Architectural Digest USA - November 2023

A PLACE AT
THE TABLE
our ultimate guide
to entertaining
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Paris, London, Delhi, and more
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CONTENTS november
102
A CHILDREN’S ROOM IN A
LONDON TOWN HOUSE.
24 Editor’s Letter Serpenti collection… Ceramist

Jeremy Anderson’s lovable
26 Object Lesson lamps… Banana Republic
Achille and Pier Giacomo expands its reach with BR
Castiglioni’s Taccia lamp. Home… And more!
BY HANNAH MARTIN
88 American Evolution
31 Discoveries At their Connecticut country
AD visits fabric maestro Peter escape, Jane Keltner de Valle and
D’Ascoli’s kaleidoscopic Delhi Giancarlo Valle accentuate the
villa… Our guide to setting a new in New England style.
fabulous table… Louis Vuitton’s BY MAYER RUS
latest It bag… Architect Michael
K. Chen updates a Manhattan 102 Spark Joy
loft… Outdoor fabrics by Miranda Tastemaker Caroline Sieber
Brooks and Bastien Halard… puts her soigné stamp on
A father and daughter’s fresh a lush town house in London.
THE CONNECTICUT HOME OF
take on traditional Japanese BY DEREK BLASBERG
DESIGNER GIANCARLO VALLE AND
OBERTO GILI
woodworking… Jamb launches HIS FAMILY. “AMERICAN EVOLUTION,”

PAGE 88. PHOTOGRAPHY BY
a line of mirrors… Bulgari STEPHEN KENT JOHNSON. INTERIOR
celebrates 75 years of the STYLING BY COLIN KING.
16 AR C H D I GES T.COM
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CONTENTS
88
THE LIVING ROOM
OF A COUNTRY HOUSE
IN CONNECTICUT.
ARTWORK BY BILLIE
ZANGEWA GRACES
A NEW LOUIS
VUITTON HANDBAG.
114 The Suite Life

In-demand young designer Hugo
Toro reimagines his 1960s-era
apartment in Paris as a globally
inspired retreat from daily life.
BY MARINA HEMONET
120 Artists in Residence

For best-selling author Suleika
Jaouad and Grammy-winning
INTERIOR: STEPHEN KENT JOHNSON. HANDBAG: ULRICH KNOBLAUCH.

musician Jon Batiste, home is a
Brooklyn house that celebrates
their heritage and their vision for
the future. BY SULEIKA JAOUAD
128 Brutalist Honesty

At London’s iconic Barbican
Estate, designer Bryan O’Sullivan
crafts a dreamy—and deeply
personal—home for his young
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20 A R C H D I GES T.COM
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DESIGN INSPIRATION FROM THE ISSUE
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Renovating his London apartment (page 128),
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22 AR C H D I G E S T.COM P ROD U C ED BY S AM COC HRAN AND M AD ELI NE O ’ M A L L E Y

editor’s letter 1. JANE KELTNER DE VALLE AND
GIANCARLO VALLE IN CONNECTICUT
WITH THEIR CHILDREN PALOMA
AND ROMAN. 2. DESIGNER HUGO
TORO IN PARIS. 3. CAROLINE SIEBER
IN LONDON. 4. DESIGNER BRYAN
O’SULLIVAN’S LONDON LIVING ROOM.
5. SULEIKA JAOUAD AND JON
BATISTE IN BROOKLYN. 6. WITH
GIANCARLO VALLE IN NYC.
“Even as we put our own stamp on it, we wanted

the house to remain as it has always been.”
—Jane Keltner de Valle 4
In an issue packed with young, forward-thinking homeowners (several of whom

are themselves cutting-edge talents leading the way in architecture and interior
design), it may come as a surprise that a sense of history pulses so strongly through
1. STEPHEN KENT JOHNSON. 2. MATTHIEU SALVAING. 5. OBERTO GILI. 4. JAMES MCDONALD. ART: MARLENE DUMAS.
these pages. Indeed, November’s theme is “Reinventing Tradition,” and, far from
being a conventional affair, our featured spaces exude an exciting energy and a
decidedly contemporary blend of old and new.
Consider the 1863 Connecticut house on the cover, the retreat of influential
AD100 designer Giancarlo Valle and his wife, Jane Keltner de Valle, a former AD
editor. “The house was well-loved, and you could feel the good energy,” says Jane of
the New England classic. “It had an unimposing formality that we tried to maintain.”
In-demand designer Hugo Toro shares his slightly futuristic, superchic Paris apart-
ment, commenting of his modus operandi: “I like to engage with traces of the past,
as a way of preserving the soul of a place.” Also overseas, designer Bryan O’Sullivan
has set up his family in the Barbican, a Brutalist London landmark that he’s been
obsessed with since his student days. A sensitive
renovation of the Grade II–listed concrete beauty
ensued—“I’m all for preserving the past,” says
O’Sullivan, while noting that the old kitchen defi-
nitely needed to be updated for modern-day life.
He struck the balance perfectly. 5
6
In Brooklyn, an Italianate 1890s town
5. FRANK FRANCES. 6. WESTON WELLS.
house proved the ideal dwelling for a pair

of artists with diametrically opposed
creative needs in their live-work environ-
For the third year, ment: Grammy Award–winning musician
AD proudly teams with Jon Batiste makes a lot of noise, while writer
Black Interior Designers, Inc. Suleika Jaouad requires complete silence.
to present The Iconic Home, AMY ASTLEY
The thick walls and large rooms of the Global Editorial Director
which opens its virtual doors in
October. Visit archdigest.com/ gracious structure “could hold both,” Jaouad and Editor in Chief, AD U.S.
iconichome eloquently writes. History in the making. @amyastley
New York - Miami - Los Angeles
armani.com
object lesson THE STORY BEHIND AN ICONIC DESIGN
BROTHERS ACHILLE AND

PIER GIACOMO
CASTIGLIONI’S TACCIA
LAMP FOR FLOS, SHOWN
IN ARCHITECT LÚCIO
ROSATO’S HISTORIC HOME
IN LANCIANO, ITALY.
Bowled Over
The Castiglioni brothers’
midcentury “Mercedes of lamps”
is still cruising, decades later
HELENIO BARBETTA.
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object lesson THE STORY BEHIND AN ICONIC DESIGN
1. A PAIR OF TACCIA 3. TACCIA, NEWLY

LAMPS FLANK THE RELEASED IN MATTE
SOFA IN ARCHITECT WHITE. 4. A YACHT
ALEX COCHRANE’S DESIGNED BY JOANNE DE
LONDON HOME. 2. PIER GUARDIOLA. 5. TACCIA
GIACOMO (LEFT) AND AT FONDAZIONE ACHILLE
ACHILLE WITH TACCIA. CASTIGLIONI IN MILAN.
ilanese industrial designers Achille and Pier Giacomo
M Castiglioni liked to reduce an idea to the very basics.

So in 1958, the premise for the brothers’ new table
lamp was radically simple: to turn a ceiling fixture
upside down, like a salad bowl, and set it on a base.
It took some experimentation to make it work.
1. ROMAS FOORD. ART: ENRICO DAVID. 2. UGO MULAS. 3. COURTESY OF FLOS. 4. WILLIAM WALDRON. 5. FONDAZIONE ACHILLE CASTIGLIONI.
3
5
4
originally envisioned—in plastic. This year they introduced

matte white—now available alongside the typical black, silver,
and bronze.
“The Castiglioni brothers were kings of engineering, crea-
tivity, and playfulness,” says Fanny Bauer Grung, of the Milan-
based firm Quincoces-Dragò & Partners. “And Taccia is a perfect
mix of them all.” From $1,600; flos.com —HANNAH MARTIN
DISCOVERIES
THE BEST IN SHOPPING, DESIGN, AND STYLE EDITED BY SAM COCHRAN
AD VISITS
Lust for Life

MARK LUSCOMBE-WHYTE
Fabric maestro Peter D’Ascoli transforms a Delhi

villa into a kaleidoscopic feat of color and pattern
AT LAL KOTHI, IN DELHI, PETER D’ASCOLI OUTFITTED THE SALON WITH FABRICS OF
HIS OWN DESIGN AND FAMILY COLLECTIONS OF TILES AND PHOTOGRAPHS.
AR C H DI G E S T. CO M 31
DISCOVERIES 1
n a recent night at Lal Kothi, the Delhi farm-
1. THE FRONT GARDEN OF LAL KOTHI. 2. THE DESIGNER

IN HIS STUDIO WITH TEXTILES FROM HIS NAMESAKE LINE.
3. IN THE DINING ROOM, THE CEILING, WALL PANELS,
AND TABLECLOTH ARE ALL D’ASCOLI FABRICS.
3
O house of textile and fashion designers Peter
and Cecile D’Ascoli, candlelight and the full
moon glowed together as guests gathered
sur l’herbe for dinner. “It’s like dining at an
Indian Versailles,” remarked author William
Dalrymple over masala aubergines sprinkled with gunpowder
Sri Lankan pepper. In this verdant corner, tucked away from
the city’s hustle, the couple has realized something quietly
remarkable: a creative tour de force in the jostling landscape
of a country highly attuned to its cultural heritage.
Peter, an American expat, began his love affair with his
adopted homeland four decades ago, during a business trip to
the Punjabi city of Amritsar, among other sites. “We stayed
in the pilgrims’ quarters at the Golden Temple and ate at long
tables in the communal dining hall,” he recalls, crisp in a
white kurta. “All of this—and the many donkey carts, camels,
horses—seemed like a wonderland to me, having grown up
in prosaic Long Island.” (His wife is French.) After a five-year
stint working for Diane von Furstenberg in New York City,
life would eventually bring him back to India, where he had
a formative encounter with the textile doyen and elegant
Punjabi royal Martand “Mapu” Singh. “Mapu taught me so
much about the impact of Indian crafts on the wider world.”
Peter founded his atelier Talianna Studio in 2006, ensconc-
ing his young family—he and Cecile have two daughters—
rather snugly in a South Delhi apartment a decade ago. With
the business expanding, the family embarked on a new chapter,
looking for someplace “with our own fruit trees and a sense of
breathing out.” When they first visited Lal Kothi, they knew
MARK LUSCOMBE-WHYTE
nothing of the villa, owned by an erstwhile royal family.

“While the gardens were very impressive, the previous tenants
had placed a green plastic covering over the central skylight
that cast a bilious pall over everything,” he says. Nevertheless,
a second visit and the chance to move to a house surrounded
by lawns seduced them.
DISCOVERIES
1. A STAIRCASE
DISPLAYS ARTIFACTS
FOUND ALL OVER THE
WORLD. 2. THE PRIMARY
BEDROOM IS DRESSED
IN MORE D’ASCOLI
FABRICS, FROM THE
WALLS TO THE SHEETS.
3. AN ANTIQUE
FOUNTAIN ENLIVENS
THE GROUNDS.
Today, the couple has transformed the property into an

extraordinary family home that doubles as a showcase for
Peter’s collection of textiles. He has placed that striking array
of block-printed fabrics intuitively throughout Lal Kothi,
decorating each room based on sight lines and the movement
of light throughout the day. “I am not an interior designer
by training,” he admits. “I am, in the classic sense, an amateur.
I want my family and friends to enjoy the space.”
To establish symmetry in the salon and dining room, he
tented each space in a shamiana, or cloth canopy, which, he
notes “helps settle a room with calm.” The hall, meanwhile,
features large-scale panels in a tree-of-life motif modeled after
historic textile documents. Sleights of hand continue back
in the salon, where framed antique tiles from his travels across
the Mediterranean and China hang on turquoise-blue walls,
complemented by old kalamkari panels and seating from the
D’Ascoli brand’s furniture collection. The room’s eclectic mix
is his nod to Umberto Pasti and Stephan Janson’s Milan home,
a cabinet of curiosities that left him spellbound during a stay.
Peter also cites, as notable influences, encounters with Renzo
Mongiardino and Madeleine Castaing, whose “ineffable styles”
MARK LUSCOMBE-WHYTE
inspired his bedroom at Lal Kothi.

“Above all, the house tells the story of who we are as a fam-
ily,” Peter smiles. “We are boisterous personalities and have
a love of life, manifested in food, entertaining, and flamboyant
decoration.” East of Eden Lal Kothi may be. But it is a small
piece of paradise, indeed. dascoli.co —COSMO BROCKWAY
3
SHE WASN’T always ON TIME.
B U T S H E A LWAY S M A D E A N entrance.
THE MODERN GODDESS

FEATURING THE ODIN® BATH COLLECTION
DISCOVERIES
A WISCONSIN TABLE SET
WITH MUSHROOM PLATES BY
ALBERTO PINTO ON A VINTAGE
FRENCH LINEN TABLECLOTH.
ENTERTAINING
Get the Party Started

With the holidays soon upon us, all
eyes are on the table. We’ve rounded
up everything you’ll need to feed
your loved ones in style—from today’s
MIGUEL FLORES-VIANNA
most elegant dinnerware to the latest

must-have linens. A toast to all.
36 A R C H D I GES T.COM P ROD U C ED BY M AD ELI NE O ’ M A L L E Y
DISCOVERIES
JOHN DERIAN
COMPANY DELFT
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HUDSON GRACE
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PERFECT PAIRINGS
Blue-and-white treasures and classical
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shown is a Connecticut home by Virginia Tupker.
x MISETTE HAND-
PAINTED CANDLES; $120
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LAGUNA~B STELLA GLASS
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GLASS; $300. DIOR.COM
INTERIOR: ISABEL PARRA. STELLA GLASS: ENRICO FIORESE. ALL OTHER PRODUCTS COURTESY OF THE COMPANIES.
VITA KIN
PERIWINKLE TABLE
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AND COASTER.
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CHRISTOFLE BABYLONE NAPKIN

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ROYAL DELFT
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ROSE ROOM
COCKTAIL NAPKINS; ROMAN AND WILLIAMS
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38 A R C H D I G E S T.COM
DISCOVERIES IL BUCO VITA
BELLOCCHI TERRA-
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EARTH STUDIES
Ceramic finds, rustic charms, and organic hues
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LOUIS VUITTON
PORTA BRANCH OBJETS NOMADES
STITCH NAPKINS; $72 FLOWER CARAFE;
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HOUSES & PARTIES

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x WAX ATELIER
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INTERIOR: ANDRE JONES. ALL PRODUCTS COURTESY OF THE COMPANIES.

EL MONO HOME
SPECKLE GLASS;
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HERMÈS METIERS
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40 AR C H D I G E S T.COM
DISCOVERIES AQUAZZURA
CASA EMERALD &
TURQUOISE WHITE
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IL BUCO VITA OF TWO.
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SARDINES BY
ANTONELLO RADI;
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ILBUCOVITA.COM
GREGORY PARKINSON
SURROUND BLOCK-PRINTED
DOUBLE-FACE NAPKINS;
$220 FOR A SET OF SIX.
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THE LIFE AQUATIC

Iberian élan and deep splashes of blue and
green conjure magic hour by the water.
GIAMBATTISTA VALLI
HOME GOLD-PLATED Shown is the Portugal home of Carolina Irving.
BAMBOO SILVERWARE
SET; $665 FOR A FIVE-
PIECE PLACE SETTING.
MODAOPERANDI.COM
NONNA HALL TAPER

CANDLEHOLDER IN
GREEN; FROM $38.
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STORIES OF ITALY
MACCHIA SU MACCHIA
IVORY & GREEN TUMBLERS;
$202 FOR A SET OF TWO.
STORIESOFITALY.COM
EXTERIOR: MIGUEL FLORES-VIANNA. ALL PRODUCTS COURTESY OF THE COMPANIES.
CABANA MOROCCAN
PLACEMAT; $40. CAROLINA IRVING &
CABANA DAUGHTERS GIGI GREEN
MAGAZINE.COM DINNER PLATE; $95.
CI-DAUGHTERS.COM
JAYSON HOME
SKIPPER JUG; $78.
JAYSONHOME.COM
BIRLEY OLIVE OIL

BOTTLE; $742.
BIRLEY.COM
CASA BRANCA
ARTICHOKE CACHEPOT
BY CASA BRANCA FOR
FRANCOIS ROGER; $880.
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DISCOVERIES LA DOUBLEJ
LISA CORTI PERFETTO WINE
MASONITE GLASS; $820 FOR
PLACEMAT; $47. A SET OF FOUR.
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LA SOUFFLERIE
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ELIZABETH LAKE ABOLI

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VIOLETS
Indoors or out, purple wonders
pack a punch. Shown is the Montecito home
of fashion stylist Jamie Mizrahi.
SABRE PARIS
ICÔNE LILAC
SERVING SET; $92.
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Future residences located at:
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Mantels | Lighting | Furniture
London | Atlanta | Chicago | Los Angeles
A CENTURY OF STYLE
From editor-in-chief Amy Astley and Architectural Digest, AD at 100
FROM LEFT: ANTHONY COTSIFAS; JASON SCHMIDT; OBERTO GILI
celebrates the most incredible homes of the past century, showcasing

the work of top designers and offering rare looks inside the private worlds
of artists, celebrities, and other fascinating personalities.
Marc Jacobs, Jennifer Aniston, Diana Vreeland, India Mahdavi, Peter Marino,
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DISCOVERIES
1. BILLIE ZANGEWA IN
HER JOHANNESBURG
STUDIO. 2. STUDIES FOR
HER PENGUIN CHARMS.
3. THE POOL BEING
EMBROIDERED. 4. LOUIS
VUITTON’S MONOGRAM
FLOWER. 5. ZANGEWA’S
NEW ARTYCAPUCINES
BAG FOR THE FRENCH
FASHION HOUSE.
2
ART SCENE
Strokes of Genius
Tapped by Louis Vuitton, Billie Zangewa
translates a cherished swimming scene
into the brand’s latest It bag 3
4
I
n her evocative silk collages, the South Africa–based artist Billie Zangewa
often mines everyday events—preparing a bottle for her child or taking a
shower, even just lounging on the sofa with a book. For the 2020 work The
Swimming Lesson, she revisited the weekly trips to the pool that she took
with her son, Mika. In it, a young boy sits along the water’s edge, juxtaposed
against a washed-out terra-cotta-color sky. “It was unfamiliar to him,” she
recalls of the emotional waves that accompanied those sessions. “I still think about
experience and use. It creates a more sculptural feel.” 1., 2. & 4. ULRICH KNOBLAUCH. 3. & 4. PIOTR STOKŁOSA.
idiosyncrasies in her Capucines rendition, a limited edition 5
faire. The collage’s raw silk was scanned and painstakingly

printed on leather, re-creating every crease and irregularity.
Slightly off-kilter stitches lend a sense of the hand, as does
the metallic embroidery and beadwork used to capture the
pool and the figure of her son. For a final touch, Zangewa
also added a trio of gold African penguin charms—another
nod to Mika, who, after those lessons, went on to swim
with the birds along the Cape Town coast. “It’s a tribute to
my son,” Zangewa says of the handbag. “My creativity just
blossomed when he was born. He accelerated my being.”
louisvuitton.com —HANNAH MARTIN
COMING SOON
UMBER NACRE REM KRETA BROMO
A CARBON NEUTRAL PRODUCT BY COSENTINO

DISCOVERIES 1
1. THE LIVING AREA’S POLIFORM

SOFA, PENDANTS BY ACHILLE
CASTIGLIONI FOR FLOS, AND A
VINTAGE CASSINA COCKTAIL
TABLE. 2. THE TERRA-COTTA-HUED
VESTIBULE PARTITION. 3. IN THE
DINING AREA, A KARL ZAHN FOR
ROLL & HILL LIGHT FIXTURE, HAY
CHAIRS, AND KLEIN AGENCY TABLE.
RENOVATION
Tectonic Shift
To update a Manhattan loft,
3
architect Michael K. Chen

conjures the landscape
F
or as long as Manhattan lofts have been livable,
savvy designers have delighted in the challenge of
putting their industrial bones to residential use.
Open layouts, after all, invite experimentation. It
was in that spirit that Michael K. Chen Architecture
(MKCA) approached the recent renovation of
a sprawling NoMad home. When his clients, a young couple
working in tech, bought the unit three years ago, it had
undergone only ad hoc updates by the previous owner, who
had lived there since the building’s conversion. “The loft was
so spectacular in terms of its proportions,” says Chen. But
as far as its fixtures, finishes, and floor plan were concerned,
he adds, “it was also nothing.”
To maintain its historic character while injecting warmth
and personality, MKCA set about breaking down the volume
into a functional but free-flowing scheme, with a second
bedroom and bathroom plus workspaces for husband and
wife. “Our idea was to treat the space as you would a landscape,
introducing features to navigate around,” explains Chen.
Architectural interventions, in other words, function as terrain,
BROOKE HOLM
whether in the case of the oversize kitchen island—a faceted

mass of natural stone and metal—or the vestibule partition,
whose sculptural form snakes into the floor plan, masking
The frameless insulated sliding doors by Swiss manufacturer Sky-Frame blend naturally
into their surroundings, creating a seamless continuity between indoors and outdoors and
blurring the line between where the living space ends and the view begins. SKY-FRAME.COM
1
1. REFORM KITCHEN CABINETRY AND

A BESPOKE ISLAND OF STONE AND STEEL.
2. WALKER ZANGER WALL TILE IN THE
PRIMARY BATH. 3. A CORNER OF THE
PRIMARY SUITE, WITH THE DRESSING AREA
BEYOND. 4. THE GUEST BATH’S CUSTOM
WALLPAPER AND HEATH CERAMICS TILE.
the elevators. “The scale of elements

verges on unusually large,” he says.
That topographical approach extends
to MKCA’s selections of furniture.
The living room’s “ginormous” Poliform
sofa faces multiple directions in a
loose formation, accommodating a range
of concurrent activities. Overhead,
meanwhile, a staggered quartet of
adjustable Achille Castiglioni pendants
can move up or down in a shifting
constellation.
Designers and clients clicked when
it came to the overall palette. “We love 4 3
how they use materials, colors, and

textures to create spaces that feel
intentional and special, modern and sleek, luxurious but its fabrication process. “It looks decorative but it’s actually
without pretension,” the owners mused via email. “MKCA the molecular structure responding to heat,” he explains of the
quickly saw we were open to strong choices on that front. material. That metallurgical fixation continues to the guest
We always thought there was an opportunity for fun.” bath, whose custom wallpaper is based on close-up images of
Whereas stone slabs tend toward richly figured, hues err on an acid-formed patina. Says Chen, “none of the polite materi-
the side of saturated. (Think salmon-pink lacquer for the als made it into the palette—they’re all assertive.”
dressing room, deep-green linoleum for the kitchen cabinetry.) Bold though the scheme may be, it’s also the little things
Says Chen, “the scale was such that something too polite that charm the clients on a daily basis. The color of the
would feel wimpy and out of proportion.” bathrooms’ tile grout, the flush edges of round outlets against
Bespoke metal elements, meanwhile, nod to the apart- stone, the careful integration of HVAC systems—such details
BROOKE HOLM
ment’s manufacturing past—from the hulking tempered-steel all help to make a beautiful space a functional space. And work,
exhaust hood to the powder-coated, perforated island. of course, is precisely what lofts have always been designed
The former took on a painterly, iridescent finish thanks to to do. —SAM COCHRAN
DISCOVERIES
DEBUT
Salt of the Earth

For their new line of outdoor
fabrics, Miranda Brooks and
Bastien Halard look to the land
D
1
uring their first
winter in the
Cotswolds, Miranda
Brooks and Bastien
Halard were met
not by glittering
hoarfrost and scenic drifting snow 2
3
but by one of the wettest seasons
on record. Rain poured, their 17th-
century stone house was damp,
and the freshly graded landscape
(a former dairy farm) was mud as
far as the eye could see. Despairing
that spring would ever come,
the AD100 Brooklyn expats—he
a French-born designer, she a
Hertfordshire lass turned garden
guru—fashioned a creative escape:
conjuring up flowered fabrics
that would be used on their own
outdoor furniture.
“I figured that chintz would
give me an instant garden whilst
waiting for everything to grow,” says Brooks. What they
intended for their own use, though, is now being introduced
to the public under the couple’s Catswood brand, named for
the house where they live with their two teenage daughters.
4
The five patterns offer all the botanical bounty that they
1. TABLECLOTH OF GREEN
hoped for, the motifs and colors adapted from vintage and TREE PEONY, ONE OF
antique documents. Roses bloom, leaves unfurl, and butter- CATSWOOD DESIGN’S FIVE
NEW OUTDOOR FABRIC
flies flit, joined by coordinating stripes with their roots in PATTERNS. 2. AN UMBRELLA
ikats and tickings. AND LOUNGE CHAIR
IN YELLOW ROSE CHINTZ
“It’s easy to find chic outdoor fabrics, but not decorative WITH CUCKOO, ONE
ones,” explains Halard, a scion of the family that founded OF THE FAMILY’S DOGS.
3. A PICNIC SET WITH
the influential French textile firm Nobilis. Especially, his wife PILLOWS IN BOBBLY RIBBON.
points out, fabrics made of invitingly soft synthetic fibers 4. CUSHIONS IN RED
ROSE CHINTZ WITH FINE-
(stain-proof, mold-proof, and water-resistant) that hold up FEATHERED FRIENDS.
against the kind of weather that sparked that winter project
in the first place. “I wanted natural dyes, not carcinogenic
coatings,” Brooks says. “I don’t want to lie on something toxic.”
That includes the flouncy skirted sofa that stretches across
LOTTIE HAMPSON
a wall of their kitchen and is slipcovered in red peonies. It’s

the perfect spot for pondering Catswood’s future moves:
five additional patterns that are expected to bloom next year.
catswooddesign.com —MITCHELL OWENS
sixpenny.com
DISCOVERIES 1
CRAFT
Better With Age

Japanese woodworker Toshio Tokunaga likes to say that if more people
practiced Kanna, a traditional carving method, it would bring world peace.
“When a maker understands the wood and makes things with love, it’s
contagious,” his daughter, Yuriko, explains of the slow process, which
involves using handmade iron planes, avoiding power tools and sanding
has been carved and finished with

his proprietary Hassui Ceramic
coating. These days, the duo works
together in Hyogo prefecture to
realize each wonder. (The furniture
is represented exclusively by
Manhattan’s Radnor gallery, whose
founder, Susan Clark, discovered
it while researching Japanese
woodworking.) Father might carve
a frame from centuries-old maple,
while daughter crochets a seat and
back using ink-dyed washi paper.
The pair are now buying abandoned
rice fields to source their wood,
1. TOSHIO (LEFT) AND YURIKO TOKUNAGA IN THEIR 2
HYOGO PREFECTURE STUDIO WITH A KYOTO CHAIR, replanting what they use so that a
MADE FROM CENTURIES-OLD ZELKOVA WOOD. new crop will be ready in 100 years.
2. BLACK PERSIMMON CHAIR 01. radnor.co –HANNAH MARTIN
1. KIYOKO TOKUNAGA. 2. COURTESY OF RADNOR. MIRROR: MICHAEL SINCLAIR.

CRAFT
MOMENTS OF REFLECTION
Jamb, the British purveyor of antique
and reproduction chimneypieces, lighting,
and furniture, appreciates a good patina.
So naturally its new line of mirrors had
to shine just so. Set in aged frames—
some based on early-19th-century English
examples, others after Queen Anne
originals—the glass has been distressed to
replicate the mottled foxing of timeworn
panes. Above a mantel, they’ll sparkle all
the brighter. jamb.co.uk —SAM COCHRAN
RIGHT: JAMB’S GILTWOOD GOODISON MIRROR.
DISCOVERIES
JEWELRY
SNAKE EYES
It was in 1948 that a
snake first slithered
around Bulgari’s elegant
wrist, appearing in
the Serpenti collection of
jewelry watches. Later
interpretations followed,
often marked by
increasingly intricate and
1
stylized feats of craft.
1. A GLASS-WALLED BEDROOM AT Today, in celebration of
THE NEW ONE&ONLY AESTHESIS RESORT
OUTSIDE ATHENS. 2. THE LAWN the motif’s 75th
OF A VILLA STEPS TOWARD THE SEA. anniversary, the Italian
luxury brand has released
a series of new Serpenti
treasures, among them
this glittering bracelet in
pink gold, diamonds,
and emeralds. Price upon
request; bulgari.com
—SAM COCHRAN
HOTEL
Greek Mythology
In the 1950s and ’60s, the Athenian Riviera came to epitomize Greek glamour 1. & 2. ONE&ONLY RESORTS. JEWELRY: COURTESY OF BULGARI.
thanks to the beach homes that society swans and patrician families strung,
jewellike, along this 40-mile stretch of Aegean Sea. While time later swept away
much of the region’s charms, the past few years have seen the area’s revival,
with sparkling new resorts, beach clubs, restaurants, and parks popping up
among the palms and cypresses. The One&Only Aesthesis hotel, opening
this winter, leans into that nostalgia. Set in the tony enclave of Glyfada, about
30 minutes from central Athens, the complex spans rectangular bungalows,
villas, and a spaceship-like midcentury main building—all set amid fragrant
pine trees and vibrant lavender. Nature played a big role when conceptualizing
the interiors. (It’s also within a 52-acre forest reserve.) “We used local volcanic
stone, oak timber, naturally woven fabrics, and marble quarried from the island
of Thásos,” says Inge Moore, cofounder and principal of the London-based
studio Muza Lab, which designed all 127 accommodations (rooms, bungalows,
residences, and villas) in collaboration with the Greek architecture firms
K-Studio, Audo, and A6Architects. Rooms were conceived to maximize natural
light, with multiple sliding window walls to let in cool sea breezes. Adds Moore:
“It’s all about immersing guests in this spectacular beauty.”
oneandonlyresorts.com —JOHN WOGAN
Credit approval required. Terms apply. See capitalone.com for details.
DISCOVERIES
2
DESIGN
Light Hearted
In his new Brooklyn
studio, ceramist
series of lovable lamps
T
hey’re like characters,” says ceramic
artist Jeremy Anderson, examining a
in Red Hook, Brooklyn. Finished In Red Hook—where interior designer

in 22-karat yellow gold, one appears
dressed in a striped tunic with a
fringed skirt. The vaguely figurative pieces (each

metallic lusters, bespoke beads, and hand-
are all from his latest body of work, which will be painted lines. Lately he’s been experimenting
officially unveiled with Gallery Fumi at the PAD London with pigmented stains that imbue the clay with color. He’s
and Design Miami fairs. also trying out larger formats like floor lamps and chandeliers.
Anderson, who cofounded the lighting brand Apparatus In the front-of-house showroom, finished lights mix with
with Gabriel Hendifar, his now ex-husband, turned a lifelong Anderson’s ongoing series of vessels, whose finned shapes
pottery practice into his full-time gig after the couple amicably resemble mushrooms growing on a tree. Wabi-sabi in vibe,
ETHAN HERRINGTON
parted ways a few years ago. “Working with clay is kind of a with a ceiling draped in linen, shoji-inspired doors, and rustic
lesson in life,” he muses. “You can’t get too attached to anything wood seating, the studio is a fitting backdrop for Anderson’s
because something can always go wrong in the process.” Just intuitive process. “There’s flexibility and freedom in the
the day before, he opened the kiln to discover that multiple making,” he explains. “But ultimately all the pieces have to
pieces had fused together or collapsed. But from those failures fit together.” jeremy-anderson.com —HANNAH MARTIN
E L LY S U H , V I O L I N I S T & F L O R I A N L E O N H A R D , V I O L I N M A K E R
savoirbeds.com
DISCOVERIES
DEBUT
Ripe for
the Picking
Exploration has always been at the heart
of the Banana Republic brand. Founded
in 1978, the fashion label got its start
reimagining expedition staples as every-
day attire, later evolving into the ready-
to-wear wardrobe of choice for stylish
professionals. Today, the company is
expanding upon that peripatetic legacy 1
with the launch of BR Home, a new
furnishings line that celebrates natural
materials, a global spirit, and local hand-
craft. Tactile wool rugs, for instance, are
knotted by weavers in the Atlas Mountains
of Morocco. Sculptural teak furniture is
carved by woodworkers on the Indonesian
island of Java. And handsome upholstered
seating is made by expert artisans in
North Carolina and Virginia. Styles, all the
while, range from clean-lined and modern
to refined and traditional. “We have vast
archives of ideas and influences,” says
president and CEO Sandra Stangl of the 2
mix, which spans case goods, bedding,
lighting, and more. “Every single piece has
incredible attention to details and a story
to tell.” bananarepublic.com —SAM COCHRAN
1. A VIGNETTE OF PIECES FROM BANANA

REPUBLIC’S NEW BR HOME LINE INCLUDES 4
STINSON SOFAS, A ROSE PENDANT LAMP,
PHOENIX COFFEE TABLE, AND HUDSON SIDE
TABLES. 2–4. MAUI ACCENT CHAIR, MELBOURNE
COFFEE TABLE, AND DRACO TABLE LAMP, ALL
FROM THE BR HOME COLLECTION.
1.–4. COURTESY OF BANANA REPUBLIC. FABRICS: COURTESY OF ROBERT KIME LTD.

FABRICS
KINDRED SPIRITS
Three years after Tory Burch
and Robert Kime launched
their hit Nara collection,
the fashion icon and the late
AD100 maestro’s studio
have revealed a follow-up
array of Japanese-inspired
textiles and wallpapers. All,
3
Burch says, are an ode to a
man who “made everything
1
1. ACHIKAZI COTTON.
2. INAZUMA LINEN.
look perfectly imperfect.”
3. OSHIBANA LINEN. robertkime.com —HANNAH MARTIN
2
72 A R C H D I G E S T.COM
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DISCOVERIES
1. KOSTAS LAMBRIDIS
WITH BRIC-A-BRAC IN
HIS ATHENS STUDIO.
2. ALL YOU NEED NOW
1 IS SOME OXYGEN
(2023), FROM HIS NEW
SHOW AT CARPENTERS
EXHIBITIONS WORKSHOP GALLERY
(CARPENTERS
Facts of
WORKSHOPGALLERY
.COM). 3. SPIN, RISE,
AND THRUST IN
RANDOM DIRECTION
the Matters (2023). 4. MIX THEM

TOGETHER (2023).
Kostas Lambridis
mines the magic of
everyday materials 3
W
e treat everything here
with the same respect—
or lack of respect,” says
1. PINELOPI GERASIMOU. 2.–4. MATT HARRINGTON/COURTESY OF CARPENTERS WORKSHOP GALLERY.

Kostas Lambridis,
describing the assorted
stuff filling his Athens
studio. On a given day that might include
chairs scavenged from the city streets, hunks
of Pentelic marble, and a piece of a beat-
up car, all sitting alongside the stained glass
and handmade ceramic mosaics that his
team painstakingly produces in-house.
This nonhierarchical approach is central
to Lambridis’s art and design practice, in
which odds and ends plucked from across
the value spectrum coalesce into functional
sculptures. One new table, for example,
started with slabs of Greek and American new plastic. And a cocktail table is totally
4
walnut but grew to incorporate, among mineral, with volcanic rock purchased
other timber flourishes, the decorative base from a garden store, cast glass, and terra-
cotta bricks. “That white marble comes
handful of finials. “I wanted to show the full range of the from a sink in an Athenian apartment,” Lambridis says of the
material, from the raw to the super processed,” he says of hunk embedded in the base. “This is the same marble as the
the all-wood piece, which stars in “Reverse Fireworks in Slow Acropolis. But for some reason when people renovate their
Motion,” his first American solo exhibition, on view through apartments, this is one of the first things they remove.”
November 23 at New York’s Carpenters Workshop Gallery. kostaslambridis.com —HANNAH MARTIN
serenaandeiey.com
ELEGANCE
WITH ATTITUDE
Pearls by Assael, wondrous
natural treasures of the
ocean, renowned for their
captivating beauty; the
ﬁnest pearls in the world.
Sean Gilson for Assael
Bubble Earrings
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Photography: David Benoliel
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Interior Design
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THE LIVING ROOM IS OUTFITTED

WITH A STUDIO GIANCARLO VALLE
SOFA, WOOD-AND-RAFFIA CHAIRS
BY GREEN RIVER PROJECT, A
GIANFRANCO FRATTINI COCKTAIL
TABLE, AN INGO MAURER TABLE
LAMP, A GIANCARLO VALLE FOR
NORDIC KNOTS RUG, AND MEXICAN
BUTAQUE CHAIRS. PAINTING ON
THE RIGHT BY ANASTASIA BAY.
evolution
At their Connecticut country

escape, Jane Keltner de Valle
and Giancarlo Valle accentuate
ART: ANASTASIA BAY
the new in New England style

TEXT BY MAYER RUS PHOTOGRAPHY BY STEPHEN KENT JOHNSON
STYLED BY COLIN KING
THE DINING ROOM HAS
BONACINA CHAIRS, A GREEN
RIVER PROJECT TABLE, A
STUDIO GIANCARLO VALLE
CREDENZA, A VINTAGE IRON
CHANDELIER, CURTAINS
OF MALABAR FABRIC, AND
A GIANCARLO VALLE FOR
NORDIC KNOTS RUG.
CERAMIC WALL MEDALLIONS
BY MATT MERKEL HESS.
ROMAN AND PALOMA FROLIC ON THE LAWN OF THE 1863 HOUSE, BUILT ON THE SITE OF ONE
OF THE FIRST SCHOOLS FOR GIRLS IN THE UNITED STATES.
the
august English writer and critic Samuel Johnson once opined,
“The two most engaging powers of an author are to make new
things familiar and familiar things new.” Johnson’s maxim
personal passions, and the spirit of their young family. It is
also a testament to the twin virtues of innovation and restraint,
inspiration and ease.
The site for the Valles’ adroit balancing act is a stalwart
1863 house, painted crisp white with dark green shutters,
which once served as a parsonage for the town’s historic Greek
Revival church. Trim and subdued, the original, essentially
cubic structure has a wood-paneled living room added in the
1920s and a kitchen extension built in the 1970s. “We loved the
ART: MATTHIAS MERKEL HESS
finds eloquent expression in the captivating Connecticut home proportions. It felt very modern in its simplicity. It’s gracious,
of Jane Keltner de Valle, cofounder of children’s skin care line but not in an overdone kind of way—elegance without the frills,”
Paloroma (and AD’s former style director), and her husband, Giancarlo says of the home’s appeal. “The house was well-
AD100 designer Giancarlo Valle. Together, the dynamic couple loved, and you could feel the good energy,” adds Jane. “It had
have conjured a vision of classic New England charm animated an unimposing formality that we tried to maintain. Even as
by a wholly contemporary spirit—a marriage of the familiar we put our own stamp on it, we wanted the house to remain
and the novel that speaks to their professional pedigrees, their as it has always been.”
MAKEUP BY JOSEPH CARRILLO; ART: ANASTASIA BAY
“Even as we put our own stamp on it,

we wanted the house to remain as it has
always been.” —Jane Keltner de Valle
IN THE KITCHEN, A VINTAGE ITALIAN CHANDELIER HANGS ABOVE A CUSTOM ISLAND INLAID
WITH DELFT BY PLAIN ENGLISH TILES. THE CAFÉ CURTAINS ARE IN A KRAVET STRIPE.
ABOVE FROM LEFT,
JANE KELTNER DE VALLE,
AND PALOMA, ROMAN,
AND GIANCARLO VALLE.
LEFT AXEL EINAR HJORTH
CHAIRS PULL UP TO A
SWEDISH FARM TABLE IN
THE BREAKFAST ROOM/
PANTRY. A FISHER &
PAYKEL REFRIGERATOR IS
CONCEALED IN THE CUSTOM
CABINETRY. PAINTING BY
ANASTASIA BAY.
JULIA B. CASA CHAIRS
SURROUND AN ANTIQUE
MILLSTONE TABLE
BENEATH A TOWERING
MAPLE IN THE GARDEN.
LANDSCAPE DESIGN BY
KTISMASTUDIO.
STUDIO GIANCARLO VALLE’S PALOMA MIRROR ADORNS DAUGHTER PALOMA’S BEDROOM. ROMAN SHADES IN MAHARAM FABRIC,
QUILT FROM PAULA RUBENSTEIN, CHARVET EDITIONS BEDSPREAD FROM JOHN DERIAN.
That meant no anachronistic Pilates studio or open-plan CONTRIBUTIONS BY FRIENDS AND COLLEAGUES underscore
kitchen, no hammam, and no marble-clad bathroom large the feeling that the renovation is truly a family affair. Designer
enough to host an ice cream social. Yet within the house’s rooms, Minjae Kim, who once worked in Giancarlo’s studio, is rep-
the couple teased a palpable sense of wonder and delight resented by wood benches he fashioned for the couple’s two
through discreet decorative gestures that put an entirely new children, one inscribed “PV” for daughter Paloma and the
complexion on the traditional architecture. Naturally, exam- other “RV” for their son, Roman. The work of designers Aaron
ples of Giancarlo’s own furniture designs buoy the winsome Aujla and Benjamin Bloomstein of Green River Project, fellow
ambience: the toothsome chunkiness of his dining room members of the AD100, appears throughout the house, notably
sideboard; the insouciant curves of his living room sofa; and in the signature raffia-festooned club chairs that enliven the
the custom kitchen island inlaid with delft tiles, to name just living room, and the dining room table incised with an outline
a few. In the primary bedroom and bath suite, he added of the Green River in upstate New York, which meanders
attenuated, branch-form columns that introduce a note of through Bloomstein’s family property. (“The kids use it as a
fairy-tale forest magic to the sprightly mix. track for marbles,” Jane offers.) The dining room walls are
Many of the pieces were crafted in a makeshift woodshop adorned with medallions by ceramist Matt Merkel Hess, rep-
set up in the garage, including a series of boxy sconces resenting local flora and fauna, including moths, leaves, horses,
knocked up from scrap wood. “Fabricating things on-site made birds, acorns, and even ticks, the scourge of Connecticut.
them feel even more special and connected to the life of the Of course, Jane’s incisive eye and deft touch are unmistak-
house,” the designer notes. “My dream is to turn our dilapi- able in the house’s sophisticated color palette, the chic yet
dated barn into a proper woodshop and guesthouse, but that’s unpretentious fabrics and finishes, and the array of antiques
going to have to wait until we catch our breath.” and vintage treasures, many collected from local shops and
ROMAN’S BEDROOM HAS A
CUSTOM DAYBED AND A
SCHOOLHOUSE TABLE LAMP.
ABOVE A PLATEAU LAMP (LEFT)
BY STUDIO GIANCARLO VALLE
AND NATALIE WEINBERGER IS
JOINED BY PIERRE PAULIN
CHAIRS AND A CUSTOM SOFA
AND SCONCE IN THE DEN. THE
LINEN-WRAPPED COCKTAIL
TABLE IS FROM THE ESTATE OF
MARIO BUATTA. THE LARGE
PAINTING IS BY LANDON METZ.
ABOVE THE PRIMARY BEDROOM IS FURNISHED
WITH STUDIO GIANCARLO VALLE BEDSIDE TABLES,
A MINJAE KIM BENCH, PAAVO TYNELL SCONCES,
A PIERRE JEANNERET CHAIR, A GIANCARLO VALLE
FOR NORDIC KNOTS RUG, AND ROMAN SHADES
OF ZAK+FOX FABRIC. RIGHT IN THE LIVING ROOM,
A JEAN PROUVÉ SWING-ARM LAMP SURMOUNTS
A PIERRE JEANNERET DESK AND CHAIR.
© 2023 THE LARRY T. CLEMONS COLLECTION / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK.
ART: © 2023 LANDON METZ / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK.
auction houses as well as sources in New York and abroad. Her

own childhood desk and dollhouse add a decidedly personal,
nostalgic flourish to Paloma’s fetching bedroom. “The look is
very traditional, East Coast country-club vernacular—stripes
and splashes of hunter green—but all filtered through our lens,”
Jane says, describing the aesthetic sensibility that permeates
the home. “The process was a true collaboration in every
sense, and a chance for Jane to really flex her design muscle,”
Giancarlo adds, tipping his hat to his estimable wife. “It was
also a unique opportunity to create a home that blends our
worlds together.”
That blending has indeed paid handsome dividends in
scenes of pure domestic bliss. “So many memories have been
made here: Christmases, Easter egg hunts, birthdays, summer
garden parties with bouncy houses and cornhole. The children
already feel a real connection to this place,” Jane attests. And
what better seal of approval could one ask for?
“Fabricating things on-site made them feel
even more special and connected to the life of
the house.” —Giancarlo Valle
IN THE PRIMARY BATH,

A GREEN RIVER PROJECT
STOOL SITS IN FRONT
OF A PORTOLA TUB FROM
VINTAGE TUB & BATH.
STUDIO GIANCARLO
VALLE SIDE TABLES AND
PAAVO TYNELL COPPER
SCONCES FLANK A CUSTOM
BED UPHOLSTERED IN A
BRAQUENIÉ FABRIC
FROM PIERRE FREY IN A
GUEST ROOM. A MINJAE
KIM BENCH RESTS
ON A TUFENKIAN RUG.
design notes THE DETAILS THAT MAKE THE LOOK
COPPER PANS HANG
ABOVE A FISHER
& PAYKEL RANGE IN
A VINTAGE STOOL IS THE KITCHEN.
TUCKED BENEATH A
STUDIO GIANCARLO VALLE
DESK OF RECLAIMED
WOOD IN A GUEST ROOM.
PALOMA MIRROR; PRICE

UPON REQUEST.
GIANCARLOVALLE.COM
LINEN NAPKINS
BY CHARVET EDITIONS;
TAPESTRY DAYBED; $172 FOR A SET OF SIX.
PRICE UPON REQUEST. JOHNDERIAN.COM
GIANCARLOVALLE.COM
SIDNIE LAMP;
FROM $399.
SCHOOLHOUSE.COM
BENGALI COTTON BY
BRAQUENIÉ; TO THE
TRADE. PIERREFREY.COM
MELIN TREGWYNT
WELSH BLANKET;
$305. US.TOA.ST
SMOOTH SAILING
GENTLE CLEANSING
BAR; $12.
PALOROMA.COM
BIG COLLINA
SMALL VASE
BY GAETANO
PESCE FOR
CORSI DESIGN
FACTORY; $355.
ARTEMEST.COM
The house is relaxed and

comfortable but energized with
a contemporary sensibility.”
—Giancarlo Valle
P ROD U C ED BY M AD ELI NE O ’ M A L L E Y
IN THE COUNTRY
BY INGE MORATH AND
ARTHUR MILLER.
RADICCHIO
SERVING BOWL;
FROM $92.
PORTA-NYC.COM
We designed the 5-QUART RONDEAU

kitchen in humble BY BROOKLYN
COPPER COOKWARE;
materials. I think we’ve $770. MARCHSF.COM
overdosed on marble
trophy kitchens.” SENTEI GARDEN
SCISSORS BY NIWAKI; $35.
—Jane Keltner de Valle GOODEEWORLD.COM
DAISUKE QUILT BY A MEXICAN BUTAQUE

A.P.C. x SACAI; $1,060. CHAIR SITS IN A CORNER
APC-US.COM OF THE LIVING ROOM.
NEW YORK, 1977. BENCH & MIRROR: CLÉMENT PASCAL. ALL OTHER PRODUCTS COURTESY OF THE COMPANIES.
INTERIORS: STEPHEN KENT JOHNSON. COOKWARE: BEN KIST. IN THE COUNTRY: INGE MORATH/VIKING PRESS,
BUTAQUE CHAIR
BY CLARA PORSET
BY LUTECA; $3,510.
1STDIBS.COM
OBJETS NOMADES
STOOL BY ATELIER
OÏ; $5,650. LOUIS
VUITTON.COM
ARCH DI G E S T. CO M 101
IN THE PRIMARY BEDROOM,
A BESPOKE BED IS DRAPED
IN A CLAREMONT SILK TAFFETA.
THE CURTAINS, INSPIRED BY
A PERIOD ROOM IN NEW YORK’S
METROPOLITAN MUSEUM OF
ART, ARE OF THE SAME FABRIC.
CHILDREN’S PORTRAITS BY
JULIA CONDON ARE DISPLAYED
ON A GUSTAVIAN-STYLE
ART: JULIA CONDON
DRESSER. SWIFTY, A MALTIPOO,

STANDS ATOP AN ANTIQUE
BENCH COVERED IN GREEN SILK
TWILL BY CLAREMONT. THE
SIBYL COLEFAX & JOHN FOWLER
ARMCHAIR WEARS PINK
GINGHAM BY LE MANACH.
SPARK JOY
Tastemaker Caroline Sieber puts her soigné
stamp on a lush town house in London
TEXT BY DEREK BLASBERG PHOTOGRAPHY BY OBERTO GILI STYLED BY SARA MATHERS
ART: PHOEBE DICKINSON. PAUL BENNEY.
THE DRAWING ROOM’S GREEN THE FIREPLACE. FURNITURE

SILK TAFFETA CURTAINS ARE INCLUDES A BESPOKE SOFA IN
MODELED ON THOSE IN PAULINE A CLAREMONT STRIPE AND
DE ROTHSCHILD’S LEGENDARY AN OTTOMAN IN A LE MANACH
LONDON APARTMENT. A PRINT, A CIRCA 1935 FRENCH
PORTRAIT OF CAROLINE SIEBER ZEBRAWOOD DESK BY GOUFFÉ,
AND FRITZ VON WESTENHOLZ’S AND A MIX OF OTHER ANTIQUES.
DAUGHTERS, CLEOPATRA AND THE PORTRAIT OF VON
ELECTRA, BY PHOEBE WESTENHOLZ (IN BACK CORNER)
DICKINSON, HANGS ABOVE IS BY PAUL BENNEY.
A nyone who’s renovated
a house knows delays are
practically inevitable. But
Caroline Sieber, a London-
based fashion consultant,
had an effective tactic to
stay on schedule when
refurbishing her Chelsea
town house: A true due
date. “It turns out people don’t like to argue with a pregnant
woman,” she smiles, recalling how she’d show up on-site mere
weeks before she gave birth to her third child. “There I was,
inhaling paint fumes and tripping over cables, cheering and
spurring everyone on to work quicker so that we could move
in before the baby arrived.” It worked!
Sieber is a familiar face in the fashion world. She’s a former
Chanel ambassador and a regular on best-dressed lists in
New York and London. In the aughts, she was Emma Watson’s
to her first Chanel show in 2008) and styled sittings for
Vogue shoots in London. When she and her husband, Fritz
von Westenholz, a London-born financier, started their family
a decade ago, she shifted her exacting eye from runways to
interiors. “Design is both creative and, in a way, an extension
of fashion,” she says from the sitting room of the house, which
dates back to the 1840s. “Just as I am drawn to a more timeless
style in fashion, this also resonates with my taste in interiors.”
After the house’s meticulous renovation, Sieber can boil
down her design philosophy into four simple rules:
First, spaces should be beautiful to look at but simple.
“Never ordinary!” she declares. “And never clutter.”
Second, carpets should be used sparingly. “English people
love carpeting bathrooms, which is baffling to me.”
Third, sitting areas should be functional and neat. “I
don’t like sofas that look too comfortable or that you have to
slump into.”
And finally, think light and bright. “No muddy colors or
stylist (she brought the actress, still in her teens at the time, dark, heavy furniture.”
LEFT CAROLINE SIEBER WITH
HER CHILDREN BALTHAZAR
(IN A TOY CAR FROM HARRODS),
CLEOPATRA, AND ELECTRA.
FAR LEFT IN THE BREAKFAST
ROOM ANTIQUE CHAIRS
SURROUND A BONACINA TABLE
DRAPED WITH AN EBNETER
& BIEL CLOTH. WINDOW SHADE
AND WALLPAPER OF A SOANE
BRITAIN FLORAL.
REMARKABLY, SIEBER DECORATED the entire residence Sieber was born in Vienna and raised in stately homes
herself. But unlike her work as a stylist, which sees her there and in the mountains that were always picture-perfect.
dressing other people, she has no desire to decorate beyond “They were very formal spaces, with a lot of things that we
her own interiors. She says she “wouldn’t dare” to do it weren’t allowed to touch or come near to as children,” she says.
professionally. “The house is decorated for us and to suit “I wanted our house to be accessible, unforced and not too
the way we live, the decoration is intuitive and personal. precious. Everything in it serves a purpose.”
I so enjoyed doing it.” She spent a year at the Sorbonne in Paris and then enrolled
Similar to fashion work, her design process included in the European Business School London, where she received
scrupulous research and cataloging. The window treatments her MBA. Did a business degree help coordinate contractors,
in the primary bedroom copy designs in a period room at builders, movers, and upholsterers? “Let’s just say it has come
New York’s Metropolitan Museum of Art, which she photo- in handy many times,” she deadpans.
graphed on her phone and saved for years until she could have She met von Westenholz not long after moving to London
them made for her own home. The curtains in the drawing two decades ago, and they were married in 2013. (Her wedding
room replicate those in Pauline de Rothschild’s London dress was Chanel Haute Couture, designed by Karl Lagerfeld.)
apartment. Inspired by Horst P. Horst portraits in archive They have two girls, Electra, seven, and Cleopatra, five, and a
issues of Vogue, the breakfast room is covered in Soane three-year-old son called Balthazar. “We thought they sounded
Britain wallpaper with window shades in the same pattern. like superhero names,” she says. “I knew when I was six that
She stalked auctions, including Christie’s, Sotheby’s, Stair should I have a son he would be called Balthazar. Fritz took
Galleries, and Dorotheum in Vienna. some convincing.”
ARCH DI G E S T. CO M 107
THE PRIMARY BATH IS
OUTFITTED WITH
WATERWORKS FIXTURES
AND TILE. SOANE BRITAIN
SCONCES; A 1940s ANTIQUE
TABLE FROM PARIS.
“The house is
decorated for us and
to suit the way
we live,” says Sieber.
“The decoration
is intuitive
and personal.”
RIGHT AN ANTIQUE CHAIR WEARING A

LE MANACH ARCHIVE PRINT PULLS UP TO A
VINTAGE JANSEN DESK IN SIEBER’S STUDY.
BELOW A HOUSE-SHAPED BOOKCASE
STANDS IN THE PLAYROOM. LE MANACH’S
PLUMETTES COVERS THE WALLS AND
DRESSES THE GEORGE SMITH CHAIR.
HER DAUGHTERS SHARE A ROOM and sleep in twin canopied

beds that are hung with D. Porthault pink-clover-pattern
fabric. The walls are covered with a mural designed to evoke
Ludwig Bemelmans drawings. “The curtains are inspired by
my childhood bedroom in Vienna, and I adored them growing
up,” says Sieber, adding that Bemelmans was Austrian and
they read his stories in his native German.
Built on a garden crescent in a row of similar historic
houses, the home is surrounded by lush greenery both in the
front and back, and filled with exceptional natural light. “It’s
green as far as the eye can see, which is unusual for this part
of London,” Sieber says. “We get woken up by birdsong in the
morning.” The Garden of Ninfa, a sublime park built in a
medieval town near Rome, has long been her garden fantasy.
She commissioned Milan Hajsinek and, after a few conversa-
tions, gave him free rein. She only asked for evergreens. “It
was essential to consider the months when we are in London
to choose flowers that would bloom while we are at home.”
Sieber’s favorite room? The study, which she calls her refuge.
“The view of the garden is so pretty—and no one apart from
me is allowed inside!” But she strives to keep the whole house
just as peaceful. “I constantly roam the house with a mission
to declutter,” she confesses. “Mess can make me uneasy!”
ARC H DI G E S T. CO M 109
“I wanted our house
to be accessible,
unforced and not too
precious. Everything
in it serves a purpose.”
ELECTRA AND
CLEOPATRA’S BEDROOM
FEATURES CUSTOM
CANOPY BEDS DRAPED
WITH D. PORTHAULT’S
TRÈFLES. OPPOSITE THE
GARDEN WAS DESIGNED
BY MILAN HAJSINEK.
BATIK COTTON
BY LE MANACH;
TO THE TRADE.
A GUEST ROOM PIERREFREY.COM
FEATURES A BED
TENTED WITH
LE MANACH FABRICS
AND DRESSED IN
D. PORTHAULT BEDDING.
TRÈFLES BOUDOIR
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Just as I am drawn
to a more timeless style in
fashion, this also resonates
with my taste in interiors.”
FRAISIER CARPET BY
MADELEINE CASTAING
JARDIN MIRROR; $2,150. FOR CODIMAT
BUNNYWILLIAMSHOME.COM COLLECTION; PRICE
UPON REQUEST.
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PILASTRO TABLE
LAMP WITH AMBI
LAMPSHADE BY OKA x
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SHOWN. OKA.COM
EXAGONAL TABLE BY MARIO

BONACINA AND RENZO MONGIARDINO
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POTTED PAPER
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SCROLLING FERN SILHOUETTE WALLPAPER; A CIRCA 1935

$890 PER ROLL. SOANE.COM ZEBRAWOOD
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HERENDUSA.COM
INTERIORS: OBERTO GILI. ALL PRODUCTS COURTESY OF THE COMPANIES.
I constantly
roam the
house with a
mission
to declutter.”
HAMPTON SMALL CHANDELIER
BY AERIN FOR VISUAL
COMFORT; $739. AERIN.COM
IN THE LIVING ROOM,
A MURANO GLASS SCONCE
HANGS ABOVE A VINTAGE
COCONUT LAMP, TURNTABLE,
AND THE ANDY WARHOL–
DESIGNED COVER OF DIANA
ROSS’S 1982 ALBUM, SILK
ELECTRIC, ON A SHELF NEXT TO
BESPOKE LACQUERED ZIRICOTE
CABINETRY. OPPOSITE HUGO
TORO DESIGNED THE LIVING
ROOM’S CURVING SOFA, WHICH
WEARS A PIERRE FREY VELVET.
VINTAGE COPPER SCONCES
FLANK A FRAMED MOROCCAN
HORSE SADDLE. 1970s
COCKTAIL TABLE; CUSTOM
CARPET BY ÉDITION 1.6.9.
the suite life
THE VISUAL ARTS, INC. / LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
ART: © 2023 THE ANDY WARHOL FOUNDATION FOR
Steps from Paris’s Parc des Buttes-Chaumont,

in-demand young designer Hugo Toro reimagines
his 1960s-era apartment as a globally inspired
retreat from daily life
TEXT BY MARINA HEMONET PHOTOGRAPHY BY MATTHIEU SALVAING STYLED BY SARAH DE BEAUMONT
w hen Hugo Toro
first saw his
new apartment
the 1960s and ’70s, and he was drawn to the floral pattern on
decided to turn it into a motif for his personal project: “I used

a geometric version of the checkerboard in the hall, choosing
red and white travertine to retain the building’s period feel,
and then I repeated the pattern throughout the apartment.”
As with other apartments he has designed, this one was
conceived as a warm, welcoming hotel suite. “For me, there’s
nothing better than a hotel room where you feel good,” Toro
says. He began his redesign by tearing down everything and
then starting anew, reorganizing the space to create a more
open, light-filled loft. “I didn’t want a Haussmann-style flat
in eastern Paris, with moldings, I wanted a more cinematic feel,” he explains.
close to the Parc “It’s a space that’s not rooted in the Parisian vernacular, but
des Buttes-
Chaumont, he
immediately
realized its potential. He had been looking at buildings from
which touches me more directly. It allows me to disconnect
from my other projects when I get home in the evening.”
At the heart of the project is a powerful palette of rich hues
and calculatedly dramatic contrasts. Since his early childhood,
Toro has been fascinated by the play of colors and textures,
the floor in the entrance of this unit. As soon as he saw it, Toro influenced by his Mexican mother who admired the painter
Diego Rivera. “There’s a pictorial side to this apartment,” he
notes. “I love Luis Barragán and his Casa Pedregal in Mexico
City—the green color of the pool, the pink walls. It’s one of the
houses that has made the strongest impression on me. Even
though I’ve never lived in Mexico, its textures and colors fill
the sketches in the pages of my notebooks.” Indeed, influences
from around the world can be seen in all of his design work,
ART: SIDO AND FRANÇOIS THEVENIN © 202) ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS
OPPOSITE THE DINING THROUGHOUT THE
ROOM’S RED LACQUER APARTMENT. RIGHT A 1968
TABLE AND OVERHANGING IRON SCULPTURE BY SIDO
LAMP WERE DESIGNED BY AND FRANÇOIS THEVENIN
TORO. 1970s CHAIRS; JULES- FROM GALERIE PATRICK
AIMÉ GROSJEAN VASE FROM FOURTIN STANDS ON THE
GALERIE VAUCLAIR. THE TERRACE OUTSIDE THE LIVING
LACQUERED SWEET GUM ROOM. A CHAMPAGNE BUCKET
CONSOLE AT RIGHT HIDES SERVES AS A VASE, AND THE
THE TELEVISION. RED AND GLASSWARE IS BY BACCARAT.
WHITE TRAVERTINE COVERS BELOW TORO IN A SWEATER,
THE FLOOR HERE AND SHIRT, AND KILT BY DIOR MEN.
“I like to engage with traces of the past, as a way

of preserving the soul of a place,” says Toro.
and other touchstones include the buildings of Otto Wagner Fonseca in Rome, due to open at the end of 2024. Toro’s
and Adolf Loos in Vienna and John Lautner in Los Angeles— approach is to imagine an entire world with its own strong
two cities where he did his graduate work. narrative. His architectural work has a scenographic quality,
After school, he launched his own studio in 2020. Since with every project conceived as a set, complete with carefully
then, the now 34-year-old designer has been taking on a staged spaces and an extreme attention to detail.
rapidly growing number of big projects. His latest ones include
Booking Office 1869, a bar-restaurant in London’s St. Pancras IN THIS APARTMENT, in addition to the geometric floor, another
station, which took a Victorian winter garden as its inspira- element helped shape the space: the yellow lacquer on the
tion; the remodel of the studio atop the historic Payne Whitney ceiling. Toro chose the color because the walls were initially
Mansion, Villa Albertine’s New York City headquarters; covered with a yellow moiré fabric, and it complemented the
and Orient Express’s La Minerva Hotel, in the former Palazzo watery green tone of the bath’s original wallpaper. Those walls
ABOVE LEFT IN THE AND M ÉDITIONS;
BATH, BRECCIA SIENA MERMAID SCULPTURE BY
MARBLE CLADS THE TUB, HENRY PARAYRE FROM
AND THE NICHE IS GALERIE PATRICK FOURTIN.
COVERED IN FLUTED TILE ABOVE RIGHT A VINTAGE
BY CÉRAMIQUES DU LAMP AND BRUTALIST provides indirect light. In this apartment, wood is also used
BEAUJOLAIS. TRAVERTINE MIRROR SOURCED AT A
SIDE TABLE FROM TORO’S FLEA MARKET HANG to striking effect, with three different species—walnut, sweet
AMANECER COLLECTION ABOVE A CUSTOM TORO- gum, and ziricote—employed to provide contrast.
FOR KOLKHOZE GALLERY DESIGNED SINK.
Toro also designed much of the furniture himself, punctu-
ating the space with travertine pieces from his new Amanecer
collection, created with Kolkhoze gallery and M Éditions. In
have since been refinished in a custom limewash, Toro notes, the bedroom, the angled niche above the bed adds a surprising
adding, “I like to engage with traces of the past, as a way of element. “I wanted to achieve a hotel feel, but at the same time
preserving the soul of a place.” He continues, “Both lacquer follow a more Brutalist approach,” he notes. “Here, it’s almost
and bold color are less common in apartments, but I use them like a temple or Batman’s lair in his villa…only more exotic.”
regularly in my hotel and restaurant projects. Clients don’t He also worked extensively with curves to counterbalance the
come to me looking for beige and gray.” rectilinear aspect of the apartment, smoothing the transitions
While admitting that it’s important to find the right balance, between spaces as well as materials and volumes. “I like
“I don’t think you get tired of colors,” he asserts. “But I’d rather accidents,” he confesses. “I’m neither a maximalist nor a
get tired of a color than not take any risks.” With the apart- minimalist; I like living architecture.”
ment’s nine-foot-high ceilings, the lacquer also helped to instill
a sense of verticality to the space, while its play of reflections (Translated from French by John Newton.)
118 AR C H D IG E S T.COM
“I don’t think you get
tired of colors.
But I’d rather get tired
of a color than
not take any risks.”
FOR THE BEDROOM, TORO

DESIGNED A WALL-SPANNING
UNIT INCORPORATING THE BED,
HEADBOARD, NIGHTSTANDS,
AND STORAGE CUPBOARDS.
CHROME CEILING FAN; MURANO
LAMP (IN NICHE ABOVE BED);
1930s CHROME LAMPS BY JOSEF
HŮRKA FOR NAPAKO; BEDSPREAD
BY MAISON DE VACANCES.
ARTISTS
IN
RESIDENCE
For best-selling author
Suleika Jaouad and
Grammy-winning
musician Jon Batiste,
home is a soulful
Brooklyn town house
that celebrates their
heritage and their
vision for the future
TEXT BY SULEIKA JAOUAD
PHOTOGRAPHY BY FRANK FRANCES
STYLED BY MIEKE TEN HAVE
HAIR BY JENNA ROBINSON; MAKEUP BY JESSE LINDHOLM; ART: WILLIE COLE. ANNE FRANCEY.
IN THE LIVING ROOM, A IN A PIERRE-LOUIS

WATER-BOTTLE CHANDELIER MASCIA SHIRT AND SAINT
BY WILLIE COLE HANGS LAURENT TROUSERS,
ABOVE A VINTAGE GEORGE AND SULEIKA JAOUAD,
SMITH SOFA WEARING A WEARING A CHRISTOPHER
SCHUMACHER’S ANTIQUE JOHN ROGERS DRESS,
STRIE VELVET AND VINTAGE WITH RIVER, A LABRADOR
SWIVEL CHAIRS IN A GOLDEN RETRIEVER
LORO PIANA CASHMERE. MIX. FASHION STYLING
OPPOSITE JON BATISTE, BY ANTON SCHNEIDER.
IN THE DINING ROOM, A MULLER
VAN SEVEREN LAMP ANGLES
OVER A FARMHOUSE TABLE FOUND
ON FACEBOOK MARKETPLACE
AND VINTAGE BENTWOOD CHAIRS.
OPPOSITE IN THE KITCHEN,
THE BACKSPLASH IS COMPOSED
OF TILE CRAFTED IN TUNISIA.
APPARATUS PENDANT LIGHT;
WATERWORKS FAUCET; LACANCHE
RANGE; HANDMADE COOKWARE
BY NETHERTON FOUNDRY FROM
NICKEY KEHOE; REJUVENATION
CABINET KNOBS.
I sensed it
the moment
I crossed
the threshold.
The soaring archways and streaming light reminded me of
the architecture of Tunisia, where my father is from, and it
on three continents by age 12. At 22, I was diagnosed with an
aggressive form of leukemia, and for the next few years,
the grim fluorescence of a hospital was my primary dwelling.
immediately felt like home. Eager as we were to put down roots, we had a long road
Jon and I had been looking to buy our first place for months. ahead. A peek behind the walls revealed a gut renovation was
We’d seen close to 70 properties, but none fit our specifications needed. Friends regaled us with tales of couples who’d been
of a space where we could both live and create. Jon needs sundered by similar projects, and we soon understood why.
the freedom to explore making sounds and congregate with Suddenly we were faced with decisions around budget, collab-
fellow musicians. As a writer, I need total silence and solitude. orative dynamics, and division of labor like never before.
Touring the 1890s Brooklyn Italianate, I saw that the thick We also had to find a way to merge our tastes, lifestyles, and
walls and large, atmospheric rooms could hold both. I called visions for the future in both symbolic and pragmatic ways—
Jon, who was on the road, to say I’d found the One. In a leap and let me tell you, pragmatism is not a strong suit for either of
of faith, he made an offer, sight unseen. us. I wanted to preserve and restore every decaying tin ceiling—
Until then, home for both of us had been makeshift and to fill the house with one-of-a-kind salvaged objects, each with
fleeting. Jon’s 20s were spent traveling with his band and a whimsical backstory, including a vintage elephant-shape bar
bouncing between disparate creative projects, with layovers and a taxidermied peacock that became the topic of fraught
in a small Washington Heights apartment, where he dined debate. Jon had his own outrageous dreams, like a yellow brick
on canned beans each night surrounded by suitcases. When road running through the garden, and for a while, a Mardi
he played piano (noon or night) his neighbors would bring Gras theme: everything furnished in purple, gold, and green.
out the broomstick and get to banging. For me, a child of My diplomatic reply was an upbeat: “That sounds great… for
immigrants, home always felt elusive. I attended six schools your recording studio!”
“The vision for the
house was deeply tied to
who Jon and I are as
humans—to our creativity
and our lineage.”
THE PRIMARY BATH FEATURES A CAST-IRON TUB BY BARCLAY PRODUCTS WITH WATERWORKS FITTINGS.
BESPOKE PENDANT LIGHT BY APPARATUS; WALLS IN PLASTER FINISHES BY PORTOLA PAINTS.
CLOCKWISE FROM ABOVE GUCCI’S A CORNER OF THE PRIMARY
LILLIES WALLPAPER HIGHLIGHTS BEDROOM. IN THE CALIFORNIA
A WALL OF THE STUDIO LOUNGE. CLOSETS–DESIGNED DRESSING
MOROCCAN-INSPIRED TABLE ROOM, A TÊTE-À-TÊTE BY JOHN
FROM QUITTNER, A 1940s FRENCH DERIAN FOR CISCO BROTHERS
FLOOR LAMP, AND A VINTAGE STANDS ON A VINTAGE WOOL
LEATHER CHAISE LONGUE FURNISH OUSHAK RUG FROM NICKEY KEHOE.
BUT IN TIME, A SHARED AESTHETIC LANGUAGE EMERGED.
With the invaluable help of our friend, the writer and designer
Hallie Goodman, who became my collaborator on the interiors,
we achieved a balance. Hallie and I both love all things thrifted,
and we developed an unconventional, possibly inefficient,
but powerfully organic process. We’d find one object, say on
Facebook Marketplace or in a flea market, and it would lead to
one idea and then another. Gradually a room would coalesce.
The vision for the house was deeply tied to who Jon and I
are as humans—to our creativity and our lineage. We began to
meld Tunisia and New Orleans into a style we call “Tunisiana,”
an homage to our shared Francophone and African roots. We
wanted a home that felt soulful, timeless, and elegant, with a
playful twist.
It’s there in the poetry of the arches and curves of the
millwork. It’s there in the contrast between white lime-
washed walls and those drenched in color. The pink kitchen,
inspired by the New Orleanian love of saturated hues, pairs
perfectly with the blue Tunisian tile backsplash. (The tiles
were made by my friend, Mokhtar Lahmar, who hand-makes
and paints each tile in a garage turned atelier in the seaside
town of Nabeul.) It’s in the 19th-century beaded Moroccan
light in our bedroom, and the giant, drippy chandelier in the
living room made of upcycled water bottles by artist Willie
Cole. It’s in the art, which ranges from paintings by my Swiss
mother, Anne Francey, to the Haitian American artist Patrick
Eugène, to my grandfather’s collection of vintage posters. It’s
in the traditional Parisian furnishings and the North African
pottery, textiles, and rugs, collected over a lifetime of trips hospital for my second bone marrow transplant, we got mar-
back to the fatherland. ried in the living room in an intimate, impromptu ceremony.
Striking this balance wasn’t seamless. At times we found The house was mid-construction, but Hallie had the first
ourselves at a stylistic impasse, though often those yielded floor swept free of debris and filled with flowers and candles.
absurdly humorous exchanges. Once I fell in love with a pair We served fried chicken sandwiches and champagne to the
of vintage Poliedri sconces, made up of smoky Murano glass handful of guests who joined us, and Jon serenaded me on a
polyhedrons. I thought they were weird and beautiful, like grand piano that he’d rented just for the night. It felt like an
sexy, moody dinosaur jewelry. I texted Jon a photo, certain act of defiance, to make a promise to our future life in that
he would love them too. He responded: “Like an enemy space, a wager that all the hopes contained there would come
starship descending upon earth, with several ports to launch to pass—to say, “We will be here. We will live here.” It was
flames and laser beams through.” Then, “they look like trash another leap of faith.
hanging on the wall, or a fungal growth.” And then later, “I To have cancer is to live for the next deadline. You have to
feel assaulted by this design. But if you want them, go for it.”get through this chemo protocol, survive this procedure, get
With that, I let the sconces go—though light became a to this milestone. But the biggest goal for me was making it to
guiding principle for us. Once, in reference to a lamp, Jon saidthis new home. For years now, I’ve relied on a creative practice
in an exaggerated fashion, “Now this light is healing!” It to navigate illness by alchemizing life’s interruptions into
cracked us up, and we put it on repeat. About anything that we something beautiful, and this time was no different. I spent
loved, anything that was beautiful and life-giving, we’d say, the next two months in the hospital doing two things. The first
“This is healing.” was painting watercolors of one fever dream after another,
like a self-portrait with a giraffe as my IV pole. The second was
THOSE WORDS TOOK ON A NEW TIMBRE and became a more scouring the internet for delightfully imperfect objects to
literal guiding principle last winter when I learned that after make our house completely our own.
a decade-long remission, my leukemia was back. A relapse so I entered the hospital in winter. The day I was discharged
far out is extremely rare, and my chances of survival were slim. was sunny and fully spring. I was weak, in need of a walker to
At that point, we could easily have put the renovation on get around, but I was so happy and relieved. As Jon and I made
pause, or dropped it altogether. Instead, we doubled down— our way through the house, I had tears in my eyes—not just
as Jon said, we had a plan, and we were not going to let cancer because it far exceeded our expectations. We had finally made
derail it. On February 5, 2022, the night before I entered the it home.
126 A R C H D IGES T.COM

“We wanted a home that felt
soulful, timeless, and elegant,
with a playful twist.”
IN THE STUDIO LOUNGE,

BATISTE, WEARING A
ZEGNA SWEATER, VIVIENNE
WESTWOOD TROUSERS,
AND GUCCI LOAFERS, ON
A CUSTOM VELVET FLOOR
COUCH BY DESIGNWAY.
OPPOSITE AN ANTIQUE
JEWEL-TONED STAINED-
GLASS PANEL FILTERS LIGHT
IN THE PRAYER ROOM.
BRUTALIST
MARKEY ROBINSON © 2323 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / DACS, LONDON. © ANNIE MORRIS. ALAN RAGGETT.
ART: TREVOR PRICE. COLM MAC ATHLAOICH. PETROS KOUBLIS.
At London’s iconic Barbican Estate,

designer Bryan O’Sullivan crafts
a dreamy—and deeply personal—
home for his young family
TEXT BY SAM COCHRAN PHOTOGRAPHY BY JAMES MCDONALD STYLED BY SARA MATHERS
HONESTY
AT THE LONDON APARTMENT

OF BRYAN O’SULLIVAN AND
JAMES O’NEILL, SALON-STYLE
ART ARRANGEMENTS WRAP
THE LIVING AREA, WHICH
IS FURNISHED WITH A VINTAGE
CESARE LACCA SOFA, CHAIRS
OF O’SULLIVAN’S OWN DESIGN,
AND AN ORIOR CREDENZA;
1950s CEILING LIGHT BY MAX
INGRAND IN COLLABORATION
WITH THE ARTIST DUBÉ.
LEFT LOCATED HIGH IN
ONE THE BARBICAN’S
THREE TOWERS, THE FLAT
ENJOYS SWEEPING CITY
VIEWS OF THE LONDON
EYE, BIG BEN, AND BEYOND.
RIGHT A TERRACE WRAPS
THE UNIT. OPPOSITE
O’SULLIVAN (LEFT) AND
O’NEILL WITH THEIR SON,
COSMO, AFTER WHOM
THEY NAMED THE TABLE
LAMP FROM O’SULLIVAN’S
DEBUT FURNITURE LINE.
T here are buildings that loom as large in

our imaginations as they do on the skyline.
For Bryan O’Sullivan, the Barbican has
been that landmark. “Ever since I was a
student I’ve been obsessed,” the designer
says of the London icon: a cluster of
Brutalist beauties by Chamberlin, Powell
and Bon that date to the 1960s and ’70s.
Visible from far and wide, its three towers
transfixed the budding aesthete when he first moved to
the city from Ireland. “You can’t miss them,” he notes, still
awestruck at their jagged silhouettes. It was there, in the
complex’s beloved theater, that he graduated from university,
there that he’s reveled in countless live performances, and
there, in its galleries, that he’s absorbed exhibition after
exhibition. Put simply, O’Sullivan reflects, “the Barbican
always pulls me back.”
So when an apartment came up for sale in the western-
most tower, he and his husband, James O’Neill, jumped
at the opportunity to lay roots amid the concrete. Set on the
39th floor, the unit offered a bird’s-eye perch above the city,
looking out toward the London Eye, Buckingham Palace, and
Hampstead Heath. “At first I needed some convincing, but
when I got there and saw the views I was sold,” recalls O’Neill,
a music artist who doubles as the commercial director (and
jack-of-all-trades) at O’Sullivan’s eponymous firm. “There is
nowhere else in London like it.”
The apartment had only ever been owned by one couple
who had renovated the kitchen and baths, sparing O’Sullivan
and O’Neill the guilt of disturbing original details. “I’m all for
ART: MARLENE DUMAS
preserving the past, but that 1970s kitchen would not have at the time the mastermind shepherding the Maybourne
worked for modern-day life,” notes the designer, who opened Group’s portfolio of legendary properties. McKillen encour-
up the galley cookspace to create a more loftlike layout. The aged him to submit ideas for The Berkeley Bar & Terrace
three existing bedrooms, meanwhile, were rejiggered to form in London, ultimately falling in love with O’Sullivan’s vision—
a primary suite with its own bath and dressing room, a smaller a wood-paneled watering hole that braided homages to
guest room, and a cozy TV room. The result, O’Sullivan notes, the Duke of Wellington, Brutalism, and Carlo Scarpa. That
were “two zones: an elevated entertaining area and a slouchier, commission led to many more: the Red Room speakeasy
cozier space.” and adjoining cigar lounge at the Connaught; another bar as
He certainly knows how to set a mood. Prior to opening his well as suites, penthouses, and the newly opened brasserie
own firm, O’Sullivan honed his craft under some of the design at Claridge’s; and an array of spaces at the Maybourne Riviera
world’s leading talents, among them AD100 titans Annabelle in the South of France. Today there are collaborations in the
Selldorf, Luis Laplace, and Martin Brudnizki, plus the late great works in Beverly Hills and beyond.
hospitality maestro David Collins. Since launching Bryan Expanding on his love of hospitality, O’Sullivan says,
O’Sullivan Studio 10 years ago, he has built his own name in the “you get to push the boundaries and dig deep into a concept.”
hotel world thanks to a chance meeting with Paddy McKillen, He credits that creative passion to his mother and father,
IN THE KITCHEN, SURFACES
OF RICHLY FIGURED MARBLE
COMPLEMENT CUSTOM
CABINETRY IN THE SPIRIT OF
LE CORBUSIER; STOOLS BY
O’SULLIVAN. OPPOSITE THE
DINING AREA’S PENDANT LIGHT,
TABLE, AND CHAIRS ARE ALL
FROM O’SULLIVAN’S DEBUT
COLLECTION OF FURNITURE;
UPHOLSTERY FABRIC
BY CLAIRE DE QUÉNETAIN.
“Ever since I was a

student I’ve been
obsessed,” O’Sullivan
says of the iconic
London building he
now calls home.
“The Barbican always
pulls me back.”
O’SULLIVAN DESIGNED
THE BED, SIDE TABLES,
AND TABLE LAMPS IN THE
PRIMARY SUITE; VINTAGE
MAX INGRAND MIRROR.
LEFT COSMO’S NURSERY
IS COCOONED IN A CLAIRE
DE QUÉNETAIN PATTERN;
DRAWINGS BY SAM WOOD.
who owned a number of bars and restaurants in the Irish

town of Kenmare, where he grew up, as well as his maternal
grandfather, a hotelier with properties throughout surround-
ing County Kerry. But today the designer is just as busy The apartment’s overall palette, though subdued, stays
with private residential projects, the pace and intimacy of cheerful, punctuated with notes of pink and blue reminiscent
which engage different parts of his brain. “You can take your of sunsets. “Our goal,” explains O’Sullivan, “was to counterbal-
time developing a world that’s bespoke for the people who ance all that concrete, to make the spaces feel as uplifting as
live there.” possible.” These days, the space is bringing smiles to many faces
as the couple hosts regular dinner parties for their families
AT THE BARBICAN, he has been able to apply that same rigor and friends, among them like-minded neighbors. O’Sullivan,
and attention to detail to his own home. Normally decisive, an avid chef, finally has enough space to entertain a crowd,
O’Sullivan admits to initially struggling with the total freedom cooking in a showstopper kitchen with oak cabinetry that
that comes with designing for yourself. “Being your own echoes the Barbican’s jagged façades.
client for a change is surreal,” he says. Ultimately, the couple And there’s a new mouth to feed. This past year, the couple
tied as much of the interiors as possible back to the era of the welcomed the arrival of their first child, Cosmo. Come bedtime,
Barbican but reinterpreted for the 21st century. The entry is he gets his bath in the marble-lined tub then settles into his
clad in oak-burl paneling, the walls and ceilings slathered in charming nursery, previously the guest room but now wrapped
Marmorino plaster, and the floors lined in end-grain blocks of in Claire de Quénetain wallpaper. Then it’s downtime for
wood. Furnishings, meanwhile, mix vintage finds by the likes daddies as O’Sullivan and O’Neill snuggle into the television
of Gio Ponti, Jean Royère, and Max Ingrand with O’Sullivan’s room for a show or just gaze out across the city—looking out
own creations—from the dining table (inlaid with brass from the Barbican after so many years looking up at it. “We
ART: SAM WOOD
vegetables and mother-of-pearl psychedelic mushrooms) to always get a sunset,” notes O’Neill. “At magic hour the whole
the entry’s starburst mirror. Both pieces are part of O’Sullivan’s apartment seems bathed in honey. It feels like a real retreat
debut furniture collection, which elegantly blends bygone up in the clouds.” Adds O’Sullivan, still awestruck: “You can
glamour with present-day pizzazz. see everything.”
134 A R C H D IG E S T.COM
“Our goal was to counterbalance
all that concrete, to make the
spaces feel as uplifting as possible.”
THE GUEST BATH IS LINED IN CIPOLLINO MARBLE, WITH A MATCHING SINK CARVED
FROM A SINGLE BLOCK OF STONE; FITTINGS BY WATERWORKS.
BARBICAN LIGHT; $37,125. BRYANOSULLIVAN.COM
EMMETT
ANTIQUE BRASS
TAPER CANDLE
HOLDER; FROM
$30. CRATEAND
BARREL.COM
NED SOFA; $24,145.

BRYANOSULLIVAN.COM
The apartment became a

laboratory for our new furniture
collection.” —Bryan O’Sullivan
CIPOLLINO MARBLE; PRICE UPON
REQUEST. ABCWORLDWIDESTONE.COM
CIPOLLINO MARBLE
ENVELOPS THE GUEST BATH.
CUSTOM GRAY ONYX BASIN;
WATERWORKS FITTINGS.
MACAROON
ARMCHAIR; $6,640.
BRYANOSULLIVAN.COM
JELLYFISH MIRROR;
$55,840.
BRYANOSULLIVAN.COM
RAINBOW SWIRL
SHOT GLASS BY
AQUAZZURA CASA;
$161 FOR A SET
OF TWO. MATCHES
FASHION.COM
CIPOLLINO MARBLE FIELD

TILE; $83 PER SQUARE FOOT. COSMO LAMP; $21,885.
ARTISTICTILE.COM BRYANOSULLIVAN.COM
THE SOFA IN THE OAK- JADE FABRIC;
PANELED TV ROOM $129 PER METER.
WEARS A MOHAIR VELVET. CLAIREDE
QUENETAIN.COM
PATCHWORK PILLOW; $130.

INCASABYPABOY.COM
1748 MODEL CEILING

LIGHT BY MAX
INGRAND AND DUILIO
“DUBÉ” BARNABÉ FOR
FONTANAARTE;
$23,595. 1STDIBS.COM
LIBERTAD CUSHION; $155.

LELIEVREPARIS.COM
INTERIORS: JAMES MCDONALD. ART: © 2023 CORMAC BOYDELL / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / IVARO, DUBLIN.
BEMBO CREDENZA;
PRICE UPON REQUEST.
ORIORFURNITURE.COM
ALESSI STERLING
SILVER KETTLE BY
MARIANNE BRANDT;
PRICE UPON REQUEST.
SHOP.NEUEGALERIE.COM
MASER. NANA SHIOMI. ALL PRODUCTS COURTESY OF THE COMPANIES.
We get to live
in a space that
is finished to the AN AURA MIRROR BY BRYAN
level of one O’SULLIVAN COLLECTION
HANGS ABOVE A BESPOKE
of our projects.” GLASS CONSOLE IN THE
ENTRANCE HALL. ARTWORK
—James O’Neill BY CORMAC BOYDELL.
PR OD UC ED BY MA DEL INE O’MAL L EY ARCH DI G E S T. CO M 137

grand finale
Super Soaker
“There must be quite a few things a hot bath won’t own hand-painted mural depicting figures from
cure, but I don’t know many of them,” Sylvia Plath Michelangelo’s Sistine Chapel ceiling. (Seen here are
wrote in The Bell Jar. Granted the writer was hardly the Delphic Sibyl and the Prophet Ezekiel.) Hicks,
the Gwyneth Paltrow of her day, but in this case who crafts similar feats for clients, surmounted those
her wellness tip bears out—a good bath is indeed scenes with his vision of Bertel Thorvaldsen’s frieze
good for the soul. Just ask Ashley Hicks, the puckish of Alexander the Great’s triumphant entry into Babylon,
designer, artist, and son of the legendary arbiter rendered to simulate terra-cotta. Images of flowers
elegantiae David Hicks. At his home in Oxfordshire, leaven the classical pageantry with lyrical notes from
England, hard by the famous garden his father the garden. The tub is encased in his signature resin-
ASHLEY HICKS
cultivated on the family’s country estate, Hicks has foam boulders, and the floor is painted to resemble
crafted an idiosyncratic marvel of ablutionary terrazzo. “I love to read in the bath, being glared at by
splendor. The walls of the hexagonal room, formerly these stern apparitions,” says the designer.
a storage space, are wrapped in the designer’s ashleyhicks.com —MAYER RUS
NEW YORK
Request the Exhibition Catalogue
Laurence A. Campbell (b.1939) Rain in the City, 5th Avenue $ 75,000
Q U E S T R O YA L F I N E A RT, L L C
Important American Paintings
903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 T: (212) 744-3586 F: (212) 585-3828
HO UR S : Monday–Friday 10–6, Saturday 10–5 and by appointment
E MA I L : gallery @ questroyalfineart.com www.questroyalfineart.com

Architectural Digest USA - November 2023

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A PLACE AT

fresh takes in Connecticut, Brooklyn,

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24 Editor’s Letter Serpenti collection… Ceramist

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114 The Suite Life

120 Artists in Residence

INTERIOR: STEPHEN KENT JOHNSON. HANDBAG: ULRICH KNOBLAUCH.

128 Brutalist Honesty

INTERIOR: JAMES MCDONALD. APPLIANCES: ALL COURTESY OF THE COMPANIES.

DESIGN INSPIRATION FROM THE ISSUE

22 AR C H D I G E S T.COM P ROD U C ED BY S AM COC HRAN AND M AD ELI NE O ’ M A L L E Y

“Even as we put our own stamp on it, we wanted

In an issue packed with young, forward-thinking homeowners (several of whom

house proved the ideal dwelling for a pair

BROTHERS ACHILLE AND

MOLTENI&C FLAGSHIP STORES

1. A PAIR OF TACCIA 3. TACCIA, NEWLY

ilanese industrial designers Achille and Pier Giacomo

M Castiglioni liked to reduce an idea to the very basics.

originally envisioned—in plastic. This year they introduced

Lust for Life

Fabric maestro Peter D’Ascoli transforms a Delhi

n a recent night at Lal Kothi, the Delhi farm-

1. THE FRONT GARDEN OF LAL KOTHI. 2. THE DESIGNER

nothing of the villa, owned by an erstwhile royal family.

Today, the couple has transformed the property into an

inspired his bedroom at Lal Kothi.

THE MODERN GODDESS

Get the Party Started

most elegant dinnerware to the latest

CHRISTOFLE BABYLONE NAPKIN

HOUSES & PARTIES

INTERIOR: ANDRE JONES. ALL PRODUCTS COURTESY OF THE COMPANIES.

THE LIFE AQUATIC

NONNA HALL TAPER

EXTERIOR: MIGUEL FLORES-VIANNA. ALL PRODUCTS COURTESY OF THE COMPANIES.

BIRLEY OLIVE OIL

Introducing our new fully integrated 48-inch French Door

ELIZABETH LAKE ABOLI

JOHN DERIAN FOR ASTIER

FROM THE MAKERS OF THE ORIGINAL SWISS ARMY KNIFE™

A House for the Ages—And All Ages

Nikki Chu Linda Hayslett Laura Hodges Michael London

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DESIGN STOR IES

Profile: RoughCut® in Casa Blanca

Shoreham Table Lamp

celebrates the most incredible homes of the past century, showcasing

idiosyncrasies in her Capucines rendition, a limited edition 5

faire. The collage’s raw silk was scanned and painstakingly

UMBER NACRE REM KRETA BROMO

A CARBON NEUTRAL PRODUCT BY COSENTINO

1. THE LIVING AREA’S POLIFORM

architect Michael K. Chen

whether in the case of the oversize kitchen island—a faceted

1. REFORM KITCHEN CABINETRY AND

the elevators. “The scale of elements

how they use materials, colors, and

Salt of the Earth