Sold exclusively in Louis Vuitton stores. 866.VUITTON www.louisvuitton.





On brushes: Anchor Blue (IB94), Whisper White (VM133), Venetian Red (TH49). Wall: Whisper White (VM133). This page: Sandoval Blue (1B97) over Whisper White (VM133). Call 800-379-POLO for more information.

w w w. l e e j o f a . c o m



On the Cover
Cindy Crawford in the family room of her home in Malibu. “Beauty and the Beach,” page 94. Photography by Simon Upton; hair by Richard Marin for Cloutier/Redken; makeup by Carol Shaw for Lorac; fashion styling by Rita Rago for Rouge Artists; peasant top by Somi, available at Madison, Los Angeles. Far left: Vintage finds in John Derian’s Lower East Side apartment. Below: Landscape designer Mario Nievera’s Manhattan pied-à-terre.


28 Editor’s Page By Margaret Russell 30 Mailbox Our readers write 33 What’s Hot! Dispatches from the world of design. 38 Bergdorf Goodman domesticates glamour. By Vicky Lowry 40 Williams-Sonoma Home hits the street. By Christy Hobart 42 Charlotte Moss celebrates her muses. By Kathleen Hackett 44 A Hollywood hotel gets a nip and tuck. By Tara Mandy 48 News flash 50 Trend Alert Mocha has its moment; black and white unite. By Anita Sarsidi 54 Art Kehinde Wiley mixes hip-hop with history. By David Colman 58 Designer’s Dozen The 12 things Frank Gehry can’t live without. By Julie V. Iovine 62 Truth in Decorating: The Ten Most Elegant Étagères Designers Susan Forristal and Steven Gambrel check out how the latest crop of freestanding shelves stack up. By Julie V. Iovine 66 Great Ideas Sunrooms bring great style to light 68 Daniel’s Dish A French classic rises to the occasion. By Daniel Boulud 80 ELLE DECOR Goes to Philadelphia The City of Brotherly Love is undergoing a resurgence, with an influx of young residents and cultural cachet. By Julie V. Iovine 150 Resources Where to find it. By Molly Sissors 156 Etcetera Cool coatracks take a strong stand. By Alison Hall




The Crawford Sofa. Every piece makes the room.

© 2006 Bernhardt

For information, call 866.520.2115 or visit

93 ELLE DECOR Style 94 Beauty and the Beach Cindy Crawford and Rande Gerber unite the casual with the chic in their new Malibu house. By Catherine Ettlinger 106 Lord of the Fleas John Derian finds inspiration—and the artful furnishings for his Lower East Side flat—at the flea market. By David Colman 114 Bold Strokes Updating an old-world Upper East Side townhouse, Miles Redd makes glamour work for a young family. By David Colman 124 Shopping: Making a Statement Graphic wallpapers endow any room with color and pattern, not to mention attitude, on a large scale. By Anita Sarsidi 130 In a New Light For a New York gallery owner and his family, country living means a perfect union of art and nature. By Vicky Lowry 138 Small Change Landscape designer Mario Nievera’s Manhattan pied-à-terre is as ingenious as any of his grand gardens. By Nancy Hass 142 Clearing the Way Peter Pennoyer and Katie Ridder restore a Park Avenue classic by reducing it to its essence. By Melissa Barrett Rhodes
To subscribe to ELLE DECOR, to order a gift subscription, to change your subscription address, or for any questions regarding your subscription, e-mail Please be sure to include your mailing address and all pertinent information for your subscription; you may also call 850-682-7654. To order a back issue, call 800-333-8546.

142 114


Clockwise from above: A Josef Frank cabinet in a Park Avenue apartment renovated by designer Katie Ridder and architect Peter Pennoyer. Roland and Kathleen Augustine’s house in upstate New York. The living room of a Manhattan townhouse decorated by Miles Redd.



All illustrations are artists representation and do not constitute a representation of any aspects of the final product. This is not an offering. The complete offering terms are in an offering plan available from sponsor file NO CD05-0163. Sponsor: 20 Pine Street LLC, 752 Pacific Street, Brooklyn NY 11238

Interior design by




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editor’s page
Designer Nate Berkus and Ellen Rakieten, executive producer of The Oprah Winfrey Show, with me at ELLE DECOR’ s Dining by Design gala in Chicago.

live in their living rooms or dine in their dining rooms?
It’s insane: These areas are rarely small, and almost always have the most interesting and appealing art and furniture in the house. I used to be guilty of this as well, for when I was growing up, my family barely set foot in the living room except to practice the piano or, during the holidays, to gather around the tree. The dining room fared even worse—it was shunned completely save for Easter, Thanksgiving, and Christmas dinner. In truth, my mother and father were somewhat to blame, being keen on cool, spare, ’60s-modern furnishings (suitable strictly for perching, not napping) instead of the cabbage-rose–covered, down-filled sofas and chairs that every other house in our Connecticut town seemed to have. And although I appreciate the sleek chic of our furniture now, I truly loathed it back then. But my parents loved it, so the wasteful, pristine state of those cavernous spaces was not a question of comfort, but a reflection of the formality and custom of the time. Sad, no? Yet the practice continues, with untouched, uptight rooms spread across the country in houses that grow bigger every year. So you can imagine my delight when I visited the Malibu compound of Cindy Crawford and Rande Gerber, where there isn’t a corner that’s not put to use. It’s a magical place,

Whydo so few people ever really
set high above the Pacific, with all the rooms literally opening onto a deck or terrace, or focusing on the breathtaking ocean views. Cindy describes her family’s life there by saying, “We live outdoors as much as in, and it’s always casual.” But there’s hope even for those of us in an environment that’s not as easygoing and barefoot as the beach. At her glamorous Upper East Side townhouse, young mother Liz Weinstein lives up to her words: “I don’t believe in saving rooms for special occasions.” As far as I’m concerned, she wins Wife of the Year award as well. Because by installing the pool table her husband, Steve, loved, in their loftlike drawing room, she practically guaranteed that it would become everyone’s favorite hangout. Don’t fret. I doubt regulation-size pool tables will become the next must-have accessory, but I’m crazy about Liz’s relaxed attitude and freewheeling spirit. And there’s no better trend than that.

Margaret Russell, Editor in Chief



Fine Type
I want to express my deep admiration for ELLE DECOR, my favorite design publication. You have such great style! You consistently present top-quality articles on decorating, furnishings, and architecture, and the stories are always well written and photographed. I very much like the genuine care and depth of feeling you show for the people featured, be it the designer or a client, and their homes. The blend of the personal and professional is present, too, on the Editor’s Page. It is exemplary and rare, and one more reason why I keep reading your magazine. There is much more to praise, but I’ll conclude by thanking you for your integrity. It is very much needed, and welcome, these days. Michael Feeley, via e-mail

MARCH 2006
Class Act
Wonderful article and pictures of the chic Park Avenue apartment designed by its owner (“In the Clear,” December). Susan Chalom has an amazing eye: Her place is minimal, yet warm. And her simplicity is classic. What an inspiration! Thank you for including a feature for nonprofessionals such as myself. Lyn Segal, Aspen, CO

Greetings from Greece
I cherish the interiors you feature on your pages. I would even call you a long-distance university of good taste. Congratulations on a wonderful job. Papasifakis Panagiotis, Athens, Greece

Holiday Blues
How sad that references in your magazine to the holiday season have been reduced to one article about shopping (“Frozen Assets,” December). Gone are the days when shelter magazines celebrated with beautiful spreads depicting families gathered in celebration of Hanukkah and Christmas. The holidays have now been reduced to a few material trinkets that may be purchased to celebrate what? The article doesn’t even say. I assume that you have made a decision that it is politically incorrect to write about such things. Lisa Montague, via e-mail Not at all. Until very recently, ELLE DECOR has been published eight times a year, with a December/January issue, and few things are sadder than a Christmas tree cover in January. Our increase in frequency to ten issues allows for a separate December publication; look for a more festive celebration of the holiday season next year.

Spelling It Out
The photographs of the American ambassador’s residence in Helsinki (“Northern Exposure,” December) look great, but the distinguished architect you refer to is Harrie T. Lindeberg, not Harry T. Lindberg, as you had it. A copy of Domestic Architecture of H.T. Lindeberg sits above my desk and has inspired my work. As a librarian’s child, I cannot help but comb texts with an editor’s eye. Andrew Tullis, via e-mail

From top: The living room of Susan Chalom’s Manhattan apartment. The December cover.

Village Vamp
Your feature on Candace Bushnell’s Greenwich Village apartment in the September issue (“Love at First Sight”) was gorgeous. Her space exudes a sexy and feminine character that I’d love to bottle and bring to my apartment in Philadelphia. Tracy Mack, Philadelphia, PA

The Gift of Giving
I was extremely touched by your Editor’s Page in November. I am the head of the President’s Club of Vista Del Mar, a 98-year-old orphanage in Los Angeles, and grew up in a truly charitable family that taught me what you give comes back in so many ways. I respect you for a fabulous magazine. Janis Black, via e-mail

Send Mailbox your letters—but keep them short and to the point (we reserve the right to edit for length, clarity, and style). The address: Mailbox, ELLE DECOR, 1633 Broadway, 41st floor, New York, NY 10019; e-mail:

To subscribe to ELLE DECOR, to order a gift subscription, to change your subscription address, or for any questions regarding your subscription, e-mail Please be sure to include your mailing address and all pertinent information for your subscription; you may also call 850-682-7654. To order a back issue, call 800-333-8546.



S H O W N : W S - 4 4 S L I P P E R C H A I R I N M C G U I R E F A B R I C P H H H 1 2 2 , T B - 4 1 G T E X T U R E D B R O N Z E S I D E TA B L E , R K L - 1 4 P E B B L E L A M P. P H O T O : K A R L P E T Z K E









M C G U I R E F U R N I T U R E . C O M / S L I P P E R

1 . 8 0 0 . 6 6 2 . 4 8 4 7


Dispatches from the world of design
Text by Julie V. Iovine Produced by Anita Sarsidi

What’s Hot!

Blue Plate Special
Ceramic artist Robert Dawson takes a tried-and-true Wedgwood china pattern and makes it new again by blowing up details and placing them off center around the plates, adding dimension, depth, and drama to this historic chinoiserie design. The After Willow dinner plate costs $40, a dessert plate is $35, and the teacup and saucer set is $90. Call 800-9551550 for stores;


what’s hot!
1 Back Splash
Don’t put this chaise longue against the wall; it’s a standout. Designed by Richard Frinier for Century Furniture, it evokes shoji screens, raku pottery, and Frank Lloyd Wright designs. Part of the 12-piece Kyoto Leisure collection, it has a castaluminum frame with an aged finish; measures 32" wide, 75" deep, and 34.5" high; and costs $3,200 as shown. Call 800-8525552;

2 Light Work
Not since Jean Cocteau designed the ones for his classic film La Belle et la Bête has a sconce possessed such poetic flair. The gold-plated, cast-bronze Appliqué Iris by Objet Insolite resembles stylized plant stalks, and measures 18.5" tall and 16.75" wide. It costs $832 at Distant Origin. Call 212-941-0024;


3 On a Roll
The Angel table by Mary Forssberg updates Deco and puts it on wheels. Sheathed in hand-stained leather and inset with shagreen, the diminutive table will elegantly work in any room. Available at a height of either 24" or 27", it has a 13" diameter, comes in 15 colors, and sells for $4,100. Call Bergdorf Goodman, 800-558-1855; or Førssberg studio, 305-856-9590.

4 Pattern Play
Famed fabric house Boussac has found ingenious new ways to spread its patterns around, including laminating some onto lightweight plastic trays. Here, it’s Paloma, designed by Jacques Grange in tribute to Picasso and his daughter. The company’s new home-accessories collection also includes curtains, cushions, and serving pieces in a variety of patterns and colorways. The tray is available in red and white versions as well, and comes in two sizes, 15.75" by 20.5" for $130 and 10" by 15" for $95. For store locations, call 212-213-3099.







Your commute just got significantly shorter. Introducing the 2007 Lexus RX 350, the latest in the revolutionary RX series. Harnessing a new 3.5-liter V6 engine with 270 horsepower* and dual VVT-i, it has the uncanny ability to transform any route you’re on into the shortest one. And the most luxurious one, as you’ll find the kinds of features that have become synonymous with Lexus. Such as an available backup camera, heated seats and rear-seat entertainment system. Experience the RX 350. And see what it’s like to arrive in style a few minutes early.

*Ratings achieved using the required premium unleaded gasoline with an octane rating of 91 or higher. If premium fuel is not used, performance will decrease. ©2005 Lexus.

what’s hot!
1 Lighter Brighter
Blu Dot, the Minneapolis-based furniture firebrand, makes goods that have an immediate impact but also work hard. The plywood-topped metal Strut table is typical—it’s as lean as a line drawing, but has the tensile grace of a kite in flight. Powder-coated in glossy red, the table measures 90" long, 29" high, and 34.5" wide, and costs $1,199. (A slightly smaller size is also available.) Go to

2 Mirror Illusion
What might appear to be the curvy wrought-iron frame on a simple mirror turns out to be loops that are hand-carved out of mahogany. Designed by Anne-Marie Midy for Casa Midy, the Loop mirror is 36" high by 28" wide and sells for $1,610 at Room. Call 212-226-1042;

1 2

3 To Dye For
Rug and textile designer Madeline Weinrib has always had a passion for old weavings. Now she’s investigating the possibilities of the ancient process of dyeing yarns before weaving them, called ikat. She has merged the traditional technique with a sophisticated modern palette in her new line of pillows, handwoven in Uzbekistan. Each 12"-square cushion costs $400 at ABC Carpet & Home. Call 212-674-1144;

4 Bubble Up
Transparency brings more to light, so why not a lamp made entirely of clear glass, including the shade? The Conran Shop offers handblown lamps with one, two, or three bubbles. The two-bubble version, far left, is 20.5" tall and costs $525; the onebubble version stands 27.5" tall and is $325. Call 866-755-9079;





Also available at or call 1.800.537.0234




what’s hot! shops

top floor
Bergdorf Goodman rethinks luxury for the home, with new shops and a magical restaurant
The most dramatic dining room to open recently in Manhattan bucks a trend—and might just create a new one. BG is neither in a swank hotel nor in a fringe neighborhood that’s suddenly hot, but rather on the seventh floor of Bergdorf Goodman, which has been a mecca for luxury shopping since 1899. In fact, the whole floor, which is devoted to the home, just got a serious refresher with an injection of new, high-end furnishings from around the world—proving that fashion stores are no longer just selling clothes; they’re selling a lifestyle. For her first project in New York, L.A.-based interior designer Kelly Wearstler gave BG, the restaurant which overlooks Central Park, a decidedly residential feel by creating a series of salons rather than one huge room. It’s a nod to the Beaux Arts building’s heritage: The Goodmans used to live two floors above in a 16-room apartment. With a refined palette of ivory, black, and gold, Wearstler has enlivened the setting, which includes a swank bar, using hits of unusual color: Leather-covered canopy bergères, modeled after ones she saw in a Christie’s catalogue, are robin’s-egg blue; turquoise silk from De Gournay, embellished with a chinoiserie design, covers some walls; and avocado and mustard make appearances, too. “We wanted to be true to Bergdorf Goodman aesthetically, and we knew this wasn’t going to be a minimal, white box,” says the store’s CEO, Jim Gold. Adds Wearstler, “I wanted it to feel fresh. It’s a room for people of all ages.” The rest of the floor is divided into small boutiques where the unusual reigns, with one-of-a-kind objects like perfectly preserved ostriches and peacocks from Deyrolle, the famed Parisian taxidermist; whimsical, hand-painted stationery from Bernard Maisner (with calligraphers on hand to address invitations); vintage books and entomological prints from Jane Stubbs; exquisitely embroidered bedding by Leontine Linens; and a stash of vintage hotel silver. “We want the floor to have a sense of discovery,” explains Gold, “as if you are shopping the stalls of a luxury flea market.” Vicky Lowry

BG, the new restaurant designed by Kelly Wearstler on Bergdorf Goodman’s seventh floor.

A display of innovative table settings.

Vintage hotel tableware and serving pieces.

A new boutique with items from Deyrolle in Paris and decoupage platters by John Derian. See Resources.


mah-jong “les contemporains” collection

“ M A H - J O N G ” m o d u l a r s o f a . D e s i g n e d b y H a n s H o p f e r. U p h o l s t e r e d i n Ke n z o ® f a b r i c s . A s s e m b l e , s u p e r i m p o s e a n d j u x t a p o s e t h e s e t h r e e b a s i c u n i t s t o c o m p o s e the sofa you desire! Hand-sewn, rolled edge, quilted seat and back cushions in foam and fiber for supreme comfort! Cushion’s dimensions: 95 x 95 x 19 cm.



N E W Y O R K - O T TA W A - PA L M B E A C H - P H I L A D E L P H I A - Q U E B E C - S A N F R A N C I S C O - S A N J O S E , C A - S A N J U A N , P R - S E AT T L E - T O R O N T O - V A N C O U V E R - W A S H I N G T O N , D C - W I N N E T K A , I L

what’s hot! shops

A dining table and chairs, and a selection of tabletop accessories.

Suede, tweed, and cashmere in a living room vignette at the new Williams-Sonoma Home store in Los Angeles.

Leather-upholstered seating and ottomans. See Resources.

A bedroom tableau.

The exterior of the store on Beverly Boulevard.

Outof the Kitchen
With its first home store, Williams-Sonoma brings its reputation for style to the rest of the house
After a mere 18 months, the Williams-Sonoma Home catalogue now has a pop-up edition, a new shop in West Hollywood where all the wares on its pages—and more—have sprung into three dimensions. Located on Beverly Boulevard, just a stone’s throw from the Pacific Design Center and around the corner from Robertson Boulevard’s upscale boutiques, the store is the first of a projected total of seven that the company will have opened around the country within the next year. The 18,500-square-foot space is laid out like a rambling but opulently luxurious traditional home. Two inviting leather stools sit in front of a working fireplace, with highball glasses and a cut-crystal decanter positioned nearby. All that’s missing is a dram of Scotch. And up the large, gracious stairway, a bedroom is subtly evoked, right down to the Art Deco–style alarm clock perched on a bedside table. “We wanted to create a store that was friendly, casual, and comfortable,” says Dave DeMattei, president of emerging brands for the San Francisco–based Williams-Sonoma, Inc. “Chuck Williams, founder of the company, welcomed people into the kitchen with a spirit of hospitality. We want to welcome them into the rest of the house in the same way.” The store is the ultimate reassurance for anyone who might hesitate before phoning in an order for a sofa. See that same item at the store— and try it out—and it’s far easier to commit. “You can come in and sit in a leather chair while you flip through the catalogue and see what that same chair will look like in plaid or linen,” says DeMattei. “The catalogue, the store, and the website all work as one.” Christy Hobart



what’s hot! people
Far left: Charlotte Moss in her East Hampton home, with fabrics and upholstery from her premiere collection for Brunschwig & Fils. The Alice slipper chair is upholstered in Monticello, and her evening coat and the curtains are of Digby’s Tent. Fabrics include, clockwise from left, Monticello in two colors, Creek in two colors, Daphne’s Mystery, and Vanessa’s Folly. See Resources.

Pattern Play
Moss’s study, with walls and curtains in Zarafa.

To inspire her first collection of furniture and fabrics, Charlotte Moss looks to the women she admires
Picasso had Marie-Thérèse Walter, Andy Warhol had the denizens of the Factory, and Marc Jacobs has Sofia Coppola. Charlotte Moss, who has forged a reputation for richly layered rooms long on both elegance and comfort, has a veritable salon of muses— Edith Wharton, Jane Digby, and Lola Montez, to name a few. In her first collection of upholstery, fabrics, and wall coverings for Brunschwig & Fils, Moss honors the women, both famous and infamous, who inspire her to, as she puts it, “live life large.” “Edith Wharton ran upstream,” says Moss. “She worked when it was unfashionable for women to do so.” Her homage in fabric, Edith’s Reverie, evokes the chinoiserie so popular in Wharton’s beloved Paris. The Josephine sofa is named for the wife of Napoleon, and the Sarah skirted armchair for Sarah Bernhardt. Moss so loves the pattern of Digby’s Tent, named for the 19th-century aristocrat who married a Bedouin sheik, she had a coat made from it. Moss has had a busy year, with the publication of her latest book, Winter House, as well as the launch of her new lines. But then, the Southerner has always intertwined life and work. Her subtle wovens are inspired by and named for the creeks, mountains, and beaches she loves. A faux-bois pattern recalls the alpine ridges of Highlands, North Carolina, while Monticello, a damask of oak leaves and acorns, reminds her of the hills around Thomas Jefferson’s home in her native Virginia. Though she looks to the past, her color wheel is decidedly current. Curry, sage, aubergine, and citron predominate. “I strive to create emotion, passion, and atmosphere in a room,” she says, “by borrowing from the past and pushing to the future.” Kathleen Hackett

From top: Moss’s new wall coverings include Daydream, shown in two colors, Emily’s Journey, and St. Barts.

The living room has a sofa and a Lola chair covered in Digby’s Tent.

In the dining room, the walls, curtains, and tablecloth are of Daphne’s Mystery, and the chairs are slipcovered in St. Barts.


what’s hot! travel

Clockwise from left: The fabled Art Deco Sunset Tower Hotel in Los Angeles, built in 1929. Piero Morovich, chef of the hotel’s Tower Bar restaurant, with owner Jeff Klein in the lobby. The restaurant. See Resources.

Hollywood Heights
Jeff Klein has had a thing for hotels ever since he was a child, when he would skip sightseeing tours with his family to wander such iconic properties as the Ritz in Paris or Venice’s Cipriani. It fits, then, that the hotelier’s most recent acquisition is a Hollywood Art Deco icon that looms over Sunset Boulevard. “When I first saw the hotel, its architecture and history romanced me,” he says. “It wasn’t for sale, but my business partner contacted the owner and made it happen.” Last fall, 18 months and $25 million later, the hotel, which had been known for more than a decade as the Argyle, reopened under its original name, Sunset Tower. And sightings of everyone from Steven Spielberg and Sofia Coppola to Oscar de la Renta and Anna Wintour in the hotel’s walnut-paneled lobby and restaurant attest to its instant success. Built in 1929 by architect Leland A. Bryant, Sunset Tower was home to Howard Hughes, Bugsy Siegel, and John Wayne, who kept a pet cow in the penthouse. Liz Taylor, Frank Sinatra, and Marilyn Monroe were also regulars. The glamour lasted until the early ’70s, when the property slipped into disrepair. In the late ’80s, it was renovated, reopening as the St. James Club. “They really messed up with all this

A faded Deco beauty gets an extreme makeover and emerges as the Sunset Strip’s hottest venue


what’s hot! travel
fake Deco,” Klein says with a cringe. “They put a Jetsons canopy on it and built these weird, UFO-like cabanas. The real travesty, though, was all the fake marble, the fake Erté. I knew I’d have to rip everything out.” Enter L.A.-based designer Paul Fortune, who, after working on Marc Jacobs’s Paris apartment, was looking for a job closer to home. He was drawn to the hotel: “Despite its amazing location and history, the building had never been a great jewel. I felt I could make it what it always should have been.” Klein wanted the place to be grown-up yet sexy. “I also wanted it to feel clean and modern,” he says. “The worst thing to me about something feeling old is it often feels dirty.” The collaborators drew inspiration from historic spots such as Hollywood’s Musso & Frank and the Hemingway Bar at the Ritz in Paris—as well as the heyday of the hotel itself. Bugsy Siegel’s ground-floor apartment, in what is now the Tower Bar restaurant, was sheathed in walnut inlaid with brass, so Fortune started with that. “I used this great paneling salvaged from an Amex boardroom,” he says. From the beginning, there was pressure to match the hotel’s wedding-cake exterior. “People kept saying, ‘You have to make it Deco,’” Fortune recalls. “But to me, a Deco vibe can come from colors and materials. I found a dustyrose fake suede for $19 a yard.” Swirling wood grain, limestone floors, and Tibetan wool rugs round out the look. Guest rooms feature baths with vintage-style fittings and original floor-toceiling windows with bronze details. The spa showcases a large terrace and a spacious white marble hammam. What’s immediately noticeable is a potent sense of timelessness. Fortune feels it most in the 80-seat restaurant, where chef Piero Morovich serves up Italian-accented contemporary bistro cuisine. The place became a power-dining scene within weeks of its opening. “Tom Ford and I are always fighting for the same little banquette,” Fortune jokes. “The piano player is right there, tinkling away—you could be on the Normandie sailing across the Atlantic or in L.A. in the ’40s.” Klein sees his Sunset Tower as a response to trendy boutique hotels. “I wanted to create a sense of permanence here,” he says. “This place not only has history, but now has the glamour of a Hollywood landmark without the formality and stuffiness. You don’t need a dinner jacket to have a drink at the bar,” he adds with a smile. Tara Mandy

A recently renovated guest room.

The living area of a guest suite, with floorto-ceiling windows.

The Tower Bar.

A penthouse bathroom.

The dining room of the Tower Bar.

The reception area of the hotel’s Argyle Spa. See Resources.



what’s hot! news


1 Dog Days
As much animal trainer and wit as artist, William Wegman made Man Ray and Fay Ray, his Weimaraners, nearly as famous as their namesakes. But his 40-year retrospective at the Brooklyn Museum proves he has lots more than one trick up his sleeve. Man Ray Contemplating the Bust of Man Ray. From March 10–May 28. Call 718-638-5000;

2 Celtic Cool
Philip Treacy is known for his over-thetop hats, worn by everyone from Mick Jagger to Camilla Parker Bowles. Not surprisingly, his first interior, the G hotel in Galway, is as exuberant as a feathered headdress, with 101 luxurious rooms done up in bold hues and vivid patterns. Call 011-353-91-865-200;

3 Room Service
Worldware, a San Francisco fixture for home furnishings, has moved to larger quarters that allow for 14 room vignettes stocked with global finds—from Chinese lamps to furniture by Alexa Hampton. At 301 Fell St. Call 415-487-9030.


4 Alpine Allure

Mountain-deprived Manhattanites can now get cozy at Aspen, a new restaurant and lounge where Lucite deer heads and barn-wood paneling give the place the look of a hip lodge. The menu warms things up with fondue and bison sliders. At 30 W. 22nd St. Call 212-645-5040.

5 Desert Drama
Spectacular residences and gardens are the focus of Marrakech: Living on the Edge of the Desert (Images, $65), whose lush color photographs capture one of the world’s most magical places.



New York • Miami • Chicago Dallas • San Francisco • Atlanta Tel. 800.426.3088

trend alert

Nothing energizes a room—or a wardrobe—like a shot of rich, deep brown
Produced by Anita Sarsidi









1 Marmotte silk twill jacket and skirt with patent-leather trim by Louis Vuitton from spring 2006. 2 Nouvelle Texture* cottonwool-viscose-polyester by Stroheim & Romann. 3 Rural* linen from Travers. 4 Velours Bonaparte* polyester-cotton by Nobilis. 5 Profilia* cottonviscose by Zimmer + Rohde. 6 Harris* viscose-cotton-linen by Sanderson. 7 New Khmer* silk by Jim Thompson. *Available to the trade only. See Resources.



trend alert
Urn steel lamp and silk drum shade by Worlds Away. Ellipse* polyestercotton by Pierre Frey.

Simplicity cotton by Waverly.

Chevron Print* cotton by Decorators Walk.

Broadgate Stripe cotton by Ralph Lauren Home.

Mandarin Flower cotton-fleece blanket by Designers Guild.

Mystical Zebra rug by Karastan. Kira jacquard-knit jacket, Giovanni jacquard-knit skirt, and giant-polka-dot knit top by Diane von Furstenberg from spring 2006.

The contrast of dark and light has always been powerful, but there’s no reason it can’t also be pretty. Designers are reinventing the classic combo in everything from delicate prints to decorative flourishes, giving it a retro edge that evokes 1940s glamour. All that’s missing is a pair of kidskin gloves.

Radetzcky lacqueredwood screen by Armani Casa. Black and White tole hatbox set by Jane Gray for Stray Dog Imports.
*Available to the trade only. See Resources.



Black + White


With Ceramic Tiles of Italy you can create your own lasting masterpiece. Italy produces the world’s largest range of styles, colors, designs and technological innovations in ceramic tile giving you the very best tools of the trade. Before your next project, be sure to visit to see the latest trends and find the retailers closest to you.
For more information, please contact: Italian Trade Commission – Ceramic Tile Department – 33 East 67th Street – New York, NY 10021-5949 – ph (212) 980-1500 – Ceramic Tiles of Italy, promoted by Assopiastrelle (Association of Italian Ceramic Tile and Refractories Manufacturers), is a registered trademark of Edi.Cer. S.p.a.


Kehinde Wiley’s fresh take on history painting, The Chancellor Seguier on Horseback, 2005, after a Charles Le Brun classic. See Resources.

In his paintings, art history meets the street, and classic poses take on provocative new meanings
By David Colman
The annual international art-fair spectacle known as Art Basel Miami Beach established once and for all this past December that the tricky intersection of art and commerce has become a 12-lane, six-way L.A. freeway interchange complete with triple overpasses and doublecloverleaf ramps. Any minute now, we’re expecting a 37-car pileup. In the current go-go climate, artists have responded with inflationary tactics. Not just prices, but visuals—oversize glossy photographs, absurdist installations, cartoon-bright colors and graphics, all of which seem to mimic the balloonacy of today’s market. With the money pouring in, few are willing to venture anything remotely close to a pinprick. So Kehinde Wiley, whose paintings manage to comment on the sticky issues of money, power, and status while maintaining a sublime sense of history, mystery, and beauty, is a very welcome exception— which is why it’s so gratifying to see him also become the art world’s latest sensation. With his most recent installation, “Rumors of War,” which opened at New York’s Deitch Projects shortly before Miami Basel, Wiley continued his practice of reconfiguring famous historical portraits. In these, he replaced the august subjects of Peter Paul Rubens’s Equestrian Portrait of the Duke of Lerma and Jacques-Louis David’s Bonaparte Crossing the Alps at Grand-Saint-Bernard with young, urban black men, complete with football jerseys, Timberlands, and baggy jeans. The scenes are embellished with beautiful decorative patterns that fall, intriguingly, somewhere between historic rococo and tacky aspirational wallpaper. Wiley even painted the gallery in the Grand Salon colors of burgundy and deep teal (again raising the question of proper versus tacky) and set up a faux gentleman’s club.


As the show beautifully demonstrated, Wiley isn’t afraid to tackle issues of class and race, carrying on the tradition of other brilliant African-American artists like Robert Colescott, Jean-Michel Basquiat, and Fred Wilson, all of whom have managed to combine witty and plangent commentary with arresting imagery. Wiley certainly has rights to the imagery he uses, having grown up in South Central Los Angeles in the ’80s, when gang violence and hip-hop music were erupting into touchstones of American culture, forging vital new models, good and bad, for powerstarved, status-hungry urban youth. Wiley was fortunate enough to have a mother who got her son into free art classes, and even an art camp in Russia sponsored by Michael Milken. Wiley’s pedigree (a.k.a. his street cred) has endeared him to the press and collectors alike. But having grown up in a world where status and wealth were so clearly double-edged swords, Wiley is as leery of success today as when he was a youth. “We’d like to believe that art has no relationship to commerce,” says the artist, 29, in his busy Williamsburg studio. Attending the frenzied Miami Basel fair, he explains, “really laid bare that these are high-priced luxury goods for wealthy consumers.” With rare candor, he adds, “I think it’s very important that artists recognize their position in society and incorporate that into the conceptual fabric of the work. There’s a specific vocabulary concerning power. I’ve not only reproduced it, but in some sense I am critical of it, and complicit.” If all this suggests that Wiley’s work is social commentary dressed up in pretty clothes, think again. These are far from two-dimensional images. What is affecting about the pictures is not merely how incongruous the young men are, but how alive, real, poignant, and in an odd way, how natural. While elements of his works are copied, his subjects are painted from life—Wiley trolls Harlem for what he calls “guys with a kind of alpha-male sense of style”—and it shows. The models, armed with Wiley’s art history books, pick the portraits in which they want to be reproduced (and for the opening they were chauffeured to the gallery in limos). The resulting works are more intimate than grandstanding, invoking the specters of ambition, achievement, and aspiration that bedevil everyone—black and white, rich and poor. So if you’re in a position to buy one, beware: The subject’s eyes tend to follow you around the room.

Clockwise from top left: The artist with his work at Deitch Projects. Assumption, 2003. Napoleon Leading the Army over the Alps, 2005, after Jacques-Louis David. Female Prophet Anne, Who Observes the Presentation of Jesus on the Temple, 2003. Immaculate Consumption, 2003. St. John the Baptist Preaching, 2003. See Resources.




Advertising & Promotion • Events & Opportunities
ELLE DECOR's Dining by Design San Francisco, presented by GE, was a fitting finale to 2005's multicity event tour. With the San Francisco Bay as a backdrop, the Fort Mason Center radiated glamour as guests dined and danced in support of DIFFA (Design Industries Foundation Fighting AIDS).
Photo, from left: Michelle Crowe, senior writer, Banana Republic; Margaret Youngblood, senior creative director, Banana Republic; Lisa Gotts, northwest sales manager, ELLE DECOR.



ELLE DECOR co-hosted “Haute Hospitality,” an evening with interior designer

Dodd Mitchell, at the Ann Sacks showroom in Dallas. Mitchell was on hand to share tips and trends inspired by the hospitality industry for your home decor.
Photo, from left: Evelyn DeWitt, administrative assistant; Pam Garnett, manager; Dana Weir, sales associate; Nancy Judy, sales associate; Eddie Bickers, sales associate; all from Ann Sacks.

Editor in Chief Margaret Russell and Steven Mittman, president of Lewis Mittman, co-hosted a cocktail reception at the Lewis Mittman showroom in Manhattan to celebrate the launch of Jamie Drake's new furniture collection.

ELLE DECOR co-hosted an exclusive preview of the much-anticipated annual Donghia

3 2 5 4

Warehouse Sale, which offered a wide array of furniture, as well as decorative and upholstery fabrics, at the Puck Building in SoHo.

Margaret Russell and Jim Gold, president/CEO of Bergdorf Goodman, toasted Prince Louis-Albert de Broglie at the opening of the Deyrolle boutique at Bergdorf Goodman, the first U.S. outpost of the famous one-of-a-kind taxidermy and curiosities shop from Paris.
Photo: Prince Michael of Yugoslavia and Françoise de Broglie.

ELLE DECOR guests mixed and mingled amid innovative furniture and accessories

at the fabulously festive annual ddc holiday party at the ddc showroom located at 34th St. and Madison Ave. in New York.
Photo, from left: ddc partners Seemak Hakakian, Daniel Hakakian, and Babak Hakakian.

CLARKE’S SUB-ZERO WOLF “FREEZE” EVENT February 9 ELLE DECOR and Metropolitan Home present a design seminar hosted by Metropolitan Home merchandising editor Jo-Anne Pier at the Boston Center for the Arts. RECEPTION FOR THE BOMBAY SAPPHIRE ® GLASSWARE EXHIBIT AT THE BOSTON DESIGN CENTER March 9 The U.S. winner of the Bombay Sapphire® Glassware Competition will be announced at a special reception at the Boston Design Center. Visit for more details. ELLE DECOR’S DINING BY DESIGN NEW YORK March 11–13, 2006
ELLE DECOR's signature program gears up for its ninth year with a weekend of events

in New York City. We're excited to announce GE as the presenting sponsor for the second year, Lexus as the automotive sponsor of Dining by Design New York, and a new venue: The Waterfront at 224 Twelfth Ave, between 27 th and 28th Streets. Visit for more details and to enter the “Guess Who's Coming to Dining by Design?” Sweepstakes, in which you could win tickets to attend an upcoming ELLE DECOR’s Dining by Design event. Note: Dates and markets are subject to change. For the latest event updates, sweepstakes, and promotions, visit ELLEDECOR.COM. .


designer’s dozen

12 things he can’t live without
By Julie V. Iovine
At 77, Frank O. Gehry is at the top of his game. His acclaimed design for the Guggenheim Museum in Bilbao, Spain, not only altered the economy of an entire city but also triggered a museum building boom the world over. For the past decade, he has easily maintained his status as the world’s most renowned architect by topping one innovative building with another, from the Walt Disney Concert Hall in Los Angeles to the Jay Pritzker Pavilion in Chicago’s Millennium Park and, currently under construction, the Jerusalem Museum of Tolerance. Yet he still worries about what’s next in his own life, and praise makes him nervous. In fact, Gehry has always preferred the role of struggling artist to that of celebrated genius. Perhaps as a result, he can now add something entirely different to his repertoire: jewelry and tabletop designs, with six collections for Tiffany & Co. about to debut. “I never in my wildest dreams thought I’d be working for Tiffany,” he admits, “but once I got started, it was so seductive. Now I’m up to my eyeballs.” The pieces are the result of a two-year exchange with Tiffany’s artisans, the kind of hands-on collaboration that Gehry values most. “At this point in my life, I didn’t expect it to be so exciting,” he says. Experimentation and working with others, it turns out, are essentials for the architect. Plus a pad and a pen for sketching ideas.
9. Sculpture by Ken Price. 8. The FOG hockey team.

2. Falcon jet.

4. Vase for Tiffany & Co.

1. Jacob van Ruisdael’s The Jewish Cemetery, at the Detroit Institute of Arts. 2. Falcon private jets. I wish someone would ask me to design one. 3. Proust’s Remembrance of Things Past. I read it, I listen to it on tapes—it’s my bible. 4. My new pieces for Tiffany. 5. Drawing with a Pilot Extra Fine Point pen
on a Seth Cole Bristol two-ply plate pad.
5. Pilot pen and Seth Cole pad. 7. Soba noodles.

6. Free weights. As long as they’re set up by T.R., my trainer for the past decade. 7. Soba noodles, even though they’re not on my diet. 8. The FOG hockey team: What started out as our office team is now semiprofessional, and I’m not good enough to play on it anymore. 9. Ken Price sculptures. 10. The Hereditary Disease Foundation in
Santa Monica, founded by my former therapist and old friend, Milton Wexler.

11. Classical concerts, especially by Emanuel Ax, Mitsuko Uchida, and Hélène Grimaud. 12. Worry—especially about my kids. I worry so much, I must like it.
11. Classical music by Emanuel Ax.



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Offer is subject to change and is open to residents of the U.S., the U.S. Virgin Islands and Puerto Rico, and is only valid for new members of the Gevalia Kaffe program. Limit one Gevalia Kaffe membership per household. Gevalia Kaffe reserves the right to substitute a gift of equal or greater value when limited supplies are exceeded. Offer expires one year from publication issue date. Please allow four to six weeks for your Trial Delivery. GEVALIA is a registered trademark.

You are invited to try two half-pound packages of Gevalia Kaffe for only $14.95, including all delivery charges. We’ll also send you our Stainless Steel Design Collection, with the understanding that you will accept three additional deliveries of Gevalia. You will receive Gevalia shipments automatically about every six weeks (or on a schedule you request), plus you may receive a special holiday delivery. You may cancel your service after your third regular delivery, and the gifts are yours to keep with no further obligation.


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truth in decorating

Designers Steven Gambrel and Susan Forristal measure the merits of étagères by Councill, left, and Stickley. See Resources.

Susan Forristal and Steven Gambrel take stock of the latest freestanding shelves to see how they stack up
Text by Julie V. Iovine · Photography by William A. Boyd Jr. · Produced by Alison Hall
The very word sounds so continental, so suave, so Marie Antoinette at Le Petit Trianon. But what exactly is an étagère? In French, it simply means shelf. And for such a ubiquitous and popular piece, it actually doesn’t have much of a historic pedigree. The great American doyennes of fine furnishings, Edith Wharton and Elsie de Wolfe, had barely a word to say about these open-sided shelves. There is no “correct” way to use them, but that only makes them more liberating and versatile. They seem to come in every size and style (the images on the next page are not to scale), so be sure to measure where you’re considering placing one, whether it’s in the dining room to showcase a collection of objects, to store stacks of towels in a guest bath, or as a pair to flank a doorway. Susan Forristal, an interior decorator who likes furniture with strong, graphic shapes, and Steven Gambrel, a designer with a penchant for elegance energized with strong color, size up ELLE DECOR’s selection of étagères that can stretch space and add a dash of concentrated style like no other piece of furniture.



The10Most Elegant Étagères

truth in decorating

“Nice spirit!” exclaims Gambrel. “The construction is so fine it looks custom made. In a bold color, it could add a real hit of energy.” Forristal also likes its sturdiness, but sees it more in a supporting role. “I’d put one on either side of a door and paint them the color of the walls to add architectural interest,” she says.
Height: 79.5"; width: 32"; depth: 18"; material: maple in oyster finish (other finishes available) with brass drawer pull; delivery: 10–12 weeks; price: $2,660

“This one may be huge,” says Forristal, “but it doesn’t clobber you on the head with its Asian look. It even guides you on how to arrange whatever goes into it.” Gambrel prefers it in a hallway rather than in a central place, adding, “Imagine the impact if it held a single collection.”
Height: 76"; width: 55"; depth: 18"; material: hardwood in blackcurrant finish with antique-brass hardware; delivery: 3–6 weeks; price: $1,200

“What’s not to like!” proclaims Forristal. “This is a classic, ideal for a loft or home office. It could take a lot off your desk.” Gambrel calls it “seriously industrial,” with its rubber wheels, sturdy shelves, and easy-to-clean surfaces. “It’s a real working piece,” he adds, “great for a stylish kitchen.”
Height: 71"; width: 39"; depth: 16"; material: stainless steel with rubber wheels; delivery: 5–7 days; price: $1,250

“Delicate without being dainty,” Forristal pronounces. “It has a nice depth to it, which makes it practical.” Gambrel finds the generous spacing between shelves ideal for electronics, but also suggests, “The price is so low, why not buy a few, coat them in auto paint to make them pop with color, and use them to hold the kids’ treasures?”
Height: 72"; width: 24"; depth: 15"; material: steel with clearlacquer finish; delivery: 3 weeks; price: $299

“I like this one’s weathered look,” says Gambrel. “Try putting it where it will be an inspiration, like in a teenager’s bedroom, hung with jewelry.” Forristal appreciates its scale. “It’s just the thing for a tiny apartment. It can jazz up any small space,” she says. “Loaded with plants, it can even turn a kitchen corner into a slice of sunroom.”
Height: 68.5"; width: 18.5"; depth: 18.5"; material: wrought iron in painted-rust finish; delivery: 1–2 weeks; price: $299

“As sculptural as a pedestal,” says Gambrel. “A pair would look amazing in a dining room with bowls or platters that contrast with the dark wood.” Forristal sees it as more rustic: “I’d love it overflowing with ferns. To me, it’s pure English country house.”
Height: 72"; width: 24.5"; depth: 24.5"; material: solid beech in aged European-umber finish with brushed-nickel sockets; delivery: 4–6 weeks; price: $1,750

“The essence of classic modern,” declares Forristal. “It’s so understated even a pair wouldn’t overwhelm a room.” Gambrel raves as well: “Exactly what I think of when I think étagère. Its height and scale, the brass and mahogany, make it a useful and glamorous piece.”
Height: 96"; width: 36"; depth: 14"; material: polished-brass frame with mahogany shelves (other materials available); delivery: 10–12 weeks; price: $12,600

“Its diminutive scale says upstairs,” says Gambrel. “Perfect for a bedroom or bath. And I love the nickel socks.” Forristal points out that though it might be too small for a grand room, “it has a show-off finish and would be stunning in a dressing room.”
Height: 52.5"; width: 19"; depth: 13"; material: solid cherry with walnut inlay in Saratoga finish (other finishes available) with nickel sockets; delivery: 4 weeks; price: $1,212

Forristal terms this one “definitely a statement piece. It’s like an Industrial Age antique. The iron posts look as strong as trees.” Gambrel agrees. “This has a handwrought look perfect for the country,” he says. “And the tall middle section is spacious enough to hold a television set, which is rare.”
Height: 82"; width: 42.5"; depth: 24"; material: hand-forged iron in rust finish (other finishes available) with glass shelves; delivery: 4–6 weeks; price: $6,520

“It’s small but it’s snappy,” jokes Gambrel. “So small that I see it floating on a wall, perhaps in a children’s room above a chest of drawers and stocked with a collection of Nancy Drew or Hardy Boys books.” Forristal prefers it in another room: “It would be perfect in an entry or a bathroom. It’s meant to hold a lot of stuff and disappear.”
Height: 50"; width: 18"; depth: 8"; material: acrylic; delivery: 3–4 weeks; price: $340

The opinions featured are those of ELLE DECOR’s guest experts and do not necessarily represent those of the editors. All measurements, delivery times, and prices are approximate. For details see Resources.


223 East 59th Street, New York, NY 10022 t: 212.355.6300 f: 212.355.5390

great ideas


Glass-enclosed sunrooms do more than help banish winter blues, they bring great style to light
1 In the solarium of a house outside Paris, Monic
Fischer, owner of the home-furnishings company Blanc d’Ivoire, pairs a wood table with linen-slipcovered dining chairs and a pendant lamp softened with muslin. 2 Designer Pip Isherwood updates the greenhouse of a Victorian former rectory in Gloucestershire, England, with Eros swivel chairs by Philippe Starck, a ’50s-style chandelier, and a floor of pebbles set in resin. 3 At Hilleskär, a late-19th-century house on the island of Ekerö, Sweden, a glassenclosed porch on the second floor makes the most of the limited sunlight of Scandinavian winters; the steel chairs are by Jonas Bohlin. 4 Argentine architect Diego Montero gives a rustic edge to a contemporary glass house in Punta del Este, Uruguay, by encasing the grid of windows in wood, linking it with the grove of eucalyptus trees beyond. 5 An urban sunroom takes a graphic approach with dark metal framing, a Le Corbusier table, and black folding chairs.

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• ventura sofa $1,399 • maldives table $599 • ryland wind rug $549 • toni chair $579

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call for a catalog 1.888.storehouse or order online at 70 stores


daniel’s dish

high and mighty
Goat cheese lifts the classic French soufflé to new heights. By Daniel Boulud
A cheese soufflé, that classic of French cuisine, adds a magical touch to a meal. Few dishes are more dramatic than a puffy soufflé pulled fresh from the oven. Guests invariably cry “Ah” when you bring one to the table. For all its drama, making a soufflé is a relatively simple process, though a bit of a fearful one, since you won’t know until you open the oven if that soufflé magic has worked. Timing is crucial, but the béchamel base can be prepared ahead, and then all you have to do is beat the egg whites at the last minute. Butter the baking dish well and cover it thickly with bread crumbs, which helps the soufflé rise. Baked in individual dishes, it will rise even higher. But even if a soufflé falls, it will still be delicious. Soufflés can be made with all kinds of cheeses, but I particularly like this goat cheese one. My family owned 60 goats, so I practically grew up on goat cheese. If you want to offset the tartness of the cheese, you can sprinkle the top of the soufflé with a bit of grated Comté or Gruyère just before baking. For an accompaniment I suggest a mélange of dried fruits and a hearty salad, ideally a mix of endive, radicchio, frisée, and escarole, fortified with croutons, toasted walnuts, and perhaps some apple and pear slices. I’ve supplied a few of my favorite salad dressing recipes. Prepare the fruit marmalade ahead, toss the salad, and whip the soufflé out of the oven with a flourish for a perfect winter meal. GOAT CHEESE SOUFFLÉ WITH DRIEDFRUIT MARMALADE
For the soufflé: 8 T unsalted butter, softened 1/4 cup bread crumbs 1/4 cup finely grated dry-aged goat cheese 1/4 cup all-purpose flour 11/2 cups milk 1 tsp. salt, plus a pinch 1/2 tsp. freshly grated nutmeg Pinch of cayenne pepper Freshly ground black pepper 6 eggs, separated 2 cups fresh goat cheese 2 egg whites

An individual goat cheese soufflé, served with a tart marmalade of dried fruits and a radicchio and endive salad, makes a richly satisfying winter meal. The King William sterling-silver soupspoon is by Tiffany & Co.; the Incanto Flower dinner plate is by Vietri. See Resources.


C H I C A G O • T H E N E W Y O R K C IT Y • T H E L O S A N G E L E S • T H E F I N E A R T S

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Presenting a showcase of furniture, fabrics, and accessories available through a professional designer. For more information, contact your interior designer. Or, check into your local design center’s referral or buying service.


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The Schuylkill River, with the Philadelphia Museum of Art, far left, and the city skyline in the background.

Proud of its historic past, but no longer bound by outmoded traditions, the city is experiencing a renaissance of creativity and entrepreneurial energy
By Julie V. Iovine
If you haven’t been to the City of Brotherly Love lately, it’s time to recharge your impressions. There’s far more to the city than the elementaryschool trip with pit stops at the Liberty Bell and Ben Franklin’s digs would indicate, or even a pilgrimage to see the Postimpressionists at the Philadelphia Museum of Art (the country’s third largest). The serious history and art are all still there, of course, but today Philadelphia is percolating with a more youthful sensibility that’s both cosmopolitan and neighborly. It’s a welcome paradox: a kind of Madrid on the Delaware River, rich in history but liberally sprinkled with outcroppings of experimental new culture, ambitious student life, and cunning luxury-condo developers poised to profit from the city’s new energy. For far too long Philadelphia was the East Coast’s shrinking violet. Proud of its Founding Fathers legacy but plagued by a more recent reputation for urban malaise (notoriously capped by the bombing of a houseful of radicals in 1985), Philadelphia has struggled to rise above its status as a commuter’s way station between Washington and New York. But the truth that Philadelphia is a most livable city in its own right has dawned on a new generation of enthusiastic transplants, both emptynesters relocating from the suburbs and artists fleeing New York prices. Call it newly hip or historically revolutionary; just don’t call it the sixth borough of New York City. Last summer, The New York Times published an article noting “Philadelphia’s Brooklynization,” and local hackles were raised. “We’ve spent a long time in the shadows,” says Hilary Jay, director of the Design Center at Philadelphia University, which exhibits and supports local talent, including graduates of the city’s seven design schools. “But Philadelphians are beginning to understand we have our own particularities, our own gems, and our own style.” The winds of change are definitely in the air. Gary Rivlin, owner of the upscale furnishings store Usona, arrived from Russia 18 years ago. “In the past seven years,” he says, “everything has really


ease into modern design
Jasper owes its look to mid-20th-century modernists who believed that design should be both beautiful and functional. Its clean lines allow you to make a design statement without sacrificing comfort. Jasper is just one of the sectionals we offer at our lowest prices everyday, in stock and ready for delivery. Jasper sectional



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changed. Back then, downtown was tough, and nothing was open after 6 P.M. Now it’s a real 24-hour city.” Visitors would do well to start in Washington Square or nearby Rittenhouse Square, two of the five original urban parks created by city founder William Penn to reflect the city’s aspirations to become a new urban arcadia. Their mature trees, wrought-iron fences, and stately mansions reek of historic glory while still reflecting Philadelphia’s new vitality. In other words, many of those old piles contain hip new stores, like the 1896 Beaux Arts stunner at the corner of Walnut and 18th streets, the former home of financier Alexander van Rensselaer, now the flagship of the bohemian clothing chain Anthropologie, with much of the original interior detailing quirkily restored. Then stop in at La Colombe. The mood of the 12-year-old café and roaster (which supplies beans to Manhattan’s Le Bernardin and restaurant Daniel) is cosmopolitan and upbeat—call it noninvasive Euro-chic. Just east, closer to the Delaware River, are the oldest parts of the city, including Society Hill, Independent National Historical Park (an L-shaped swatch of green chockablock with landmarks), and Old City itself. The whole area, where the city grid is squeezed between the Schuylkill and the Delaware rivers, is a dream for wanderers. Cobbled streets are lined with narrow redbrick houses stitched together with back alleys and the occasional carriage house. On corners here and there are old storefronts converted into BYOB restaurants, simple but crowded little eateries without liquor licenses, where ambitious chefs experiment. In Old City, Third Street is lined with design shops selling everything from wares by local artisans to the latest in Italian minimalism. History is always just around the corner, whether it’s the Free Quaker Meeting House at Fifth and Arch streets, built in 1783, where Betsy Ross meditated (on alternate flag motifs, perhaps) or the lovely moss-and-stone Christ Church burial ground, Ben Franklin’s last stop. On certain Fridays, Old City is anything but sleepy, however. First Fridays have become a popular tradition. Some 40 galleries, shops, and restaurants throw open their doors, serve drinks, play music, and otherwise turn the streets into a sprawling cocktail party. Nearby at 138 Market Street, the Continental Restaurant and Martini Bar, a Sinatraesque lounge located in a former diner, is always thronged. It was the first of many scene restaurants opened in the city by Stephen Starr, Philadelphia’s answer to Manhattan’s Jeffrey Chodorow. The Continental was an instant hit in 1995, credited by many as a turning point for Old City. “I have this big bang theory about what’s happening in Philadelphia,” says Starr, who grew up in South Jersey but visited the city often (“A lot more interesting than hanging out in Asbury Park,” he jokes). “When the condos started to explode, it created motivation for people like me to make the next move. The city has the same DNA as New York, the same well-traveled people with money who are hungry for new experiences. For a long time there was a void where it should have been fun. Then things started to happen. And now the city feels fresh.” So fresh, in fact, Starr is exporting two of his most popular Philadelphia restaurants, Morimoto and Buddakan, to Manhattan. But it takes more than a hot meal to make a city hum, and in other regards Philadelphia has also kept pace. Not only does the public transportation system run smoothly and extensively, but the city has brought back one of its 1940s trolley lines. Even more ambitious and hightech, plans are in the works to make Philadelphia the nation’s largest citywide wireless Internet zone. On the cultural front, there’s plenty of expansion as well, starting with the (text continues on page 86)

City Hall, with a Claes Oldenburg sculpture.

The interior of the furniture and design store Usona.

A lunch counter at the Reading Terminal Market.

The Presidential suite at the Rittenhouse hotel. Eighteenthcentury rowhouses on Society Hill.

Verizon Hall at the Kimmel Center, designed by Rafael Viñoly.




Essential Philadelphia
The area code is 215. Raise a toast to First Fridays. Once a month, Old City holds a community cocktail party as 40 galleries and shops open their doors and serve refreshments to celebrate the neighborhood’s comeback (625-9200; Paddle your own canoe, or at least drive along the Schuylkill Expressway, to get the money shot of Boathouse Row, the cluster of Victorian structures just north of the equally romantic Fairmount Water Works, an 1815 dam dressed as Grecian temples. Visit the Reading Terminal Market (922-2317;, with some 76 vendors, offering Fisher’s soft pretzels, pork sandwiches, raw oysters, and organic produce. Open every day but Sunday. Stroll Rittenhouse Square, one of five squares designated by city founder William Penn. Don’t miss the Mütter Museum of medical curiosities nearby. Smell the flowers. The famed Philadelphia Flower Show (988-8899;, America’s largest, takes place March 5–12.

What to See
Barnes Foundation, 300 N. Latch’s Ln., Merion, 610-667-0290; See this eccentric “teaching” collection, loaded with masterworks, in its original house setting, before it moves to Benjamin Franklin Parkway. Christ Church, 20 N. 2nd St., 922-1695; Ben Franklin and four other signers of the Declaration of Independence are buried in the churchyard of this gloriously plain chapel. Eastern State Penitentiary, 2124 Fairmount Ave., 236-3300; Once a model of Quaker-style reform through architecture, it’s now everyone’s favorite ruin and a setting for new art installations.

The Fabric Workshop and Museum, 1315 Cherry St., 568-1111; New textile works by artists such as Anish Kapoor, Robert Kushner, and Mona Hatoum. Franklin Court, 316–322 Market St., 597-8974; Ben’s house is gone but memorialized by a “ghost house” and an underground museum designed by Robert Venturi. Franklin Institute, 222 N. 20th St., 4481200; Science and technology made accessible with interactive displays such as a walk-through heart. Kimmel Center for the Performing Arts, 260 S. Broad St., 790-5800; The city’s answer to New York’s Lincoln Center, designed by Rafael Viñoly, includes an all-wood concert hall in the shape of a cello. Pennsylvania Academy of the Fine Arts, 118 N. Broad St., 972-7600; The country’s oldest art museum; American masterpieces in a famed Frank Furness building. Philadelphia Museum of Art, 2600 Benjamin Franklin Pkwy., 763-8100; One of the great American museums. Its holdings range from rare Asian artifacts to Duchamp’s shocking Étant Donnés. Richards Medical Research Building, 3700 Hamilton Walk: An early work of Philly native Louis Kahn, ironically his only building in the city.

This is where Tom Hanks stayed while filming Philadelphia; it has the largest rooms in town, a spa, and the Lacroix restaurant, with modern French food. The Ritz-Carlton, 10 Ave. of the Arts, 523-8000; In the heart of Center City, this stately landmark has 299 tasteful rooms and all the amenities. Thomas Bond House, 129 S. 2nd St., 923-8523; The 12 rooms in this restored 1769 townhouse in Old City feature Chippendale furniture.

York’s Nobu to serve oyster foie gras and tempura in Gorgonzola sauce here. Tria, 123 S. 18th St., 972-8742; Beers and ales from around the world are a specialty of this casual café, which is popular with the locals.

Where to Shop
Belle Maison, 4340 Main St., 482-6222; A wide range of vintage and new French imports, including painted armoires, wrought-iron benches, and colorful enamelware. Flotsam + Jetsam, 149 N. 3rd St., 3519914; An idiosyncratic mix of antiques and contemporary works. Foster’s Urban Homeware, 124 N. 3rd St., 267-671-0588; High and low, and a bit of everything in between, from Iittala to local artisans. Gallery 339, 339 S. 21st St., 731-1530; Contemporary photography by new talents from Europe and Japan, and even Philadelphia. John Alexander, 10–12 W. Gravers Ln., 242-0741; A stellar collection of British Arts and Crafts and Aesthetic Movement furniture. Joseph Fox Bookshop, 1724 Sansom St., 563-4184; The archetypal independent bookstore, known for its art and architectural tomes. Matthew Izzo, 1109 Walnut St., 8290606; Midcentury furniture and chic women’s fashions. Moderne Gallery, 111 N. 3rd St., 9238536; Postwar marvels, strong on George Nakashima and Wharton Esherick pieces. Petulia’s Folly, 1710 Sansom St., 5691344; Inside the carved African doors, trendy fashions (Hollywould and Nicole Farhi) mix with housewares. Usona, 113 S. 16th St., 496-0440; Two floors of sophisticated contemporary furniture and tabletop accessories, plus artworks.

Where to Eat
Amada, 217–219 Chestnut St., 6252450; Tapas, a wide range of cured meats, and even garlic dulce de leche, all served in a minimalist setting. Barclay Prime, 237 S. 18th St., 7327560; A mod steak house with a cozy bar. Try the two-bite Kobe sliders or veal porterhouse. Dmitri’s, 795 S. 3rd St., 625-0556: One of the city’s first BYOB restaurants, beloved for its grilled octopus with green olives. Fork, 306 Market St., 625-9425; The menu at this relaxed American bistro changes daily, but the sophisticated take on Continental cuisine remains consistent. La Colombe, 130 S. 19th St., 563-0860; A popular café off Rittenhouse Square, where the coffee is as good as the people-watching. Matyson, 37 S. 19th St., 564-2925; One of the few BYOB spots open for lunch, with seafood stew and homemade ice cream. Mercato, 1216 Spruce St., 985-2962: This neighborhood favorite with an open kitchen serves steak and pasta classics. Morimoto, 723 Chestnut St., 413-9070; Famed “Iron Chef” Masaharu Morimoto left New

Where to Stay
Alexander Inn, 301 S. 12th St., 923-3535; Located in a historic 1901 building, with 48 rooms that evoke an Art Deco ocean liner. Four Seasons, 1 Logan Sq., 963-1500; Reliable luxury, centrally located and recently renovated in an updated Philadelphia Federal style. The Rittenhouse, 210 W. Rittenhouse Sq., 546-9000;









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Sometimes it takes a lot of changes to make a home work, sometimes only a few. Fortunately, doors and windows and sofas and chairs can prove surprisingly adaptable. Ingenious sliding doors transform the Manhattan pied-àterre of landscape designer Mario Nievera. Roland and Kathleen Augustine find the challenge in building a country house is achieving the perfect balance of walls and glass. Katie Ridder and Peter Pennoyer rescue a grand Park Avenue apartment by taking it back to its roots, while Cindy Crawford and Rande Gerber mix equal parts romance and restraint in their new Malibu home. And in his Lower East Side digs, John Derian lets time and chance bring about the kinds of modifications he loves.




Facing page: Rande Gerber and Cindy Crawford in their Malibu, California, home, designed by Michael S. Smith; the architect is Oscar Shamamian of Ferguson & Shamamian Architects. This page: The infinity pool overlooks a private beach and the Pacific; the landscape design is by Rios Clementi Hale Studios. See Resources.

In the living room, custom-made teak sofas upholstered in Jim Thompson’s Thai Silk IV flank a pair of tables by Charles Jacobsen; above the fireplace is a photograph of Crawford by Herb Ritts. The Kay floor lamp is by Christophe Delcourt from Ralph Pucci International, the Evreux pendant lights are by Vaughan, and the bamboo matting is by Patterson, Flynn & Martin. Facing page: The 1860s Anglo-Indian armchair in the hall, which is paved with Turkish travertine, is from Ann-Morris Antiques. See Resources.

After they married seven years ago, Cindy Crawford and Rande Gerber settled into her Manhattan apartment, then moved to her house in Los Angeles. His bachelor pad in Malibu became a weekend retreat. But now they’ve decided to live at the beach full-time. “This is the first place we’ve done together,” she says. “This is our married house.” It’s perched on a precipice overlooking the Pacific, and though the property, which slopes down to a private beach, is grand even by Hollywood standards, the house, the result of five years of planning, building, and decorating, exudes warmth and welcome. “We wanted to live like we were at a resort, so we tried to think of everything we love about our beach vacations,” says Crawford, barefaced and barefoot, in jeans and a T-shirt. Their life is focused on the outdoors, and so is the house. All the principal rooms have pocket doors that remain

open, weather permitting, leading to ample decks and an infinity pool. “When you live on the beach, you use it,” explains Crawford, who sets up there for the day with Gerber and their children, Presley, 6, and Kaia, 4. “We feel like we’re on a perpetual vacation. Our kids are in the pool five times a week. We live outdoors as much as in, and it’s always casual—we are a no-coaster household.” Gerber, who owns restaurants, clubs, and bars, has an office nearby, and Crawford works from home. In fact, she rarely makes the hour drive into Los Angeles more than twice a week. They have everything they need in the house, from a fully loaded gym to a screening room and a basement “club” for entertaining. “Rande wants our house to be the place where everyone, including our kids’ friends, wants to come,” says Crawford, who loves to cook and have friends for dinner. “We have drinks around the fire pit on the



In the cabana, a 19th-century Chinese lantern purchased at auction, rattan lounge chairs by Bielecky Brothers, and a Ming cocktail table by Michael S. Smith Reproduction Furniture. Facing page, clockwise from top: Crawford and her daughter, Kaia, by the pool. The 1850s Chinese bookcase in the entry is from Belgium, the 19th-century Chinese blacklacquer scroll table is from J. F. Chen, and the Moroccan wool rug is from Mansour. The front door, which is flanked by hand-carved Moroccan mahogany panels, is reached by walking over a shallow pool. See Resources.

The Evan armchairs in the dining room are by Michael S. Smith Reproduction Furniture, the circa-1820s British copper ball lantern is from Ann-Morris Antiques, and the ceiling is papered in white-gold leaf; the multimedia work, Scholars Rocks, is by Nancy Lorenz. Facing page: The family room’s Bond Street sofa by Donghia is upholstered in a John Robshaw cotton-linen, the 18th-century Lombardian mirror is from Amy Perlin Antiques, and the Tribeca fan is by Hunter Fan Co.; the Industrial light pendants and the Cargo fixtures above the kitchen island are by Urban Archaeology. See Resources.

deck, and if it’s warm enough, we eat outside. If not, we move to the dining room. But we always end up out by the fire. We want people to feel like they don’t want to leave.” Yet Crawford and Gerber came to the project with very different ideas. “Rande is edgy, modern, and Armaniesque, and I prefer a cozier, more romantic feeling,” says Crawford. “He hates the traditional Oriental rugs I love, and would have just carpeted the whole place. We each had to step out of our safety zones and find something we both liked.” For help they turned to interior designer Michael S. Smith, an old friend of Crawford’s who had collaborated with her on her previous places. He helped reconcile their tastes and had a few opinions of his own, too. He put the couple in touch with architect Oscar Shamamian, who came up with a structure that Crawford characterizes as “like a sugar plantation in the tropics,” part Colonial (classic proportions, clean lines), part Caribbean (indooroutdoor living, tropical materials). What draws the two styles together, according to Shamamian, is the use of simple elements—dark wood, light plaster walls, and stone


The mid-20th-century rugs by the Beni Ouarain tribe in the master bedroom are from Brooke Pickering Moroccan Rugs, and the curtains are of Rural linen from Travers; the bed is dressed with linens by Nancy Koltes. See Resources.


In a guest bedroom, panels of Jasper hemp by Michael S. Smith frame a view of the ocean; the chair is antique, and the 19th-century inlaid dresser is Indian. Facing page, clockwise from top left: Umbrellas by Santa Barbara Designs and X chairs by McGuire on the terrace. The master bathroom’s Town bath and sink fittings are by Michael S. Smith for Kallista. In another guest room, a rope bed by John Himmel has shams and a coverlet by John Robshaw; the Slatted Ships bedside table is by Michael S. Smith Reproduction Furniture. A Peter Beard photograph dominates a wall of the sitting room; the vintage cocktail table is from ABC Carpet & Home, the Kolom hanging light is by Kevin Reilly from Holly Hunt, and the bisque-porcelain vases are by J. F. Chen. See Resources.

floors—in intimate rooms that stand in contrast to the larger-than-life ocean views they emphasize. As soon as the front door opens, you can see through the doubleheight entry to the sea and sky beyond. “We had the house feng shui’d,” says Crawford, “and it turned out that the good that came in flowed right out the other side.” So now a round table, originally from Crawford’s New York apartment, stands sentry in the hall. “This house is a hybrid,” says Smith. “Cindy’s need for warmth and comfort permeates the place, but Rande’s need for drama and sequence makes it memorable.” The challenge was to convey spareness and simplicity while keeping the design earthy and romantic. Smith accomplished this by limiting the use of patterns, choosing quality pieces versus “fancy stuff,” and allowing the architectural details to speak for themselves. In the living room, for example, the recessed squares in the stone around

the fireplace add an elegant element, as do shuttered doors in the bar and the carved moldings in the master bath. A white-gold–leaf ceiling in the dining room and bamboo shades in nearly every room let light play capriciously. The house reveals itself over time. “It may seem like a one-note idea of a wood-and-white,” says Smith, “but it’s not. It’s complex and sophisticated. You’re forced into taking a second look.” Each time you do, you discover another layer—subtly textured fabrics or Venetian plaster on a wall that adds a quiet sheen, an earthy color on the ceiling, unusual Moroccan rugs that have a sense of history but are still beach-appropriate, curtains that can transform a sunny room into a virtual tent. “The house is bigger than the sum of its parts,” concludes Smith. “We all nudged, pushed, fought, and inspired each other,” says Crawford of the three-way collaboration. “And the house is so much better for our family because of it.”


The living room of decoupage artist John Derian’s Lower East Side apartment; a vintage boat fender is used as an ottoman, and the sisal rug is from ABC Carpet & Home. The large mirror is early-20th-century French from Rooms & Gardens, and the photograph, Golden Screen, is by Derian’s friend Jack Pierson. See Resources.

TEXT BY DAVID COLMAN · PHOTOGRAPHY BY WILLIAM WALDRON PRODUCED BY ANITA SARSIDI During the late-1990s tech boom, when fortunes were made speculating that people would shop online only for name-brand merchandise, many sneered at eBay, the auction website, dismissing it as nothing more than a dubious schlockfest for the gullible, the sentimental, and the taste-challenged. We all know what happened there. But the greater irony is that, because of the way eBay is set up— you have to search for items using words more than eyes—name-brand merchandise is, in fact, the easiest kind to find and one of the fastest-growing categories on the site. If you don’t know what you’re looking for, you’re better off at the flea market. If the apartment of New York decoupage artist John Derian is any indication, you’re better off at the flea market anyway. Derian has never been on eBay—“I wouldn’t know where to start,” he says. A born aesthete, he has been hitting flea markets since he was a teenager, initially with his sister and then with a favorite eccentric aunt (“She had hassocks,” he recalls, “and orangepainted garden furniture”). And some of his best memories from his days at the Massachusetts College of Art in Boston are of cutting class to scour thrifts and fleas on the North Shore with his first boyfriend. A career of truancy doesn’t usually pay off, but it has proven not to be the worst course of study for Derian. Over the past two decades he has gradually turned a life spent puttering around flea markets and his own art studio into one of the more charming, idiosyncratic visions on the design scene. His decoupage plates, lamps, and paperweights, all featuring various lovely and/or witty 19th-century ephemera and artwork, are increasingly sought after by people wearying of floor-to-rafters modernism. And his small, warm gem of an apartment—the only place he’s lived since moving to Manhattan 13 years ago—is a demonstration of how slow and steady not only wins the race but looks pretty good doing it. A one-bedroom on the Lower East Side, Derian’s pad boasts not a single designer object, and even the stove is an antique. “I’m not sure if it’s safe to use the oven,” he admits. The whole place sounds a little wobbly, but it’s almost a relief for a visitor accustomed to generating an automatic checklist of musts— Prouvé desk, Nakashima table, Sub-Zero fridge— within seconds of entering any fashionable interior. The well-worn modern chairs around the dining table? Derian doesn’t know who designed them. You heard right. He doesn’t know. It’s still possible. What he does have is an entry papered neatly with pages from some of the antique books he bought more than 20 years ago—the first sign that Derian’s


Facing page, clockwise from top left: John Derian outside his store, a few blocks from his apartment. An 1860s American cupboard in the dining room holds organic treasures and pieces of mercury glass. The foyer is papered with pages from old books, applied with Elmer’s glue and water; the 1850s American tilt-top table holds an anonymous 1870s oil painting, Sand Dunes. This page: A 1907 folding metal camp chair, an antique Dutch burlap-upholstered chair, a 1930s French park chair from Rooms & Gardens, and an array of folk art in the living room; the fin de siècle shipping barrel is from John Derian Co. See Resources.

time machine looks backward, not forward. In the dining room, a rustic and narrow X-base table sits squarely atop two Oriental carpets. A small crystal chandelier and a paper lantern (minus the paper) hang overhead. Three handsome shelves made of massive antique floorboards hold the old art books and magazines he leafs through for inspiration. A supermodel-thin antique cupboard—a dealer at the flea market knew Derian would want it, and he did—is full of rocks, shells, crystals, and whatnot. Old amber beads, a find in Marrakech, hang on its latch. Nearby, what looks like either a nasty mass of twigs or a very expensive artwork is in fact an arrangement of dried vines by his friend Christopher Bassett. Derian has an eye, that’s for sure, and it’s most often searching for pieces with a little personality and a lot of history. A mirror eaten away by time; a pink photograph by Jack Pierson (a longtime friend and the apartment’s former tenant); anonymous paintings and bits of Americana, gifts from friends; a tray of broken sticks of sealing wax (who knew it was so hard and brittle?). If some of today’s interiors feel like nautilus shells, crafted with a precision and purity that is practiced only by univalve mollusks and highly cerebral architects, Derian’s place feels as though it were lovingly assembled by a highly aesthetic but


In the dining room, an 1820s American table holds a Spider Web platter by the homeowner; the shelves were made from antique floorboards, the1920s Italian sconce is from Joanne Rossman, and the circa-1900 mirror is from Paula Rubenstein. Facing page: Derian’s cat, Skip, in the kitchen. A lamp found at the Clignancourt flea market in Paris hangs beside vintage animal cutouts. The stool is antique, and the handmade vase, pitcher, and plate are by Astier de Villatte from John Derian Co. See Resources.


not terribly orderly squirrel, an effect enhanced by the fact that, as cracks have appeared in the plaster over the years, Derian has patched them, but not repainted. While some people work on making their homes more and more perfect, Derian prefers his to become less and less so. “I love that wrecked, ruined, and decaying look that you can’t get immediately,” he says. “Now, after all this time, it’s starting to look like that.” Indeed, whether it’s by the hands of time or the hands of whoever made it, Derian insists on finding things that

look and feel “touched,” as he puts it: a stack of bird nests, or a little tree festooned with flower buds made of shells. One only has to look at the pink wing chair in the living room, whose fringy upholstery has been so finely shredded one would think it had been produced by the workroom of a Paris couturier. In fact, it was done by his cat. You can’t buy that kind of handiwork. As Derian’s apartment demonstrates, you can only keep your eye out for beauty, be open and patient, and hope. And having a cat can’t hurt.


The antique iron bed is dressed with a vintage ticking pillow from Paula Rubenstein and an Elsa C. quilt from John Derian Co. The sea sponge was a gift from Derian’s sister, and the photograph is by David Armstrong; a curtain of French fabric from the 1930s hangs at the bedroom entrance. Facing page: Cards, notes, and inspirations from friends are posted in the dining room; Derian jots the phone numbers of favorite restaurants, the building superintendent, and the dry cleaner directly on the wall. See Resources.

The living room of Liz and Steve Weinstein’s house on the Upper East Side, decorated by Miles Redd. The sofa is upholstered in Lee Jofa’s Rochelle Velvet, and the side chairs are covered in a custom-embroidered soutache by Penn & Fletcher. The painting was inspired by a favorite Franz Kline. See Resources.


Before you decide to decorate a house, a word of advice: Take a good, long look in the mirror. Liz Weinstein did, and wasn’t pleased by what she saw. “I didn’t like it,” she said. “But Miles convinced me to go with it, and as usual, he was right.” A word of explanation. Weinstein wasn’t scrutinizing her own reflection. Rather, she was looking at a towering wall of smoky, antiqued-mirror panels that presided over the west side of the living room of the Manhattan townhouse she and her husband, Steve, had purchased. At first, and even second, glance, the panels seemed like an eyesore—a sad yet sweet remnant of the way people used to live and decorate, joining such erstwhile luxuries as the butler’s pantry and formal dining rooms on the list of what people would just as soon do without today. But Miles Redd, the young designer whom Weinstein charged with redoing the place, looked at the expanses of silvery, obsolescent iridescence and saw two things. First, as decor’s boy wonder is wont to do, he saw himself, and second, he saw his client. “They’re one of my favorite things about the house,” he says of the panels, “and I didn’t even install them.” Redd and Weinstein ended up not just keeping the mirrors but, in a way, channeling their old-school Hollywood glamour for the rest of the house, nimbly demonstrating Redd’s central design philosophy: Don’t throw the baby out with the bathwater. All too often, people come to a renovation with the words gut job fixed in their minds—not only can you start fresh and erase everything that went before, but you can also get exactly what you want. In theory, that is. But Weinstein likes to embrace the past—this is a woman who, the last time she went apartment shopping, ended up buying the


The custom-made Venetian-style sofa is upholstered in Lyons silk velvet by Decorators Walk; the Loop armchairs by Frances Elkins were bought at auction, the cocktail table is by Matthews & Parker, and the print is by Chuck Close. Facing page, from top: Liz Weinstein and her three sons, Matthew, William, and George. Nineteenth-century Chinese ancestral portraits flank the fireplace, which is topped with a Georgian giltwood mirror and a pair of horns, both from John Rosselli International; the 19th-century Minton garden seat is from Niall Smith Antiques. See Resources.


In Steve’s study, the Climate sectional sofa by Dune is topped with pillows covered in Clarence House’s Labyrinth silk, the Pacific Airline cocktail table is from Hinson & Co., and the French leather-andpalisander armchairs date from the 1940s; a collection of figurative and abstract drawings hangs on walls lacquered chocolate brown. Right: The clamshell is from C. J. Peters, and the 1980s watercolor by Vojtech Kobylka is from Sentimento Antiques. See Resources.

very same Upper East Side apartment she had grown up in. But as her family expanded to include three sons, William, Matthew, and George, it became clear that an upgrade was in order. She nearly bought a completely modernized townhouse—just add toothbrushes—but its lack of personality ultimately left her cold. “It seemed to have no character,” she says, “just a lot of marble.” Instead, the couple opted for a quirky townhouse complete with elevator, solarium, and formal dining room, the grand residence of an older couple with no children. On the advice of a friend, Weinstein went to see Redd at his NoHo townhouse. “As soon as I met Miles, I loved him,” she says. “He’s so personable, and I knew instantly that we have virtually the same aesthetic. I love painted wood floors; he had painted wood floors. I love animal prints and ponyskin and chinoiserie; he had it all.” But as much as Weinstein wanted a house with character, she didn’t want a traditional interior. “I don’t believe in saving rooms for special occasions,” she says. For Redd, the trick was reworking the old-fashioned way the house had functioned for its previous owners while keeping its great bones. For example, the garden level was completely rethought: The formal dining room, with its ruchedfabric ceiling, and the industrial catering kitchen both got the heave-ho; in their stead is a mudroom for coats and bikes; a breakfast nook with a rich leather banquette; a warm, kid-friendly kitchen; and


Nineteenth-century hall chairs from Amy Perlin Antiques and a Radial mahogany dining table by Oscar de la Renta for Century Furniture in the family/dining room; the bookshelves were designed by Redd, and the cocktail table is from Amy Perlin Antiques. Facing page, from top: A powder room sheathed in glass mosaic tiles by Ann Sacks; the sconces are by Ann-Morris Antiques. In the entrance hall, the 19th-century English pine console is from Sentimento Antiques, the 1920s serpentine mirror is from John Rosselli International, and the 1960s rock-crystal lamp is from Liz O’Brien; original architectural renderings of the house are displayed above the staircase, and the floor has been faux-painted to resemble travertine. See Resources.


In the master bedroom, the bed was designed by Redd, the St. Antoine wallpaper is by Farrow & Ball, the lamps are from Capitol Furnishings, and the doors, dressed in a Brunschwig & Fils fabric, lead to a tented solarium. Facing page: The tufted chaise by Oscar de la Renta for Century Furniture is upholstered in Ralph Lauren Home’s Shelbourne Woven, the floor lamp is by Visual Comfort, and the porcelain garden seat and rococo-style mirror are from Treillage. See Resources.

a dual family/dining room painted a deep red that’s both elegant and relaxed. The upstairs rooms were likewise done up in old-world fabrics and finishes that convey both glamour and fun, including Steve’s modern chocolate-brown study and the charmingly tented solarium off the master bedroom. “A lot of the bolder things I wasn’t sure about,” Weinstein admits. “But I trust Miles. And at the end of the day, he’s always right.” Redd considers the place one of his most gratifying projects, because Weinstein let him spread his wings with a freedom that few clients grant—or ultimately appreciate. That freedom is most gloriously demonstrated in the house’s main floor, a 60-foot-long stretch. “You usually don’t get that kind of loftlike space in a townhouse,” Redd says. He started with a bright red Oriental carpet and then went on a color spree, mixing other reds with greens, including a striking viridian velvet sofa and, a holdover from the last owners and Steve’s only request, a huge pool table. “The pool table wasn’t my first choice,” she says. “I wanted a big library table, but Steve really stayed out of my hair during this, and Miles said, ‘Let’s give it to him.’ And it’s fun. Steve will have a stressful day, and he can come home and shoot a few balls. That’s why we use the living room, because it’s there.” The result, pool table and all, is a remarkable synthesis of old and new, grand and casual. It’s certainly not futuristic. But it works very well in the present, and that’s the only tense worth living in.


From left: Edo by China Seas from Quadrille. Arabesque by Ornamenta from Stark Wallcovering. Gramercy by Waverly. Caterpillar Leaf by Neisha Crosland. Woodstock by Cole & Son from Lee Jofa. Facing page, clockwise from top left: Dalton by Jane Churchill from Cowtan & Tout. Salisbury Mansion by Waterhouse Wallhangings from Christopher Norman. Silvergate by Farrow & Ball. Edo Pines by Studio Printworks. See Resources.


From left: Imperial Trellis by Kelly Wearstler for Decorators Walk. Pera Trail by Osborne & Little. Flowering Quince by Clarence House. Jersey Lily by Osborne & Little. Joshua Lawrence Chamberlin by Waterhouse Wallhangings from Christopher Norman. Indramayu by China Seas from Quadrille. McCall Foulard by Ralph Lauren Home. See Resources.


From left: Baldwin’s Bamboo by Scalamandré. Clacket Lane by Mibo. Acorus by Alexander Beauchamp from Stark Wallcovering. Mimosa by Cole & Son from Lee Jofa. Berry Flower by Neisha Crosland. Facing page, clockwise from top left: Nanou Rockery by Brunschwig & Fils. Durbar Hall by Designers Guild from Osborne & Little. Cordoba by Zoffany. Kabloom by Flavor Paper. See Resources.


Facing page: The Augustine family with their black Lab, Tree, in the barn on their property in Dutchess County, New York; the house and barn were designed by Cicognani Kalla Architects. This page: In the entry, the walnutand-steel console and the wood pedestals are by Chris Lehrecke; the Albert Oehlen painting is titled 3rd Gear—It’s All Right, and the blackand-white painting, Untitled (The Show Is Over...), is by Christopher Wool; the bronze sculptures are by Rachel Whiteread. See Resources.




In the living room, the sofas, covered in Donghia’s Pluscious wool velvet, and the stainless-steel cocktail tables are by Chris Lehrecke from Ralph Pucci International. George Condo’s The Cocktail Drinker hangs above the black slate fireplace surround, and the sculptures include Chocolate Silicon Blockhead by Paul McCarthy and Martin Kippenberger’s Drunken Lantern. Christopher Wool’s Mama Too Tight is on the far wall. See Resources.


n life, there are always trade-offs. Building a country house can be an especially challenging balancing act. You may want a home large enough to entertain friends for the weekend, but too many bedrooms means constant upkeep. Or your taste might lean toward rustic-cabin casual, but that doesn’t mean you want to relinquish all high-tech amenities. It’s never easy aligning your dreams and desires with practical realities. Roland Augustine, co-owner of Luhring Augustine gallery in Manhattan, and his wife, Kathleen, a former magazine editor, built a weekend house in upstate New York a decade ago. But when they decided to move to the area full-time with their two sons, Sam, 16, and James, 13, they felt they needed a better piece of property. (The couple are avid outdoor types: Roland likes to shoot sporting clays at a nearby preserve, and Kathleen is a competitive tennis player.) “The longer we were here,” says Kathleen, “the more we cared about the land.” Seven years ago, together with her parents, they bought a former dairy farm in Dutchess County and both couples planned to build houses on the property. Everyone agreed to use barnred clapboard siding and metal roofs as a nod to the area’s agricultural traditions. The real issue for the Augustines, though, was light. They wanted as many windows as possible to take advantage of the endless views of the Catskills from the hilltop setting. But they also required large expanses of wall space for their extensive collection of contemporary art. Renovating the original 1840s farmhouse wasn’t going to solve the problem, and in any case, it was a mess. “Raccoons were living in it,” says Kathleen. Constructing a glass house, while tempting, was also nixed. “Everybody wants light and everybody wants wall space,” says Kathleen, “and the two are difficult to achieve.” For help, the couple turned to architects Pietro Cicognani and Ann Kalla. Their solution was both ingenious and appropriate to the area: a barnlike structure, based on a traditional Dutch design, with clerestory windows tucked just below the roofline. Light pours in while the walls are left unobstructed. For the more private living quarters, the architects created wings on either side of the central doubleheight space with enough glass for the family to


The granite-top cherry kitchen island is by Varenna, and the windows are by Marvin. Facing page, clockwise from top: In the dining room, midcentury Danish chairs surround a cherry table by Chris Lehrecke. The photographs are Yasumasa Morimura’s Vermeer Study and Joel Sternfeld’s McLean, Virginia. The exterior of the house, with a dining terrace off the kitchen. The range is by Viking, and the photograph, Orange Lion, is by Paul McCarthy. See Resources.


survey their own 120 acres and the hills far beyond. “It’s like a loft,” explains Kalla, “and everything else is spirited away, above and below, with little hints of their existence.” A wooden shutter above the kitchen hides Roland’s home office; it can slide open, says Kathleen, “when he wants to know what’s for dinner.” Light from the boys’ bathroom shines into the living room below, alerting the parents when the kids are home. A circular stair allows the boys to unobtrusively hit the basement playroom. Materials are simple—deep American walnut and greenish-gray bluestone from a quarry near Albany— and the walls, at least for now, are stark white. “I’m thinking of finally painting the walls a color,” says Kathleen. “By the time we got to the end of the project two summers ago, we painted them white just to get it over with.” The furniture, too, is simple, though deceptively so. Chris Lehrecke, a master wood craftsman who lives nearby, designed most of it, including a 14-foot-long cherry dining table, a steel-legged walnut console with a sinuous edge for the entry, and surprisingly comfortable minimalist sofas for the living room. His designs are complemented by

a few choice pieces with provenance: a Nakashima sideboard from the 1960s, four Chinese chairs from the late Ming dynasty, and two Chinese painting tables. “They kind of look like nothing,” says Kathleen, “but it’s very rare to find a pair.” The Augustines are constantly editing the artworks, which include paintings by Christopher Wool and George Condo. (A cleaning woman once put Cady Noland’s basket of beer cans, prominently displayed in the living room, on the curb for garbage pickup, and workmen have occasionally tossed their own empties into it.) Their 11-foot-wide Albert Oehlen painting is out on loan for an exhibition, and a Martin Kippenberger sculpture that Roland had coveted for a decade is now wrapped in plastic in the basement. “We’re in détente,” jokes Kathleen. “It’s the only piece we’ve ever gone to bat over.” For Roland, the work, consisting of seven nesting tables made of cheap particleboard, is seminal: “It’s a satire on domesticity.” For Kathleen, it’s an eyesore: “It sits in the middle of the room, and you can’t put anything on it.” “Collecting is very autobiographical,” admits Roland. “It’s a pathology.”


In the master bedroom, the mahogany bed by Chris Lehrecke is covered in a vintage suzani from ABC Carpet & Home; the painting is Albert Oehlen’s Alte Geweihe. Facing page: The walnut cabinetry in the bathroom was designed by Cicognani Kalla Architects, the tub is by American Standard, and the fittings are by Waterworks. The countertop and tub surround are of bluestone from a nearby quarry. See Resources.

TEXT BY NANCY HASS · PHOTOGRAPHY BY TIMOTHY KOLK · PRODUCED BY ANITA SARSIDI To say that Mario Nievera is accustomed to working on a broad canvas would be an understatement. The celebrated Palm Beach landscape architect’s projects have included rambling terraced gardens for the likes of the Lauder family, Jimmy Buffett, and socialite Terry Allen Kramer, tropical paradises that seem to have no boundaries—and no budget. “When you work in Palm Beach,” he says, “you can do things on a very grand scale, which is really satisfying.” Nievera and his partner, Robert Janjigian, the fashion editor of The Palm Beach Daily News, own a home in Florida’s tony enclave as well as a place in Southampton. But with a growing roster of clients who want him to design not only their Palm Beach spreads but also their Hamptons gardens and Manhattan terraces, Nievera now spends a couple of days each week in New York. When he decided to buy a pied-à-terre on the Upper East Side, he knew he would have to think small. “Part of the fun,” says Nievera, a slim, elegant man whose casual chic makes it easy to imagine how the Palm Beach denizens might cotton to him, “was to take a modest place with good potential and make it somehow just right. I needed somewhere that would be easy to take care of, but also make me feel good when I walked in the door.” He has turned the pocket-size space (at 650 square feet, it’s smaller than some of his hibiscus beds) into a polished gem that combines classicism, thrift-shop zaniness, and spare modernity. Originally a studio, the apartment has been transformed into a one-bedroom by an ingenious set of sliding doors. During the day, the doors are left open, giving the space an airy feel; at night, they slide shut to seal off the bedroom and reveal shelves that hold books and antique globes.



The living room of landscape architect Mario Nievera’s New York apartment; it was decorated with the help of his friend Bruce Bierman. Mirrors custom made in Venice hang beneath vintage wooden game boards and a model of a fountain Nievera designed. Facing page: The Regency-style commode in the entrance hall holds a Grecian plaster bust; the mirror, framed in crushed bamboo, is from Mecox Gardens. See Resources.

Facing page, from left: Mario Nievera in the living room of his Manhattan apartment. Sliding doors, designed by Bierman, can close off the bedroom, revealing shelves stocked with antique globes, garden books, and folk-art crucifixes. This page: Custom-made bamboo end tables by Scott Snyder flank the bed, which has a headboard and skirt of Bierman’s design. See Resources.

Nievera’s unerring sense of proportion is evident everywhere. Rarely are such idiosyncratic elements balanced with such delicacy. “As with a garden,” he says, “you never want things to seem contrived or out of scale.” On both walls that flank the large living room windows, for example, is a vertical series of five items, including a Balinese finial and a tiny watercolor. A prosaic eye might have chosen only matching pairs of objects, or matching sets, to lend symmetry, but Nievera is more interested in complementary shapes and sizes. “You always want to mess with perfection,” he says. “You decide to convey an idea, then do something to throw it a little off.” Above a spare Walter Chatham console hangs a set of custom-made Venetian mirrors and a pair of vintage wooden game boards. Crowning the top of the arrangement is a plaster model of a fountain Nievera designed. In the entry, a mirror looms above a Regency-style commode; nearby, amid photographs found in a Paris flea market, hangs Nievera’s seventh-grade self-portrait. A geometric-pattern hooked rug—“I can’t get enough of them,” he says—lends a modern counterpoint. Nievera, who was helped with devising the layout and choosing finishes by interior designer and friend Bruce Bierman, has kept the palette largely neutral, in subtle variations from mushroom to pumice, and the furniture minimal. In such a setting, a shiny red vinyl cushion tossed on an armless gray sofa speaks volumes. But whimsy emerges in the least expected places: One living room wall is dominated by an enormous painting of the Eiffel Tower. “Robert found it in the garbage somewhere,” Nievera explains. “We had it restored and it’s perfectly weird enough to work.” Outside the bathroom hangs a display rack of art postcards. “You can change them constantly to keep yourself amused,” he says. A row of 24 round Russel Wright clocks in shades of black, dusty mauve, and split pea are the focus in the small, all-white kitchen. Above the bed’s upholstered headboard, surrounded by a formal grouping of mirrors, hangs a thrift-shop landscape of waves crashing on a shore. As precisely configured as the compact apartment may be, Nievera never stops changing things. One moment, a Grecian plaster bust graces the entry; the next, he has replaced it with a rustic wooden toy village that had been hidden away. On a rattan stand near the front door is an intricate collection of folk-art crucifixes; just days before, that choice perch had been occupied by a volleyball-size sphere of seashells. “People think that you’re limited when the space is small,” he says, “but I think the key is seeing everything as somewhat in flux, never standing still, always shifting, realigning. In a lot of ways, it’s like a garden.”




The living room of a young family’s Manhattan apartment overlooking Central Park. The design was a collaboration between architect Peter Pennoyer and designer Katie Ridder. A unique print by Andy Warhol, J.S. Flowers, and a painting by Jack Youngerman, Enigma, hang above a sofa upholstered in silk mohair by J. Robert Scott; the cocktail table by Urban has a faux-parchment finish. The carved Dutch Colonial Burgomaster chair is 17th century, the 1940s gildediron table is by Raymond Subes, and the drawing is by Alexander Calder. The North Indian carpet from Beauvais dates from the early 1900s. See Resources.




all over it. A sprawling prewar in a blue-chip building not far from Central Park, the clients’ new apartment had all the trappings of a truly elegant Manhattan residence, with a private elevator entrance, sweeping views and light, and enough space for the young couple to start a family, and then some. Except that once you stepped off the elevator, there it was, confronting you like a cobra: The gaudy, heavy-handed relics of ’80s architectural excess, a postmodern statement on steroids. Clunky built-ins swallowing the windows, mattress-width banquettes clinging to walls like giant hovering parasites, massive dentil crown moldings fit for the Parthenon. It was the horrifying equivalent of discovering old pictures of your big ’80s hair—what was I thinking?—yet at least it was somebody else’s interior design faux pas. “It was a bit over the top,” says Peter Pennoyer, the architect hired by the new owners. “There was just too much architecture going on.” “And on top of that,” jokes interior designer Katie Ridder, Pennoyer’s wife and his design partner on this and other projects, “the decoration was very French–meets–American Southwest. Everything was gilded, swagged, or sponge-painted.” The owners, a business entrepreneur and his wife, commissioned Ridder and Pennoyer to reclaim the elegant bones of the apartment and make their new

home into something more reflective of their own style. “My husband and I didn’t want it to feel like a classic uptown ‘serious’ apartment,” says the wife, who was pregnant with their first child while the renovation was under way. “I wanted to make our home comfortable, colorful, and unexpected—but most of all, fun,” she says. The first step was to clean up the architectural mess. “Making rooms simple shapes helps to display the gems,” Pennoyer explains. “When I work with interior designers, it’s always about making what they do look best.” To set the stage for Ridder’s creativity and the clients’ important postwar modern-art collection, Pennoyer stripped and reconfigured the long wall of windows in the living room. “Originally there was cabinetry jutting out about three feet from the windows, so there was no way to step up to the beautiful view,” says Ridder. Pennoyer also redesigned the molding flanking the windows to incorporate mirrors that reflect more of the view and light into the room. He and Ridder designed three fauxbois French doors to reorient the traffic flow and increase the light in the spaces that branch off the living room—foyer, library, and dining room. Ridder worked closely with the clients to come up with an informal furniture plan and whimsical touches. In the center of the living room, she placed a popup, pivoting TV cabinet so that the family can watch


The 1930s cabinet is by Jacques Adnet, the 1961 painting, Lazy “S” Twist, is by Leon Polk Smith, and a vintage Tommi Parzinger side table holds a 1920s Italian glass lamp. Facing page: Bronzeand-wood étagères designed by Peter Pennoyer flank the dining room mantel, the untitled 1962 painting is by Hans Hoffman, the table is Biedermeier, and the Chelsea tufted side chairs by Jonas Upholstery are covered in Larsen’s Memory cotton-linen. See Resources.


The walnut breakfast table in the kitchen was custom made, and the maple chairs by Ann-Morris Antiques were painted in Farrow & Ball’s Picture Gallery Red; the vintage French Pagoda chandelier is from Florian Papp Antiques. Facing page, from top: The circa-1910 Thonet stools in the entry are from Karl Kemp, and the 1940s lamps are from Buck House; the untitled lithograph is by Willem de Kooning. In the library, a stool designed by couturier Hubert de Givenchy is from R. Louis Bofferding, the 1960s Muranoglass lamp is from Chameleon Fine Lighting, and the Large Key carpet is by A.M. Collections. See Resources.

television from any of three corners. “We wanted to really live in this front room,” says the wife. “We didn’t want the ‘hanging out’ to be in the back of the apartment where the den traditionally is.” The dining room, with its bright periwinkle walls, has a similarly relaxed spirit. “My husband thinks a dining table alone in the middle of a room is uninviting,” says the wife. So Ridder placed a round Biedermeier table near the windows and, against the long wall, a library table that works for both buffets or, with its leaves unfolded, for large seated dinners. “We had 24 at that table last week,” says the wife. “We actually entertain a lot more than we expected to because of the way Katie designed the room.” The mirrored ceiling, inspired by the late Hollywood decorator Tony Duquette, adds a bit of theater. “We love watching the upside-down reflection of the yellow taxis zooming down the street,” the owner adds. Italian glass light fixtures and couture-quality textiles give each room an exuberant flair, and the largerthan-life master bedroom headboard, a witty nod to Albert Hadley, is as much at home as the chinoiserie chandelier in the kitchen. “When we look at the things in this house,” says the wife, “we never think, Oh, that’s just a table, or that’s just a lamp. There’s always something more to it.” Says Ridder, “The design process is hard work, but in the end I want my interiors to look inspired and relaxed, not studied.” “The odd thing about our collaboration,” adds Pennoyer, “is that Katie’s taste is more about eclecticism and whimsy than mine—I’m into a more disciplined, classical architecture—but we both have a good time working together. We pull each other in different directions.”


In a guest room, the bed is upholstered in Manuel Canovas’s Chicago, and the linens are by E. Braun & Co.; the Japanese brass pendant lamp is midcentury. Facing page, clockwise from top left: The bed in the master bedroom is by Charles H. Beckley and is upholstered in Glace wool by Donghia, the 1960s Italian glass lamps are from John Salibello, and the English mahogany bench dates from 1830. In the master bath, the William IV rosewood table is from Cove Landing. The Loire Canopy beds in the child’s room are by Niermann Weeks; the duvet covers are of Amijao linen by Raoul Textiles. See Resources.

Items pictured but not listed are from private collections. WHAT’S HOT! SHOPS Page 38: Bergdorf Goodman (754 Fifth Ave., New York, NY 10019; 800-558-1855;; for reservations at BG: 212-872-8977). Page 40: Williams-Sonoma Home (8772 Beverly Blvd., West Hollywood, CA 90048; 310-289-2420; WHAT’S HOT! PEOPLE Page 42: Charlotte Moss of Charlotte Moss & Co. (for information: 212-288-1535; Furniture, fabrics, and wall coverings by Charlotte Moss, to the trade from Brunschwig & Fils (for showrooms: 800-538-1880; Winter House by Charlotte Moss, $50, published by Clarkson Potter (for information: WHAT’S HOT! TRAVEL Pages 44–46: Sunset Tower Hotel (8358 Sunset Blvd., West Hollywood, CA 90069; 800-225-2637; Tower Bar (for reservations: 323-848-6677). Argyle Spa (for reservations: 310-623-9000). TREND ALERT Page 50: 1 Marmotte silk twill jacket, $2,280, and skirt, $1,212, with patent-leather trim, from spring 2006, by Louis Vuitton (for information: 866-VUITTON; 2 Nouvelle Texture cotton-wool-viscose-polyester, in Spanish moss, #7105N-0854, to the trade from Stroheim & Romann (for showrooms: 718-706-7000; 3 Rural linen, in chocolate, #403790, by De Le Cuona, to the trade from Travers (for showrooms: 212888-7900; 4 Velours Bonaparte polyester-cotton, #38010, to the trade from Nobilis (for showrooms: 800-464-6670). 5 Profilia cotton-viscose, #1936.855, to the trade from Zimmer + Rohde (for showrooms: 212-758-5357; 6 Harris viscose-cotton-linen, in moss, #DOPTPL306, to the trade from Sanderson (for showrooms: 800-894-6185; 7 New Khmer silk, in copper brown, #139207, by Jim Thompson, to the trade from Jerry Pair (for showrooms: 800-909-7247; Page 52: Kira jacquard-knit jacket, $395, Giovanni jacquard-knit skirt, $245, and giant-polka-dot knit top, $155, from spring 2006, by Diane von Furstenberg (for information: 646-486-4800; Urn steel lamp, in cream and black, #URN76R, $120, and silk drum shade, in black, #LS-BLACK15, $145, by Worlds Away (for information: 901529-0844; Simplicity cotton, in ivory, #669857, $29.99/yd., by Waverly (for information: 800-4235881; Ellipse polyester-cotton, in black and anthracite, #F2494-001, to the trade from Pierre Frey (for showrooms: 212-213-3099; Chevron Print cotton, in black, #2644034, by Decorators Walk, to the trade from F. Schumacher & Co. (for showrooms: 800-332-3384; Mystical Zebra rug, $299/6'x9', by Karastan (for information: 800-234-1120; Radetzcky lacquered-wood screen, $13,875, by Armani Casa (for information: 212-334-1271; Black and White tole hatbox set, #17HBBW, $485, by Jane Gray for Stray Dog Imports (for information: 866-4787297; Mandarin Flower cottonfleece blanket, $145, by Designers Guild (for information: 908-238-9599; Broadgate Stripe cotton, in ebony, #LFY28903F, $189/yd., by Ralph Lauren Home (for information: 888-475-7674; ART Pages 54–56: Kehinde Wiley (for information: is represented by Deitch Projects (76 Grand St., New York, NY 10012; 212-343-7300; DESIGNER’S DOZEN Page 58: The Detroit Institute of Arts (5200 Woodward Ave., Detroit, MI 48202; 313-833-7900; Jewelry and tabletop collections by Frank O. Gehry for Tiffany & Co. (for information: 800-526-0649; Pen by Pilot Pen Corp. (for information: Bristol two-ply plate pad by Seth Cole (for information: 800955-3729; Sculpture by Ken Price of Ken Price Studio and Gallery (for information: Hereditary Disease Foundation (for information: 310450-9913; THE TEN MOST ELEGANT ÉTAGÈRES Pages 62–64: Susan Forristal of Forristal Smith Interiors (for information: 917-968-7771; Steven Gambrel of S. R. Gambrel Inc. (for information: 212-925-3380; Page 64: 1 Étagère, #2004-003, $2,660, by John Black for Councill (for information: 336-859-2155; 2 Talesai Storage étagère, $1,200, by Bernhardt (for information: 866-273-3699; 3 Sheffield shelving unit, #883447, $1,250, from The Conran Shop (407 E. 59th St., New York, NY 10022; 866-755-9079; 4 Slim étagère, #415107, $299, by Room & Board (for information: 800-486-6554; 5 Twig étagère, #348287, $299, by Crate & Barrel (for information: 800-996-9960; 6 Angled étagère, #19-900-1, $1,750, from the Milling Road Collection by Baker Furniture Co. (for information: 800-592-2537; 7 Billy Baldwin–inspired étagère, #5700, $12,600, by Carole Gratale, to the trade from John Rosselli & Assoc. Ltd. (for showrooms: 212-593-2060). 8 Metropolitan Five-Tier étagère, #7798, $1,212, by Stickley (for information: 315-682-5500; 9 Iron étagère, #8048, $6,520, to the trade from PierceMartin (for showrooms: 800-334-8701; 10 Étagère, $340, by Plexi-Craft Corp. (for information: 212-9243244; 800-24-PLEXI; DANIEL’S DISH Pages 68–70: Daniel Boulud of restaurant Daniel (for information: Page 68: Incanto Flower dinner plate, $40, by Vietri (for information: 800-277-5933; King William sterling-silver soupspoon, $125, by Tiffany & Co. (for information: 800-526-0649; Page 70: Incanto Baroque dinner plate, $40, by Vietri (for information: 800-277-5933; BEAUTY AND THE BEACH Pages 94–105: Interior design by Michael S. Smith of Michael S. Smith Inc. (for information: 310-315-3018). Architectural design by Oscar Shamamian of Ferguson & Shamamian Architects, LLP (for information: 212-9418088; Landscape design by Rios Clementi Hale Studios (for information: 323-6349220; All window blinds by Fashion Tech (for information: Page 94: On Crawford, top by Rozae Nichols. Pages 96–97: In living room, custom-made Opium teak sofas by Michael S. Smith Reproduction Furniture (for information: 310-315-3018), upholstered in Thai Silk IV, in garnet, #190447, to the trade from Jim Thompson (for showrooms: 800-262-0336; Walnut-andmarble tables, to the trade from Charles Jacobsen Inc. (8687 Melrose Ave., West Hollywood, CA 90069; 310-6521188; Kay oak floor lamp by Christophe Delcourt, to the trade from Ralph Pucci International (for showrooms: 212-633-0452; Evreux pendant lights, to the trade from Vaughan (for showrooms: 212-319-7070; Bamboo floor matting by Patterson, Flynn & Martin, to the trade from F. Schumacher & Co. (for showrooms: 800-3323384; In hall, antique Anglo-Indian armchair, to the trade from Ann-Morris Antiques (239 E. 60th St., New York, NY 10022; 212-755-3308). Pages 98–99: On Crawford, top by Burning Torch and jeans by Stitch’s. In entry, antique Chinese black-lacquer scroll table, to the trade from J. F. Chen (for showrooms: 323-655-6310; Moroccan wool rug from Mansour (8600 Melrose Ave., Los Angeles, CA 90069; 310-652-9999; In cabana, rattan lounge chairs, #R9700, to the trade from Bielecky Brothers (for showrooms: 212-753-2355; Ming walnut cocktail table by Michael S. Smith Reproduction Furniture (for information: 310-315-3018). Pages 100–01: In dining room, Evan alder dining chairs by Michael S. Smith Reproduction Furniture (for information: 310-315-3018). Antique British copper ball lantern, to the trade from Ann-Morris Antiques (239 E. 60th St., New York, NY 10022; 212-755-3308). Scholars Rocks, multimedia, 2005, by Nancy Lorenz from James Graham & Sons (1014 Madison Ave., New York, NY 10021; 212-535-5767; In family room, Bond Street sofa, to the trade from Donghia Furniture/Textiles Ltd. (for showrooms: 800-DONGHIA;, upholstered in an Ikat cotton-linen by John Robshaw Textiles (for information: 212-594-6006; Vintage red-lacquer elmwood cocktail table, to the trade from Charles Jacobsen Inc. (8687 Melrose Ave., West Hollywood, CA 90069; 310652-1188; Antique Lombardian mirror from Amy Perlin Antiques (306 E. 61st St., 4th fl., New York, NY 10021; 212-593-5756; Tribeca ceiling fan by Hunter Fan Co. (for information: 800-4HUNTER; Industrial pendant lights and Cargo light fixtures by Urban Archaeology (143 Franklin St., New York, NY 10013; 212-431-4646; Evan alder barstools by Michael S. Smith Reproduction Furniture. Pages 102–03: Moroccan wool rugs from Brooke Pickering Moroccan Rugs (for information: 845-6879377; Curtains of Rural linen, in cream, #403787, by De Le Cuona, to the trade from Travers (for showrooms: 212-888-7900; Bed linens by Nancy Koltes, available from Nancy Koltes at Home (for information: 212-219-2271; and Scandia Down (365 N. Beverly Dr., Beverly Hills, CA 90210; 310-274-6925). Pages 104–05: In guest bedroom, curtains of Jasper hemp, #JP1409, to the trade from Michael S. Smith Inc. (for information: 310-315-3018). On terraces, Santa Barbara umbrellas, to the trade from Santa Barbara Designs (for showrooms: 800-919-9464; X oak-frame chairs by McGuire (200 Lexington Ave., Ste. 101, New York, NY 10016; 212-689-1565; 800-662-4847; In master bathroom, Town hand-shower assembly and basin set by Michael S. Smith for Kallista (for information: 888-4-KALLISTA; Alabaster dish light, #14, by Charles Edwards (for information: 011-44-207736-8490; In guest room, Rope bed by John Himmel, to the trade from David Sutherland Inc. (for showrooms: 310-360-1777; Mathura Vista Euro shams by John Robshaw Textiles (for information: 212-594-6006; Mandu cotton coverlet by John Robshaw Textiles is discontinued, but similar coverlets are available. Slatted Ships oak bedside table by Michael S. Smith Reproduction Furniture (for information: 310-315-3018). In sitting room, vintage cocktail table from ABC Carpet & Home (888 Broadway, New York, NY 10003; 212-473-3000; Kolom steel hanging light by Kevin Reilly, to the trade from Holly Hunt (for showrooms: 800-229-8559; Bisque-porcelain vases, to the trade from J. F. Chen (for showrooms: 323-655-6310; Antique AngloIndian mirror, to the trade from Ann-Morris Antiques (239 E. 60th St., New York, NY 10022; 212-755-3308). LORD OF THE FLEAS Pages 106–13: John Derian of John Derian Co. (6 E. 2nd St., New York, NY 10003; 212-677-3917;


Pages 106–07: Sisal rug by ABC Carpet & Home (888 Broadway, New York, NY 10003; 212-473-3000; Vintage French mirror from Rooms & Gardens (for information: 202-362-3777; Page 108: Vintage French park chair from Rooms & Gardens (for information: 202-362-3777; Antique French shipping barrel from John Derian Co. (6 E. 2nd St., New York, NY 10003; 212-6773917; Page 110: Spider Web decoupage glass platter by John Derian Co. (6 E. 2nd St., New York, NY 10003; 212-677-3917; Vintage Italian woodand-metal sconce from Joanne Rossman (6 Birch St., Roslindale, MA 02131; 617-323-4301; Vintage mirror from Paula Rubenstein Ltd. (65 Prince St., New York, NY 10012; 212-966-8954). Page 111: Vase, pitcher, and tableware by Astier de Villatte from John Derian Co. (6 E. 2nd St., New York, NY 10003; 212-677-3917; Page 113: Vintage ticking pillow from Paula Rubenstein Ltd. (65 Prince St., New York, NY 10012; 212-966-8954). Quilt by Elsa C. from John Derian Co. (6 E. 2nd St., New York, NY 10003; 212-677-3917; Sea sponge from John Derian Co. BOLD STROKES Pages 114–23: Interior design by Miles Redd of Miles Redd LLC (for information: 212-674-0902; Pages 114–15: Sofa upholstered in Rochelle Velvet cotton-polyester, in cardinal, #34520/6043, to the trade from Lee Jofa (for showrooms: 888-533-5632; Side chairs upholstered in customembroidered soutache by Penn & Fletcher Inc. (for information: 212-239-6868; Pages 116–17: Sofa upholstered in Lyons silk velvet, in celadon, #2640471, by Decorators Walk, to the trade from F. Schumacher (for showrooms: 800-332-3384; J.M.F. Waterfall mica cocktail table by Matthews & Parker, to the trade from Christopher Norman Inc. (for showrooms: 212-647-0303; Print by Chuck Close from Pace Prints (32 E. 57th St., New York, NY 10022; 877-440PACE; Antique Georgian gilt-wood mirror and pair of horns, to the trade from John Rosselli International (for information: 212-772-2137). Antique Minton garden seat from Niall Smith Antiques (306 E. 61st St., 5th fl., New York, NY 10021; 212-750-3985). Pages 118–19: Climate sectional sofa by Dune Inc. (88 Franklin St., New York, NY 10013; 212-925-6171; Pillows covered in Labyrinth silk, in antique, #34129-5, to the trade from Clarence House ( Pacific Airline cocktail table and vintage French leather-and-palisander armchairs, to the trade from Hinson & Co. (for showrooms: 212-475-4100). Clamshell, to the trade from C. J. Peters (for information: 212-752-1198). Vintage watercolor by Vojtech Kobylka, to the trade from Sentimento Antiques (306 E. 61st St., 6th fl., New York, NY 10021; 212-750-3111). Pages 120–21: In family/dining room, antique French mahogany hall chairs from Amy Perlin Antiques (306 E. 61st St., 4th fl., New York, NY 10021; 212-593-5756; Radial mahogany dining table, #601-306, by Oscar de la Renta for Century Furniture (for information: 800-852-5552; Ebonyand-nickel bookshelves by Miles Redd of Miles Redd LLC (for information: 212-674-0902; Antique French wood cocktail table from Amy Perlin Antiques. Antique English bronze lamp and antique faux-tortoise wood mirror, to the trade from John Rosselli International (for information: 212-772-2137). In powder room, Zen Weave glass mosaic tiles by Ann Sacks (for information: 800-278-8453; St. James sconces, to the trade from Ann-Morris Antiques (239 E. 60th St., New York, NY 10022; 212-755-3308). In entrance hall, antique English pine console, to the trade from

Sentimento Antiques (306 E. 61st St., 6th fl., New York, NY 10021; 212-750-3111). Vintage gilt-wood serpentine mirror, to the trade from John Rosselli International. Vintage rock-crystal lamp from Liz O’Brien (800A Fifth Ave., New York, NY 10021; 212-755-3800; Pages 122–23: Custom-made bed by Miles Redd of Miles Redd LLC (for information: 212-674-0902; Sienne Scallops bed linens by Schweitzer Linen Inc. (1132 Madison Ave., New York, NY 10028; 212-249-8361; St. Antoine wallpaper, #BP947, by Farrow & Ball (for information: 888-511-1121; Paramount Lucite lamps by Craig Van Den Brulle for Capitol Furnishings (259 Elizabeth St., New York, NY 10012; 212-925-6760; Curtains of Satin La Tour cotton-silk, in bleu, #34520.00/6043, to the trade from Brunschwig & Fils (for showrooms: 800-538-1880; Tufted chaise, #60-11-706, by Oscar de la Renta for Century Furniture (for information: 800-852-5552;, upholstered in Shelbourne Woven linen blend, in cream, #LFY20740F, by Ralph Lauren Home (for information: 888-475-7674; Pimlico Tripod Boom Arm Pharmacy lamp, in polished nickel, #CHA9151PN, by Visual Comfort (for information: 877-271-2716; Porcelain garden seat and rococo-style wood mirror from Treillage Ltd. (418 E. 75th St., New York, NY 10021; 212-535-2288; MAKING A STATEMENT Page 124: Dalton, in aqua, #J057W-05, by Jane Churchill, to the trade from Cowtan & Tout (for showrooms: 212-647-6900). Salisbury Mansion, in blues and green on white, #WH-241635, by Waterhouse Wallhangings, to the trade from Christopher Norman Inc. (for showrooms: 212-647-0303; Silvergate, #BP846, $220/11-yd. roll, by Farrow & Ball (for information: 888-511-1121; Edo Pines, in robin’s egg, #SPW-1016-05, $119/5-yd. roll, by Studio Printworks LLC (for information: 212-6336727; Page 125: Edo, in watermelon, #2220-21WP, by China Seas, to the trade from Quadrille Wallpapers and Fabrics Inc. (for showrooms: 212-753-2995). Arabesque, in black on cream, #WORARB1107, by Ornamenta, to the trade from Stark Wallcovering (for showrooms: 212-3557186; Gramercy, in onyx, #5511090, $35/4.5-yd. roll, by Waverly (for information: 800-4235881; Caterpillar Leaf, in mugha mud, #WV4CAT-08, $81/11-yd. roll, by Neisha Crosland (for information: 011-44-20-7978-4389;, available at Barneys New York (for information: 888-8BARNEYS; Woodstock, in pink/brown, #69/7125, by Cole & Son, to the trade from Lee Jofa (for showrooms: 888-533-5632; Pages 126–27: Imperial Trellis, in treillage, #2707212, by House of KWID by Kelly Wearstler for Decorators Walk, to the trade from F. Schumacher & Co. (for showrooms: 800-332-3384; Pera Trail, #W5515/06, to the trade from Osborne & Little (for showrooms: 212-751-3333; Flowering Quince, in brown, #6847-1, to the trade from Clarence House (for showrooms: Jersey Lily, #W5452/04, to the trade from Osborne & Little. Joshua Lawrence Chamberlin, in multi with blue, #WH-275330, by Waterhouse Wallhangings, to the trade from Christopher Norman Inc. (for showrooms: 212-6470303; Indramayu, in French blue, #653-210, by China Seas, to the trade from Quadrille Wallpapers and Fabrics Inc. (for showrooms: 212-753-2995). McCall Foulard, in ebony/cream, #LCW26279W, $49/5-yd. roll, by Ralph Lauren Home (for information: 888-475-7674; Page 128: Nanou Rockery, in reds, #69369-166, to the trade from Brunschwig & Fils (for showrooms:

800-538-1880; Durbar Hall, in noir, #P434/04, by Designers Guild, to the trade from Osborne & Little (for showrooms: 212-751-3333; Cordoba, in brown/pink, #TOR07001, to the trade from Zoffany Ltd. (for showrooms: 212-593-9787; Kabloom, in fruit punch, $350/5-yd. roll, by Flavor Paper (for information: 504-944-0447; Page 129: Baldwin’s Bamboo, in cream and red on aqua, #WP81630-4, to the trade from Scalamandré (for showrooms: 800-932-4361; Clacket Lane, in gray, $85/11-yd. roll, by Mibo (for information: 011-44-87-0011-9620;, available at Velocity Art and Design (2118 Second Ave., Seattle, WA 98121; 866-781-9494; Acorus, in blueberry, #WABNHP1006, by Alexander Beauchamp, to the trade from Stark Wallcovering (for showrooms: 212-355-7186; Mimosa, in scarlet/silver/black, #69-8130, by Cole & Son, to the trade from Lee Jofa (for showrooms: 888533-5632; Berry Flower, in lemon curd, #WV4BER01, $100/11-yd. roll, by Neisha Crosland (for information: 011-44-20-7978-4389;, available at Barneys New York (for information: 888-8-BARNEYS; IN A NEW LIGHT Pages 130–37: All artworks are from Luhring Augustine (531 W. 24th St., New York, NY 10011; 212-206-9100; Architecture by Cicognani Kalla Architects P.C. (for information: 212-308-4811). Contracting by Wolcott Builders Inc. (for information: 845-876-6575). Curtain fabrication by Colette Maas of Van Maassen Interiors (for information: 845-373-8400). Pages 130–31: Wood pedestals and custom-made walnut-and-steel console by Chris Lehrecke, to the trade from Ralph Pucci International (for showrooms: 212-633-0452; 3rd Gear—It’s All Right, oil on canvas, 1998, by Albert Oehlen. Untitled (The Show Is Over...), alkyd on rice paper, 1990, by Christopher Wool. Untitled (Empty and Full), bronze sculptures, 2000–2001, by Rachel Whiteread. Pages 132–33: Stainless-steel cocktail tables by Chris Lehrecke, to the trade from Ralph Pucci International (for showrooms: 212-633-0452; Custom-made sofas by Chris Lehrecke, upholstered in Pluscious wool velvet, in pineapple, #10028-20, to the trade from Donghia Furniture/Textiles Ltd. (for showrooms: 800-DONGHIA; The Cocktail Drinker, oil on canvas, 1995, by George Condo. Chocolate Silicon Blockhead, 1999–2000, by Paul McCarthy. Drunken Lantern, steel, glass, and lightbulb, 1990, by Martin Kippenberger. Mama Too Tight, enamel on aluminum, 1999, by Christopher Wool. Pages 134–35: In kitchen, granite-top cherry kitchen island by Varenna (for information: 877-VARENNA; Windows by Marvin Windows and Doors (for information: 888-537-8268; In dining room, vintage Danish teak chairs from Classic Modern Furniture (Rte. 22, Amenia, NY 12501; 845-3737238). Custom-made cherry dining table by Chris Lehrecke, to the trade from Ralph Pucci International (for showrooms: 212-633-0452; Vermeer Study (A Great Story Out of the Corner of a Small Room), photograph on canvas, 2004, by Yasumasa Morimura. McLean, Virginia, photograph, 1978, by Joel Sternfeld. In kitchen, (continues on page 154)

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The best coatracks function even when they’re empty, adding a touch of playful style
Produced by Alison Hall

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Iron Tree coatrack by PierceMartin.

Albero metal coat hanger by Lapalma from Property.

Ghost resin coat tree by Erich Ginder from Velocity Art and Design.

Twist wood coatrack by Christoph Burtscher and Patrizia Bertollini from Design Within Reach. See Resources.

Metal coatrack by Adesso.


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