ANY. “WE WERE MAKING IT
UP AS WE WENT ALONG,” HE SAYS. BUT THE PUB,
WHICH HAS BEEN IN BUSINESS SINCE THE 1940s,
IS MORE THAN THE SUM OF ITS PIPES. THE PRAH-
RAN BOASTS THREE BARS, AND A SHADY, GLASS-
ENCLOSED COURTYARD TURNS INTO A DANCE
FLOOR ON WEEKENDS (PRAHRANHOTEL.COM).
BACK TO THE FUTUREIn 1964, Terence Conran launched the Habitat chain of shops, making clean-lined, contempo-rary furniture accessible to Londoners—and, with the opening of its first overseas outpost nine years later, to Parisians. Though the firm has lately fallen on troubled times, its new French owners are looking back to Habitat’s glory days with the creation of a new concept store. Habitat 1964, located in Paris’s Saint-Ouen flea-market district, sells secondhand Habitat classics from the past five decades, from the best-selling Chicken Brick cooker to groovy basket-shaped wicker chairs. (You can sell back your own Habitat pieces here as well.) The shop is housed in a spacious complex of industrial buildings that wear their patina with pride, alongside a branch of luxe furniture gallery L’Eclaireur and a café (habitat1964.com). C
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Sanitaryware, bathroom furniture, bathtubs, shower trays, wellness products and accessories: Duravit has everything you need to make life in the bathroom a little more beautiful. Boston Ardente Supply - Water Spot (508) 651 2200, Chicago Studio 41 (773) 395 2900, Dallas Ferguson (214) 761 9333, DetroitAdvance Plumbing Supply (248) 669 7474, Long Island Blackman (631) 283 1500, Los Angeles Snyder Diamond (310) 450 1000, Miami Decorator‘s Plumbing (305) 576 0022, New York Blackman (212) 337 1000, San Francisco Excel Plumbing Supply (415) 863 8889, Seattle Chown (425) 454 7420, South Norwalk Klaff‘s (203) 866 1603. www.duravit.us I pro.duravit.us
pro.duravit.us
Design your own room dividers at
slidingdoorco.com
62 ELLEDECOR.COM
TALENT
When Joseph Fratesi explains the ethos of Atlas Industries, the fur-niture design and manufacturing firm he founded a decade ago with Thomas Wright, he quotes Pritzker Prize–winning architect Peter Zumthor: “He said that the best spaces just make you feel good.” That could be said of any interior that includes Atlas’s tables, desks, bed frames, folding screens, and cantilever chairs. Built from a seductive combination of hand-oiled hardwoods, glass or stone, and cold-rolled steel, every piece is made to order.
Perhaps best known for their eminently versatile AS4 modular shelv-ing systems, Fratesi and Wright, who do all the designing and much of the metalwork themselves, have been anointed by design heavy-weights such as Steven Harris, Deborah Berke, Michael S. Smith, and Amy Lau. “Joseph and Tom are a triple threat—they have art and architecture backgrounds, engineering minds, and a reverence for fine craftsmanship,” says Lau, for whom the pair is currently design-ing voluptuous, sculptural shelving that will serve as the foundation
for a new modular system. A recent commission has them creating showroom fixtures and furnishings for carpet-tile giant Flor, which will bring their work to an international audience.
For any two-man firm, a global presence is as good as it gets. But what Wright and Fratesi are most excited about is a 55,000-square-foot former handbag factory in Newburgh, New York. Last spring, the partners moved their operation from Brooklyn to the Hudson River town after completing the first phase of a commission to design the beds and desks in the Roundhouse at Beacon Falls, a former gun fac-tory turned luxury hotel and spa in nearby Beacon. They’ll soon be furnishing two more former factories that have been repurposed into hotel and conference spaces, as well as designing loft interiors and completing historically accurate renovations of several houses in the region, for which they’ve already been recognized by the Newburgh Preservation Association. “The move has inspired us to expand, liter-ally and creatively,” says Wright. KATHLEEN HACKETT
The AD7 desk in the Roundhouse at Beacon Falls.
A residen-tial loft project.
AS4 modular shelving.
Lounge chair.
The AB3 bed.
Joseph Fratesi and Thomas Wright.
AT8 table.
Folding screen.
MATERIAL EFFECTSThe partners behind Atlas Industries bring their expertise in crafting metal and wood, and their modernist sensibility, to a rough-hewn town in upstate New York
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BEVERLY HILLS, CA
332 N. Beverly Drive
310.860.1486
KANSAS CITY, MO
Country Club Plaza
800.875.4144
PALO ALTO, CA
Town & Country Village
650.326.8583
BIRMINGHAM, MI
237 Pierce Street
248.649.7673
NORTHBROOK, IL
Northbrook Court Mall
847.205.1010
EDINA, MN
Galleria Mall
952.920.2214
CHICAGO, IL
900 N. Michigan Ave.
312.981.1776
JACKSON HOLE, WY
Cache Creek Mall
307.733.1038
BILLINGS, MT
1524 24th Street West
406.656.5171
INDIANPOLIS, IN
8487 Union Chapel Road
317.205.9620
Gracious Home
New York, NY
Pioneer Linens
West Palm Beach, FL
French Quarter Linens
Portland, OR
Block Bros. At Home
Pepper Pike, OH
Kuhl-Linscomb
Houston, TX
Feathers
Pittsburgh, PA
Threadcount
Miami Beach, FL
Martha Smith Fine Linens
La Jolla, CA
Casa di Lino
Dallas, TX
The Linen Kist
Avon, CO
Gattle’s
Cincinnati, OH
Feather Your Nest
Austin, TX
Labrazel Home
West Hartford, CT
European Linens
Salt Lake City, UT
Gattle’s
Petoskey, MI
The Picket Fence
Ketchum, ID
Longoria Collection
Houston, TX
HEIRLOOM QUALITY EUROPEAN CRAFTSMANSHIP AMERICAN HERITAGE
VISIT US ONLINE AT SCANDIAHOME.COM
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P R O M O T I O N
DESIGN PROFILE: MICHAEL AMINI
A WORLD OF ART, CULTURE, AND FASHION INSPIRE LUXURIOUS HOME FURNISHINGS BY MICHAEL AMINI.
EACH PIECE IS THOUGHTFULLY DESIGNED WITH A TIMELESS SENSIBILITY THAT CAN BE PASSED ALONG FOR
GENERATIONS. MICHAEL AMINI HAS BEEN DESIGNING LUXURY FURNITURE FOR THE INTERNATIONAL MARKET
FOR OVER 25 YEARS, COMBINING OLD-WORLD CRAFTSMANSHIP WITH MODERN PRODUCTION TECHNIQUES.
The Michael Amini brand is now recognized world-wide, with distribution in North and South America,
the Middle East, and all across Asia. As part of the brand’s efforts to increase awareness and
international expansion, Michael Amini himself was on hand May 1st for the grand opening of yet another
exclusive Michael Amini store in the bustling city of Xiamen, China. For more information visit, amini.com.
“Style is something you live and breathe. It’s a reflection of who you are.”–Michael Amini
66 ELLEDECOR.COM
GREAT IDEAS
1
2
STUDIES IN STYLEWhy should working
at home be tedious? The best home offices are not only efficient,
they are also packed with personality and panache
1 In the loft office of Will Kopelman’s streamlined West Hollywood apartment, vintage Bertoia chairs face a desk that was purchased in the 1960s by Kopelman’s father. 2 Antiques dealer Liza Sherman lay-ered the study of her midtown Manhattan home with an abundance of vintage pieces. These include a French banner and floor lamp, and an Anglo-Raj cotton quilt that hangs between ceiling beams, all of which date from the ’40s; a metal cantilever chair is from the ’50s, and the painting on the desk is by makeup and visual artist Linda Mason. A dressing-table chair appears to float near the top of the room. S
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GREAT IDEAS
3 Interior designer Charles Spada filled his Paris- inspired Boston loft with artworks and books; he designed the study’s bookshelves and pull-out desk, the leather office chair is by Eames, and the rolling storage unit is by Kartell. 4 A vintage apothecary cabinet sits above a double desk made by accessories designers John Truex and Rich-ard Lambertson at the couple’s weekend home in Sharon, Connecticut; the factory-style lights are from Privet House, and the office is embellished with paintings by Truex and vintage luggage and commercial art. 5 At the New York loft of artist Stephen Antonakos and his wife, art scholar Naomi Spector, drawings by Antonakos and assorted pho-tographs hang above the desk; the vintage desk chair is from Aero, and the Tizio table lamp is by Artemide. 6 The study in the Bel Air, Califor-nia, house of fashion designer Monique Lhuillier and Tom Bugbee, which was decorated by Jennie Abbott, features vintage tub chairs and a custom-made Lucite-and-lacquer desk; the desk chair is by Eames, and the lamp is rock crystal.
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GREAT IDEAS
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7 A vintage metal-and-Lucite chandelier by Maison Charles is the centerpiece of the library of model Hana Soukupova and Drew Aaron’s Manhattan high-rise apartment, which was designed by Mark Cunningham; the oak desk chairs by André Sornay are upholstered in a horsehair blend, and the red painted-steel sculpture is by Alexander Liberman.8 Interior designer Robert Couturier fitted the study of his duplex in New York’s SoHo neighbor-
hood with a vintage desk and lamp, a circa-1920 iron stool by Elsie de Wolfe, and a Spanish wood stool with its original tapestry, as well as photogra-phy by Adam Fuss, far left, and portraits by David Seidner. 9 Vintage photos of Anne Bancroft and the Beatles are nestled inside a desk unit custom made by architect Peter Pawlak for the Manhattan loft of fashion executive Lisa Pomerantz; the Eames desk chairs are by Herman Miller. ◾ C
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Complete collection online at charlesprogers.com
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Web and phone orders welcome. New York City showroom open to public. We ship anywhere. 1-866-836-6511
Pictured: Solid mahogany Barcelona
queen platform bed $2399, Now $1799.
Luxury pillow top mattresses designed
specifically for platform beds from $599.
400 thread count Prima cotton
sheet set, Now $99 any size.
72 ELLEDECOR.COM
TREND ALERT
*Available to the trade only. See Resources.
Grommets, studs, and other metal accents
are imbuing fashion and the home with an
industrial edge and a tough, chic sheen.
BY EUGENIA SANTIESTEBAN SOTO
STUDS & RIVETS
Union Square* burlap wallcovering by Crezana Design; crezana.com.
Luna Globe chandelier by
Downtown; downtown20.net.
New Safari camp chair by Ralph Lauren Home; ralph
laurenhome.com.
Caroline console by Celerie Kemble for Henredon; henredon.com.
Rosewood-and-metal bangles by Sorab & Roshi; sorabandroshi.com.
Malabar Hill shoe by Christian Louboutin;
christianlouboutin.fr.
Lucente* nailhead trim by Samuel & Sons;
samueland sons.com.
Oxblood calfskin bag by Burberry
Prorsum; burberry.com.
Stud Stripe* jute burlap wallcovering by Celerie
Kemble for Schumacher; fschumacher.com.
Stella Bead* linen by Ankasa for Beacon Hill; beaconhilldesign.com.
Rivets* hemp wallcovering by Phillip Jeffries;
phillipjeffries.com.
A nailhead-studded guest room in
Jeffrey Bilhuber’s New York apartment.
Studded convex mirror by Blackman Cruz; blackman cruz.com.
Neoprene eyelet trench coat by Burberry Prorsum from fall 2013; burberry.com.
Soho Square* burlap wallcovering by Crezana Design; crezana.com.
Dalia stool by Arteriors;
arteriorshome .com.
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: WIL
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, AN
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AR
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YAN
de Le CuonaL U X U R Y F A B R I C S & A C C E S S O R I E S
D&D BuildingNew York
(212) 702 0800www.delecuona.com
AtlantaJerry Pair
(404) 261 6337
BostonWebster & Company
(617) 261 9660
ChicagoDessin Fournir(312) 661 0640
DallasID Collection
(214) 698 0226
Dania BeachAmmon Hickson(954) 925 1555
DenverTown
(303) 282 8696
Houston ID Collection
(713) 623 2344
Los AngelesThomas Lavin(310) 278 2456
San Franciscode sousa hughes(415) 626 6883
SeattleJennifer Garvey(206) 767 6941
74 ELLEDECOR.COM
RSVP
L.A. LIGHT SHOWA dinner under the stars at the Los Angeles County Museum of Art celebrates a master of light and a new creative collaboration
For the centuries-old Swiss watch-making firm Vacheron Constantin, early May was the perfect time to host an alfresco dinner at the Los Angeles County Museum of Art. The purpose of the event was twofold: to inaugurate the museum’s retrospective of the work of light artist James Turrell, which the company is sponsoring, and to toast the opening of a new Vacheron Constantin boutique on nearby Rodeo Drive.
The evening began with champagne and hors d’oeuvres at the shop, where the in-house watchmaker demonstrated his craftsmanship. A fleet of Mercedes S-Class cars then chauffeured the guests to the museum, where L.A. luminaries entered through Chris Burden’s daz-zling Urban Light installation, made of 202 restored vintage street lamps. Event planner Bronson van Wyck had situated a 144-foot-long, mirror-clad dining table parallel to Michael Heizer’s Levitated Massinstallation and under a row of mirrored arches, each hung with a Murano glass chandelier. The glittering tabletops were set with
antique water goblets and sterling silverware, as well as an abundant array of white tulips, rosemary, green peonies, and succulents running the length of the table.
Michael Govan, LACMA’s director and co-curator of the show, introduced Vacheron Constantin CEO Juan-Carlos Torres, who expressed his delight in being part of the L.A. community. Then the guests—including actor Julian Sands, designers Magda Berliner and Kendall Conrad, producer Mike Medavoy, and Govan’s wife, Katherine Ross—dined on a menu created by chef Alain Passard of Paris’s famed L’Arpege restaurant, featuring a salad of garden peas and strawberries, turbot with green matcha tea, and a dessert of pine-apple and apple “petals” in a sweet-and-sour sauce. As the sun set, rising star Andra Day sang a captivating—and timely—mix of songs, from Marvin Gaye to Eminem. DEBORAH SHARPE
Singer Andra Day performs after dinner.
The dining table, set for 146.
Chris Burden’s Urban Light.
Magda Berliner.
Juan-Carlos Torres and Julian Sands.
Kendall Conrad and Matthew Walker.
Craig Cardon and his wife,
artist Shell Cardon.
Michael Govan.
Michael Heizer’s Levi-
tated Mass.
Actress Jessica
Joffe.
Irena and Mike Medavoy.
Designer Peter Dunham.
Katherine Ross.
JUS
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76
SHORTLIST
1 / GLOBAL ENTRY PASSNothing like zooming past the line at
immigration! It’s so nice, I should keep
it a secret.
2 / BIOMEGA COPENHAGEN BIKEA Scandinavian gear-shaft bicycle
I retrofitted with a Puma Pico bas-
ket, for a bit of Elliott-from-E.T. style.
3 / MY YELLOW LEGO CASTLEA mythological piece of architecture that
I’ve owned since I was six years old.
4 / THE LATEST ISSUE OF WIREDI always look forward to seeing the new
cover on the newsstand.
5 / WINTER TIE BY COMPANYMy most cherished winter accessory, by a
Korean-Finnish design duo. These neckties
are simply giant-size.
6 / A DARK AND STORMYGinger is good for everything—and even
the name of this cocktail rules.
7 / THE GAME OF THRONESNOVELS
George R.R. Martin needs to crank out vol-
umes 6 and 7 now!
8 / TWELVE WRISTWATCH BY ISSEY MIYAKEI hadn’t worn a watch for 20 years. It’s
game-changing to have a device you don’t
have to power off during a flight.
9 / MY GOLD CUFF LINKSForged by my dentist mom in the shape
of a Möbius strip after we used the design
for a library in Kazakhstan.
10 / AMAGER BAKKEA waste-to-energy power plant we are
building in Copenhagen. You’ll be able to
ski on the roof.
11 / MY BRICK SOFA FROM KIBISIA stack of comfort. We have one in our
New York office.
12 / MY STETSON-STYLE HARD HAT BY OCCUNOMIXFor Texan flair at the construction site.
This fall, New Yorkers will get their first glimpse of W57, the pyramid-shaped tower apartment building that audacious young Danish architect Bjarke Ingels is planting beside the Hudson River. The proj-ect, which occupies a city block, will incorporate a courtyard replica of Central Park—“just 15,000 times smaller, like a bonsai,” Ingels says. Only two years after establishing a New York office for his firm, Bjarke Ingels Group (known as BIG), the 38-year-old architect has an Ameri-can staff of 65 and projects across the U.S. and Canada. He has also found time to write a book, Yes Is More, in which he articulates the importance he places on architec-ture that makes people happy. “I think every proj-ect, no matter how quotidian, has the potential to be interesting,” he says. BY INGRID ABRAMOVITCH
BJARKE INGELS12 THINGS HE CAN’T LIVE WITHOUT
12. Stetson-style
hard hat.
10. The roof of Amager Bakke.
2. Biomega bicycle.
8. Issey Miyake watch.
5. Company winter ties.
7. A favorite novel.
1. Global Entry pass.
11. Brick sofa.
3. Lego castle.
Bjarke Ingels in his
Copenha-gen studio.
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IN THE SHOWROOMS
1
2
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5
4
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1 Hubert le Gall’s airy Polyedres light fixture gleams thanks
to the petite halogen bulbs at its center. It measures 63″ h.
x 45″ dia. and comes in two finishes: gold, shown, or white.
323-655-9193; jeandemerry.com. 2 The Heliodor collec-
tion of handwoven sisal wall coverings by Arte includes
Cube, a geometric Escher-like pattern. It is available in eight
colors, including, from left, gold, silver, and blue. 866-943-
2783; arte-international.com. 3 Foliage, the latest fabric
from Jed Johnson, is covered in a spirited embroidery
evocative of Art Deco exuberance. The cotton-linen blend
is available in six colorways, including blue-cream, shown.
212-707-8989; jedjohnson.com. 4 A cactus that designer
Jiun Ho discovered on his travels inspired his Atacama
table, which measures 30″ h. x 62″ dia. The sculptural oak
base has a carbon finish, and the top is white lacquer. 415-
437-2284; jiunho.com. 5 Using materials such as linen and
jute, Lori Weitzner puts a natural spin on classic passemen-
terie in her new Everglades collection for Samuel & Sons. The
line includes tapes, braids, and other adornments, such as
the handmade Eartha abaca knotted fringe, shown. 212-
704-8000; samuelandsons.com. 6 With a pattern reminis-
cent of iron grillwork, the embroidered and appliquéd
Leonardo outdoor pillow measures 23″ sq. and is customiz-
able in any of Perennials’ 700 fabrics and 25 yarns. From
left, tangerine and navy are shown on canvas. A 21″ sq. ver-
sion is also available. 888-322-4773; perennialsfabrics.com.
WHAT’S NEW TO THE TRADE—FABRICS, FURNISHINGS, AND FABULOUS FINDS
All products and services available to the trade only.
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82 ELLEDECOR.COM
UNCONVENTIONAL WISDOM
“I’m influenced by my own imagination,” says London-based designer Anouska Hempel. Her life certainly sounds like the stuff of fiction. The New Zealand native was an actress and Bond Girl before remaking herself as an interior designer and hotelier and marrying financier Sir Mark Weinberg. In the 1970s, Hempel almost single-handedly invented the boutique luxury hotel when she opened the theatrical Blakes in London, complete with a room inspired by Chinese opium dens. The globe-trotting decorator, who also designs couture, is creating a collection for Ghurka that includes handbags, furniture, and even tents. As she says: “If you can design well in one area, you can design jolly well everything.” BY INGRID ABRAMOVITCH
ANOUSKA HEMPEL ON CREATING ATMOSPHERE
COUNTRY LIFE
The English country home is coming back in a big
way. For years there wasn’t enough money in Eng-
land to sustain it, but the whole upstairs-downstairs
lifestyle is being re-created by Europeans with
buying power who are coming into our country. Look
at Downton Abbey: People want to live that life.
I’m currently talking with Baccarat about possible
projects for London inspired by classic English style.
To update traditional English style, don’t be osten-
tatious. Just use the good bones of what you’ve
got and enhance it. That’s what it is all about: put-
ting extra life into something, as well as a
little bit of charm. You don’t have to change it all.
When layering a room, don’t overdo it. Play
down instead of playing up. Use only two or three
colors and don’t go beyond that. You have to
be honest: Are you being true to yourself, or is what
you’re doing for affectation?
A BORN ROMANTIC
Individualism is starting to disappear, but people
with a spark will still stand out in the crowd. Things
that aren’t so available are going to become more
and more important. We have to bring the romantic
element back and be creative.
I’ve always enjoyed arranging and rearranging
things. I like being bossy. When I was starting out, I
wanted to control my own little world, so design
was a natural thing for me to do. It still feels that way.
When we opened Blakes Hotel in 1978, the idea was
quite radical. I just didn’t realize it. In London you
could either stay at some terrible bed-and-breakfast
or at the Dorchester. There were no other choices.
The secrets to a great hotel are style, lighting, the
guests, and, most of all, service on every level.
I designed everything, from the loo paper to the
coat hangers to the menus. That’s what makes
something really work: You have to believe in it.
MORE OR LESS
Designing a home is not so different from designing
a hotel. You’ve got to follow through on every-
thing. It’s about lifestyle—creating atmosphere, a bit
of theater, and a good deal of magic. A lot of that
has to do with the people who come in and out of
your world, your family and friends.
I’m influenced by art and travel, by how I’m
pushed and pulled. I find inspiration in every cor-
ner—in museums, at the opera. Even the sky still
dazzles me. I’m also inspired by things I don’t like;
they make me want to do better.
I love deep, rich environments. One of my interi-
ors might be influenced by the Orient, and another
by the Renaissance.
Sometimes I prefer to keep the mood light.
The Hempel was the first minimalist hotel in London.
When we open a hotel in Santiago, Chile,
next year, you’ll see a similar style. With a minimal-
ist interior, you must have great architecture—
otherwise, don’t bother. A gut renovation by John
Pawson can be glorious, but in the wrong hands a job
can go seriously wrong. You have to hire top people.
SETTING SAIL
I can’t design the inside of a project without
also designing the outside. It all has to work as one
scheme. I love landscape design: Versailles,
Italian and Japanese gardens. Japanese design
has had a huge influence on me.
I’ve got a beautiful boat, a Turkish gulet named
The Beluga. I designed the whole damn thing
except for the hull. It’s black and tan, with a touch
of vanilla. We keep it in Bodrum, Turkey, and take
it all over the Mediterranean—to Italy, France, and
Croatia. On one trip we sailed to the Bay of Biscay
and Seville. Pretty rough stuff, but so beautiful.
Follow your heart and your own eye and you’ll be
fine. Who cares if no one else likes it? Enjoy it.
FROM TOP: A rendering for an upcoming hotel in
Santiago, Chile. The gardens at Hempel’s home
in Wiltshire, England. The Beluga. A Henry
Cotton’s clothing boutique designed by Hempel.
Hempel in the Corfu Suite at the Blakes Hotel in London.
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TRUTH IN DECORATING
Barrie Benson and Stefan Steil with a chair by Oly and an étagère by Todd Alexander Romano. See Resources.
THE TOP 10 PLASTER PIECESDesigners Stefan Steil and Barrie Benson cast an appraising eye on an array of chalk-white pieces that add a clean, crisp note to any room
THE EXPERTS
BARRIE BENSONKnown for mixing periods
and styles while adding
splashes of color and pattern,
Benson designs residential
and commercial spaces in her
native North Carolina as well
as in New York and Los Angeles.
barriebenson.com
STEFAN STEILSince establishing his smartly
named design firm, Steilish, last
year, the German-born, New
York–based designer has crafted
modern interiors peppered
with surprising natural elements.
steilish.com
From ancient Egypt to colonial America, artists have used plaster, one of the world’s most versatile materials, to make intricate sculptures and archi-tectural ornaments. In the 20th century, designers such as Frances Elkins and John Dickinson became renowned for producing whimsical white plaster furnishings and light fixtures.
The material isn’t without drawbacks, most nota-bly its fragility. Today, manufacturers use plaster as well as similar looking but more durable materials
to create objects and furniture with the signature chalk-white look. Such pieces are popular for good reason, says designer Barrie Benson: “They can make a stiff room feel a lot more casual.”
Plaster-like pieces usually have a strong hand-made quality and a heavily textured finish—appealing elements for almost any interior, tradi-tional or modern, says designer Stefan Steil. “They can bring a touch of nature into a room,” he adds, “without hitting you over the head.”
TEXT BY TIM McKEOUGH / PHOTOGRAPHY BY MAX KIM-BEE / PRODUCED BY ORLI BEN-DOR HA
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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.
TRUTH IN DECORATING
3 / KASPER SIDE TABLE BY MR. BROWNThis wood table has a heavily textured gesso finish that appeals to Benson. “The plas-ter keeps it from being too seriously contemporary and gives it an instant vintage look,” she says. “It would be great as a drinks table, especially in a small room.” Steil admires its proportions, and its combination of rough texture and sleek lines. “It cre-ates a nice mix,” he says. “I’d use it alongside a reading chair with a floor lamp, or as a night-stand.” 24″ h. x 18″ dia.; $1,811; mrbrownhome.com
5 / FOOTED LAMP BY JOHN DICKINSON FROM SUTHERLANDSan Francisco designer John Dickinson’s plaster furnishings from the 1970s and ’80s are now pricey collector’s items. This lamp (available to the trade) is an authorized repro-duction in more practical resin. “If a room feels stuffy, this whimsical piece would be a great addition,” says Ben-son. Steil admires the tribal-inspired animal feet and would pair the lamp with a darker shade to “really make the white pop.” 30″ h. x 18″ d.; $1,440; sutherlandfurniture.com
1 / PETAL CHAIR BY ATELIER DÉMIURGEMade of stucco over iron, this chair earns Barrie Benson’s praise. “It’s a little work of art,” she says. “The petite scale would make it perfect for a vanity.” Stefan Steil appreciates the item’s nod to nature. “It looks like twigs growing out of the ground,” he says, and suggests setting it off as a focal point. “It would be unexpected in a stark living room.” 32″ h. x 17″ w. x 16″ d.; $3,400; demiurgenewyork.com
2 / VOLUTE CANDLESTICKS BY STEPHEN ANTONSON FOR DESSIN FOURNIRWhile Brooklyn artisan Anton-son is known for his work in plaster, these candlesticks (available to the trade) achieve a similar effect with painted resin. “They remind me of coral,” says Steil. Ben-son envisions using them in clusters with colored candles. “They’re purposely imper-fect,” she says. “They would offer a nice contrast on a highly polished table.” 4″ h., $600; 6″ h., $750; 9″ h., $900; dessin fournir.com
4 / CROSS HATCH STOOL BY IRONIES“This piece looks delicate,” says Steil of the resin-coated stool (available to the trade), “but because of its steel arma-ture it’s actually durable. On a colorful silk rug, it would be a beautiful statement piece.” Benson deems it pure sculp-ture. “It’s almost Brutalist,” she says, “but the plaster wash softens it.” She imagines it in a contemporary, gallery-like loft space or a clean-lined room, where it can “stand alone, for ultimate impact.” 16″ h. x 22″ w. x 16″ d.; $3,920; ironies.com
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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.
TRUTH IN DECORATING
10 / FAUX-BOIS MIRROR FROM WISTERIABenson considers this resin-framed mirror the perfect counterpoint for a space filled with gleaming wood furniture. “Dining rooms tend to have a lot of brown pieces, so it would be nice to have this thrown in,” she says. “And it’s an incredible price point.” For Steil, the piece looks “very Adirondacks —but through a contemporary lens, because of the finish. It would be eye-catching in an entry with black-lacquered walls.” 46″ h. x 32″ w.; $349; wisteria.com
6 / DEAN CHANDELIER BY MADE GOODSFor Steil, this faux-bois–and-iron light fixture is all about contrasts. “The gold metal versus the plaster, the reflective sheen versus the distressed matte finish,” he says. “It’s surprising.” It would make an ideal addition to a house in the moun-tains, says Benson. “In a place that’s very woodsy, with antlers and dark colors, this would freshen things up,” she notes. 34″ h. x 34″ dia.; $2,850; mecoxgardens.com
8 / FOSSIL CHAIR BY OLYSteil admires the texture of this metal-and-resin chair. “When people hear ‘plaster,’ ” he says, “they think of something cold. But this is soft and smooth, with a beautiful sheen.” Benson considers it a lounge chair with a sense of levity, useful in many settings. “I could see it in a Florida beach house,” she says. “If you had a big, upholstered sofa in the room, this piece would add lightness while still offering a lot of comfort.” 31″ h. x 29″ w. x 32″ d.; $2,625; olystudio.com
9 / QUEEN ANNE SIDE TABLE BY MICHAEL S. SMITH FOR JASPERThis hand-sculpted plaster table is a fresh way to introduce a traditional element into a modern room, says Steil: “It’s a classic form that takes on new life in such an unex pected material.” Benson imagines it as a casual twist in an antiques-filled library or a traditional living room. “It would loosen up all that refine-ment,” she says. “I love it.” 23″ h. x 29″ w. x 19″ d.; $7,700; michael smithinc.com
7 / TWIG ÉTAGÈRE BY TODD ALEXANDER ROMANOThis hand-carved wood piece with a plaster-like painted finish strikes Benson as versa-tile. “It’s pretty but also fairly simple and not too heavy,” she says. “I’d use a pair to flank a doorway or mantel, for balance and symmetry.” Steil recom-mends stocking it with “sleek surfaces,” like art books or photo albums, instead of dec-orative objects. “That would allow the piece itself to stand out,” he says. 80″ h. x 32″ w. x 15″ d.; $6,800; toddalexanderromano.com
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TOOLBOX
MAKING A SPLASHKartell, which brought high design to plastic, is collaborating with Swiss brand Laufen to enter a whole new arena: the bath. Each accessory comes in four colors, plus clear. The stackable Sound-Rack shelving unit, top right, measures 29.5″ w. x 21″ h. x 10″ d. and is $680. The 12″ w. Rail towel racks, bottom left, are $99 each. The Max-Beam stool, shown in clear and three colors, mea-sures 18.5″ h. x 13″ w. x 10.5″ d. and costs $335. 212-966-6665; kartell.com
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TOOLBOX
BETTER NATUREThe Naturals Collection,
Barry Dixon’s new line of paints for C2 Paint, comes
in 84 colors inspired by the landscape surround-
ing his home in rural Virginia. Araucana, shown,
takes its name from a breed of chickens that
hatches blue eggs. Available in a range of finishes,
it costs $70 per gallon. 716-853-5776; c2paint.com
REFLECTIVE GLORYEach of Emery & Cie’s elegantly simple Boule furniture pulls is
made of solid metal—including, clockwise from right, chrome, copper, and brass (aluminum is also offered)—polished to
a warm sheen. Prices range from $20 for a 1.5″ dia. aluminum knob to $113 for a 3.5″ dia. knob of copper or brass.
011-322-2513-5892; emeryetcie.com
WARM GREETINGEmblazoned with graphic motifs, Tag’s fade-resistant doormats are woven by skilled craftspeople in the coastal villages of southwest India from coir, a hardy and renewable fiber extracted from coconut husks. The Geo-metric mat measures 30″ l. x 18″ w. and costs $32.888-621-7680; tag2u.com
IN THE SWIMDesigned by Patrick Messier, Wetstyle’s BE Collection Soaking Tub has a dramatic and convenient surround shelf of walnut, shown, or oak. Measuring 70″ l. x 38″ w. x 22″ h., it costs $9,000. Its sleek body is crafted of an eco-friendly natural stone–and-resin material; matte or glossy finishes are offered. 888-536-9001; wetstyle.ca
FLOOR SHOWMade of limed wood planks
reclaimed from century- old French houses, Antique
Oak Flooring by Paris Ceramics is formed into a
classic chevron pattern. Available raw or polished,
the flooring comes in a variety of lengths at
$36 per square foot.212-644-2782;
parisceramicsusa.com
LIGHT EFFECTSThe California-based firm Troy Lighting was inspired by the geometry of beehives for its outdoor Hive lantern, made of aluminum and glass. The lamp comes in three sizes and a range of finishes. The small ver-sion, shown with a matte black finish, costs $327 fit-ted with a 60-watt bulb or $417 for an LED version. 626-336-4511; troy-lighting.com L
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DANIEL’S DISH
In September, it’s time to put away the grill and return to the kitchen. So many of us are heading back to work or to school, and chicken Mil-anese makes for the perfect weeknight supper—it’s a crowd-pleaser that is as popular with adults as it is with youngsters. With a little advance preparation, you can make this dish very quickly.
This recipe is a variation of a staple of brasserie menus all over my native France: veal Milanese. As in that dish, the cutlets are breaded (I add pulverized almonds to the coating for crunch) and finished with a pinch of acidity—capers and lemon juice. In this pan-frying method, they are browned in a thin layer of olive oil, which is much
healthier than deep-frying. At the end I add a little butter to the pan, both for taste and to achieve the perfect golden-brown color.
For my 23-year-old daughter, Alix, who is gluten-intolerant, I make a version of chicken Milanese in which Kellogg’s gluten-free Rice Krispies are substituted for bread crumbs. The cereal is made with whole-grain brown rice and eliminates barley malt, the source of glu-ten in the original Rice Krispies. This variation works surprisingly well. Either way, one can garnish the dish, as I have here, with hard-boiled egg and sautéed mushrooms and scallions—or lighten it up with a raw garnish such as a vegetable slaw or shredded salad.
Pan-fried chicken cutlets are topped with earthy veg-
etables and hard-boiled egg. The plate and flatware are
by Match, the linens are by William Yeoward Crystal,
and the wineglass is by Ralph Lauren Home. See Resources.
CRUNCH TIMEClassic chicken Milanese gets an easy makeover without losing any of its sprightly
f lavor or haute cuisine sophistication. BY DANIEL BOULUD
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DANIEL’S DISH
FOR MORE DANIEL BOULUD RECIPES, GO TO ELLEDECOR.COM/DANIEL
CHICKEN MILANESE
Serves 6
6 small carrots, peeled and cut into 1″ pieces
1 T white wine vinegar
6 eggs
1 small bunch tarragon, leaves picked
1⁄2 cup Dijon mustard
3 large boneless chicken breasts (about 3 lbs.) 1
1⁄2 cups blanched sliced almonds
2 cups Rice Krispies (or gluten-free Rice Krispies)
3⁄4 cup flour (or rice flour)
2 T olive oil, plus more for frying
4 T butter, plus more for frying
4 oz. cremini mushrooms, trimmed and halved
1⁄2 bunch scallions, trimmed, white stems cut into
1″ pieces, and greens thinly sliced
1⁄4 cup dry white wine
2 T capers
Juice of 2 lemons
Salt and freshly ground white pepper
Bring a medium pot of salted water to a boil, add the carrots, and simmer until tender, about 3 minutes. Scoop out the carrots and reserve. Return the water to a boil, add the vinegar, and submerge 3 eggs in their shells. Simmer for 8 minutes, then drain and peel the eggs under cold running water. Slice into quarters lengthwise. Chop half the tarragon leaves (about 3 T), and, in a small bowl, stir to combine with the mustard; set aside.
Cut the chicken breasts in half lengthwise. Place each piece between two sheets of plas-tic wrap. Using the smooth side of a meat mallet, pound them until they are ¹⁄8 inch thick. Season both sides with salt and pepper.
Crack the remaining 3 eggs into a small bowl, and beat until smooth. In a food proces-sor, chop the almonds into a fine meal (do not overchop, or they will clump). Add the Rice Krispies, and pulse a few times until the mix-ture resembles coarse bread crumbs.
Place the flour, beaten eggs, and almond mixture into separate shallow dishes, and season each with salt and pepper. Working with one piece at a time, dredge the chicken in the flour, and tap away the excess. Dredge in the egg, wiping away the excess, then dredge in the almond mixture, pressing gen-tly to make certain it adheres to the chicken.
Heat a thin layer of olive oil in a large non-stick sauté pan over medium-high heat, and add two to three pieces of chicken in a single layer. Cook for 3 minutes, or until golden-brown. Turn the chicken over, add 1 T butter,
and continue cooking for another 3 min-utes, basting the chicken with the butter in the pan. Repeat with the remaining chicken pieces, adding more oil and butter as needed, and draining off the fat between batches. Transfer the chicken to a paper-towel-lined platter and keep warm.
In a medium sauté pan, heat 2 T olive oil over high heat, then add the mushrooms and scallion whites. Sprinkle with salt and pepper, and sauté until browned, about 2 minutes. Add the wine, and reduce until almost dry. Reduce the heat to medium, add 3 T butter, and heat until it browns. Add the reserved carrots, the capers, and lemon juice, and swirl to combine.
To serve, top each piece of chicken with some of the sautéed mushrooms, carrots, and scallion whites. Spoon the pan sauce over and around the chicken. Garnish with two quarters of boiled egg, a few tarragon leaves, and some sliced scallion greens. Serve with the tarragon mustard. ◾
The makings of an easy weeknight
dinner. The chopping block is by Hudson
Grace. See Resources.
WHAT TO DRINK
Surprisingly, Daniel Johnnes, wine director
of Daniel Boulud’s restaurants, suggests a
crisp white from Greece, the 2011 Argyros
Santorini Assyrtiko ($19), as a pairing for this
French dish with Italian roots. “Why not?”
he says. “Its clean, fresh flavor and aromas
perfectly complement the vibrant vinegar,
citrus, caper, and mustard ingredients in the
recipe.” A more classic pairing would be
the 2011 Palazzone Orvieto Terre Vineate
($14), from the Umbria region of Italy. “Its
almost saline sharpness would buffer the
bright flavors of the chicken,” he says.
V I T R A F O R M
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ELLE DECOR GOES TO...
The labyrinthine Love Gardens at Château de Villandry.
There may be some eight million visitors to the Loire Valley every year, but few experi-ence it quite like French writer and historian Gonzague Saint Bris. For eight days each summer, he and his family board a raft and sail down the Loire River. Along the way, they drink white wine and sleep on sandy islands. “The châteaus were meant to be seen from the water,” he asserts. “You really get the best view from there.”
The châteaus in question are very much the region’s main draw. In total, there are more than a hundred. Some resemble forbidding medieval fortresses, while others display breathtaking finesse and beauty. A handful are immense and world-renowned. Several smaller ones have been transformed into hotels, offering guests the opportunity to live like nobility, if only for a few nights.
It would be easy to spend a week exploring nothing but châteaus, but they are only one of the ingredients that make the Loire Valley so magical. “The rolling countryside, charm-ing villages, and golden sunlight all seem to come together to conjure up the true essence of France,” enthuses Timothy Corrigan, a Los Angeles–based decorator who has owned a nearby château for more than a decade. There are picturesque hilly towns like Amboise or Chinon, whose paved streets are lined with both august mansions and quaint half-timbered facades. There is also one of the largest concentrations of troglodytic dwell-ings in Europe, as well as a 500-mile wine route, the longest in France.
Vineyards have existed in the region since at least the first century A.D. Thanks to a series of microclimates, the Loire Val-ley today produces an astonishing array of wines: reds, whites, and rosés; sweet, spar-kling, and dry. They may not win the same international acclaim as wines from Bor-deaux and Burgundy, but there are treasures to be found. White lovers should keep an eye out for the deliciously expressive Rémus from the Domaine de la Taille aux Loups in Montlouis-sur-Loire.
Of course, where there is good wine, there is often good food. Regional specialties include rillettes, a pâté-like meat spread; a log-shaped goat cheese called Sainte-Maure de Touraine; and a black chicken known as géline de Touraine. Restaurants run the gamut from rustic taverns and inventive neo-bistros to Michelin-starred eateries. Many of the best can be found in hotels, like the stellar Domaine des Hauts de Loire or
THE LOIRE VALLEYThis storied royal region of France, studded
with legendary châteaus and stunning gardens, is also renowned for its present-day pleasures.
BY IAN PHILLIPS
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THE LOIRE VALLEY
the wonderfully convivial Auberge du Bon Laboureur in Chenonceaux.
Officially, the Loire Valley extends nearly 175 miles from Orléans in the east to Angers in the west. Its heart, however, is the stretch between Blois and Saumur, and its nerve center is the town of Tours, which served as the capital of France between 1450 and 1550 (today it can be reached in little more than an hour via high-speed train from Paris). As Corrigan notes, “Aside from Paris, no other place in France is as steeped in cultural heritage and history.” Joan of Arc met King Charles VII of France in Chinon, Richard the Lionheart was buried at the majestic Abbaye de Fontevraud, and Leonardo da Vinci crossed the Alps by mule and spent the last three years of his life at the Château du Clos Lucé in Amboise. Nineteenth-century nov-elist Honoré de Balzac, meanwhile, would regularly take refuge from his creditors at the Château de Saché, which today houses a museum in his honor.
Of all the châteaus, three stand out. Cham-bord is the most visited, most imposing, and most prestigious, with 426 rooms, 77 stair-cases, and 282 chimneys. “Its architecture is completely insane,” remarks Flore de Brantes, a Brussels-based antiques dealer brought
Château de Chenonceau, spanning the Cher River.
A guest room at Château de
Verrières.
The Château de Noizay hotel.
The spiral staircase in the courtyard of
Château de Chambord.
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THE LOIRE VALLEY
CLOCKWISE FROM TOP: Catherine de Medici’s chamber at Château de Blois. The antiques shop of Richard Gabillet. The Château de Roche-cotte hotel. The cloisters at Abbaye de Fontevraud.
up in the region. It was commissioned as a hunting lodge by François I, who spent only about 40 days there, and it was later fre-quented by Louis XIV, who organized the premiere of Molière’s comedy Le Bourgeois Gentilhomme in its keep. In contrast, Chenon-ceau is the most picturesque and romantic, with a 200-foot-long, triple-height gallery perched atop five arches spanning the Cher River. Villandry, meanwhile, owes its reputa-tion to mind-bogglingly beautiful gardens, in particular the geometric Ornamental Kitchen Garden, featuring 40 different vegetable vari-eties arranged by form and color.
The passionate Saint Bris also recommends visiting some of the “delicious, small châ-teaus,” like Villesavin, Réaux, and Rivau. Yet, no place is closer to his heart than Clos Lucé, where he was raised. Da Vinci arrived there at the age of 64 and spent his time sketching engineering and architectural projects, as well as organizing extravagant parties for his benefactor, François I. Now open to the pub-lic, it has a number of the great man’s quotes posted on its walls, one of which reads: “A well-spent day brings happy sleep.” If that’s true, then a trip to the Loire Valley is a fail-safe guarantee of nocturnal bliss. ◾
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THE LOIRE VALLEY
THE ESSENTIAL LOIRE VALLEY The country code is 33. Take to the air. A wonderful way to view the area’s châteaus is from the skies. Air Touraine (airtouraine.fr) offers heli-copter and hot-air balloon rides. Think green. France’s most creative garden festival is held from April to October at the Domaine de Chaumont- sur-Loire (domaine-chaumont.fr); this year’s guests include designer Patrick Jouin. Horticulture fans should also check out Château de la Bourdaisière (labourdaisiere.com)—its tomato conservatory holds 650 varieties. Go underground. Many of the area’s ancient cave dwellings are now home to guesthouses, wine cellars, and museums. To see how they were once inhabited, visit the subterranean farms and chapel at the Rochemenier Troglodytic Village (troglodyte.fr).
WHAT TO SEE Abbaye de Fontevraud, Fontevraud l’Abbaye; 2-41-51-73-52; abbayede fontevraud.com: This majestic 12th-century abbey served as a prison from 1804 to 1963. Check out the poly-chrome tombs of the Plantagenet dynasty in the breathtakingly beautiful church, as well as the playful installa-tion by artist Vincent Lamoureux. Château d’Azay-le-Rideau, Azay-le-Rideau; 2-47-45-42-04; azay-le-rideau.monuments-nationaux.fr:Perched on a small island on the Indre River, this picture-postcard château combines both French and Italian architectural styles.
Château de Blois, Blois; 2-54-90-33-33; chateaude blois.fr: Highlights include the François I staircase in the courtyard and the stunning poly-chrome interiors. One wing houses a fine arts museum with paintings by Boucher and Ingres. Château de Chambord, Chambord; 2-54-50-40-00; chambord.org:Admire the famous double-helix staircase and head up to the roof to marvel at the intricacy of the chim-neys and take in the sprawling grounds, which are the size of Paris. Château de Chenonceau, Chenon-ceaux; 2-47-23-90-07; chenonceau .com: This most enchanting of châ-teaus was inhabited by Catherine de Medici. Today it draws crowds not just for its architectural beauty, but also for its fine collection of 16th-century Flemish tapestries. Château du Clos Lucé, Amboise; 2-47-57-00-73; vinci-closluce.com: A royal residence for 200 years, this is where da Vinci spent the last three years of his life. A guided tour takes in his bedroom and a chapel with frescoes painted by his disciples.Château et Jardins de Villandry, Villandry; 2-47-50-02-09; chateau villandry.fr: Home to some of the most awe-inspiring gardens in Europe, including the celebrated geometric vegetable gardens and a horticultural maze. Château Royal d’Amboise, Amboise; 2-47-57-00-98; chateau-amboise .com: The 17th-century French fabulist Jean de La Fontaine praised
the view of the Loire from this château’s terrace. Da Vinci’s remains are interred in its chapel.
WHERE TO STAY Château de Noizay, Promenade de Waulsort, Noizay; 2-47-52-11-01; chateaudenoizay.com: Housed in a secluded 16th-century château, this hotel sets the standard with its bucolic views and 19 elegant, individually furnished rooms. Château de Reignac, 19 Rue Louis de Barberin, Reignac-sur-Indre; 2-47-94-14-10; lechateaudereignac.com: The former residence of the Marquis de Lafayette offers 13 soberly chic rooms. The Fersen suite, with its bath lodged in the tower, is a particular favorite with newlyweds.Château de Rochecotte, 43 Rue Dor-othée de Dino, Saint Patrice; 2-47-96-16-16; chateau-de-rochecotte.fr:This 37-room hotel occupies a château once owned by the niece of wily diplomat and prime minister Talleyrand, and is surrounded by a pretty 50-acre park. Château de Verrières, 53 Rue d’Alsace, Saumur; 2-41-38-05-15; chateau- verrieres.com: A sensitively decorated and enthusiastically run Napoleon III–style town mansion.Domaine de la Tortinière, 10 Route de Ballan, Veigné; 2-47-34-35-00; tortiniere.com: Located in a small 19th- century château, this flawless establishment exudes charm and intimacy. A rowboat is offered for excursions on the Indre River.
Le Manoir Les Minimes, 34 Quai Charles Guinot, Amboise; 2-47-30-40-40; manoirlesminimes.com: Eleven rooms in an elegant 18th-century manor house, as well as an additional four in a garden pavilion.
WHERE TO EAT L’Auberge du Bon Laboureur, 6 Rue Bretonneau, Chenonceaux; 2-47-23-90-02; bonlaboureur.com: An admira-ble inn restaurant highly praised by locals. The food is impeccable, the set-ting cozy, and the service outstanding.Barju, 15 Rue du Changé, Tours; 2-47-64-91-12; barju.fr: A superb modern bistro with dishes that combine finesse and originality. Be sure to try the sea bass cooked on a hot stone. Domaine des Hauts de Loire, 79 Rue Gilbert Navard, Onzain; 2-54-20-72-57; domainehautsloire.com: This terrific two-Michelin-star dining room is at the heart of a luxury hotel. Les Hautes Roches, 86 Quai de la Loire, Rochecorbon; 2-47-52-88-88; leshautesroches.com: Recom-mended for its excellent wine menu and bird’s-eye view of the Loire.Restaurant Olivier Arlot–La Chancelière, 1 Place des Marronniers, Montbazon; 2-47-26-00-67; lachanceliere.fr: A Michelin-starred eatery offering subtly innovative dishes, run by a young chef who trained at Taillevent in Paris.
WHERE TO SHOPL’Angle des Délices, 22 Rue de la Ton-nellé, Saumur; 2-41-52-97-57: A one-stop shop for regional gastro-nomic specialties, such as wine biscuits and Combier orange liqueur. Bigot, Place du Château, Amboise; 2-47-57-04-46; bigot-amboise.com:This chocolate and pastry shop has served local confections since 1913. Château de Targé, Chemin de Targé, Parnay; 2-41-38-11-50; chateau detarge.com: This picturesque vine-yard offers not only a suave red called Quintessence, but also a direct delivery service to 34 U.S. states. Hélène Stéfanica, 24 Rue Victor Hérault, Vouvray; 2-47-52-77-07; helenestefanica.blogspot.com: Exquisitely delicate ceramics. Richard Gabillet Antiques, 27 Rue Emile Zola, Tours; 2-47-64-28-77; antiquites gabillet.fr: This antiques dealer has a space devoted to 20th-century design by the likes of Olivier Mourgue and Marc Held; another holds 18th- and 19th-century furnishings. Vinci Cave, 1 bis Quai des Violettes, Amboise; 2-47-23-41-52; vinci-cave.fr:Located on the banks of the Loire, this winegrowers’ cooperative is a good place to stock up on a few bottles.
Château Royal d’Amboise.
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In the library of an apartment designed by François-Joseph Graf, in Paris’s 7th arrondissement, the 18th-century desk is English, the armchair is from Westenholz Antiques, the ottomans are uphol-stered in kente cloth, and the desk lamp was made from a Ming vase; the Italian mirror dates to the early 1700s, the Japanese wood deity is from the Heian period, and the curtains are of a Ralph Lauren Home striped cotton. See Resources.
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One of the oldest known maps of Havana hangs in the entry hall of a grand apartment on Paris’s Left Bank. The map dates from 1723 and once belonged to Sir Thomas Phillipps, considered by many to be the greatest book collector of all time. Phillipps amassed some 40,000 volumes and 60,000 manuscripts, and coined the term vellomaniac to describe his fixation with vellum manuscripts. The term could just as easily apply to this home’s owner. “It’s an apartment made by a man who very much likes books,” his close friend, the English antiques dealer Piers von Westenholz, says with understatement. “His home is really a series of libraries.” Indeed, about the only place you won’t find a bookcase is in the bathroom.
Located in the heart of the ultra-chic 7th arrondissement (Bernard Arnault, the Niarchos family, and Emanuel Ungaro all have man-sions nearby), the apartment occupies the ground floor of a stately 18th-century building discreetly tucked at the back of a courtyard. Outside, the jaw-dropping, 8,600-square-foot private garden was designed by Penelope Hobhouse, and a former garage has been trans-formed into an enchanting guest room.
The interiors initially were far less elegant. “The rooms had been badly thought out—there were lots of things that were really awk-ward,” says French designer François-Joseph Graf, who has fashioned high-style spaces for clients like Henry Kravis and Valentino. Graf met the owner at the apartment in the early 1990s, when Graf sold him some objets from his Rue de Lille gallery. “I went to deliver them myself, saw the place, and told him it was ugly,” Graf recalls.
That forthright approach led to Graf being hired to renovate much of the apartment’s architecture. He created the master bath and a small office, installed wainscoting and cornices, and decorated the doors and baseboards with trompe l’oeil motifs of wood and agate. “He brought in these painters, and, I’m not exaggerating, there’s one fellow who spent about a year in the house,” recounts the homeowner.
A L LT H I N G S
C O N S I D E R E DAn 18th-century apartment on the Left Bank
of Paris is transformed into the ultimate retreat for a connoisseur and bibliophile
for whom too much is never enough
TEXT BY I A N PH ILLIPS
PHOTOGR A PH Y BY SIMON U P TON
PRODUCED BY TA MZIN GR EEN H ILL
ST Y LED BY A N ITA SA R SIDI
Mexican casta paintings, depicting mixed-race families, flank an 18th-century gilt-wood mirror by Matthias Lock in the sitting room; the Chinese Chippendale chairs against the wall date from 1768, a custom-made otto-man serves as a cocktail table, and the rug is by Roger Oates. See Resources.
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THIS PAGE, CLOCKWISE FROM TOP LEFT: The dining room walls are lined with 1820s
prints, and the Regency bookcase is Irish. Antique maps of Cuba hang in the entry hall,
and the Irish table was displayed in the Great Exhibition of 1851 at Hyde Park. The garden’s
boxwood hedges were inspired by the garden at Florence’s Villa Capponi. FACING
PAGE: In the den, the walls and 18th-century Chippendale armchair at right are covered in a Pierre Frey fabric, the sofa by Howard and Sons is upholstered in a Charles Burger cot-ton, and the leather armchair is Regency; the
custom-made tatami mat was inspired by an 18th-century Persian design. See Resources.
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The office was inspired by the library of Sir John Soane’s house in
London; the circa-1760 prints are by Thomas Frye, and the walls are painted in Farrow & Ball’s Suffield
Green. FACING PAGE, FROM TOP:The guest room is lined with books from the homeowner’s vast collec-
tion. The 17th-century tiles in the master bath are Portuguese, and the lantern is Moroccan. See Resources.
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The furnishings, meanwhile, were accumulated gradually over two decades. Many of the pieces were sourced by von Westenholz, who also designed the library in tandem with London-based architect Simon Hurst. “Piers has a fantastically good eye,” says the client, who shares with the dealer a distinctly English aesthetic. “I’d very happily live in the apartment,” von Westenholz says ruefully. “A lot of those objects I would really like now. I wish I had them—and he didn’t.”
Many have an interesting provenance. The marble-top Irish con-soles in the entry hall were displayed at the Great Exhibition of 1851. The set of green velvet armchairs in the living room once belonged to the eldest daughter of the last viceroy of India, Lord Mountbatten.
The apartment also has something of a world-traveler vibe. The sitting room walls hold a series of 18th-century Mexican casta paint-ings, depicting mixed-race families. In the adjoining den are William Daniell prints of India, while the master bath features 17th-century Portuguese tiles. One of the most striking objects is a Japanese wood deity in the library, which dates from the Heian period. “It’s been through fire and chopped up and eaten by bugs,” the homeowner explains. “But its profile is seriously cool.”
And new acquisitions are always on the horizon. “He just can’t leave the apartment alone,” says von Westenholz. “He’s always fiddling with it. He’s like me: He’s a buyer, he likes collecting. He really should have a palace somewhere. That would at least keep him occupied.” ◾
MOROCCO MODERNEAn American couple, longtime residents of Marrakech, find that the move from the medina to the city’s Art Deco district infuses their aesthetic with a new French flair
T EXT BY GISEL A W ILLI A MS · PHOTOGR A PH Y BY SIMON U P TON
PRODUCED BY A N ITA SA R SIDI
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aking up to the mesmerizing calls of the muezzin in the heart of the ancient maze that is the walled old town of Marrakech, Morocco, is a poetic existence; add a toddler and a big black Labrador named Cricket, and the situation gets complicated. “We lived in the medina for five years and loved it,” recalls Caitlin Dowe-Sandes, who along with her husband, Samuel, owns the Moroc-can tile company Popham Design. “But if you have a demanding job and a family, it’s hard work. We started to crave a different lifestyle, one where we could walk to our daughter’s school or park our car in front of our house.”
Not to mention that they were itching to find a new project. “Sam was not going to let me rearrange all the furniture again,” she adds.
Several of their friends had already moved to Gueliz, the city’s “new” town, which was laid out by the French in 1913, when Morocco was a French protectorate. A neighborhood of wide European bou-levards connected by roundabouts, Gueliz is the city’s urban center. It’s where stores like Zara share streets with French bistros, stylish bakeries, and old-fashioned leather-goods shops.
In the past five years, Gueliz has become increasingly covetable to both expats and developers; the European-style bungalows that aren’t already rented or owned have been sold to be torn down by investors and replaced with apartment towers. “Any effort toward preservation is focused on the medina,” says Samuel. “There is very little if no attempt to save Art Deco architecture.”
Two days before the young family was scheduled to escape the hot months of July and August and head to France, they heard about a charming 1930s bungalow available for rent and jumped on it. “It was small—about 1,000 square feet—but it was a stand-alone house and had a garden,” Caitlin explains. “Those don’t come up very often, so we had to sign the contract immediately.”
Thanks to their design-related contacts in the city, in less than 24 hours they were able to put a team in place that could work on replac-ing the electricity and plumbing infrastructure while they were away. “The couple who had lived there for about 20 years before us hadn’t done much, so it was in rough shape,” says Caitlin. “But there was a great garden with bougainvillea and citrus trees. It felt like a little oasis even though it was in the middle of town.”
In Paris, the pair spent most of their time hunting for furniture at flea markets and obsessively checking in on auctions at Drouot, the city’s oldest auction house. Unlike their medina property, which was inspired by Moroccan architecture, their new bungalow, with its
THIS PAGE, FROM TOP: Samuel and Caitlin Dowe-Sandes in the courtyard of their Marrakech home. Cement tiles by Popham Design line the entryway; the walls are painted in a custom indigo. FACING PAGE: The study’s sofa is by Arne Norell, the 1930s armchairs are French, the cocktail table is a Paris flea-market find, the pillows are from a Marrakech souk, and the floor lamps are by Jieldé; the tiles are Popham Design’s Fretwork-on-Four, the ceiling light fixture is vintage, and the walls are painted in a custom color. See Resources.
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An 1820 Cuban desk from a Paris flea market and a French Art Deco armchair in the study; the drawings by Roger Sandes were gifts from the artist, and the feather headdress is from Came-roon. FACING PAGE, CLOCKWISE FROM TOP: In the living room, the side table is from the 1790s, a Bamileke stool serves as the cocktail table, the fireplace surround is Moroccan marble, and the mirror above it is by the Dowe-Sandeses; the sailboat painting is by Mondine, and the crow drawings are by Roger Sandes. Samuel designed the mirror and X-shaped sconce in the master bath, the sink is vintage, and the tiles are Popham Design’s Hex ZigZag. The dining room features a table by Habitat and vintage chairs by Harry Bertoia and Mart Stam. See Resources.
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French windows, fireplaces, and high ceilings, called out for Euro-pean design touches. “Being away from the actual house while some unglamorous stuff was going on gave us the time to think and let design ideas percolate,” says Caitlin.
They managed to pick up an antique mahogany desk, some 1970s cocktail tables, a campaign table from the ’60s, and two antique oil portraits of a severe-looking couple that they joke with their three-year-old daughter, Georgina (nicknamed Gigi), are her great-aunt and -uncle. They mixed in their collection of American artworks, personal photographs, and several pendant lamps Samuel designed with a brass worker who builds the tile molds for Popham Design. In Gigi’s room they mounted a world map and several deer heads on the wall. “She thinks they are Santa’s reindeer,” Caitlin says with a laugh.
The biggest challenge was picking out tiles. “We chuckle about the indecision of our clients,” Samuel says. “It can take them weeks to decide on color combinations. But all of a sudden we found ourselves in the same situation.” Caitlin adds, “It’s a small space, and we were not afraid of going pattern crazy, but we wanted it to feel cohesive. We also wanted to use new designs and not just fall back on old favorites.”
A palette of blue, brown, and bone weaves a compelling design thread throughout the interior. They used their favorite zigzag in blue in the hallway and painted matching horizontal stripes on the walls to create a “moment that goes through the house,” says Samuel. “The hallway is so narrow and gets such heavy traffic, we didn’t want any-thing on the walls, but we still wanted it to be visually interesting.”
One of the few spaces without a riot of tiles is the garden courtyard, which the couple kept spare with a gray palette and white marble gravel. In the heat of early summer and early fall it makes a fantastic outdoor dining room at night, and in the winter it’s perfect for lunch. “It’s the calm in the middle of the craziness,” jokes Caitlin. ◾
FROM TOP: Samuel designed the courtyard table, the Steen Ostergaard chairs are a 1966 design, and the pil-lows are covered in repurposed kilim. Popham Design’s Honeycomb Hex tiles line the fireplace and floor in the master bedroom; the light fixture is by Paola Navone, and the chest of draw-ers is faced with camel bone. FACING PAGE: In the daughter’s room, the vin-tage iron bed comes from a Marrakech flea market and the map is vintage; the light fixture is by Claire Norcross for Luminosity, and the print is by Roger Sandes. See Resources.
The entrance of a château near Orléans, France; the grounds were restored by French landscape designer Louis Benech. The house is flanked by lilac bushes and Atlas cedars, and Benech had the yews shaped into cones. See Resources.
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R E S T O R E D t o G L O R YIn bringing new life to the neglected gardens surrounding an
18th-century French château, acclaimed landscape designer Louis Benech balances classic formality with clean-lined modernity
T EXT BY JA N E GA R MEY · PHOTOGR A PH Y BY R ICH A R D POW ER S
PRODUCED BY A N ITA SA R SIDI
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EVEN THE MOST intrepid buyer might find acquiring a down-at-the-heels late-18th-century château a daunting experience—all the more so if the landscaping around it has also been neglected. This was the situation facing a French couple who purchased precisely such a château near Orléans in the late 1990s. But when it came to reviving the grounds, they knew exactly what to do: They contacted Louis Benech, a French garden designer with an affinity for restoration projects.
Benech has a reputation for creating landscapes that fit seamlessly into their natural surroundings. His career got a jump-start in 1990 when, as he tells it, he was “dragged” into partnership by a fellow landscape designer for an international competition to redevelop the Tuileries gardens in front of the Louvre. To his surprise, they won, and since then he has made and remade gardens in many parts of the world for a roster of high-profile clients, including François Pinault, Guy de Rothschild, and Princess Caroline of Monaco. For the owners of this estate, Benech had already worked on their garden in Paris.
The bones of the formal garden were intact, and the designer’s man-date was to bring the place back to life. “Just the kind of project I relish,” says Benech, who is as passionate about plants as he is about design. “I devised a plan, and my clients had complete confidence in what I wanted to do and have been the easiest people to work for.”
The château is approached by an imposing drive that opens into a circular forecourt, edged with four huge conical-shaped yews. From here, a pair of gates leads to a formal arrangement of long, curved grass beds, punctuated with neatly clipped rounds of boxwood. Today, the long gravel driveway looks as it always has, but its giant yew topi-aries have been fastidiously clipped, and Benech has cleaned, cleared,
Clipped boxwood and Portugal laurel add sculptural shape to the front courtyard. FACING PAGE, FROM TOP: Benech restored the series of pools behind the house, which are original to the 1837 garden plan. An old brick wall, edged with varieties of hydrangea, encloses the kitchen garden.
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Antlers line the walls and ceiling of an outbuilding used for luncheons after hunts; beyond the hedges and box topiaries is the
kitchen garden. FACING PAGE, FROM TOP:A sculpture of the Three Graces overlooks
the largest of three pools. A canal at the rear of the property and one of the three
allées of European hornbeam, maple, black locust, and Norway spruce; this one
leads to the nearby village of Sandillon.
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and, where necessary, replanted a grove of oaks on either side of the house. “The secret of taking a 19th-century garden and making it less labor-intensive lies in the details,” says Benech, citing, for example, his use of low metal strips to separate the curving grass beds from the gravel for easier maintenance. Another subtle improvement was to screen out the road by planting two overlapping, parallel hornbeam hedges that cars must pass between before reaching the drive.
The original 1837 plan of the garden shows an austere landscape, organized around three ornate pools that fall steeply away from the house and are linked by a series of grass banks, steps, a fountain, and a grotto. The water is supplied by a system of canals, and each pool is substantially larger than the one before. A total restoration was needed, as the pools were decrepit, the drainage clogged, and the stonework crumbling. Benech honored the grandeur of the original plan but added hidden ramps to make the steepness of the interven-ing grass slopes easier to mow. Today, the stonework is repaired, the pools are pristine, and the water circulates freely. His own contribu-tion is the addition of a water maze, which he calls his “labyrinthine canal.” While its minimal design is unmistakably modern, it fits hand in glove with the formality of the classical plan. Not surprisingly, the maze is, says Benech, “my favorite part of the restoration.”
The owners, she especially, love flowers, and because there was no kitchen or cutting garden on the property, they requested that Benech make them one. His solution was to create a rectangular-shaped gar-den, enclosed by an old brick wall, on the site of what had been a Christmas tree nursery belonging to a previous owner. The layout is charmingly formal and consists of 14 square beds, each hedged with boxwood and arranged in strict symmetry around a small pool.
The plantings, though, are anything but severe, and Benech has introduced an exuberant mix. There are peonies and modern hybrid roses. One square is reserved entirely for herbs. Different varieties of hydrangea are planted against the brick wall, and the intersecting paths that traverse the garden are made of a fine gravel that looks like sand. “I intentionally went for an old-fashioned look, no fussy, complicated color scheme, because I wanted to make something that seemed as if it had always been there,” says Benech. In fact, his use of naturalist plants in a formal setting is a signature—what one col-league has called “haute couture for gardens.”
Benech believes that the key to garden restoration is “gentle inter-vention” and modestly insists his role is “to enhance what is already there.” But as this remarkable garden proves, it takes an exceptional talent to pull off such an ambitious project with panache. ◾
Benech designed the water maze, which lies between two of the property’s original
pools; the terra-cotta vessel, called a pot-à-feu, was hand made in 1835 in Orlé-ans. FACING PAGE: Boxwood hedges define
the beds in the kitchen garden, which sur-rounds a brick-walled pool; the plantings
include flowers and vegetables, as well as plum, pear, and apple trees.
C O L L E C T E D W I S D O M
In one of the most storied palazzos in Rome, an inveterate traveler assembles a
global array of cultural riches and flea-market finds to create a distinctly personal refuge
T E X T BY CR A IG SEL IGM A N
PHOTOGR A PH Y BY GI A N N I FR A NCHELLUCCI
PRODUCED BY A N ITA SA R SIDI
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In the living room of Roberto Begnini’s apartment in Rome’s Palazzo Doria Pamphilj, the antique trunk and 1920s portraits are Chinese, the lithograph is by Miela Reina, and the watercolor is by Cristiano and Patrizio Alviti; the tiled flooring was installed in the 1930s. FACING PAGE: The living room’s pair of armchairs came from the Teatro di San Carlo in Naples, the red-leather chair is from the 1930s, and the sofa is covered with a Tunisian cotton blanket; the bookcase is custom made, and the antique rug is Iranian.
from the Palazzo Chigi, the president from the Quirinale; the Senate meets in the Palazzo Ma dama, the Chamber of Deputies in the Monteci-torio. The Trevi Fountain abuts the Palazzo Poli. And art lovers swarm to the enormous Palazzo Doria Pamphilj, which houses a famous gallery filled with glorious works by Caravaggio, Titian, Raphael, and Velázquez—most famously his circa-1650 portrait of the Pamphilj family’s most intimi-dating member, Pope Innocent X.
The Doria Pamphilj has an illustrious, if com-plicated, history. Begun in the early 1500s, it rose around a large colonnaded courtyard that was reputedly the work of Donato Bramante, the archi-tect who provided the original designs for St. Peter’s Basilica. Construction didn’t really finish until late in the 19th century, and today the palace is mainly known as a Baroque monument containing not only the Galleria Doria Pamphilj, but also 250 private apartments, among them some of the city’s most sumptuous interiors. Italian public relations guru Roberto Begnini occupies one such dwelling. For a culture maven like him, “a place that’s so identified with the city,” he says, is the ideal home. He calls it “molto, molto Roma—the maximum of Rome.”
Begnini (not to be confused with the comic actor Roberto Benigni) was born in the northern Italian city of Verona, and when he was 20 he moved south to Rome. There, he received his degree in the con-servation of cultural heritage and went on to found Studio Begnini, which over the past two decades has handled publicity for a long list of museums and cultural institutions. It was through Studio Begnini that he came to know the Pamphilj family, whose descendants still reside at the palace and manage the formidable art collection.
Though Begnini’s rooms date from around the late 1600s, they have seen a lot of work since then. The beautiful tiled floors were installed in the 1930s; the living room’s striking gold-and-white chessboard
ROME IS A CITY OF PALACES. THE ITALIAN PRIME MINISTER GOVERNS
LEFT: The kitchen table has a custom-made base and an antique-marble top, the iron garden chairs are from the 1960s, and the bone light fixture was bought at an antiques shop in Kathmandu; the large abstract painting is by Begnini. FACING PAGE: The living room’s 19th-century table, a family heirloom, holds 1930s Mexican bronze sculptures, and the chairs and English chandelier are from the early 1900s; the 19th-century painting above the door was found in a Palermo flea market, and the wallpaper is by Cole & Son. See Resources.
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is laid out in tiles of graniglia, a high-quality mix-ture of concrete and grains of marble. As for the brilliantly mismatched furnishings and fixtures, they’re “the result of years of searching and many, many trips,” says Begnini, for whom travel has been a lifelong passion. “Every piece comes from a dif-ferent place—I’ve traveled a tremendous amount, loaded down with enormous things!”
The two bronze statues of North American Indi-ans on the living room table, for example, he found in the Yucatán. The frothy crystal chandelier above them came from a little market in Norwich, England, and the antique rugs are Iranian. The small light fix-ture dangling over the kitchen table (an old Italian altar yielded up the marble tabletop) is carved bone from Nepal. The bright-yellow wood deer heads on the bedroom wall are Balinese, and the Chinese lanterns around the bed are from shops all over the world: “Whenever I’ve seen a pretty one, different from the usual, I’ve bought it,” says Begnini.
Every object has a story. He found the living room’s two red-velvet chairs in Naples a few years ago, when the city’s famous Teatro di San Carlo, where Rossini and Donizetti were once resident composers, was being refurbished and its furniture auctioned off; they were orchestra seats. The pair of portraits of Chinese children were photographed and hand-tinted in Shanghai in the 1920s. Begnini spotted them in the shop of a Roman antiques dealer and immediately had to have them. But he was told they’d been promised to the American painter Cy Twombly, who lived close by. Begnini wouldn’t give up: He kept going back and repeating, “I want them, I want them!” And it worked. By the time he brought them home, he says, they felt like relatives.
He’s especially proud of the bathroom, with its Carrara marble and tiles, which he designed him-self, inspired by Turkish hammams. Glued to the windowpanes are some three dozen mid-20th-century photographic plates, the work of a Palermo photographer who specialized in ceremonies—baptisms, communions, weddings. Begnini doesn’t much like curtains; the plates furnish privacy along with a startlingly original effect, echoed by the dozens of religious images and relics on the bathroom wall.
And everywhere there are books—somewhere around 3,000 volumes, including one of his own, 5 Star Houses, which was published last year in col-laboration with photographer Gianni Franchellucci. It highlights 20 luxurious Italian interiors.
Of his vast accumulation of tomes, Begnini says, “It’s mainly a big library of art that’s tied to my work.” But they are also about more than his work: All those handsome volumes provide more evidence of the human type he so beautifully embodies—the collector. ◾
In the master bedroom, a collec-tion of Chinese lanterns hangs
from the custom-made four-poster bed, the coverlet is of rabbit
fur, and the silk-paneled screen dates from the late 1800s; the
toile wallpaper is by Colefax and Fowler. FACING PAGE, FROM TOP:The walls of the master bath are
lined with religious relics, and photographic plates on the win-dows serve in place of curtains;
Begnini designed the backsplash of Carrara marble. The piano stool
in the bedroom is 19th century, the deer sculptures are from Bali,
and the tile floors were installed in the 1930s. See Resources.
In the living room of fashion designer Yvan Mispelaere’s Paris apartment, which he designed with architect Stéphane Ghestem, the sofas are by Zanotta, the 1970s light fixtures were found in Florence and customized with brass accents, the Art Deco mirror screen came from a Paris flea mar-ket, the brass-and-glass cocktail tables are vintage, and the marble sculpture by Venske & Spänle was purchased at the Hong Kong Inter-national Art Fair. See Resources.
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HIGH-WIRE ACTInspired by his apartment’s previous life as a school
for acrobats, French fashion designer Yvan Mispelaere takes a leap into the surreal
TEXT BY DA NA THOM AS
PHOTOGR A PH Y BY M AT T H IEU SA LVA I NG
ST Y LED BY SY LV IE T HÉBAU D
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was seduced by the design possibilities of the place. He bought it in 2006, and with the help of architect Stéphane Ghestem, turned it into a nearly wall-less home made up of modu-lar nooks. “I wanted a big space but at the same time not a huge open loft where you see everything,” Mispelaere explains. Instead, he and Ghestem came up with a series of “secret zones,” as he calls them, “that you discover bit by bit, with volumes that play against one another.”
That translated into a sunken living room inspired by Moorish homes and framed by floor-to-ceiling almond-green velvet cur-tains, an office corner, a somewhat open den/guest room, and a master bedroom and bath perched up on a mezzanine. Besides the front door, there is only one other: for the toilet. The kitchen “was the biggest issue,” Mispe-laere says. “I didn’t want an American-style open kitchen, but I also didn’t want to put it in the back, walled in.” He came up with the idea of a three-sided, roofless cube with a diamond-pointed, black semigloss exte-rior. The cube, he says, “breaks the flow and
French fashion designer Yvan Mispelaere was looking for something different in Paris. He had lived in his share of late-19th-century Haussmannian flats, with their wedding-cake moldings and stout marble fireplaces, and he says, “I longed for a loft.”
He thought of looking around the Gare de l’Est in northeast Paris, a quartier in transi-tion that had served for more than a century as the city’s epicenter for artisan workshops. Mispelaere, who has worked for some of fash-ion’s most influential companies, including Valentino, Prada, Chloé, and, most recently, Diane von Furstenberg, had discovered the area in the early 1990s while searching for leather craftsmen to work on animal skins for the designer Claude Montana. When he revisited the area a few years ago, he was charmed by how it had evolved. “It’s a little corner of creativity,” he says. “Authentic. A lot of locals. Simple folk.”
He came across an airy 1,700-square-foot space with 18-foot-high ceilings that had once served as a circus school; there was still a trapeze hanging from a beam. Mispelaere
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The staircase is painted concrete, the glassware collection is vintage, and the
brass chair is from the 1960s; Mispelaere designed both the Brancusi-inspired hand-carved stacked stools and the trompe l’oeil
“tile” wood-and-cork inspiration board in the office beyond. FACING PAGE: The
kitchen is hidden behind a black-walled, three-sided cube, and Ross Lovegrove
Landscape chairs surround an Italian 1950s dining table expanded with Corian; the
brass vases were made from unused World War I mortar shells. See Resources.
complicates things,” while leaving the dra-matic rafters above exposed.
Mispelaere chose to paint everything else chalk white, “like in Greece,” he says—a country he adores and where he is build-ing a second home. The stark white palette is also a nod to 1930s architect Robert Mallet-Stevens and his famous modernist works, such as the Villa Noailles in Hyères and the Villa Poiret, couturier Paul Poiret’s home in Mézy-sur-Seine. Mispelaere is drawn to the pre–World War II period of design— Le Corbusier, Eileen Gray, with splashes of Surrealism—and he used this period for the basis of his decor. “I adore the geomet-ric rigor and purity of line of that epoch,”
The guest room’s custom-made cabinetry was inspired by Giorgio de Chirico, a 1970s plaster speaker adds another Surrealist ele-ment, and the wall is painted in a blue by Dulux Valentine. BELOW: The tilework in the master bath is a mix of standard white squares and Mispelaere’s Peep Show tiles. FACING PAGE: Mispelaere designed the bedcover in the master bedroom, the floor is paved with custom-made painted wood tiles, and a two-way mirror on the back wall offers a view of the dining area below. See Resources.
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he says. “The architecture and the art of the Dadaists and Surrealists speak to me.”
To break up the white, he played with tex-tures, such as slices of tree trunks, which he also painted white and then glued to the bed-room closet doors to create a flat, bubbles-like design. The guest room cabinet doors with their black arches are inspired by the work of the Greek-born Italian artist Gior-gio de Chirico, who in the early 20th century founded the Scuola Metafisica movement that was one of the roots of Surrealism.
Other touches came from Mispelaere’s var-ied travels. There are many pieces from Bali, where he vacations often, including colorful pottery and Brancusi-like geometric wooden
stools. The living room lighting is inspired by the Süleymaniye Mosque in Istanbul. “I love how the chandeliers drop down to make a sort of false ceiling, and the low lighting creates a more intimate space,” he explains. The bathroom door is decorated with Renais-sance-like rivets, a reference to Mispelaere’s years in Florence, where he worked as an assistant designer for Gucci. The white tile bathroom—an homage to the French contem-porary artist Jean Pierre Raynaud—is punc-tuated with tiles called Peep Show, painted with eyes, from a collection Mispelaere designed for Paris-based Ugly Edition. On the walls hang medicine cabinets he picked up on trips, including one from Serbia.
Being a designer, Mispelaere wanted to create a few pieces himself, too. He found the living room chandeliers in Florence and reworked them, adding small brass plates to make them look more 1930s. For the dining area, he wanted a big oval table, preferably something midcentury. After months of searching without any luck, he took a small Italian 1950s walnut oval table that he found in Brussels and enlarged its top with an oval frame of white Corian.
Mispelaere is pleased with how it all turned out. “Of all the places I have lived, this apart-ment most resembles me,” he says. “I travel a lot and when I return, I feel serene, safe, and at ease as soon as I open the front door.” ◾
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I R I S H H E R I T A G ESince the mid-18th century, Russborough House has seen gentility and debauchery, neglect and glittering gatherings. Through it all, this grand country estate has stood as a testament to the glories of Ireland
T EXT BY ROBERT O’BY R N E · PHOTOGR A PH Y BY JA MES FEN N ELL
In the library of Russborough House in County Wicklow, Ireland, the 20th-century sofa and
armchairs are covered in oxblood leather, the George III–style table is inlaid mahogany, and
the William IV plant stands flanking it are rose-wood; the plaster ceiling by Paolo and Filippo Lafranchini dates from the 18th century, a por-
trait of the Countess of Airlie by Sir John Lavery hangs beside the 18th-century marble fireplace,
the Venetian glass chandelier is 19th century, and the rug was commissioned in 1952 from
Madrid’s Royal Tapestry Factory. See Resources.
The saloon’s Louis XVI gilt-wood chair is upholstered in a Gobelins tapestry, the 18th-century portrait of Thomas Conolly is by Sir Joshua Reynolds, and the 18th-century mantel was crafted by Thomas Carter the Younger of London; the mahogany-and-satinwood parquet flooring is original to the house. FACING PAGE, FROM TOP: A view of Russborough, whose façade runs almost 700 feet. The limestone gateway, flanked by beech trees, was the original entrance to the house.
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OFTEN DESCRIBED as the most beautiful house in Ireland, Russborough is certainly the longest: Its granite façade stretches 700 feet. Designed by German-born architect Richard Castle, the Palladian building dates from the 1740s and was commissioned by Joseph Leeson, whose father had made a fortune in brewing and property speculation.
On coming into his inheritance, Leeson decided to buy himself both a seat in parliament and a seat in the country, in County Wicklow. Soon Russborough was filled with treasures acquired during Lee-son’s two Grand Tours across mainland Europe. The rooms in which these were displayed offer outstanding examples of 18th-century Irish craftsmanship, with mahogany parquet flooring and elaborate plasterwork covering ceilings and even walls—all on shining display since 1978, when the property first opened to the public.
As befitted the owner of such a house, Leeson decided to acquire a title, becoming Earl of Milltown in 1763. Two decades later he died, in the words of a contemporary, “extremely rich, an old debauchee.”
His successors were, without exception, less colorful: The death of the seventh and final Earl of Milltown, in 1891, went almost without
In the dining room, 20th-century lacquer-and–parcel-gilt chairs in the style of Giles Grendey surround an 18th-century mahogany table; the gilt-wood consoles, attributed to William Kent, are from the same period, the Louis XIV tapestry depicts formal gardens, and the walls are hand tinted with casein paint. FACING PAGE, FROM TOP: The plasterwork above the first-floor landing dates from the mid-1750s. The George II console in the drawing room is flanked by a pair of 1794 chairs, the plasterwork is Baroque, and the 18th-century seascape is one of a quar-tet by Claude-Joseph Vernet.
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Baroque stucco, thought to be the work of Irish apprentices, lines the walls sur-rounding the 18th-century mahogany staircase; the chandelier is Georgian. FACING PAGE: In the tapestry room, the English State bed and settees, all cov-ered in matching silk, were made in 1794 by Wilson’s of the Strand; the mahogany-and-brass center table is Regency.
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notice. At the start of the 20th century, Russborough passed into the hands of a distant Leeson relative who preferred to remain in Eng-land. Eventually the estate was acquired by Colonel Denis Daly, and it remained in his family’s possession until 1952.
That August an advertisement in Country Life magazine heralding the sale of the historic property was spotted by Sir Alfred Beit, who had long been interested in the estate. Together with his wife, Cle-mentine, a first cousin of the famous Mitford sisters, Beit restored not just the fabric but also the spirit of the old house, replenishing its rooms with glorious paintings, such as the only Vermeer then still in private hands, along with works by Goya, Velázquez, Rubens, Frans Hals, and Gainsborough.
The Beits were glamorous, and their parties and entertaining were legendary, chronicled in a succession of fat leather-bound albums. English historian John Julius Norwich, a regular guest, recalls eve-
nings in the dining room complete with “superb silver, the Waterford glass, the tall candles, and, as I remember, at least two liveried foot-men in blue tailcoats, yellow waistcoats, and shining brass buttons.”
Overseeing the ceaseless festive activities was John Pollard, Russ-borough’s butler for more than 40 years. Among the Beit papers are Pollard’s daily instructions from Sir Alfred tactfully advising on the idiosyncrasies of individual guests, as well as indicating the correct pronunciation of names and titles.
The Beits had no children and, in 1976, established a charitable trust to ensure that the landmark’s future would never again be in doubt. Sir Alfred died in 1994, his wife 11 years later. Their finest paintings were donated to the National Gallery of Ireland; some others were stolen (and recovered) in a series of robberies. But a majority of the works remain in place—along with exquisite pieces of furniture, tapestries, silver, and porcelain—as they have been for more than 250 years. ◾
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TREND ALERTPAGE 72: Oxblood calfskin bag, $2,995, from fall 2013, by Burberry Prorsum (212-407-7100; burberry.com). Union Square burlap wallcovering and Soho Square burlap wallcovering, both to the trade from Crezana Design (631-283-3101; crezana.com). Luna Globe chandelier, $6,800, by Downtown (310-652-7461; downtown20.net). Rivets hemp wallcovering, in gold on navy, #5700, to the trade from Phillip Jeffries (973-575-5414; phillipjeffries.com). Rosewood-and-metal bangles, $850 ea., by Sorab & Roshi (203-869-5800; sorabandroshi.com). Dalia stool, $600, by Arteriors (877-488-8866; arteriorshome.com). New Safari camp chair, $5,025, by Ralph Lauren Home (888- 475-7674; ralphlaurenhome.com). Neoprene eyelet trench coat, $10,000, from fall 2013, by Burberry Prorsum. Studded convex mirror, $6,300, by Blackman Cruz (323-466-8600; blackmancruz.com). Stud Stripe jute burlap wallcovering, in ivory/silver, #5006110, by Celerie Kemble for Schumacher (800-523-1200; fschumacher.com). Malabar Hill shoe, $1,095, by Christian Louboutin (212- 279-7365; christianlouboutin.fr). Caroline console, $3,285, by Celerie Kemble for Henredon (800-444-3682; henredon.com). Lucente nailhead trim, in antique silver on ivory, #977-52102-815, to the trade from Samuel & Sons (212-204-9648; samuelandsons.com). Stella Bead linen, #1260816-0017, by Ankasa for Beacon Hill (800-333-3777; beaconhilldesign.com).
RSVPPAGE 74: Vacheron Constantin(vacheron-constantin.com). Los Angeles County Museum of Art (323-857-6000; lacma.org).
SHORTLISTPAGE 76: Bjarke Ingels of Bjarke Ingels Group (212- 255-2788; big.dk). Yes is More by Bjarke Ingels from Taschen (taschen.com). Copenhagen bike by Biomega (011-45-7022-4919; biomega.dk). LEGO (800-835-4386; lego.com). Wired (wired.com). Winter tie by Company(com-pa-ny.com). Twelve wristwatch by Issey Miyake (isseymiyake.com). Brick sofa by Bjarke Ingels for Kibisi (011-45-2197-7211; kibisi.com). Stetson-style hard hat by Occunomix (800-466-0071; occunomix.com).
UNCONVENTIONAL WISDOMPAGE 82: Anouska Hempel of Anouska Hempel Design(011-44-20-7938-1515; anouskahempeldesign.com).
TRUTH IN DECORATINGPAGES 84–86: Barrie Benson of Barrie Benson Interior Design (704-366-9916; barriebenson.com). Stefan Steil of Steilish (646-369-8496; steilish.com).
DANIEL’S DISHPAGES 96–98: Daniel Boulud of restaurant Daniel(danielnyc.com).PAGE 96: Convivio dinner plate, $107, and Gabriella flatware, $298/6-pc. place setting; both by Match from Didriks (617-354-5700; didriks.com). Amadeo Fringed napkin, in yellow, $25, and Reme tablecloth, in yellow, $30; both by William Yeoward Crystal (800-818-8484; williamyeowardcrystal.com). Sackett wine glass, $35, by Ralph Lauren Home (888-475-7674; ralphlaurenhome .com). PAGE 98: Garlic chopping block, $249, by Hudson Grace (415-440-7400; hudsongracesf.com).
ALL THINGS CONSIDEREDPAGES 114–21: Interior design by François-Joseph Graf (011-33-1-44-42-02-22; francoisjosephgraf.com). PAGES 114–15: Antique desk from Westenholz Antiques (011-44-20-7824-8090; westenholz.co.uk). Antique mirror from Carlton Hobbs (212-423-9000; carltonhobbs.com). Curtains of Arbaud Ticking cotton, in navy, #LCF65525F, by Ralph Lauren Home (888- 475-7674; ralphlaurenhome.com).PAGES 116–17: Ashby wool rug by Roger Oates (011-44- 20-7351-2288; rogeroates.com). PAGE 118: In dining room, antique bookcase from Westenholz Antiques. Antique library table from Robert Kime (011-44-20-7831-6066; robertkime.com).
PAGE 119: Antique Chippendale chairs from Westenholz Antiques, upholstered in Gentleman wool-polyester, in tomate, #F2250, to the trade from Pierre Frey (212-421- 0534; pierrefrey.com). Sofa upholstered in Persan cotton, in ecru, #31688-5, by Charles Burger, to the trade from Clarence House (800-803-2850; clarencehouse.com). Custom-made tatami mat by Westenholz Antiques.PAGE 120: Walls painted in Suffield Green by Farrow & Ball (888-511-1121; farrow-ball.com).
MOROCCO MODERNEPAGES 122–27: Samuel and Caitlin Dowe-Sandes of Popham Design (323-906-9556; pophamdesign.com). PAGE 122: Loft floor lamps by Jieldé (jieldeusa.com). Fretwork-on-Four cement tiles by Popham Design. PAGE 123: In entryway, ZigZag-on-Four cement tiles by Popham Design.PAGE 126: Aperture light fixture by Claire Norcross for Luminosity (011-44-845-465-5050; luminosityimports.com). PAGE 127: In master bedroom, Lanterne Fil de Fer by Paola Navone for Bladi Design from 33 Rue Majorelle (011-212-5243-14195; 33ruemajorelle.com).
RESTORED TO GLORYPAGES 128–35: Landscape design by Louis Benech (011-33-1-42-01-04-00; louisbenech.com).
COLLECTED WISDOMPAGE 139: Walls covered in Malabar wallpaper, #66-1004, by Cole & Son, to the trade from Lee Jofa (800-453-3563; leejofa.com). PAGE 141: Walls covered in Chinese Toile, in red, #7948-01, by Colefax and Fowler, to the trade from Cowtan & Tout (212-647-6900; cowtan.com).
HIGH-WIRE ACTPAGES 142–47: Interior design by Stéphane Ghestem (011-33-6-69-43-75-75; abstrakt-architecture.com). PAGES 142–43: Kilt sofas by Zanotta (011-39- 0362-4981; zanotta.it). Curtains of cotton velvet, in jade green, #700000N0, to the trade from Pontoglio (011-39-030-747-9511; pontoglio.it).PAGES 144–45: By the staircase, vintage glassware from The End of History (212-647-7598; theendofhistoryshop.blogspot.com).PAGE 146: In master bath, Peep Show tiles by Yvan Mispelaere for Ugly Edition from Saint Honoré Wallcoverings (011-33-6-68-41-22-44; sainthonorewallcoverings.com).
IRISH HERITAGEPAGES 148–55: Russborough House (011-353-45-865-239; russborough.ie).
ELLE DECOR (ISSN 1046-1957) Volume 24, Number 7, September 2013, 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 Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Catherine A. Bostron, Secretary; Ronald J. Doerfler, Senior Vice President, Finance And Administration. Hearst Magazines Division: David Carey, President; John P. Loughlin, Executive Vice President And General Manager; John A. Rohan, Jr., Senior Vice President, Finance. © 2013 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 offices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription prices: United States and possessions: $15 for one year. Canada: $41 for one year. All other countries: $60 for one year. Subscription Services: ELLE DECOR will, upon receipt of a complete subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within 4–6 weeks. 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 mailings, please send your current mailing label or an exact copy to Mail Preference Service, P.O. Box 6000, Harlan, IA 51593. For customer service, changes of address, and subscription orders, write to Customer Service Dept., ELLE DECOR, P.O. Box 37870, Boone, IA 50037. 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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